Producer

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

A: One project I'm especially proud of was working on the Ashley O project for Black Mirror, performed by Miley Cyrus. I was brought in as a producer, helping develop the production and contribute to a record that went on to become a global release. It was a great example of collaborative production at a high level, where every small creative decision mattered. Seeing the project reach such a huge audience reinforced for me how important attention to detail is, whether I'm working on a major label release or with an independent artist.

Q: What are you working on at the moment?

A: At the moment I'm producing a number of independent and signed artists while expanding my Artist Development sessions, working closely with musicians over longer periods to help shape their sound, songwriting and production. I'm also continuing my own writing and production work alongside projects for film and sync opportunities.

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: I've been so focused on my own work that I haven't collaborated with many providers on SoundBetter yet, but there are some incredibly talented engineers, musicians and vocalists on the platform. Finding the right fit is always more important than finding the biggest name.

Q: Analog or digital and why?

A: Both have their place. Digital gives me incredible flexibility and speed, while analogue techniques and live performances often provide the warmth and character that make a record feel alive. I don't believe one is better than the other—the best productions use the strengths of both.

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

A: I'll always be honest, collaborative and invested in the music. I'll treat every project with the same care I'd give my own records and I'll never push an artist towards something that doesn't feel authentic to them.

Q: What do you like most about your job?

A: Watching someone hear their finished record for the first time. It's incredibly rewarding helping artists realise ideas they've often had in their heads for years. Seeing their confidence grow throughout that process is one of the best parts of the job.

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

A: The most common question is, "Can you make this sound professional?" My answer is always yes—but more importantly, I want to make it sound like you. Professional doesn't have to mean generic.

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

A: That production is just about making things sound bigger. In reality, it's often about removing distractions, making better creative decisions and helping artists communicate their ideas more clearly.

Q: What questions do you ask prospective clients?

A: I usually ask what artists they're inspired by, what they feel is missing from their music, where they see themselves in a year's time and what they want this project to achieve. Understanding the artist is just as important as understanding the song.

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

A: Choose someone whose taste you trust, not just someone with impressive credits. The best producer isn't the one who changes everything—it's the one who understands what makes your music unique and helps bring that to the surface.

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

A: Laptop running Logic Pro Interface SM58 A good pair of headphones an acoustic guitar

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

A: I've been writing songs since I was a child and producing for over 15 years. After studying music production, I signed a publishing deal with Concord Music Publishing and have since worked across major label releases, independent artists and long-term artist development projects. Today I split my time between production, songwriting, mentoring artists and helping musicians develop records from first idea to final master.

Q: How would you describe your style?

A: Cinematic, textured and organic. I love combining modern production with real instruments and authentic performances. Whether it's adding live drums, creative vocal production or subtle sound design, my goal is always to make a record feel human while still sounding commercially competitive

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

A: I'd love to work with artists who value originality over chasing trends. Some current artists whose approach I admire include Sigrid, Cameron Winter, and Flume. I'm drawn to artists who aren't afraid to let personality and imperfections become part of the record.

Q: Can you share one music production tip?

A: One concept I always come back to is the difference between bass and weight. They're often treated as the same thing, but they're not. Beginners tend to think making something feel bigger means adding more low end. In reality, weight comes from contrast. A kick drum feels huge not because it's louder, but because the production creates space for it to dominate in that moment. Techniques like sidechain compression, arrangement and careful balance allow sounds to push through the mix without simply turning everything up. Great production isn't about adding more—it's about making every element earn its place. Understanding that changed the way I produced music, and it's something I encourage every artist to think about.

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

A: I work across alternative pop, indie, hip hop, rock, singer-songwriter and electronic music. Rather than specialising in one genre, I specialise in helping artists develop an authentic sound. Every project is different, but I'm always looking for what makes an artist unique rather than trying to force them into a trend.

Q: What's your strongest skill?

A: I bring perspective. Whether it's a stronger arrangement, a more compelling production, tighter songwriting or simply helping an artist realise ideas they couldn't quite hear yet, my aim is always to uncover what makes a song unique and help it reach its full potential. I care just as much about emotion and authenticity as I do about technical quality.

Q: What do you bring to a song?

A: I bring my own unique exiting dimension to any project I work on, one that adds weight, width, ricness and authenticity

Q: What's your typical work process?

A: Every project is different, but I usually begin by understanding the artist's vision before identifying what's missing creatively. I like to work intuitively and stay in a creative flow, then step back regularly to analyse the production with fresh ears. That balance between instinct and technical precision is where I find the best results.

Q: Tell us about your studio setup.

A: I work from a professional production studio designed for writing, recording, production, mixing and mastering. Alongside an accurate monitoring environment, I have a collection of high-quality microphones, instruments, outboard equipment and a wide range of industry-standard software and creative tools that I use daily. Whether a project starts as a voice note or a nearly finished mix, I have everything needed to take it to release standard.

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

A: I've been fortunate to learn from producers and writers working at the highest level of the industry, and those mentors have had a huge influence on how I approach both music and collaboration. I'm equally inspired by emerging independent artists who aren't afraid to develop a unique sound rather than follow trends.

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

A: Most of my work centres around artist development, taking an idea, demo or rough production and turning it into a finished record. This often includes songwriting, additional production, vocal production, editing, live instrument recording (drums, guitars, bass and keys), sound design, creative sampling, arrangement, mixing and final mastering. My goal is always to elevate the original vision rather than overwrite it.