Mixing Engineer

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: I am particularly proud of a project called "Undici." I served as the active Co-Producer, Mix Engineer, and Mastering Assistant. It was a project with zero compromises, allowing me to build the entire sonic architecture from the ground up.

Q: What are you working on at the moment?

A: I am currently sculpting the sonic landscape for a returning artist's sophomore album. Alongside my studio work, I am writing a book on the philosophy of sound—stripping away the dense academic jargon to explain acoustic depth and emotional frequency in a way that truly resonates with artists and producers.

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

A: I recommend any professional on this platform who prioritizes imagination and emotional storytelling over rigid, cookie-cutter templates. Look for true collaborators, not just button-pushers.

Q: Analog or digital and why?

A: Both. I believe in a hybrid approach. The analog world provides undeniable warmth and harmonic richness, while the digital domain offers surgical precision and total recall. Combining the two is the ultimate standard for modern high-end audio.

Q: What's your 'promise' to your clients?

A: I promise an uncompromising dedication to your artistic vision. I deliver mixes that are immersive, fiercely three-dimensional, organic, and loaded with cinematic weight.

Q: What do you like most about your job?

A: Pushing play on a client's multitrack for the very first time. In those first few minutes, I can immediately hear the final architecture of the mix in my head. The second best feeling is the final A/B comparison between their rough mix and the finished master.

Q: What questions do customers most commonly ask you? What's your answer?

A: The most common question is regarding rates. My answer is always the same: I don't provide blind quotes. Every project is unique. I invite them to send me a message with their rough mix so we can discuss their vision and I can provide a tailored investment proposal.

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

A: That mixing is a magic wand that can fix a poor recording or an unfocused arrangement. A great mix acts as a magnifying glass: it will make a brilliant production sound massive, but it will also highlight the flaws of a weak one.

Q: What questions do you ask prospective clients?

A: I ask for the rough mix and the "emotional intent" behind the song. Technically, I need to know the track count, the duration, and whether it's a single or part of a larger EP/Album so I can propose the right pathway (like The Season Pass). Complete transparency from day one is essential.

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

A: Take a break before you send your tracks. Ear fatigue and "demoitis" are real. Step away from your production for a week, then listen with fresh ears. Once you are absolutely certain the arrangement is complete, that is the perfect moment to hand it over to a mix engineer.

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

A: A top-tier customized laptop, a pristine AD/DA interface, my reference planar headphones, a limitless hard drive of high-res acoustic samples, and a library of good books to keep the inspiration sharp.

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

A: Before dedicating myself entirely to audio architecture, I spent 8 years studying Classical Piano at the Conservatory. That foundational understanding of harmonics and acoustics eventually led me to the console. Professionally, I have been sculpting soundscapes for over 5 years.

Q: How would you describe your style?

A: I don't believe in "cookie-cutter" mixing styles; applying the same formula to every song destroys its unique soul. My style is defined by its objective: I don't chase the "technically correct" mix; I chase the mix that moves you. It is organic, deep, and fiercely three-dimensional.

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

A: Ólafur Arnalds. His ability to seamlessly blend delicate acoustic intimacy—like a felt piano—with massive, modern electronic textures is exactly the kind of emotional storytelling I love to elevate in the mixing stage.

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

A: My specialty is strictly Classical Crossover—which spans modern classical, minimalist piano, cinematic, and ambient electronic. However, I highly value working with Alternative Pop, Hip-Hop, or Jazz artists who want to borrow those immersive, organic elements for their own records.

Q: What's your strongest skill?

A: Translating the immersive, organic warmth of Classical Crossover into any genre. Whether I am mixing ambient, alternative pop, or electronic music, I know how to inject that vast, three-dimensional cinematic scale into the sonic architecture.

Q: What do you bring to a song?

A: Cinematic weight and structural depth. I don't just polish what's there; I use mixing techniques to elevate the producer's original intent, giving the arrangement an immersive, larger-than-life quality.

Q: What's your typical work process?

A: It starts with a conversation. Before any commitment, I review the rough mix and the artist's vision. If we are a match, I share The Studio Handbook, my dedicated PDF outlining my workflow and file preparation protocols. Once the files are securely in my system, I move into deep focus to craft the first iteration.

Q: Tell us about your studio setup.

A: My setup is a highly curated, hybrid environment. The core is a surgically treated acoustic control room, utilizing pristine monitoring and reference-grade planar headphones (Ollo Audio). I don't believe in hoarding unnecessary gear; I believe in an uncompromising, transparent signal path that allows me to make definitive creative decisions.

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

A: I draw great inspiration from mix engineers who treat sound as a physical dimension. Mentors and masters like Jon Castelli, Jaycen Joshua, Serban Ghenea, and Manny Marroquin. They don't just mix; they create undeniable sonic signatures.

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

A: I primarily act as a Cinematic and Classical Crossover Mix Engineer. My main objective is never just to balance levels, but to construct a three-dimensional acoustic space that amplifies the raw emotion of the artist's production.

Q: Can you share one music production tip?

A: Never touch a fader until you've heard the final mix in your head. Imagination is our most powerful analog processor. Once you have a crystal-clear vision of the emotional destination, the technical tools simply become the vehicle to get you there.