Indie/Pop Mix Engineer

Q: Analog or digital and why?

A: Digital emulations of analog gear - all the original love but with automation etc. But then I think there's something beautiful about not being able to go back and change things sometimes - so in that case analog.

Q: What do you like most about your job?

A: Being able to create new and exciting worlds every single day.

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

A: Music is a desk job. For me at least.

Q: What questions do you ask prospective clients?

A: Do you want to make the best possible song?

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

A: I've always worked better with people I get on with. The main focus on making something beautiful, everything else is secondary.

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

A: Right now: Laptop. A Mini Moog emulation. A Juno 106 Emulation. Usb Mic. Electric Guitar. That'd do me a few tunes. But in general, I think the most exciting things come out of trying things you haven't done before. So ideally I'd find some bongos on the shore or something.

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

A: I've been producing since my teen years, and have lost hours in the world of music production every day ever since. I've primarily a performer, and an artist throughout that period, but creating something permanent - records that can be played over and over again; creating something out of nothing, is what gets me out of bed in the morning.

Q: How would you describe your style?

A: Indie bedroom pop, imperfect but vital.

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

A: I've recently listened to a lot of Bleachers, I'd love to work with Jack Antonoff as he just comes across as a genius.

Q: Can you share one music production tip?

A: Perspective.

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

A: I love Pop music. There's something beautiful about a good pop song - that it's unique, and interesting, but also doesn't sway too far from what's expected. It's like a delicate balancing act, that's almost impossible to put your finger on. But more literally - I love song that have something to say, that's the most important thing to me.

Q: What's your strongest skill?

A: Knowing when I'm wrong.

Q: What do you bring to a song?

A: I bring an obsession for creating something unique, and important. I've worked in countless other jobs in my life, and would still be doing them if I cared about the money. I just want to make things that are bold, courageous, and make a difference.

Q: What's your typical work process?

A: Pulling my hair out trying to find a vibe for a song, finding that vibe, losing days perfecting that vibe, existing in it for a little, and then finalising the details.

Q: Tell us about your studio setup.

A: I work from my home set up using Logic Pro X, primarily working in the box I have a vast selection of virtual software instruments in order to capture any sound I'm after - between that and my huge sample selection usually it gets the job done. However, sometimes the software instrumentals just feel a little false, I've found recently that layering an acoustic kit on top of drum machines, e.g linndrum, sounds pretty tight. Between that and re-amping VST synths (or just layering them with something real, e.g grand piano) creates something unique.

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

A: Anything that feels different from what's currently going on in the world of Pop - but still fits in. I'm constantly inspired by producers such as Jack Antonoff, Ian Kirkpatrick, Kenny Beats.

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

A: Writing/producing indie pop songs with edge.