Orchestral Mixing Engineer

Q: What's your typical work process?

A: Depends on the project really, with a mix, you really want to understand the musical intentions of the composer, and the mix should serve that, whilst also acting as an intermediary as someone coming from outside their creative process.

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

A: I've been composing and producing for over a decade, starting with orchestral writing before expanding into game audio, electronic music, and hybrid production. I'm currently studying Electronic and Produced Music (Game Audio) at the Guildhall School of Music and Drama in London. Where I am currently studying under Marios Aristopolous and John Harle.

Q: What do you bring to a song?

A: A composer's perspective. I'm not approaching a mix as a purely technical exercise; I'm asking what the music is trying to say and I try and enhance that through my own input. Working across composition and production means I understand the intent behind the stems/multitrack I'm given, and I mix accordingly.

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

A: Scoring video games and mixing are the two most common. Most projects involve orchestral or hybrid electronic music, either composing original scores for indie game developers or mixing stems for other composers and producers working in cinematic and narrative-driven contexts.