Multi Awarded - Mix & Prod

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

A: Sorry, that is so hard to answer, because I don't know em all! I'd say: anybody with a heart

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

A: Musically: let me think a bit more before I answer here ;) Production-wise I've always admired people like Rick Rubin, Brian Eno, Quincy Jones and Steve Albini, engineers who serve the music rather than show off technique. And honestly, the artists I work with inspire me every day. Being in the room when someone plays something truly honest, that never gets old.

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

A: Most of my work is producing and mixing records for artists who care deeply about how their music sounds. That usually means I'm involved from early on, shaping arrangements, refining performances, designing sounds, and then mixing everything in stereo or Dolby Atmos. A lot of my clients are solo artists working with piano, electronics, or a combination of both. Some come in with finished recordings that need mixing; others come with raw ideas and we build the whole thing together in the studio.

Q: What are you working on at the moment?

A: A few things I'm excited about: a new recording project with a Norwegian pianist, some Atmos mixing work for international artists, and I'm always developing the studio to push what's possible with immersive audio. It's a good time.

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

A: I'm new here, still exploring. If I find someone great, I'll update this answer.

Q: Analog or digital and why?

A: Both, always. I use whatever serves the music. My studio is mostly digital with analog character where it counts. The debate is a distraction, the only thing that matters is whether the end result moves people.

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

A: I'll treat your music with the same care and attention as if it were my own. And I'll be honest with you, if something isn't working, I'll say so. I'd rather make a great record together than just be agreeable.

Q: What do you like most about your job?

A: That moment when an artist hears their music back and their face lights up and says "wow". That's it. Everything else, the long hours, the technical problem-solving, the business side, is all just to get there.

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

A: "What's the difference between stereo and Dolby Atmos?" -> Atmos gives music space and depth that stereo can't. It's not a gimmick; it's a way to let listeners step inside the music instead of standing in front of it. When done with care, it's a beautiful thing. I wrote a full FAQ on my website about it. https://www.gijsvanklooster.com/atmosmixfaq/

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

A: That mixing is just a technical step you do at the end, its more like arranging. A great mix is a creative act, it's where the story of a song is told. The balance, the depth, the space, the movement, those choices shape how a listener experiences the music emotionally. It's not polishing; it's storytelling.

Q: What questions do you ask prospective clients?

A: What are you trying to say with this music? Who is it for? What does it sound like in your head? Do you have reference tracks? And honestly: what's your timeline and budget? Being upfront about these things saves everyone time and makes for a better working relationship.

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

A: Listen to my mixes and let me know if you feel any attraction.

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

A: Water tank, knive, bed, fishing gear, and my wive. I'm not stupid! ;)

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

A: I've been making records for over 35 years. I started as a musician, got obsessed with recording, and never looked back. Over the years I've done everything from recording opera in the former Soviet Union to producing dance remixes, composing for commercials and film. But the studio always pulled me back. The breakthrough moment was producing Joep Beving's debut album Solipsism, which was signed by Deutsche Grammophon and changed everything. Since then I've been focused on what I love most: making records with artists who pour their heart into their music.

Q: How would you describe your style?

A: Warm, detailed, and spacious. I want the listener to feel like they're inside the music. Whether it's a solo piano recording or a dense electronic production, I aim for clarity and emotional depth. Nothing should sound forced or overproduced, it should sound inevitable.

Q: Can you share one music production tip?

A: Good sound is the absence of bad sound.

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

A: My work spans a wide range, from solo piano and neo-classical to electronic productions, cinematic scores, pop, and everything in between. The common thread isn't genre, it's intention. I tend to attract artists who care deeply about honesty in their music. If you're making something you believe in, we'll probably get along.

Q: What's your strongest skill?

A: Listening. Not just technically, listening to what an artist is trying to express, even when they can't fully articulate it yet. And translating; making sure the people behind the speakers will know you.

Q: What do you bring to a song?

A: Clarity, both sonically and creatively. I help artists hear what their music is really about, and then I make sure the listener hears it too. I have a good ear for arrangement: knowing when something needs one more layer and when it needs three fewer. And after 35+ years I've developed a strong instinct for what makes a recording feel alive versus just sounding correct.

Q: What's your typical work process?

A: It depends on the project, but it usually starts with a conversation. I want to understand what the artist is trying to say before I touch a fader or a knob. From there, we might record, arrange, sound design, or go straight into mixing, whatever the music needs. I work fast but carefully. I'm not precious about gear or technique; I'm precious about the feeling. If something isn't serving the song, it goes. I keep the atmosphere relaxed and focused, good coffee, no ego, full attention.

Q: Tell us about your studio setup.

A: RedHouse is a 65m² studio in Amsterdam, custom-designed acoustically by Kees Neertvoort. It's fully calibrated for Dolby Atmos with a 7.1.4 monitoring setup, but it's equally a great stereo mix room and a recording space. The room has a beautiful studio-tweaked Hoffmann T122 piano, a range of synths and instruments, and all the sonic toys you'd want. Everyone works together in the same room, no separate control room, no glass wall. It's intimate, it sounds great, and artists feel at home here.