Mixing & Mastering Engineer

Q: Analog or digital and why?

A: Both — but in practice, mostly digital. Digital workflows allow me to move faster and stay flexible. With a solid understanding of analog fundamentals, you can often achieve the same sonic results through technique and decision-making rather than hardware.

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

A: I’d focus on making the most out of whichever five tools I had available, rather than relying on particular brands or models.

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

A: I began exploring audio during high school, mainly through experimentation and practical experience. While my early work was largely intuitive, studying Audio Engineering gave me a strong technical foundation. The program itself was heavily focused on mathematics and physics rather than hands-on mixing, but it significantly shaped how I understand sound, signal flow, and critical listening. Over time, this perspective, combined with thousands of hours of practice, helped me develop a more refined and intentional approach. I’ve been working in mixing for ten years.

Q: How would you describe your style?

A: I’d describe my style as a balance between polished and raw. I aim for clarity, impact, and translation while preserving the character and natural energy of a performance.

Q: Can you share one music production tip?

A: Regular short breaks! Stepping away — even briefly — helps reset your perception and leads to far better decision-making than pushing through for hours. There are plenty of technical tricks in audio, but few are as consistently effective as maintaining a fresh perspective.

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

A: Alternative rock and its related genres — indie rock, modern rock, metal, and stoner-leaning productions. Most of my projects sit somewhere within the guitar-driven spectrum, ranging from raw, organic recordings to more polished, contemporary mixes.

Q: What do you bring to a song?

A: Above all, I bring energy and cohesion. I focus on the elements that carry the song — the emotional core, the groove, the dynamics — and shape them so everything works together naturally. My approach is less about imposing a sonic template and more about enhancing what already makes the track compelling, helping it feel alive, balanced, and engaging.

Q: What's your typical work process?

A: My workflow starts with a fresh perspective — proper rest and a clear head are essential for making good decisions. I begin by reviewing the stems, setting up routing, preparing buses, FX chains, and establishing solid gain staging before building an initial raw mix. From there, I evaluate the production more critically, identifying anything that may benefit from additional refinement, such as timing relationships between instruments, vocal phrasing, or tuning. When deeper edits are needed, I communicate directly with the client to align on the best approach. My goal isn’t clinical perfection, but a result that serves the artistic vision and feel of the record we’re creating together.

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

A: I grew up listening to artists like Rage Against the Machine, Red Hot Chili Peppers, Pearl Jam, and Nine Inch Nails — the records that shaped my sense of energy, texture, and dynamics. Early in my mixing journey, I closely followed engineers such as Chris Lorde-Alge, Andy Wallace, and Steve Albini, absorbing whatever insights I could from interviews and studio clips. Over time, I realized that while learning from greats is invaluable, developing your own perspective is essential. Today, I’m focused on bringing a distinct sonic identity and musical sensitivity to every mix I work on.

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

A: I primarily work on mixing and mastering. Many of my clients also return for vocal editing and additional vocal production. I’ve spent countless hours recording vocals alongside a long-time vocal coach, which has given me a strong sense for performance, phrasing, and detail. My experience directing voice overs for narrative-driven games like Kingdom Come: Deliverance, Mafia, and Last Train Home further refined my ability to work closely with vocalists — understanding their artistic vision while guiding them toward their strongest possible performance.