Up & coming, young engineer with an eye for creativity
I work out of a small, unique & secret studio in the South East of England where I engineer, on a day to day basis, for a very respected and in demand producer.
I've engineered around the South East and London for several years now. I've worked on a wide variety of artists, ranging from straight up rock artists, such as The Who through to more stylised artists such as Nadine Shah.
Whilst my recording style adjusts in approach on a project by project basis, I have a characteristically punchy sound when it comes to my mixing. I like to establish and exploit the core of all songs that I mix. Whether this could be to define a thick rhythm section or allow a thick, rock guitar to sit up in the listeners face, I believe that it's important to utilise the musicianship that has been already injected into a recording to guide my mixes.
Contact me through the green button above and lets get to work.
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Interview with Daniel Crook
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: My absolute highlight was definitely The Who. I was only the assistant on this session but I actually have a gang vocal in that track somewhere. It's only a little part, but it was a pretty surreal moment getting to step up to the mic to be recorded onto a Who track
Q: What are you working on at the moment?
A: At the moment I'm actually building a massive studio in Brighton where I will also be working from. Vintage Neve, big tracking space... it's going to be great. Musically, I've got a fair few projects on the go. I'm doing a bit of development with a smaller band and a couple of albums with a few old timer electronic artists!
Q: What's the biggest misconception about what you do?
A: The idea that people I work with are my "clients." I can see the parallels to working in say, architecture; we're all trying to make something special and unique within the confines of a monetary budget. However, the difference for me is how the creativity comes from both sides. Because of this, I feel it's important to be able to understand somebody's headspace as an individual and an artist to be able to fully allow yourself to translate this wonderful medium of expression.
Q: What advice do you have for a customer looking to hire a provider like you?
A: The reality of this line of work is that it's damn near impossible to be a jack-of-all-trades. Even if it was possible, I'd recommend that you take the time to find somebody who's particular style or unique assets can compliment your own.
Q: Tell us about your studio setup.
A: Well, the studio I'm based out of is a very interesting venture. Imagine, if you can, a studio built out of straw, inside an old cattle shed on a farm in deepest, darkest England. It paints a pretty nuts picture, but due to the nature of straw constriction methods it's genuinely the best mixing room I have ever worked in. We have a large collection of very esoteric analogue equipment. We've recently acquired a second Studer 069 mixing desk which we are soon to integrate into our setup. The Studer is an amazing piece of kit. Really fat when it's pushed hard but can be as clean as the computer when set up right! We have a monstrous amount of outboard compression, EQs and synths. Mainly based on the more interesting ends of the spectrum but we have most of the classics here too!