I help independent artists get clarity, depth and impact without losing the identity of their sound. I work mainly with electronic and alternative music, focusing on clean low-end, controlled dynamics and mixes that translate well across different systems. My approach is always context-based: I don’t rely on presets, but on careful listening.
I’m a mixing & mastering engineer working with independent artists who already have a vision and want to take their sound to the next level.
I focus on:
– clarity and balance
– solid, controlled low-end
– depth and space without overprocessing
I work best with electronic, experimental and alternative music, but I’m always interested in strong ideas and well-produced material.
If you’re unsure whether I’m the right fit, I’m happy to do a short test on your track so you can hear how I approach it before committing.
Send me an email through 'Contact' button above and I'll get back to you asap.
Interview with satn
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I’m particularly proud of projects where the goal wasn’t to change the sound, but to refine it. My role was to enhance clarity and impact while keeping the original atmosphere intact.
Q: What are you working on at the moment?
A: Mixing and mastering independent electronic and alternative projects, with a strong focus on low-end control and dynamics.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: I prefer to recommend collaborators based on the specific needs of the project rather than by default, but I value professionals with a clear aesthetic and solid communication.
Q: Analog or digital and why?
A: Both. Digital for precision and recall, analog-style processing for character. The choice depends on what the track needs, not ideology.
Q: What questions do customers most commonly ask you? What's your answer?
A: A master like another one! For a good master a good creative artist was needed.
Q: What's the biggest misconception about what you do?
A: That mixing or mastering is about presets or making things “louder.” In reality, it’s about context, balance, and making decisions that serve the song.
Q: What questions do you ask prospective clients?
A: I usually ask about references, artistic intent, where the track will be released, and what they feel is currently missing in the mix or master.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Listen carefully to the provider’s previous work and make sure their approach fits your music, not just the genre. Clear communication and shared references are more important than gear or credentials.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: A reliable DAW, a pair of reference headphones, one versatile hardware synth, a clean audio interface, and a simple monitoring chain. Flexibility and listening matter more than quantity.
Q: What was your career path? How long have you been doing this?
A: I started as a producer and sound designer, focusing on electronic music and synthesis. Over time, my interest shifted toward mixing and mastering, especially understanding how sound translates across different systems. I’ve been working with audio for several years, refining both technical skills and critical listening.
Q: How would you describe your style?
A: Clean, controlled, and focused on depth and translation rather than excess.
Q: Which artist would you like to work with and why?
A: Artists who have a strong vision and aren’t afraid of space and restraint in their music.
Q: Can you share one music production tip?
A: Make fewer moves, but make them intentional. If you can’t explain why you’re doing something, don’t do it.
Q: What type of music do you usually work on?
A: electronic, experimental, alternative, and electronic-driven music, but I’m able to work with any kind of music genre.
Q: What's your strongest skill?
A: Critical listening and making context-based decisions.
Q: What do you bring to a song?
A: Objectivity, clarity, and decisions that help the song communicate better without losing its character.
Q: What's your typical work process?
A: Listening first, identifying issues, making minimal but effective adjustments, then checking translation across different systems before revisions.
Q: Tell us about your studio setup.
A: A hybrid setup combining hardware synths, digital processing, and a calibrated monitoring environment focused on accuracy rather than volume.
Q: What other musicians or music production professionals inspire you?
A: Producers and engineers who prioritize sound identity and long-term listening over trends.
Q: Describe the most common type of work you do for your clients.
A: Mixing and mastering tracks that are already well-produced but need clarity, balance, and consistency across playback systems.
I was the Composer, Producer, Mixing&Mastering Engineer in this production
- Mixing EngineerAverage price - $150 per song
- Mastering EngineerAverage price - $50 per song
–Files must be properly labeled and organized
–Revisions are included within reason
–Additional revisions or major changes may require extra time or cost
–No preset-based or automated processing
- Gramatik
- Now Vs Now
- Clap! Clap!
- Hybrid setup focused on hardware synths
- analog processing and in-the-box precision.
