Versatile Mixing & Mastering

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

A: While I’ve worked on many great projects, I’m most proud of the work I do with my own band, as it’s where my musical identity is strongest. I handle everything from performing guitars on stage and in the studio to the final mix. Professionally, I'm also very proud of my role as the Mixing and Mastering engineer for Bedford Falls - 'Milk It' (Live Orchestral session), where I had to balance a high-energy band with a full orchestra.

Q: What are you working on at the moment?

A: I’m currently balancing my time between high-end engineering for clients and producing new material for my own band, where I serve as both the guitarist and sound engineer. This dual role keeps me creatively sharp, whether I'm recording guitars for my project or applying advanced mixing techniques to complex orchestral and rock arrangements for others.

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

A: I'm currently building my presence here, but I always value professionals who put the music first and maintain high technical integrity.

Q: Analog or digital and why?

A: Analog, without question. While I value digital precision for surgical tasks, I believe the harmonic richness and organic texture of the analog world are essential for making music sound 'alive' and musical.

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

A: I promise absolute transparency, professional communication, and a high-fidelity, radio-ready final product that meets international industry standards.

Q: What do you like most about your job?

A: The transformation process—taking a raw recording and watching it turn into a cohesive, professional, and powerful piece of music that is ready for the world to hear.

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

A: Clients usually ask about the turnaround time and the number of revisions. I provide a first draft within 3-5 days and offer 3 rounds of free revisions to ensure the final result is exactly what they envisioned.

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

A: The idea that technical tools can replace a good performance or recording. My role is to refine and elevate the artist's work, but the best results always come from a strong, high-quality starting point.

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

A: I promise a high-fidelity, polished, and radio-ready mix that respects your artistic identity and meets the highest industry standards.

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

A: My laptop, my guitar, Universal Audio Apollo interface, Neumann TLM 103 mic, and Sennheiser HD 490 Pro headphones.

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

A: I’ve been an audio engineer for over 7 years, starting my journey as a musician. To reach the highest professional level, I chose to refine my skills at the premier recording studio in the Caucasus, training under the mentorship of the legendary engineer Giorgi Gvarjaladze (Gvaji). This intensive experience aligned my workflow with world-class standards, allowing me to combine my long-term experience with elite technical precision. I don't just mix; I apply global industry standards to every project I touch.

Q: How would you describe your style?

A: Clean, impactful, and transparent. I aim for a sound that feels big and expensive but stays true to the natural vibe of the performance.

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

A: I would love to work with Elliot Smith. Even though he is no longer with us, his music resonates with me deeply. I’ve always wanted to explore his raw, emotional soundscapes from an engineering perspective to truly 'understand' the intimacy and genius behind his recordings.

Q: Can you share one music production tip?

A: Never underestimate gain staging. Leaving proper headroom before you even touch an EQ or a compressor is the ultimate secret to a mix that breathes. Don't mix 'hot' right out of the gate.

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

A: I frequently work on Folk, Alternative, Rock, Indie and electronic projects. However, my foundational techniques in gain staging and frequency balancing allow me to deliver pristine, high-end results across any musical genre.

Q: What's your strongest skill?

A: My strongest skill is spatial organization and dynamic control—especially in dense, complex arrangements like live orchestral rock sessions. I know how to make massive 30+ track counts sound huge, punchy, but completely transparent.

Q: What do you bring to a song?

A: I bring 7+ years of engineering experience and a commitment to absolute clarity. I make sure every element has its own space in the mix, preserving the artist's original emotion while applying my strict 'Zero Trash' standard to ensure a flawless final product.

Q: What's your typical work process?

A: Every project is a unique sonic puzzle, so I avoid a 'one-size-fits-all' approach. My process is always tailored to the song's specific needs. However, I rely on a top-tier digital toolkit — including FabFilter, Soothe2, Valhalla, and Waves — as examples of the precision and character I can bring to a mix. I always start with meticulous gain staging and surgical EQ to clean the foundation, but from there, the processing is entirely guided by the artist's vision and the track's individual requirements.

Q: Tell us about your studio setup.

A: My setup is built for absolute clarity and translation. The core monitoring is handled by ADAM Audio A7V speakers. I run everything through an SSL 2+ interface into a MacBook Pro M4, using Pro Tools and a highly curated selection of industry-standard plugins to bring analog warmth into the digital workflow.

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

A: I'm deeply inspired by the sonic landscapes of artists like Radiohead, Sigur Rós, and Elliott Smith. I admire engineers and producers who prioritize emotional impact, organic textures, and spatial depth over purely clinical perfection.

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

A: I specialize in high-end mixing and mastering. My most common work involves taking raw multi-tracks or stems and turning them into punchy, radio-ready records using my 'Zero Trash' philosophy. I also do professional podcast editing and mastering.