Music Producer, Remote Mixing

Q: What's your strongest skill?

A: I think, having an excellent ear for sound. This means being able to distinguish between different frequencies, identify where certain sounds are coming from, and hear when certain instruments or voices are not in tune. Additionally, having a good sense of timing and rhythm is crucial, as a mixing engineer I need to ensure that all the individual tracks in a song or audio production are synchronized correctly. Attention to detail is another essential skill I think I learned to develop. This involves being able to identify and fix any audio imperfections or errors, such as background noise, pops, clicks, or distortion. Good communication skills are also important for me as a mixing engineer, as I need to be able to communicate effectively with clients, producers, and other audio professionals. Finally and most importantly, I invested a lot of effort trying to develop a creative approach to audio mixing, which I find essential. I can use all this knowledge and experience to enhance the overall sound of a track, creating a unique and engaging audio experience for the listener.

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

A: I do all sorts of things when it comes to working on a music project. Sometimes I take care of the entire production process, from recording and editing to mixing and mastering. Other times, I may only be responsible for the mixing phase, taking raw tracks and bringing them to life through creative and technical mixing techniques. It really depends on the needs of the project and what the artist or producer requires. When it comes to mixing, I approach each project with a fresh perspective and an open mind. I believe that every project is unique and deserves its own unique treatment. I experiment with different techniques and sounds, always pushing the boundaries of traditional mixing to create a unique and engaging sound that fits the artist's vision. I work closely with the artist or producer to understand their creative goals and make sure that their vision is realized in the final mix. Overall, my approach to mixing is highly collaborative and creative. I strive to bring out the best in every project I work on and to create a sound that is both memorable and emotionally engaging.

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

A: I mostly work with indie and alternative rock and pop artists, and my main goal is to help them achieve the sound they envision for their music. One of the reasons I love alternative rock is because it allows for a great deal of creative freedom in the mixing process. Alternative rock artists often experiment with different sounds and genres, which gives me the opportunity to push the boundaries of traditional mixing techniques and try new things. I enjoy the challenge of working with unconventional instrumentation and finding ways to make them work together in a cohesive and engaging way. Alternative rock also tends to have a raw, authentic energy that is both exciting and inspiring to work with. Overall, the genre allows me to be creative and think outside the box in my mixing approach, which is something I always look forward to.Ultimately, my goal is to create a final mix that accurately represents the artist's creative vision and connects with their listeners on an emotional level.

Q: What do you bring to a song?

A: I guess I try to improve what´s there. I try to make the message clear and not mess with the vibe, assuming it´s there. I like to become a fan of the song I´m working with and enjoy it all the way through. Try to keep the excitement. I like to call myself a music fan who has the privilege of working with the song I love and have the chance to make it better.

Q: What's your typical work process?

A: I usually setup the new song in a Pro Tools project. Check levels, optimize gain, create group tracks and send each instrument to its specific group. I like to keep fader levels at unity gain and only move them for automation. Once I start mixing, I listen to the whole song. If I have a rough mix I try to compare it with the raw tracks and try to see what the artist likes about it. I also check for any reference tracks the artist might wanna give me. I don´t like to spend much time doing the same thing so I take breaks often. I keep going back to the song and try to get something convincing fast. I spend more time finishing the mix than actually setting it up. That final 10 percent is what takes me the most time and effort. Depending on the client, sometimes I send them a rough mix to see if I´m going in the right direction or just go for it and have it done and then get feedback.

Q: Tell us about your studio setup.

A: My studio setup varies as I can work both with hardware and software with ease. One of the highlights of working with audio these days is the fact that the line between analogue and digital is getting thinner by the day. So the options are many and good. I particularly decided to keep my Old World Audio U33 vari mu compressor, my Telefunken stereo EQ and a few nice sounding vintage german preamps as well as some distortion stomp boxes. They are fun to play with and always deliver interesting results.

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

A: There are lots of amazing professionals out there who inspire me and keep me striving for excellence. Off the top of my head I could name Tchad Blake, Geoff Emeric, Al Schmidt as well as any other professional who delivers 3D quality and landscaping out of my stereo speakers as well as great tone and especially, vibe.