Organic Mix Engineer

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 particularly proud of was recording StarAce alongside Rodrigo Basso. It was a great opportunity to work with talented musicians in a collaborative environment and be involved in capturing performances rather than simply documenting them. Experiences like that remind me how much a good recording can influence everything that comes afterwards, including the mix.

Q: What are you working on at the moment?

A: I don't really see it as a competition. I love working with analog gear, but I'm equally grateful for what digital tools allow us to do today. The interesting part is finding a balance between both worlds and using each one where it makes the most sense.

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

A: I'm still getting to know the SoundBetter community, so I don't feel comfortable recommending someone yet. One of the things I like about the platform is the variety of talented professionals available.

Q: Analog or digital and why?

A: Clients often ask how much freedom I like to have. My answer is always the same: enough to help, never enough to change the artist's identity. I see mixing as a collaboration, not as a chance to put my signature on someone else's music.

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

A: I can't promise that every song will sound the same, because every project is different. What I can promise is that I'll treat your music with care, communicate honestly and make every decision with the song in mind.

Q: What do you like most about your job?

A: I enjoy helping people hear their own music differently. It's rewarding when a small decision—balancing an instrument, changing an effect or simply removing something unnecessary—helps a song make more sense. I also really enjoy working with artists throughout the process and seeing ideas evolve.

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

A: Clients often ask how much freedom I like to have. My answer is always the same: enough to help, never enough to change the artist's identity. I see mixing as a collaboration, not as a chance to put my signature on someone else's music.

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

A: That mixing is about fixing everything.

Q: What questions do you ask prospective clients?

A: I usually ask what they're listening to, if they have any reference tracks and what they feel is missing in their current mix. Those answers often tell me much more than a technical description of the project.

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

A: Listen to the person's previous work, but also pay attention to how they communicate. You'll probably spend several weeks working together, so finding someone who understands your goals is just as important as finding someone with the right technical skills.

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

A: - SM57 - SSL12 - Laptop - A good acoustic guitar - A pair of headphones

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

A: I started in live sound, which taught me to make quick decisions and trust my ears. Over time I became more involved with recording, pre-production and mixing, and today I split my work between the studio and touring. Having experience in both worlds has shaped the way I approach every project.

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

A: I'd love to work with Michael Kiwanuka. His records have a beautiful balance between simplicity, texture and dynamics. They never feel overproduced, and that's something I really admire.

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

A: Most of my work is in Rock, Alternative, Blues, Indie and acoustic music, but I'm happy to work on any project with a strong performance and a clear artistic direction. Good music is always more important than fitting into a specific genre.

Q: What's your strongest skill?

A: Knowing when to stop. It's easy to keep adding plugins or processing just because you can, but I've learned that a good mix is often about making the right decisions instead of making more decisions.

Q: What do you bring to a song?

A: I think I bring perspective. Working in recording sessions, rehearsals and live shows has taught me to pay attention to what makes a performance convincing. My job isn't to reinvent the song—it's to make sure those ideas come across as clearly as possible.

Q: What's your typical work process?

A: I usually start by listening to the song a few times before touching anything. Once I understand where the artist wants to go, I organize the session, build a static mix and then start making decisions one step at a time. I like to keep communication open throughout the process, so revisions feel like a conversation instead of a checklist.

Q: Tell us about your studio setup.

A: I work on an SSL 18 with Logic Pro, monitoring through Yamaha HS8 speakers calibrated with SoundID Reference. I also work with a selection of plugins from SSL, FabFilter, Waves and iZotope when they genuinely help the song.

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

A: I really admire people like Andrew Scheps, Tchad Blake and Brendan O'Brien. They all have different approaches, but they share the ability to make records sound musical and honest without losing the personality of the artist.

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

A: I mostly work with bands and independent artists, mixing songs from the recordings they send me. I also spend a lot of time recording, editing and helping with pre-production, so I'm used to looking at a project as a whole rather than only the mix. Most of the music I work on is built around real performances, and I try to keep that feeling intact throughout the process.