Aeonica Studio

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

A: I’m inspired by a wide and sometimes surprising range of artists—across genres and generations. From ABBA and Blondie to Black Sabbath and Ozzy Osbourne. From Lady Gaga to Metallica, Phil Collins, Prince, Mazzy Star, and Nirvana. From The Orb to Jan Blomqvist and Giorgia Angiuli. On the production side, I’ve long admired Rick Rubin for his minimal, emotion-first approach, and Andrew Scheps for his bold, modern mixing style. What connects them all is a sense of honesty, energy, and emotion in the music. That’s what I’m drawn to—and what I aim for in my own work.

Q: What are you working on at the moment?

A: I recently completed a major studio upgrade—adding the final pieces of high-end analog gear and rewiring everything through dual digital patchbays. The result is a beautifully streamlined hybrid setup, ready for maximum creativity—whether I’m producing my own music or mastering yours. 😊

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

A: Don’t be afraid to try a few different engineers—each has their own approach, workflow, and sonic signature. Focus not just on the end result, but on the communication, turnaround, and how the process feels. The right fit should make your music sound better and make you feel confident about releasing it.

Q: What's your typical work process?

A: Once I receive your track, I give it a focused listen in the studio. If I hear anything that could be better addressed in the mix, I’ll share that feedback—you can decide whether to revise the mix or have me work around it. From there, I design a mastering chain tailored to your music, combining boutique analog gear (like the Neve 542, Manley Massive Passive, NEVE Portico II Master Bus Processor, WesAudio ngBus and RHEA compressors, Bettermaker Limiter v2, and Carnaby HE2) with select plugins for precision. I start by achieving target loudness, then shape EQ and dynamics using both ears and metering. I also explore mid-side processing where helpful. After resting my ears, I do a final check across monitors and virtual environments (via VSX) before printing and sending the master for your review. Some tracks come together quickly, others take time to find the right chain—but in the end, it’s all about delivering a result that feels right to you.

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

A: I fell in love with electronic music as a teenager in 1990s Amsterdam, where underground parties were more than just events—they were transformative cultural moments. I’ve been producing music since 2004, and recently launched Aeonica Music, which blends artistic exploration with high-end mastering services rooted in analog excellence.

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

A: I mostly master electronic genres—techno, house, downtempo, psychedelic trance—but I’m open to anything that has vibe and intention. I also compose and produce non-electronic music, including rock and experimental projects.

Q: Tell us about your studio setup.

A: It’s a carefully designed hybrid studio, combining mastering-grade analog hardware (Rupert Neve Designs, Wes Audio, Manley, Burl, etc.) with precision digital tools. This gives me both sonic richness and full control over recall and workflow.

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

A: Absolutely. For electronic mastering: Andres Klein and Bram Fidder—both bring musicality and precision. For non-electronic material: Adam Haggar is brilliant. Even as a mastering engineer, I believe in getting fresh ears. I’ve hired all three for my own music.

Q: Analog or digital and why?

A: Both! Digital offers precision and efficiency. Analog brings harmonic depth and color that’s hard to replicate. The magic is in knowing when to use which—and how to combine them.

Q: How would you describe your style?

A: Musical, focused, and harmonically rich.

Q: Can you share one music production tip?

A: Invest in your monitoring environment—either with acoustic treatment and quality monitors, or a trusted headphone system. If you can’t hear accurately, you can’t mix or master effectively.

Q: What's your strongest skill?

A: Good Taste. That may sound subjective, but it’s what mastering ultimately comes down to—knowing what to touch, and what to leave alone.

Q: What do you bring to a song?

A: Objectivity, musical sensitivity, and an analog signal chain that adds depth without hype.