I mix and master rap and underground hip-hop — the kind of sound that doesn't fit a generic "radio-ready" template. I've worked with a run of upcoming rappers to get their tracks sounding sharp, loud, and competitive without losing what makes the raw version hit in the first place.
I'm a mixing and mastering engineer specializing in rap and underground hip-hop. I mentored under Chairman Dollar and Joshua Pasos — engineers/producers who've worked with artists like Swae Lee, Rick Ross, WizKid, Post Malone, and Travis Scott — learning the technical and creative standards that separate a bedroom mix from a record that competes at that level.
I've since worked with a run of upcoming rappers, applying that same ear and process to underground and independent artists building their sound. I specialize in the genre's current pocket — drill, rage, hyperpop-trap, and the sound that's actually moving right now — mixing with the context of what makes that music hit, not flattening it into generic "radio-ready."
Fast turnaround, direct communication, revisions until it's right. Send your stems or rough mix and let's get your track sounding like it belongs next to the records that inspired you.
Send me an email through 'Contact' button above and I'll get back to you asap.
Interview with Hans Daryl
Q: How would you describe your style?
A: My style sits between Mike Dean, Jaycen Joshua, and Mixed by Ali — raw and energetic like the culture it comes from, but with real depth and width behind it. I aim for mixes that hit hard on club systems and headphones alike without sounding overly clean or losing the grit that makes the genre feel authentic.
Q: What type of music do you usually work on?
A: Rap and underground hip-hop, particularly the current wave — drill, rage, and hyperpop-trap — along with melodic and trap-influenced hip-hop more broadly.
Q: What's your strongest skill?
A: My strongest skill is translating a rough demo into a fully realized mix while preserving the original energy and intent — a lot of engineers polish the rawness out of a track, and keeping that intact while still making it sound professional is what I focus on most.
Q: What do you bring to a song?
A: I bring an ear trained on what makes modern rap and underground hip-hop actually hit — weight in the low end, vocal presence that cuts without losing character, and a mix that stays raw and energetic rather than overly polished or generic. I focus on serving the artist's vision rather than imposing a signature sound that overrides it.
Q: What's your typical work process?
A: I start by listening to the demo repeatedly and taking detailed notes before I touch a fader. My goal is always to enhance the artist's original vision, not change it — so I make sure I understand exactly what the track is going for emotionally and sonically first. From there I build the mix around that intent, focusing on clarity, low-end weight, and vocal presence, then move into mastering once the artist confirms the mix is locked.
Q: Tell us about your studio setup.
A: I work with a Neve 1073 and an 1176 and CL 1B compressors for analog character and control, paired with a Neumann U 103 for vocal tracking when needed. That combination gives me the tonal warmth and punch that rap vocals and 808-driven production need, alongside a fully treated mixing environment built for accurate, translatable decisions.
Q: Describe the most common type of work you do for your clients.
A: My most common work is mixing and mastering full rap and hip-hop tracks — taking a raw vocal recording and rough beat and turning it into a finished, release-ready record. Most of my clients are upcoming and independent artists in the drill, rage, and hyperpop-trap space who need their tracks to sound competitive without losing the raw energy that makes the genre work.
I was the Recording, Mixing & Mastering Engineer in this production
- Mixing EngineerAverage price - $50 per song
- Mastering EngineerAverage price - $30 per song
- Post MixingAverage price - $50 per minute
- Neve 1073
- CL1B tube compressor
- 1176 compressor
