Mixing | Mastering | Remote

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

A: I started in 2005, so about 20 years now. Before I focused on mixing, I spent years on the other side — arranging, producing, composing. I know what it feels like to have a vision for a song and not be able to explain it in technical terms. That experience shaped how I work with artists. When someone says "it's not quite there yet," I usually know what they mean — because I've been that person.

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

A: Mostly pop, but really anything where rhythm is at the center. K-Pop, rock, soul, R&B, electronic — the genre changes, but the thing I'm always listening for is the same. If the groove is there, I know how to build around it.

Q: What's your strongest skill?

A: Getting the groove right. When the rhythm section feels the way it should — not just tight, but actually moving — everything else starts to make sense. The instruments find their place around it, and by the time the vocal comes in, it's not sitting on top of the music. It's breathing life into it.

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

A: Most of what I do is receive a finished or near-finished production and take it to a mix. The artist or producer has done all the creative work — I step in at the end and make sure everything comes together the way it should. I'm mix-only, so that's all I focus on, which means I can give it my full attention every time.

Q: What are you working on at the moment?

A: A mix of things — pop, R&B, a few tracks that don't fit neatly into one genre. Mostly vocal-driven music, which is where I spend most of my time anyway. Also genuinely enjoying meeting new artists through SoundBetter.

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

A: Still finding my way around SoundBetter, but when I know the right person for something, I'll always say so. Getting the client the right result matters more to me than keeping the work.

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

A: Your song stays your song. I'm not here to put my stamp on it — I'm here to make what you already built feel more complete. I'll take care of it, stay in touch, and keep going until it feels right.

Q: What do you like most about your job?

A: That moment when something clicks and the song suddenly feels like itself. Sometimes it's one small change in the vocal, sometimes the low end finally sits right — but when it happens, you just know. That's the part I keep coming back for.

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

A: That mixing is mostly about making things louder or cleaner. Those things matter, but they're the surface. The real job is figuring out what the song is trying to say — and making sure every decision supports that feeling.

Q: What questions do you ask prospective clients?

A: Usually I start with: What do you like about your rough mix? Any reference tracks? What's the most important emotional moment in the song? Mixing only, or mastering too? Any deadlines I should know about? The goal is just to understand the song before I touch anything.

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

A: Find someone whose references sound like what you're going for, and who actually listens before they start talking about process or gear. A good mix engineer should make you feel like your song is in good hands. References and a rough mix always help, but mostly — trust your gut about whether it feels like a good conversation.

Q: What's your typical work process?

A: First thing I do is just listen to the rough — not to fix anything, just to feel it. What's already working? What does the artist love about it? Then I go through the references and start building from there. I try to stay in touch during the process so nothing feels like a surprise at the end.

Q: Tell us about your studio setup.

A: Pro Tools Ultimate with HDX, solid conversion, and monitors I've spent a long time getting to know. Mostly in the box — partly for the recall, but also because it makes revision conversations a lot easier. The gear matters, but what I care about more is whether I can trust what I'm hearing.

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

A: Honestly, anyone who can make you feel something in the first 10 seconds. I'm drawn to producers and mixers who trust the music — who know when to add and when to pull back. The stuff that hits you without you knowing why.

Q: How would you describe your style?

A: Clean, emotional, impactful, and vocal-focused. I like mixes that feel polished and modern, but not overly processed. My goal is usually to make the song feel bigger and more finished while keeping the artist’s identity intact.

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

A: I'd love to work with someone who has a clear feeling about what the record should be, even if they can't fully describe it yet. Some of my favorite mixing conversations have started with an artist saying "I don't know, it just doesn't feel right yet" — and we figure it out from there. That process is genuinely fun for me.

Q: Can you share one music production tip?

A: Before you send anything to a mix engineer, make a rough mix that shows your intention. It doesn't need to sound good — it just needs to show what you care about. How loud the vocal, which elements matter, what the energy should feel like. That one thing makes the whole conversation faster and easier.

Q: What do you bring to a song?

A: A foundation that actually grooves. I start by getting the rhythm feeling right — not just tight, but moving the way it should. From there I build the instruments up around it, so everything feels full and intentional. By the time the vocal goes on, it has somewhere solid to land. What I'm really bringing is that sense of "it just sits right" — where nothing is fighting, and the whole thing feels like it was always meant to sound this way.