Remote Mixing / Dolby Atmos

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

A: I'm especially proud of my sound engineering work of Calum Scott and Lost frequencies track 'Where are you now' as this was the first track I have been a part of that's amassed over 1.3 billion streams on Spotify and it was just an insanely fun session

Q: What are you working on at the moment?

A: I am currently working on the production for an Art Garfunkel record as well as dolby atmos mixing for a whole range of UMG (and sub label) artists

Q: Analog or digital and why?

A: Digital because of the amount of tools I can have at my disposal instantly HOWEVER there are some exceptions and if I'm working at a studio with exceptional vintage hardware I will always try to use it (the best thing about vintage gear is that not one pice is the same and each has a unique sound)

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

A: no project will ever be rushed and I will not finish an project until the client is satisfied

Q: What do you like most about your job?

A: The attention to detail and bringing an artist/ Producers vision of a song to life

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

A: Am I able to make mix revisions? Yes absolutely, I won't stop until you are fully satisfied with the mix. Can you work to a given timeframe? Yes, every project is different and requires different delivery dates which I am used to working with that.

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

A: Often people don't fully understand what mixing is and they think its basically remixing and restructuring a song where in fact it's making the most of all of the track elements and squeezing as much out of them as possible and making a track 'release ready'

Q: What questions do you ask prospective clients?

A: Have you got any mix references? What timeframe do I need to work to? Would you like any additional production?

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

A: Take time to really think about what you want your mix to sound like and get some mix references and don't be afraid to be bold when making creative/ sonic decisions

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

A: My Martin OM-1 acoustic guitar, computer/rig, Neumann U67, Neve 1073 channel strip and a pair of Sennheiser HD 650 open back pro mix headphones

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

A: I've been doing this professionally for 7 years and been lucky enough to be freelance for all those years allowing me to work at many studios including Abbey Road (where I trained) and Metropolis studios in London with artists that include Dua Lipa, Calum Scott, Aleyna Tilki, JP Cooper and many more

Q: How would you describe your style?

A: Present and bold. Something that would fit in with tracks you hear on radio

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

A: I would love to work with Finneas because of the the creativity and true artistry he brings to every song he's a part of. And the production is always incredible

Q: Can you share one music production tip?

A: Choose which elements of your song you want to make the focus and make sure they stand out so it doesn't feel like every element of your track is fighting for a place

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

A: Pop music however I also mix in rap, R'n'B and reggae genres. Normally at the mainstream

Q: What's your strongest skill?

A: MY strongest skills are both stereo and Dolby Atmos Mixing because of my strong attention to detail. I will never rush a mix and won't stop until the client is happy!

Q: What do you bring to a song?

A: I bring 7 years of experience working at the highest end of pop music with some of the biggest artists and producers, allowing me to make the best informed sonic decisions when mixing and also communicating with clients to bring their vision of the song to life

Q: What's your typical work process?

A: I normally ask for split up stems so I can get the maximum out of the mix, along with any mix references, monitor mixes and detailed notes and visions the client may have. Once I have the first mix draft ready I'll send it over to the client and do/try anything they want want to explore or change until they are fully satisfied (all inclusive of my fee). I'll then deliver WAV stems and masters (including instrumental and tv mixes as well) both full level and what I call 'no lim' masters if you would like to take to as specific mastering engineer.

Q: Tell us about your studio setup.

A: I work largely in the box with a host of plugins including Waves, Universal audio, Plugin Alliance and Antares products normally working with Avid Pro Tools or Logic Pro. I also make use of Martin acoustic, fender Strat and telecaster electric guitars. Monitors that I use are Yamaha NS10's, KRK 9000B and a size range of Henley speakers for the Dolby Atmos setup (7.1.4 configuration). My studio is also fully accredited by Dolby Atmos

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

A: Mark 'Spike' Stent, Serban Ghenea, Ash Howes, Dan Grech-Marguerat, Finneas, Josh Gudwin, Andrew Scheps, Jayce Joshua

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

A: Mixing and additional production