Producer and Mixing Engineer

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

A: Started producing and mixing at 13, self-taught. Later I trained at Academia de Beats, the academy of multi-platinum producer DJ Coala — graduated with distinction and was one of the 5 winners in their annual contest. Ten years on, it's still the only thing I do every day: beats, recording, mixing, mastering. No shortcuts, just a decade of reps on the same craft.

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

A: On the artist side, Yeat, Travis Scott, Don Toliver, Carti — for sound design more than anything. Production-wise, BNYX, Metro Boomin', WakeUpFilthy, people pushing how heavy and distorted you can go while keeping it clean.

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

A: I produced, recorded, mixed and mastered a full project for an underground artist, start to finish — beats from scratch, tracking the vocals, then the full mix and master on every song. It started as raw ideas and ended as one cohesive release. My role was every stage of it, which is exactly why it sounded like one body of work instead of a pile of songs that didn't match. That's the kind of project I like most: where I'm the single sound behind the whole thing.

Q: What are you working on at the moment?

A: Producing and mixing my own artist project and building out a catalog of beats. Between that I take on client mixes — which is what brought me here.

Q: Analog or digital and why?

A: Digital, and I won't pretend otherwise. The sound I make — rage, hard trap — lives in things you can only really do in the box: extreme distortion, automation, recall, precise control over a chaotic mix. I'll chase analog warmth with plugins when a track wants it, but this music was basically born digital.

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

A: Your track leaves sounding like it belongs next to the artists you look up to — or we keep working until it does. I won't hand back something I wouldn't put my own name on.

Q: What do you like most about your job?

A: Taking something that sounds small and stuck in someone's bedroom and handing it back sounding like the records they grew up on. The moment a client hears their own song actually hit — that's the reason I still do this every day.

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

A: "How much?" — depends on the track, but I give you a flat price up front, no surprises. "How long?" — first mix in 3 to 5 days. "Can you keep my vibe?" — that's the whole point; I enhance what you did, I don't replace it with my taste. "What do you need from me?" — clean dry stems in WAV and one reference.

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

A: That mixing is just turning everything up loud, or that a preset will fix a track. Loud is easy. Loud and clean and still punchy on a phone speaker is the hard part, and there's no preset for it. The other one is thinking a "bedroom" recording can't sound pro — with the right approach it absolutely can.

Q: What questions do you ask prospective clients?

A: What's the reference — one song you want yours to sit next to? How many stems am I getting, and are they clean and dry? And what's the deadline. Those three tell me almost everything I need to quote it right and nail it first try.

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

A: Listen to their actual mixes before you pay anyone, don't just read the bio. And send one clear reference of where you want your song to land. "Make it sound like this" tells a good engineer more than a paragraph of description. The right person will get your vibe from one track.

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

A: My laptop with FL Studio, the HS8s, a solid audio interface, FabFilter Pro-Q and Soundtoys. Honestly, give me the laptop and headphones and I'll still make records. Most of my sound is in the hands, not the gear.

Q: How would you describe your style?

A: Heavy but clean. Low end you feel in your chest, distortion with intention — never muddy, never harsh by accident. Aggressive music that's still controlled enough to play loud anywhere. Modern, but I care about it translating, not just sounding good on my own monitors.

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

A: Yeat. The way his 808s and vocal effects build this wall of sound that's still somehow clean is exactly the lane I obsess over. Working on records with that level of sound design would be a dream.

Q: Can you share one music production tip?

A: Mix into your 808, not around it. In this music the 808 is the song — get it sitting right with the kick first, and everything else falls into place. Most demos I get are fighting their own low end because the 808 was an afterthought.

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

A: Hip-hop and trap, mostly the harder corners — rage, hard trap, metal trap. Heavy, distorted, 808-driven stuff in the Yeat, Travis Scott, Don Toliver, Carti lane. If it's aggressive and bass-heavy, it's home turf. I'll take other 808-driven genres too, but that's where I'm strongest.

Q: What's your strongest skill?

A: A low end that's heavy and distorted but still clean and translates everywhere, and a vocal that cuts through a loud, busy beat without sounding thin. That's the thing people come to me for.

Q: What do you bring to a song?

A: I produce, record, mix and master, so I don't hear your track as one isolated job — I hear where the whole record wants to go. I'll tell you straight if something's holding it back, even if it's not the part you asked me to touch. You're not getting a louder file, you're getting an opinion from someone who's made this music for ten years.

Q: What's your typical work process?

A: You send the stems dry in WAV plus one reference track so I know the target. First mix and master back in 3 to 5 days. You tell me what you'd change, and we go up to three revision rounds until it's exactly how you hear it. Then you get the final mix and master, plus the instrumental and acapella if you want them. I keep you in the loop the whole way — no disappearing for two weeks.

Q: Tell us about your studio setup.

A: Yamaha HS8 monitors and ATH-M50x for reference, in FL Studio and Pro Tools. Plugins: Universal Audio, Soundtoys, Slate Digital, FabFilter, etc — so I can do clean surgical work and dirty creative stuff in the same session. Nothing for show; everything there earns its place on a mix.

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

A: Most of what comes in is a rapper sending me rough vocals over a beat, wanting it to actually sound like a record. I mix and master the whole thing — get the 808 and drums hitting, sit the vocals on top with the right autotune, delays and distortion, and hand back a master that holds up on phone speakers and in the car. A lot of it starts as a bedroom demo and leaves ready to put on Spotify.