Alt Rock Mixing Engineer

Q: Can you share one music production tip?

A: Assuming you're technically competent, take a step back and allow the music to talk to you and allow your imagination to get to know it. Some part of your brain has to call the shots, and it's not the bit that knows what to do technically.

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

A: Alt Rock on the whole. I seem to know what the proportions are for an alternative view and a palatable sound for a broader audience. Everyone I have worked with has ended up with more fans

Q: What's your strongest skill?

A: I think interpreting the music and then setting about making it the right sound for the client. Every job is different so requires brand new thinking. I think I respond best to music that has big personality, but contains contradictions and ambiguities.

Q: What do you bring to a song?

A: Once the reasoning for the music is understood, it becomes like an archaeological dig to uncover the original intention of the piece and open it out. I like to think of my self as a liberator more than imposing my perspective on the music. I definitely bring a lot of experience to the music, and hopefully a lot of the right emotions.

Q: What's your typical work process?

A: You can't do anything until you understand the client. This is true of Production but also true for mixing. On the whole people are naive about which bit of the process does what, and after 30+ years in the industry it's easy to lose sight of the fact that seasoned practitioners become more and more esoteric as there expertise sharpens and takes on more and more detailed knowledge. The customer will simply not know what you are talking about so better let them do the talking and find out what they are all about. Often people are surprised when you can identify influence in there music, but it helps them to think that you understand them. One has to make the assumption that one will be able to do the job because one has always been able to before and one has a track record! So all that's left is the difference between the clients. It's the most powerful thing. Once there is broad agreement on why we are all here I do some scenario mixes, and that starts a conversation based on reality not dreams. As we establish what we do like and lean into it it become possible to finish the work. Lot's of people can mix, but the trick is to mix relevantly.

Q: Tell us about your studio setup.

A: My results seemed to get better the more simple my set up became. I sold all of my outboard gear and mics a few years back and ploughed all the money into software. I have had a chance to do real A/B comparisons with plug ins and physical gear, and there is no difference that is greater than the choices one makes when making work. Dave Hill added HEAT to pro tools as a poignant goodbye. It's the only "desk sound" emulation that really works. Since that came along I'm done with searching for the analogue dream in digital. So I have all the software (Manley, Neve, Avalon...) of the best hardware, a Quad 405 amp and a pair of PMC DB1i plus a sub. The most important thing is the acoustic treatment of the room, which I have done extensively. I take my work to Metropolis regularly for mastering, and when I get there my mixes sound just the same in their crazy high end monitors. I'm satisfied my system works.

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

A: I've always flown the flag for anyone who wants to have a go. Music is hard to do well no matter what kind it is. I loved the work of Tony Hoffa in the naughties, and still strive to understand Chris Thomas who has a different language in sound to everybody else. John Punter made the Japan records sound incredible. In a more contemporary sphere I'd single out Theo Verney who has a distinct sound that's great on the radio. David Wrench makes wonderful recordings and mixes well. Phil Bulleyment does great work too. There are plenty. I try not get to down about it!

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

A: I commonly work for people who create guitar based music, but sometimes create all the music myself around a song or sketch demo. In either case I will be the mixer. Clients send me their sessions or raw WAVS, we discuss the ambition at length and then I start to work up scenarios. If those are the right idea we run to the finish line.