Mix & Master Engineering

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

A: My work with Prima is great cos I've produced most of it, she's a great songwriter, "Handful Of Sand" is the best, "Truth" is also great.. I also did a really great track with Thelma Malar titled "Something Good". I'm really proud of these tracks because not only do they sound massive and make you wanna move, but they're also engineered very well.

Q: What are you working on at the moment?

A: Multiple projects, a few different mixes, an EP.

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

A: Not that I know of, most of my network/mentors are still working through word of mouth etc.

Q: Analog or digital and why?

A: Digital is great for the efficiency, but it can also be painful. But in general I'm always aiming for efficiency. Analog mastering is of course the best though.

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

A: It's gonna sound music, you're gonna sound better than you thought possible.

Q: What do you like most about your job?

A: I love taking stems and turning them into a massive sounding track. It's very satisfying to engineer a great track, it's a very undervalued skill in the industry.

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

A: How to make their tracks sound massive. My answer is always the same, show me the stems and how clean everything is, and we'll see how far I can take the stems (also very dependent on their taste of course, often I need to replace kicks/synths etc to really take things to the next level).

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

A: A lot of AI mixing and mastering is around, but it's never gonna get the stylistic flare the real engineers can bring. I work with most genres, I play most instruments, I know exactly what every step of the engineering pathway needs. You simply cannot get that depth with an of the AI services around, and if you want what I provide, you're gonna need to pay others a lot more to get anything remotely close.

Q: What questions do you ask prospective clients?

A: I first need to know that they're finished and ready to release, because I take the stems to the next level, and we need to work efficiently, so re-recording and re-producing is no longer an option.

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

A: First you need to take yourself and your work seriously, and when you're ready to finish your song, come to me and we'll get it sounding as good as it possibly can.

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

A: An acoustic guitar, an acoustic bass, some notepads, some pens, and a whole lot of poetry.

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

A: I first studied Jazz, then went in producing and engineering for my Australian Rock Band "Interim". I've since moved to Berlin and have been studying under the aforementioned Producer/Engineer for the past 3 years. In general I've been producing and engineering for the past 12 years.

Q: How would you describe your style?

A: Fast and efficient - Making the best out of what's there and bringing it to life so that it hits regardless of which setting it's played in.

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

A: Jaycen Joshua. The engineering is unbelievable.

Q: Can you share one music production tip?

A: Know when to use mono, and know when to use Parallel/Linear processing.

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

A: Ranging between EDM/House, HipHop, and Punk.

Q: What's your strongest skill?

A: Getting a great balance, making everything hit hard, with full and controlled low-end, lots of space in the mids, and shiny and luscious highs.

Q: What do you bring to a song?

A: Un paralleled awareness of various genres, influences, and an absolute care for not only the engineering, but the soul of the song.

Q: What's your typical work process?

A: I’ve worked in professional studio environments alongside senior engineers on commercially released material, which shaped my standards for session preparation, communication, and delivery. I treat every song as its own pillar of marble, sculpting from it the best end product I can. I've studied under a Grammy Award-winning Producer who also designed the Masters in Audio Engineering at Catalyst in Berlin, so I take the engineering very seriously.

Q: Tell us about your studio setup.

A: Adam A7x Monitors, UAD Apollo Twin, Logic Pro, and lots of the best plugins including UAD Audio, FabFilter Pro, Soothe, God Particle, Gulfoss, Oxford etc

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

A: Jaycen Joshua, Flume

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

A: Recording, Producing, Mixing, and Mastering