Music Producer, Mix Engineer

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 'Caro' by Boi Shady, where I handled full production, mixing, and mastering from start to finish. As a Platoon-associated release, it carried real stakes, the mix had to hold up to that level of scrutiny, and having control over every stage meant the arrangement, vocal treatment, and final master all had to work together as one coherent vision rather than just executing someone else's brief. The song went on to earn placements on major Spotify and Apple Music editorial playlists, including New Music Friday Naija, AfroBae, Up Next, Africa Rising, and New Music Daily. Seeing a record I built from the ground up land on that level of platform recognition is exactly the kind of full-circle result that reminds me why I hold every project to a release-ready standard, whether it's a client's first single or a bigger release.

Q: What are you working on at the moment?

A: Right now I'm focused on promoting a recent release, 'Feelings' by Boi Shady, which I produced, mixed, and mastered from the ground up, and have been actively pushing across social platforms since it dropped. Alongside that, I'm building out my client base here on SoundBetter, taking on mixing projects across Afrobeats, Afro-fusion, and R&B, and continuing to sharpen my process with every new song that comes through.

Q: Analog or digital and why?

A: Digital, for practical reasons as much as sonic ones. Working in the box gives me the flexibility, recall, and speed that remote client work demands, I can revisit a session months later and pick up exactly where I left off, or send stems back and forth without worrying about hardware limitations on either end. That said, I still think in analog terms when I'm mixing, I'm chasing the warmth, glue, and character that analog gear is known for, I'm just getting there through plugins and careful gain staging rather than physical hardware. The tools are digital, but the goal is always a mix that feels alive, not sterile.

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

A: My promise is that I'll treat your song with the same care and standard I'd bring to a label release, because that's the only standard I know how to work at. I'll communicate clearly, keep you updated instead of disappearing until delivery, and be honest with you if I think something in the mix or arrangement isn't serving the song, even if that's not what you expected to hear. Your vision leads the project, my job is to help you get there with a mix that translates cleanly wherever it's played, and to make sure you never feel like just another file in a queue.

Q: What do you like most about your job?

A: What I love most is the moment a rough idea or a raw vocal turns into something that actually feels finished, when all the separate pieces click into place and the song starts to feel like it belongs on a playlist next to the records that inspired it. There's real satisfaction in taking something an artist has been carrying around in their head and giving it a form other people can connect with. I also genuinely love the technical side, chasing that exact balance where a mix feels effortless even though it took real work to get there. It keeps me learning with every project, no two songs need the same solution, and that keeps the work from ever feeling routine.

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

A: How long does a mix take? Typically 5-7 days for a standard mix, depending on stem count and complexity, though I can prioritize faster turnarounds if there's a release deadline. Do you work with artists outside Ghana? Yes, all my work is done remotely. I've delivered projects for artists across different countries without any issue, stems come in, the finished mix goes out, wherever you're based. Can you match the sound of a reference track? I can get close and capture the energy and balance of a reference, but I always mix to serve your song specifically rather than copying another record exactly, your vocal and arrangement have their own character that deserves to lead. How many revisions do I get? That depends on the package, but I build in room for revisions on every tier because getting the mix right matters more to me than rushing to a final file. Do you need stems or can you work from a rough mix? Stems are strongly preferred, since they give me full control over balance and processing. A rough reference mix alongside the stems is helpful too, so I understand your original intent.

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

A: The biggest misconception is that mixing is just about making things loud or adding effects until a song sounds 'polished.' In reality, the best mixing work is often invisible, it's about making choices so the song communicates clearly, not about stacking processing to sound impressive. A lot of people also assume a great mix can fix a weak recording or a rough arrangement, and while a skilled mix can improve a lot, it can't replace a strong performance or solid source material. The real work happens in the small, unglamorous decisions, gain staging, frequency balance, dynamic control, that most listeners will never consciously notice, but will absolutely feel the absence of if they're missing

Q: What questions do you ask prospective clients?

A: I usually ask a few things upfront to make sure I can give an accurate quote and timeline: What genre and mood are you going for, and do you have a reference track? How many stems or tracks will I be receiving, and are they clean and properly labeled? What's your timeline, is this tied to a release date? And how many rounds of revisions do you expect to need? I also ask whether you want a stereo mix only, or if you'll need an instrumental version or stems delivered alongside it, since that affects both scope and pricing. Getting these answers early means less back and forth once we start, and a faster turnaround for you.

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

A: Come with a clear reference or two, songs that capture the sound or feel you're going for, even if it's not in the exact same genre. It helps me understand your vision faster than a written description alone ever could. If you already have stems, make sure they're organized and free of clipping before sending them over, a clean starting point makes a real difference in the final result. And be upfront about your timeline and how many revisions you think you'll need, so we can set expectations early rather than mid-project. Beyond that, don't be afraid to be specific about what you don't like as much as what you do, vague feedback like 'make it better' is much harder to act on than 'the vocal feels buried' or 'I want more energy in the chorus.' The clearer the direction, the better the result, and the faster we get there together.

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

A: 1. My laptop, non-negotiable, it's the hub for everything else. 2. Focusrite Scarlett 2i2 (4th Gen), clean, reliable, and all I really need to get a signal in. 3. A pair of Adam Audio D3V monitors, so I can actually trust what I'm hearing while I work. 4. Beyerdynamic DT 990 Pro headphones, for detailed mixing work and late-night sessions when I can't run the monitors loud. 5. A RODE microphone, for vocals, reference takes, and capturing sound on the island itself.

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

A: I started learning music production in 2020, largely self-taught and experimenting on my own. In 2022, I took it more seriously, began uploading my work on YouTube, and started learning mixing alongside production, treating both as skills to develop in parallel rather than one after the other. That groundwork paid off in 2024, when I landed my first major credit working with Sony artist Asomacy, a turning point that pushed me to hold my work to a higher, release-ready standard. In 2025, Platoon followed, and I've continued working with artists distributed through them since. Alongside the production side, I hold a BA in Music Education from the University of Education, Winneba, which gives me a theoretical foundation, harmony, arrangement, ear training, that I lean on in every mix and production decision I make. What started as self-directed learning in 2020 has become a career built on real industry credits, and I'm still building from there.

Q: How would you describe your style?

A: My style is clean, warm, and rhythm-forward. I mix with a lot of respect for space, letting percussion and low end breathe instead of overcrowding a track, while keeping vocals present and emotionally forward in the mix. I lean toward a modern, polished finish that still holds onto the organic feel that Afrobeats, Afro-fusion, and R&B depend on, so a record sounds professional without losing its soul. I'd rather a mix feel intentional and restrained than loud and busy, every element should be there because it earns its place, not because it fills silence.

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

A: I'd love to work with Wizkid. He's one of the artists who's done the most to prove that Afrobeats can be both deeply rooted and globally dominant, without losing what makes it feel authentic. His records are built on space and feel as much as they are on hooks, there's a restraint in his vocal delivery and in the production around him that lets a song breathe instead of overcrowding it, and that's exactly the kind of mixing philosophy I bring to my own work. I'd want to bring that same discipline, clean low end, room for the vocal to sit forward without fighting the instrumental, and a mix that holds up on both a phone speaker and a club system, to a record with that scale and cultural reach.

Q: Can you share one music production tip?

A: My best tip, especially for Afrobeats and Afro-fusion productions, is to build your low end around the kick and bass relationship before anything else. So many mixes fall apart not because of a bad vocal or weak melody, but because the kick and bass are fighting each other in the same frequency space, which kills the punch that these genres depend on to hit properly on a club system or car speakers. Get that relationship locked first, with clear separation and enough room for each to breathe, and everything else you layer on top, percussion, vocals, melodic elements, sits in a mix that already feels solid instead of muddy.

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

A: I work primarily in Afrobeats, Afro-fusion, Afro House, and R&B, genres rooted in African rhythm and melody but built to compete on a global streaming stage. This is the music I know from the inside, both as a listener and as someone whose own production and mixing work has been distributed through Sony Music Entertainment and Platoon and crossed 500,000 streams with editorial playlist placements on Spotify and Apple Music. I understand the specific mixing demands of these genres: percussion that needs to hit without cluttering the low end, vocals that need warmth and presence over dense arrangements, and a balance that translates from a phone speaker to a club system. If your song lives in this space, I know exactly what it needs to get there.

Q: What's your strongest skill?

A: My strongest skill is mixing, specifically getting a vocal to sit right in a track so it feels present and emotionally connected without fighting the instrumental for space. It's the piece that decides whether a song feels finished or just loud, and it's where I spend the most care on every project. That skill is backed by a solid foundation in music theory from my background in music education, so I'm not just reacting by ear, I understand why a balance or arrangement choice works, which makes the results consistent rather than accidental. It's also the skill that's carried through most directly into my Sony and Platoon-distributed work, where a mix has to hold up across every playback system a listener might use.

Q: What do you bring to a song?

A: I bring a producer's ear for what makes a song connect emotionally, combined with an engineer's discipline for making sure it holds up technically. My background in music education means I don't just react to a song, I understand the theory behind why a melody, chord change, or vocal phrasing works, which lets me make decisions that strengthen a record rather than just decorate it. Having had work distributed through Sony Music Entertainment and Platoon, I know what a release-ready standard actually sounds like, and I hold every project I touch to that bar, whether it's a first single or a larger body of work. Beyond the technical side, I bring genuine care for the artist's vision. My job isn't to impose my own sound on a song, it's to find what the song is trying to be and get it there, cleanly, confidently, and ready for release.

Q: What's your typical work process?

A: My process starts with understanding the vision for the song, genre reference, mood, and where it's headed before I touch a single fader. For production, I build the arrangement around the vocal or concept first, making sure every element serves the song rather than crowding it. When I'm handed stems to mix, I start with gain staging and cleanup, getting levels and tone right at the source before adding any processing, then move into balance, EQ, and dynamics, and finish with spatial elements like reverb and width once the core mix is solid. I always do a pass on multiple playback systems, monitors, headphones, and a phone speaker, to make sure the mix holds up wherever it's heard. I keep clients updated with checkpoints rather than disappearing until the final delivery, and I build in revision rounds so the result actually matches what they heard in their head, not just what technically sounds correct.

Q: Tell us about your studio setup.

A: My current setup is a compact, mobile-friendly home studio built around a Focusrite Scarlett 2i2 (4th Gen) audio interface, a pair of Adam Audio D3V studio monitors for accurate mixing, and a RODE microphone for vocal tracking and reference recording. I work primarily on a laptop, which keeps my workflow flexible, I can produce, mix, and collaborate remotely without being tied to a fixed studio room. It's a setup built for precision over size: a clean signal path and monitors I trust, which lets me deliver mixes that translate reliably once they leave the room and hit club systems, earbuds, or car speakers. I'm continually investing in the space as my client list grows, but the core of it, capturing a clean signal and mixing on monitors that don't lie to me, is what actually matters for the final product.

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

A: I'm inspired by producers who've helped shape and elevate the sound of modern Afrobeats and Afro-fusion globally, particularly Juls, GuiltyBeats, P2J, and Spax. Each of them brings a distinct approach to blending African rhythm and melody with polished, internationally competitive production, which is exactly the standard I aim for in my own work. Watching how they layer live instrumentation, programmed elements, and vocal arrangement to create records that feel authentic and translate on any system has shaped how I approach both production and mixing for my own clients.

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

A: Most of my client work centers on producing and mixing Afrobeats, Afro-fusion, Afro House, and R&B records, taking a song from initial idea or rough vocal through to a finished, release-ready mix. Clients usually come to me at one of two stages: either they have a concept and need full production built around it, or they've already recorded vocals and need arrangement, mixing, and mastering to bring it to a professional standard. My background includes production distributed through Sony Music Entertainment and Platoon, so I bring the same attention to detail and technical standard I'd apply to a label release, whether it's a debut single or a larger project. I also work in Dolby Atmos when clients want an immersive mix alongside the standard stereo master.