Mixing, Mastering & Production

Q: What are you working on at the moment?

A: Mastering projects for a few record labels based in the UK

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

A: I was involved in a Sonic branding project for a group of companies but I am unable to share any more details due to strict NDA policies.

Q: Analog or digital and why?

A: Both. Digital precision and Clarity + analog warmth.

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

A: Will be delivered as promised. Date, Sound and Quality.

Q: What do you like most about your job?

A: Flexible Hours

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

A: Can you make me sound like "That Person"? No; I can make you sound like the best version of you

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

A: I just make the song sound loud and bigger

Q: What questions do you ask prospective clients?

A: Where is this track going - streaming release, label submission, club play, sync, or content? What references are you working toward - not to copy them, but to understand the emotional and sonic target? What does the track need that it doesn't have yet and what's working that I shouldn't touch? How many stems, and how is the session organised? What's the deadline, and is there any flexibility on it? Have you mixed this yourself, or is this a raw production session coming straight to me? Is there a label or A&R already involved who will have notes, or is this purely your call? And the most important one - what does this track mean to you? The answer to that question tells me more about what it needs than any technical brief ever could.

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

A: Know what you want the track to feel like before you send it. Reference tracks help more than technical notes show me the emotional target, not just the frequency complaints. Send your best stems. A mix can only be as good as the session it starts from clean, organised, and labelled files mean more time spent on the music and less on untangling a session. Trust the process. If you've chosen someone whose work resonates with you, give them the space to do what they do. Micromanaging a mix produces safe results, not great ones. Be specific with revision notes. "It needs more energy" is hard to act on. "The kick needs more attack and the pads are masking the lead" is a revision note that gets results. And finally don't rush the master. The mix is where the work happens. The master is the finish. Skipping proper mixing to save money and spending it all on mastering is the most common and most avoidable mistake in independent music releases.

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

A: My Laptop, Hard Drive, Headphones, MIDI Keyboard and my Interface

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

A: 15 years professionally both in Sri Lanka and Dubai.

Q: How would you describe your style?

A: Honest and intentional. Nothing added that doesn't need to be there, nothing left out that should be. Low end that hits without drowning everything else. Space that feels deliberate rather than empty. Analog warmth where it serves the music, clean where it needs to be clean. The kind of mix where you don't notice the engineering - you just feel the track.

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

A: Above & Beyond. My all time favourite musician and DJ's.

Q: Can you share one music production tip?

A: Always pick the right sound. No matter what you do, if you don't pick the right sound, the song will not sound right.

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

A: As a mixing engineer, I work across genres - electronic, organic, cinematic, pop, hip-hop, R&B, and beyond. If it has stems, I can mix it. For production, I stay in the world I know best - house music and its surrounding culture. Organic house, progressive house, deep house, and underground electronic. Music that breathes, evolves, and feels as good at 3am in a club as it does on a pair of headphones at home.

Q: What's your strongest skill?

A: Hearing what a track is trying to do and finishing it in a way that sounds inevitable.

Q: What do you bring to a song?

A: Clarity without losing warmth. Low end that translates from headphones to a club system. Analog character that makes a mix feel like it was designed, not processed. A decade of understanding how electronic music is supposed to feel and the signal chain to deliver it.

Q: What's your typical work process?

A: Brief Every project starts with a conversation. You share your session files, stems, or reference tracks along with the context that matters: where the track is going, what label or platform it's for, what it needs to feel like, and what isn't working yet. The more specific you are here, the better the result. No formal brief template required a voice note works just as well as a document. Concept Before touching a single fader, I listen. Full playback, no interruptions. I build a picture of what the music is trying to do and where the mix or production needs to go to get it there. For production projects, I present 2–3 sonic directions so you can hear the options before we commit to one. For mixing and mastering, this stage is internal - but it shapes every decision that follows. Develop This is where the work happens. Mixing, mastering, production, or sound design executed to release standard using the full studio signal chain. You stay informed throughout. No black box, no silence for two weeks. If something significant shifts during the session, you hear about it before delivery. Revise One full revision round is included with every project. Feedback is taken seriously, implemented precisely, and returned within 48 hours. If you know what you want changed, say it plainly the clearer the note, the better the result. Deliver Final files land in every format your project requires broadcast WAV, MP3, stems, streaming-optimised masters at -14 LUFS, club masters at -8 LUFS, or any platform-specific specification. Labelled, organised, and ready to upload, submit, or send to your label the same day they arrive.

Q: Tell us about your studio setup.

A: A professionally treated bedroom studio running a 22dB ambient noise floor - the acoustic foundation that most dedicated commercial rooms don't achieve. The monitoring chain centres on Dynaudio LYD48 reference monitors with a LYD9 subwoofer, giving an honest and unforgiving picture of the low end where electronic music lives. Outboard includes a Warm Audio 1176 compressor, Glue Compressor, Sonic Exciter running through an Arturia AudioFuse 16Rig interface and patch bay into a mastering-grade converter. Production runs on Pro Tools and Ableton Live on a Mac Mini M4, with an Ableton Push 3 as the primary controller. The synthesis suite - Moog Sub 37, Arturia PolyBrute, MiniBrute 2s, and MiniFreak provides the analog character at the core of everything produced here. On the performance side, two Pioneer CDJ-2000NXS2s and a DJM-900NXS2 sit connected to a pair of Dynaudio LYD5 monitors. This is not a commercial tracking room. It is a purpose-built environment for electronic music production, mixing, mastering, and sound design where every piece of equipment was chosen for a reason.

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

A: Above & Beyond Brian Tyler Tom Coyne Ludwig Goransson

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

A: Co Writing, production, Mixing & Mastering, Sonic ID and Branding work