Producer, mixer, and mastering engineer based in Mexico City. Founder of Pesticide Free Music®, an independent studio and label. Since 2005, I’ve produced and mixed EPs and singles for artists in the city’s jazz and world‑music scene, working closely with both emerging and established talent.
My primary focus is mixing—crafting natural, open, and dynamic soundscapes that allow the music to breathe. My sonic approach prioritizes clarity, balance, and emotional impact over heavy processing, always respecting the artist’s intent. Clients value not only my technical skills and warm personality, but my ability to truly listen, understanding the essence of a piece (the groove, color, feel, concept) and translating it into a mix that feels alive, nuanced, and elegant (see from feedback from Clients).
My experience centers on:
Mixing full ensembles and live session recordings
EP-length and artist-driven projects
Preserving dynamics, acoustic realism, and musical detail
Collaborative, artist-involved workflows
I trained in Music Production at SAE Institute (Mexico City, 2022–2023), with a focus on recording and mixing jazz and world music.
I’m positioned as a committed creative partner—someone who invests in long-term artistic relationships and continuity across projects. I maintain clear, fast communication and welcome feedback at every stage.
Thanks for making music happen!
Would love to hear from you. Click the contact button above to get in touch.
Credits
Languages
- English
- German
- Spanish
Endorse Jan Böker10 Reviews
check_circleVerifiedEs la segunda vez que trabajo con Jan, es un gran productor y amigo de años, respeta las ideas del músico y logra crear un ambiente familiar y agradable y si algo no está acorde con tu idea, hace lo imposible para posible hacerlo, por esas razones lo volví a mi productor de cabecera.
- check_circleVerified
Jan's work is the best; he takes care of every detail, is very kind, fast, and has great respect for the musicians' work.
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Responsive and enjoyable to work with Jan. His assistant is algo a very cool guy. The mix was above my expectations. All good.
Jan es un grande!! Grande en la calidad de audio que ofrece en la grabación (se escuchaba de maravilla todo en los audífonos), mezcla y máster. Grande en la variedad de artistas con los que trabaja. Y sobretodo, grande en su generosidad, el apoyo que hace a los músicos de todo tipo de estilos, edades y reconocimiento es brutal!! Se nota luego luego que lo importante es la música y nada más!!! Mil gracias Jan!!!
Pesticide free music is an incredible place to develop the individual and collective creativity.
The studio is really confortable and beautiful, and Jan Böker is and openmind and lovely human being that gives you all the freedom to let the music flow.
I recorded two albums last year with an incredible team in Pesticide Free Music and i can't be more proud and satisfied with the results.Recording with Jan at Pesticide Free is one of the best recording experiences of my entire life, the love and passion for music and sound, patience and support he offers have no equal.
From my perspective as a musician and producer, I highly recommend working with Jan for several reasons.
The space is ideal for live recordings, and the acoustics are excellent. The studio is equipped with top-tier gear, and anything you might need is easily available. In terms of facilities, it not only has a great live room but also outdoor areas where you can take a break and come back refreshed.
As an engineer, he’s outstanding. I worked with him on three of my albums, and the results were consistently excellent. Communication is very smooth, which is extremely valuable when working on mFrom my perspective as a musician and producer, I highly recommend working with Jan for several reasons.
The space is ideal for live recordings, and the acoustics are excellent. The studio is equipped with top-tier gear, and anything you might need is easily available. In terms of facilities, it not only has a great live room but also outdoor areas where you can take a break and come back refreshed.
As an engineer, he’s outstanding. I worked with him on three of my albums, and the results were consistently excellent. Communication is very smooth, which is extremely valuable when working on mFrom my perspective as a musician and producer, I highly recommend working with Jan for several reasons.
The space is ideal for live recordings, and the acoustics are excellent. The studio is equipped with top-tier gear, and anything you might need is easily available. In terms of facilities, it not only has a great live room but also outdoor areas where you can take a break and come back refreshed.
As an engineer, he’s outstanding. I worked with him on three of my albums, and the results were consistently excellent. Communication is very smooth, which is extremely valuable when working on mJan Böker is, for me, the best producer, recording engineer, mixer, and mastering engineer I've ever worked with. He's studious, passionate, attentive to the smallest details, and loves what he does, which is why he does it at such a high, professional level. Besides being a lovely person, he makes you feel comfortable and valued, and that ultimately comes through in the music. Ton Meister!
Interview with Jan Böker
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: Satin Sausage, a jazz‑rock fusion project alongside Grammy‑winning multi‑instrumentalist Adrián Terrazas‑González and a circle of elite session players. Conceived as an organic, live studio collaboration, the four‑track EP blends deep grooves, open improvisation, and modern fusion aesthetics, with compositions by Alan Fajardo and Terrazas capturing the energy of musicians locked into a single creative moment. As shared through the project’s online presence, Satin Sausage brought together an international lineup of top‑tier jazz artists spanning Mexico, Venezuela, and Australia, resulting in a record that feels spontaneous, intimate, and globally informed.
Q: What's your 'promise' to your clients?
A: Good communication, natural open sound. Not too much unnecessary processing.
Q: What do you like most about your job?
A: Being the architect of the recorded sound and then hearing that the client is happy with the concept and emotion I embedded in her music.
Q: What questions do customers most commonly ask you? What's your answer?
A: If I could be their producer. It all depends on the concept and purpose of the project.
Q: What's the biggest misconception about what you do?
A: Depends on the audience: among non musicians probably the conception of mixing itself. In other words, I find myself having to explain what is mixing and the challenges of it, as well as the flavors and options within mixing.
Q: What questions do you ask prospective clients?
A: If they want a mix that represents their sound as I hear it in the studio or stage or if they want salt, pepper, chili and topping on top? If they can record all together full live. If they can live without the metronome.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Discuss the concept thoroughly at the beginning.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: My monitoring system, my computer, my headphones, my interface and something to have internet connection.
Q: What was your career path? How long have you been doing this?
A: SAE Institute, 2022 to date.
Q: Which artist would you like to work with and why?
A: With a new sounding emerging artist. Imagine the honor and pleasure to be part of her sound. I think too many good stuff has already been produed, so I am more focused on the emerging experimental dimension of our music culture.
Q: What's your typical work process?
A: Wake up early everyday with fresh ears to mix for 1.5 hours with a good coffee.
Q: What are you working on at the moment?
A: Several mixes including a full EP by a reggae band (with heavy brass) named "Kushmik".
Q: Analog or digital and why?
A: All "in the box" to save energy, cables, avoid heat, and maintain focus. Besides, premium plugins can be gorgeous to work with.
Q: How would you describe your style?
A: Natural, open, honest.
Q: Can you share one music production tip?
A: Understand the expectations of the Client on day 0.
Q: What type of music do you usually work on?
A: Jazz and world music.
Q: What's your strongest skill?
A: Communication, conveying musical ideas, translating sound into words and viceversa.
Q: What do you bring to a song?
A: Sonic concept. Emotion. Openess.
Q: Tell us about your studio setup.
A: Mac Studio, UAD suites (plus the usual other premium plugin suspects). Neumann monitoring system. Specially desugned and treated mix room.
Q: What other musicians or music production professionals inspire you?
A: ECM records, generally. Paul Boothe and Dave Cobb.
Q: Describe the most common type of work you do for your clients.
A: Mixing "organic" music in stereo. Tipically recorded as full live sound sessions.
- Mixing EngineerAverage price - $200 per song
- Mastering EngineerAverage price - $50 per song
- ProducerAverage price - $500 per song
For mixing: 1- 3 revisions; Turn- around 1 week maximun; Additional time when over 40 tracks.
- Neumann monitoring system; Beyerdynamic
- UAD. etc.
Free beer!
- Jan Böker Produces Bach Project by Vico DíazMay 05, 2026
A few days ago, Pesticide Free Music (label) released of “Air,” the first installment of BACH, the debut EP by Mexican musician Vico Díaz—an audacious reimagining of Johann Sebastian Bach’s music that opens entirely new sonic and cultural ground. Produced, recorded, mixed, and mastered by Jan Böker, the release presents a historic first in the world of classical reinterpretation.
- Jan Böker Steps Into Reggae Scene as Mixer for New Band Featuring Pepe Grela of Antidoping (as invitee)Apr 19, 2026
Mexico City — Audio engineer Jan Böker joins the reggae scene as mixer for a project featuring Pepe Grela of legendary Mexican band Antidoping. The collaboration marks a new phase for Böker, applying his live-focused technical approach to roots reggae tied to Mexico’s alternative music history.
