recording, mixing, mastering

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

A: There's a huge number of talented people on SoundBetter, and that's a great thing — everyone can find someone whose style fits them best. The world, and music in general, should be diverse.

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 the second album from the metal band SARCAS — 'Rise Of The Snowflakes.' It's a work that blends a wide range of styles, twists, and surprises. My role covered the full process — recording, mixing, and mastering the album. By the way, we're currently working on a new single for them as well.

Q: What are you working on at the moment?

A: Right now I have several projects going at once, each at a different stage. I'm working with the punk band Bokom Okolky on their upcoming album, and with the metal act Tibor Bushfield Band on their new single.

Q: Analog or digital and why?

A: I use the best of both worlds — analog gear for warmth and character, combined with digital tools for precision and flexibility

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

A: My promise is simple: we always do our best together, working as a team to get the best possible result for your song.

Q: What do you like most about your job?

A: Honestly, everything. I love meeting new people and being part of the process when something new and emotional comes to life. On a lot of projects, I even end up playing an instrument or singing myself, unexpectedly. It's a job, but above all, it's a huge amount of fun.

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

A: Clients often ask, 'You can fix this somehow, right?' :-) My answer: 'Sure — just leave the guitar with me, and I'll have it played through properly by tomorrow.' :-)

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

A: One thing clients often underestimate is how much instrument quality matters. They'll bring B8 alloy cymbals and expect a beautiful, shimmering sound, assuming it can somehow be fixed later in the mix — but it can't. The same goes for any instrument: if it's low quality or poorly tuned, it will drag the recording down no matter how much work goes into the mix afterward.

Q: What questions do you ask prospective clients?

A: I like to understand their vision first. I ask whether the band already has a clear idea of how they want the final result to sound, or if they're open to giving me creative freedom to shape the sound myself.

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

A: Come prepared — it saves you money and time. I always recommend putting on fresh drum heads and fresh strings before a session. And most importantly, let's enjoy the process together!

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

A: On a desert island, I wouldn't bring work with me at all :-) But if I interpret this question as which gear has the biggest value to me in mixing and mastering, I'd say: Event Opal monitors, Crane Song HEDD 192, dbx 160, LA-2A... and my Fender Telecaster.

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

A: I've been working in music production for 13 years, constantly developing my skills in recording, mixing, and mastering.

Q: How would you describe your style?

A: My style blends vintage analog gear with modern technology and techniques. I love creating big, fat, modern mixes — but always with emotion at the core of every decision.

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

A: I'd love to work with Mike Patton. He's known for constantly experimenting and pushing boundaries across his projects, and I think that kind of creative freedom would be an incredible experience to be part of.

Q: Can you share one music production tip?

A: Don't try to copy what others do — find your own path. And if that path is engineering, always trust your own well-rested ears.

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

A: I usually work with pop, rock, and metal bands — from full-band productions to individual mixing and mastering projects.

Q: What's your strongest skill?

A: Experience has taught me to always give 100% for the final result, no matter what I start with. Even if a band's raw performance isn't the strongest, by the time I deliver the project, it needs to sound professional and dramatically better than the original — that's the standard I hold myself to.

Q: What do you bring to a song?

A: It really depends on what the client needs. If they already have a clear vision for the song, I focus on adapting to that and delivering exactly what they're looking for. But when there's room for creative input, I love bringing fresh ideas to the table — as an active musician myself, I especially enjoy contributing guitar arrangements. Above all, I always try to bring a personal, human touch to every project.

Q: Tell us about your studio setup.

A: My studio is equipped with SSL and Neve analog mic preamps, analog compressors including a LA-2A and a Neve 33609, a Manley Massive Passive mastering EQ, and Crane Song HEDD 192 analog tape emulation. Monitoring is handled by a pair of Event Opal monitors with a subwoofer.

Q: What's your typical work process?

A: I always start by cleaning up any issues — editing drums and tuning vocals — so nothing distracting stands in the way once I begin mixing, letting me fully focus on the song. My mixing order is drums first, then bass, guitars, vocals, and finally keyboards. What makes my process a bit different is that I build my mastering chain into the project from the start, so I can hear how everything works together right from the first mix decisions.

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

A: I don't have a single role model — I admire every skilled engineer whose work sounds great. To me, mixing and mastering is a form of art, and everyone approaches it differently. What matters most is that the listener feels the emotion and impact of the song, without ever realizing how much work went into creating it.

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

A: Most of my work takes place in my own studio, where I handle recording, mixing, and mastering — mainly for pop, rock, and metal artists and bands. As an additional service, I also offer online mixing and mastering for clients who prefer to send their tracks remotely and get a polished, release-ready result.