EDM & Bass Music Mix/Master

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

A: My release on Bassrush is the one I'm most proud of. It took nearly a year of tweaking, revising, and collaborating to get the final master where it needed to be. Bassrush has a standard and the music had to live up to it. I handled the production and mastering and that process taught me more about patience and intentionality than anything else in my career. Hearing it finally come out on a label I respect made every revision worth it.

Q: What are you working on at the moment?

A: A mix of client projects across bass music, plus continuing to develop my own brand. Always something in progress.

Q: Analog or digital and why?

A: Digital but with an analog mindset. Ableton and the right plugins give you precision and recall that analog can't match, but the goal is always warmth, depth, and character.

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

A: I'll treat your music the way I treat my own. That means honest feedback, real revisions, and not calling it done until it genuinely sounds the way it should.

Q: What do you like most about your job?

A: When everything locks in and the track starts sounding like what the artist always imagined it could be. After 15 years that moment still doesn't get old.

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

A: 1) "How many revisions do I get?" 2-3, but in reality as many as it takes. I don't close a project until you're happy. 2) "How long will it take?" Typically 2-4 days for a mix, 24-48 hours for a master. Rush options are available. 3) "Do you need stems?" Stems are perfectly fine, however, I can work within Ableton project files if that's preferred.

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

A: That mixing and mastering are just technical cleanup. They're creative decisions from start to finish. The space between the elements, the way the low end sits, how much the vocal breathes, as all of that shapes how a listener feels. It's not just making it loud; it's making it right.

Q: What questions do you ask prospective clients?

A: What's the vision for this track and where do you see it living? What's your reference point? How do you want it to feel: loud and aggressive, warm and dynamic, clean and show ready?

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

A: Listen to their work before you reach out. Not just the polished portfolio pieces. Ask if they have examples close to your genre. A great engineer for folk music isn't necessarily the right one for a bass music record. Find someone who understands the world your music lives in.

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

A: Ooph, this is a tough one. Ableton of course. And I love my APC40 MK2 for playing out my music, so that's a given - same with my Korg Taktile. Could I also bring my modular synth? If so, it would be my 0-coast.

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

A: I've been producing, mixing, and mastering for over 15 years. From 2016 to 2021 I toured the US and Canada full-time and performing my own music. That time on the road was an education in itself; hearing music on dozens of different systems taught me more about mixing than any course could. I've since channeled that into engineering for other artists alongside my own releases.

Q: How would you describe your style?

A: I want electronic music to hit hard without feeling cold. There's a human element to the best records in this space and I chase that in every mix. Clarity without harshness, low end you feel not just hear, and a stereo image that opens up a room.

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

A: Flying Lotus. His records exist in their own universe. From jazz, hip-hop, electronic, and something completely unclassifiable all at once. The way he and his collaborators approach texture and space is endlessly interesting to me!

Q: Can you share one music production tip?

A: Reference tracks. Before you mix anything, find two or three records that live in the sonic world you're chasing and keep them open the entire session.

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

A: Primarily electronic music in all its forms, but my ear is genuinely cross-genre. Over 15 years I've worked on hundreds of tracks across styles that don't always have a clean label. If it was made with passion, I can mix and/or master it.

Q: What's your strongest skill?

A: Listening to both the music and to the client. Technically I'd say low-end management and dynamic sound.

Q: What do you bring to a song?

A: Fifteen years of production experience and five years of touring means I've heard music in every context, from clubs, festivals, car stereos, earbuds, radio. I know what translates and what doesn't.

Q: What's your typical work process?

A: Before I touch a single fader, I ask the artist what they want: loud or dynamic? Warm or aggressive? Show-ready or headphone listening? Once I understand the vision, I get to work and send over a first draft. From there it's revisions until it's exactly what they heard in their head. I don't close a project until the client is genuinely happy!

Q: Tell us about your studio setup.

A: I work out of my home studio running Ableton Live, with FabFilter and Waves as my primary plugin arsenal. I monitor on Yamaha HS8s through a Focusrite interface which brings a clean, honest signal chain that tells me the truth about what's happening in a mix.

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

A: Aphex Twin, Flying Lotus, Nosaj Thing, Medasin, and Tame Impala. What they all share is a commitment to sound design and sonic texture that goes beyond just writing good songs, and the production itself is the art. That philosophy carries into how I approach every mix.

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

A: Mixing and mastering electronic music across a wide range of subgenres: bass music, DnB, UKG, ambient, hyperpop, EDM, and everything in between. Most clients come to me needing one or the other, though plenty end up doing both once they hear what a cohesive mix-to-master chain does for a record.