Remote Mix & Mastering

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: I’m proud of a mix where we took risks — weird delays, wide reverbs — and it actually worked. It sounded like nothing else.

Q: What are you working on at the moment?

A: i am working on a pop, hip hop, and a country pop at the moment

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: I'm fairly new to the platform

Q: Analog or digital and why?

A: i use best of both worlds. there's a lot of things in the analog world that aren't found in the digital world and vice versa as far as quality so my setup is hybrid to create the best mix & master.

Q: What's your 'promise' to your clients?

A: When I’m done, your track will be ready for streaming, radio, and distribution. I’ll make sure your track translates well across different systems — from studio monitors to car speakers and phones.etc.

Q: What do you like most about your job?

A: Bringing the Artists Music to LIfe

Q: What questions do customers most commonly ask you? What's your answer?

A: when will it be ready? 5 days How many revisions do I get? unlimited Do you also master? Yes How much do you charge? $250 up to 40 stems

Q: What's the biggest misconception about what you do?

A: “Mixing can make any song sound like a hit.” “Mix engineers just follow presets or templates.” “Mixing fixes a bad recording or distortion"

Q: What questions do you ask prospective clients?

A: “Do you have any reference tracks that represent the sound or energy you’re going for?” “Is there a particular mix element you love in that reference — like the drums, vocal tone, or space?” “Do you want this to sound more radio-ready and polished or raw and natural?” “Are there any songs you don’t want it to sound like?” What’s the sample rate and bit depth of your session/stems?” “Do you have any processing already printed that I should keep (like vocal effects or 808 distortion)?”

Q: What advice do you have for a customer looking to hire a provider like you?

A: Find an engineer who understands your sound and vision. Mixing isn’t just about balancing levels — it’s about understanding what you want people to feel when they hear your song. A good mix engineer should listen to your references, ask about your goals, and care about your emotion and message, not just your stems.

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: 1.Apollo twin 2. AKG c414 3.pro tools 4. mac book pro 5.Audio‑Technica ATH‑M50x

Q: What was your career path? How long have you been doing this?

A: i started in 2007

Q: How would you describe your style?

A: My mixing and mastering style focuses on clarity, warmth, and emotion. I aim to bring out the heart of the record making it sound polished, balanced, and ready for release while keeping its natural energy intact. I mix with precision and purpose balancing clarity, punch, and cohesion. My mastering ensures the track hits hard, translates everywhere, and maintains its dynamic energy.

Q: Which artist would you like to work with and why?

A: I'm open to working with everybody who has talent but if i had to choose currently at the moment i would say chris brown & the weeknd

Q: Can you share one music production tip?

A: Always Label all your stem files

Q: What type of music do you usually work on?

A: Pop, Afro Beats, Hip Hop, Rap, R&B, Country , EDM and all its variations, Reggae/Dancehall, Pop Rock, Rock

Q: What's your strongest skill?

A: The ability to hear and feel what the song needs and make the artist’s emotion come alive through sound.

Q: What do you bring to a song?

A: Consistency, Vision and Translation, Emotion and Feel, Energy and Groove, Vocal Magic, Cohesion, Polish and Professionalism

Q: What's your typical work process?

A: 1. Session Preparation Receiving Files The mix engineer gets stems or multitracks from the producer or recording engineer (each track exported separately — vocals, drums, bass, guitars, synths, etc.). They’ll check sample rate, bit depth, and make sure files line up properly. Organizing the Session Import all audio into the DAW (e.g., Pro Tools, Logic, Cubase, Ableton, Studio One). Label, color-code, and group tracks (like all drums in one group, all vocals in another). Clean up unwanted noise, pops, or silences. Set up routing: subgroups, sends/returns, mix bus chain. 💡 Why it matters: A clean, organized session makes the rest of the mix flow efficiently. 🎧 2. Static Mix (Initial Balance) Before using any effects, the engineer: Sets rough volume levels for each element. Pans instruments across the stereo field (e.g., hi-hats right, rhythm guitar left). Makes sure every sound is audible and has its place. 💡 Goal: Establish a good balance that feels natural before heavy processing. 🎚️ 3. Tonal Shaping EQ (Equalization) Clean up mud or harshness. Carve space for each element (e.g., cutting low end on guitars to make room for bass). Compression Smooth out uneven performances. Add punch and control dynamics (especially on drums, bass, and vocals). 💡 Goal: Make everything sit together clearly and consistently. 🎛️ 4. Space & Depth Reverb and Delay Create a sense of environment (room, hall, plate). Add depth and vibe — vocals might have a short slapback delay or lush hall reverb. Stereo Imaging Widen the mix without losing mono compatibility. 💡 Goal: Make the mix sound 3D rather than flat. 🔉 5. Creative Enhancements Use effects like chorus, distortion, filters, or modulation for style. Automate transitions (e.g., volume swells, filter sweeps). Add parallel compression or saturation for extra energy. 💡 Goal: Enhance emotion and character without over-processing. 🧠 6. Automation Adjust volumes, panning, reverb sends, etc., dynamically throughout the track. For example, push the lead vocal louder in the chorus. This adds movement and excitement to the song. 💡 Goal: Keep the listener engaged from start to finish. 🧰 7. Mix Buss Processing Apply gentle EQ, compression, or tape saturation on the main mix buss. Sometimes light limiting for loudness reference (not full mastering). 💡 Goal: “Glue” the mix together and make it sound cohesive. 🎧 8. Review & Revisions Listen on multiple systems (studio monitors, headphones, car, laptop). Take notes and adjust until it translates well everywhere. Send the mix to the artist/producer for feedback and do revisions if needed. 💡 Goal: A balanced, emotionally powerful mix that works across playback systems. 📦 9. Delivery Export the final mix at high resolution (usually 24-bit WAV). Deliver both: Full mix Instrumental A cappella TV track (vocals muted or lowered for live performance) Hand off to the mastering engineer for final polish and loudness.

Q: Tell us about your studio setup.

A: DAWS Pro tools Ultimate Logic Pro x Fl Studio 25 MONITORS genelec 8030C Presonus Eris KRK Rokit 7 MIXING PLUGINS Waves Mercury Bundle UAD Ultimate 13 Auto Tune Melodyne Ozone Mix and Master Bundle Plus Soundtoys 5 Bundle Vocal Align Pro Valhalla Vintage Verb GEAR SSL AWS900 Mixing Desk console DAW Controller Vintage Pultec EQP-1 equalizer Vintage Pultec MEQ5 equalizer Tubetech CL1B Compressor 1 Universal Audio Satellite (fully loaded) Empirical Labs EL8-X Distressor compressor SSL Master bus compressor 2 SSL G series compressors 2 Avid HD I/O | HD Interface Apollo twin interface MICS 1 AKG c414

Q: What other musicians or music production professionals inspire you?

A: Chris Lord-Alge, Chris Gehringer, Patrizio “Teezio” Pigliapoco, Leslie Braithwaite, Phil Tan

Q: Describe the most common type of work you do for your clients.

A: Balancing Levels Adjust the volume of each track (vocals, drums, guitars, synths, etc.) so that everything sits well together — nothing too loud or too quiet. EQ (Equalization) Shape the tone of each instrument or vocal by boosting or cutting frequencies. For example, cutting muddy low mids from a guitar or adding brightness to a vocal. Compression Control dynamics to make performances sound more consistent and punchy. A compressor can make quiet parts louder and loud parts smoother. Panning Position sounds within the stereo field (left to right) to create width and separation. Reverb & Delay Add space and depth — for example, a small room reverb on drums or a long delay on vocals. Automation Make real-time adjustments to levels, panning, effects, etc., that change throughout the song to maintain energy and interest. Creative Effects Use tools like distortion, modulation, or filtering to enhance mood and vibe — especially in pop, hip-hop, and electronic genres. Session Organization Clean up, label, and route tracks efficiently. A well-organized session saves time and avoids mistakes. Mix Buss Processing Apply light compression, EQ, and sometimes saturation on the master bus to glue everything together and give the mix a unified feel.