Producer, mixing & mastering engineer with releases as Ben Lockwood‑Layton and Ben Jousha on SMR Underground, Tobe, Splodge, Appologetics, A Time ’n’ A Place!, and This Is Vinyl. I specialise in House and Dance music with clean, modern production, punchy drums, tight low‑end and wide, professional mixes built for streaming and club systems.
I’m a Manchester‑based Music Producer, Composer, and Mixing/Mastering Engineer delivering polished, modern and commercially‑ready tracks. My work blends electronic, house, cinematic and hip‑hop influences, with a focus on clean sound design, warm low‑end, punchy drums and emotional musicality.
Whether you need full production, a custom instrumental, a cinematic score, a club‑ready mix, or a loud and clean master, I bring professional quality with fast turnaround and clear communication.
I’ve worked across electronic music, sync‑friendly cinematic cues, hip‑hop beats, and commercial production — always aiming for clarity, impact and musical identity.
Contact me through the green button above and let's get to work.
Interview with Ben Jousha
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I’m especially proud of my releases as Ben Lockwood‑Layton and Ben Jousha on SMR Underground, Tobe, Splodge, Appologetics, A Time ’n’ A Place! and This Is Vinyl. I handled full production, mixing and mastering, delivering clean, modern tracks across multiple styles.
Q: What are you working on at the moment?
A: I’m working on new House and Dance productions under Ben Jousha
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Not personally, but I always encourage clients to choose engineers whose sound matches their goals.
Q: Analog or digital and why?
A: Digital — it’s fast, flexible, consistent and perfect for modern House and Dance production.
Q: What's your 'promise' to your clients?
A: Professional quality, clear communication, and a finished track that sounds modern, clean and ready for release.
Q: What do you like most about your job?
A: Turning ideas into finished, polished tracks and helping artists hear their music at its full potential.
Q: What questions do customers most commonly ask you? What's your answer?
A: Most clients ask how loud their track will be. My answer: loud enough to compete professionally, but still clean, controlled and dynamic.
Q: What's the biggest misconception about what you do?
A: That mixing and mastering can fix everything. A strong final result always starts with a solid production and arrangement.
Q: What questions do you ask prospective clients?
A: I ask about their reference tracks, the mood they want, the purpose of the song (streaming, club, sync), and any specific elements they want highlighted or changed.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Choose someone whose sound matches your vision. Listen to their work, check their consistency, and make sure they communicate clearly.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Laptop, headphones, audio interface, MIDI keyboard and a portable SSD.
Q: What was your career path? How long have you been doing this?
A: I started producing and engineering independently as Ben Lockwood‑Layton and Ben Jousha, releasing music across platforms and labels including SMR Underground, Tobe, Splodge, Appologetics, A Time ’n’ A Place! and This Is Vinyl. I’ve been producing, mixing and mastering for several years, building a portfolio across multiple genres.
Q: How would you describe your style?
A: Clean, modern, wide and punchy. I focus on clarity, groove and professional finish.
Q: Which artist would you like to work with and why?
A: I’d love to work with Calvin Harris — his sound is clean, powerful and timeless, and I enjoy creating music in that same modern dance space.
Q: Can you share one music production tip?
A: Always leave headroom. A clean mix with space will master better than a loud, crushed mix every time.
Q: What type of music do you usually work on?
A: Mostly House, Dance and electronic music, but I also work on score music, Hip‑Hop and Pop when clients need versatile production and clean engineering.
Q: What's your strongest skill?
A: My strongest skill is mixing and mastering for House and Dance music. I know how to make tracks hit properly on club systems while still sounding clean and balanced on streaming platforms.
Q: What do you bring to a song?
A: Clarity, punch, width and a modern sound. I focus heavily on low‑end control, drum impact, stereo space and overall polish. I also bring musicality — making sure the track feels intentional and emotionally engaging.
Q: What's your typical work process?
A: I start by understanding the client’s vision, then build or refine the production. Once the arrangement is solid, I move into detailed mixing — balancing, shaping, widening and tightening the track. Finally, I master the song to achieve a loud, clean, controlled finish ready for streaming or club play.
Q: Tell us about your studio setup.
A: I work from a laptop‑based Ableton setup with high‑quality plugins, monitoring and mastering tools. My workflow is fast, efficient and fully digital, allowing me to deliver consistent results wherever I’m working.
Q: What other musicians or music production professionals inspire you?
A: Calvin Harris and Timbaland inspire me the most — Calvin for his clean, powerful dance production and Timbaland for his rhythm, creativity and unique sound design.
Q: Describe the most common type of work you do for your clients.
A: I produce, mix and master House and Dance music, helping clients take their ideas from rough demos to fully finished, release‑ready tracks. I also work on score music, Hip‑Hop and Pop when artists need clean, modern production and polished engineering.
- ProducerAverage price - $300 per song
- Mastering EngineerAverage price - $50 per song
- Mixing EngineerAverage price - $200 per song
- Film ComposerAverage price - $300 per minute
Full payment upfront. 14‑day turnaround. Includes 3 revisions only. No revisions after 3. No refunds once work begins. Extra revisions $25 each.
