Vocalist, Producer, 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 is my work with Kid Bookie. I've worked as a producer and mix engineer on his music, including material connected to Cheaper Than Therapy 2. Those sessions have reinforced everything I love about production: heavy music colliding with hip-hop, electronics and completely unrestricted ideas. I've also had the opportunity through this work to be involved in sessions alongside artists including Corey Taylor, Sid Wilson, Kelly Osbourne, Shona Mcgarty, Kate Nash, Rose McGowan & Lady Leshurr. For me, it's proof that genre matters far less than having a strong identity and something genuine to say.

Q: What are you working on at the moment?

A: I'm currently producing and mixing new alternative and heavy records at ETB Audio Visual while developing my own upcoming releases. A lot of my current work explores the space between alternative metal, dark pop, electronic production and cinematic sound design - heavy music that doesn't feel restricted by the conventions of heavy music.

Q: Analog or digital and why?

A: Both. I love analogue where it genuinely contributes something the U87 into my Avalon is a perfect example but I'm not interested in using hardware for prestige. Digital gives me extraordinary precision, recall and creative freedom. I choose whatever gets me closer to the record we're trying to make.

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

A: I'll care about the record. I won't run your song through a template, make safe decisions just to finish faster or force your music into my sound. Whether I'm producing an entire record or mixing one song, I'll treat the emotional intention behind it as seriously as the technical execution.

Q: What do you like most about your job?

A: The moment a song becomes more than the version that existed in the artist's head. There's usually a point during production where everybody in the room suddenly knows we've found it. After years of doing this, that moment still hasn't become boring.

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

A: Why am I not famous already?

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

A: That mixing is primarily about making everything sound clean. A technically perfect mix can still be completely forgettable. My job isn't just clarity and loudness it's controlling focus, emotion, tension and impact so the listener experiences the song the way the artist intended.

Q: What questions do you ask prospective clients?

A: What do you want the listener to feel? What records are you referencing? What do you currently love about the song, and what isn't working yet? I also want to know how involved the artist wants me creatively whether I'm polishing an established vision or helping rebuild the record from the ground up.

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

A: Don't hire somebody purely because their work sounds technically impressive. Hire the person who understands what you're trying to make. Send references, explain what you love about them and be open about what isn't working in your current version. The right producer should strengthen your identity, not replace it with theirs.

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

A: Mac Studio, Neumann U87, Avalon VT-737sp, Apollo X6 and a pair of Neumann KH150s. Although if the island doesn't have electricity, I've made several extremely poor decisions.

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

A: I've been making music for over 20 years and working seriously in recording, production and engineering for more than a decade. I started by creating my own music and learning through experimentation, then gradually became the person other artists trusted with their records, I believe that artists felt more at home with a fellow artist who also knew their way around production, I often did and still do things people thought in their head without them asking. Today I'm a producer, mix engineer, artist and Head Engineer at ETB Audio Visual, working with independent artists through to established international talent.

Q: How would you describe your style?

A: Emotional, cinematic, heavy and polished without becoming sterile. I like intimate vocals against huge production, aggressive guitars beside delicate textures, and mixes where you can hear the detail without losing the chaos. I want records to feel expensive, but still human.

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

A: Bring Me The Horizon. Their ability to evolve without losing their identity is exactly what excites me about production. Heavy music, pop, electronics, ambience and experimentation can all exist on the same record because the emotion connects everything. That's the kind of creative environment I'd love to contribute to.

Q: Can you share one music production tip?

A: Don't process something just because you can. Before reaching for a plugin, ask what problem you're actually trying to solve. The best productions aren't necessarily the ones with the most processing they're the ones where every decision has a reason.

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

A: Genre-blending records sit naturally in my world. I particularly enjoy artists who combine heavy guitars and aggressive vocals with electronic production, cinematic textures, pop songwriting or R&B influences. If it's emotional, atmospheric and slightly difficult to put into one genre, I'm interested.

Q: What's your strongest skill?

A: Understanding the emotional intention of a song and translating it into production. I can handle the technical side - recording, editing, sound design and mixing but my strongest skill is knowing when a record needs more weight, more space, more tension or simply less happening.

Q: What do you bring to a song?

A: Emotion, dynamics and perspective. I'm always looking for the moment that makes somebody stop what they're doing and actually feel something. Sometimes that means making a chorus enormous; sometimes it means removing half the production and leaving a vocal almost completely exposed. I don't believe bigger automatically means better, the contrast is what creates impact.

Q: What's your typical work process?

A: I start by understanding what the artist wants the listener to feel. Then I identify what's stopping the existing song from delivering that feeling. From there I'll work on arrangement, sound selection, performances and production before moving into the mix. I tend to build around the vocal and emotional focal point rather than mixing everything in isolation.

Q: Tell us about your studio setup.

A: I work from ETB Audio Visual, a purpose-built UK recording and production studio with professionally designed acoustic treatment and dedicated control and recording spaces. My main vocal chain is a Neumann U87 through an Avalon VT-737sp and Universal Audio Apollo X6, with Neumann KH150 monitoring and a Mac Studio running Logic Pro. The studio is built for everything from intimate vocal sessions to full-scale modern rock and metal production.

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

A: I'm inspired by producers who can make records feel enormous without sacrificing emotion or identity. Jordan Fish, Zakk Cervini, Dan Lancaster and Rick Rubin are big references for me, alongside artists like Bring Me The Horizon, Deftones, Bad Omens and Dayseeker. I love production where every technical decision ultimately serves the song. I'm also a massive fan of Trap, RnB, Soul I just love music I've grown up in a musical household my dads a drummer it's in the blood man :)

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

A: Most clients come to me with a song, demo or rough idea that already has an emotional core but needs to become a finished record. I handle production, arrangement, vocal production, editing and mixing, helping take that initial idea all the way to a polished, release-ready master.