Music Producer/Audio Engineer

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

A: "When Lions Roar" - the unofficial 2022 Africa Cup of Nations tribute. This project stands out because of its scale and creative ambition. Seven artists on one song. That's a logistical and creative nightmare if not handled properly. I co-composed the lyrics and instrumentals, arranged the track, recorded vocals (some remotely from Germany and Congo), mixed, and mastered it. The biggest challenge was making seven distinct voices work together without the song feeling disjointed or boring. The original Amapiano beat was built for a solo artist, so I had to expand it significantly. I kept the Elvis Kemayo-inspired guitar line from the original as an anchor. Then I built a sonic journey: Amapiano foundation, marching band transition into Fela Kuti-inspired Afrobeat, Amapiano vs. Hip-Hop fusion, dramatic orchestral ballad drop with no drums, and finally an epic climax where all artists sing backed by full orchestral power and a massive crowd chant. What makes me proud is that it worked. The song became an unofficial anthem. It proved I could handle large-scale, multi-artist productions with complex genre-blending while keeping everything intentional and emotionally impactful. It's everything I bring to the table in one track.

Q: What are you working on at the moment?

A: I'm currently working on a folk cover of "People" by Libianca for Nsaykila Elvis. Libianca is from Bamenda, Cameroon, and the project concept is to put a local spin on this popular song - reminding people it was created by a daughter of the soil. It's our way of adding to the already wonderful legacy of the original. The approach is a folk take using traditional Njang music infused with Afrobeat. It's about honoring the roots while keeping it fresh and musical. The challenge is respecting the original's emotional impact while making it feel authentically Cameroonian without losing the song's universal appeal.

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

A: No, I'm very new to freelancing and still getting familiar with the SoundBetter community. As I connect with more professionals on the platform, I'll be better positioned to make recommendations based on direct experience.

Q: Analog or digital and why?

A: Digital - it's the practical choice for how I work. I work entirely in the box using Studio One, Cubase, and FL Studio with high-quality plugins from Waves, Plugin Alliance, Softube, Kush Audio, and Slate Digital. Why digital? ✓ Complete recall: if a client needs revisions months later, I open the exact session with every setting intact. ✓ Speed: I can experiment freely and undo mistakes instantly. Reliability: no maintenance issues, no hardware failures, no downtime. I can't speak to analog because I've never used it, so I won't compare or condemn what I don't know. What I do know is that the best tool is the one that gets the job done. I'm practical about results, not a purist about gear. Digital lets me deliver professional mixes efficiently while maintaining the sonic quality clients expect. That's what matters to me.

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

A: Here's my promise to clients: I'll always be honest with you, even when it's not what you want to hear. If your files have issues that will compromise the mix, I'll tell you upfront. If a change you're requesting might hurt the track, I'll explain why. If I'm not the right engineer for your sound, I'll say so before you spend money. Honesty protects both of us. I'll make the best of every situation. Not every project starts with perfect recordings or ideal conditions. My job is to work with what you give me and deliver the most competitive result possible. Whether that means restoration work, creative problem solving, or building something from scratch, I'm committed to getting you across the finish line. You'll retain 100% ownership. No royalty splits, no publishing claims, no backend surprises. You pay the fee, you own everything. Work-for-hire means exactly that. Your deadlines will be met. My studio has redundant power and fiber internet. Technical delays don't exist here. If I commit to a timeline, I deliver on it. I'll stay involved until you're satisfied. This isn't about counting revisions or rushing you off. My reputation depends on you being happy with the final result. We'll work together until your track sounds the way you envisioned it.

Q: What do you like most about your job?

A: Here's what I like most about my job: I'm an engineering junkie. I love the science and art of it. Audio engineering is one of the few careers where you hear "the only rule is that there are no rules." Once I learn a technique and understand why it works, I have the freedom to break it at will. That gives me knowledge with unlimited usage and creates unlimited possibilities. There's no limitation to entry in this field. I taught myself by following music tutorials on YouTube despite not being able to afford formal music education. Not all fields give you this flexibility. If you're willing to learn and experiment, you can build real skills and compete professionally. Every project is a puzzle to solve. Whether I'm salvaging a failed production, balancing seven different artists on one track, or fusing genres that shouldn't work together, I'm constantly problem solving. The creative freedom clients give me to experiment and take songs in unexpected directions keeps the work exciting. I get to collaborate in real time. Some of my best sessions happen when the artist is sitting right there in the studio watching me work. We're building the song together, experimenting, and finding the sound as we go. That energy is unmatched. The variety keeps me sharp. Working across Hip Hop, R&B, Trap, Afrobeat, and Amapiano means I never get bored. Every genre has its own sonic requirements and creative challenges. I'm always learning and evolving.

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

A: "Can you make my track sound like Davido or Kiz Daniel?" I can definitely capture the vibe, energy, and sonic characteristics of your reference track. But your song will ultimately sound like you, not them. That's actually a good thing. My job is to make your unique voice and style shine while achieving that same level of polish and clarity you hear in professional releases. "How many revisions do I get?" It depends on the service, but I'm not counting revisions to nickel and dime you. My goal is getting your track right. I offer unlimited revisions on my advanced service because I want you completely satisfied. Just provide clear feedback and we'll get there together. "Why does it cost more than other engineers?" Because I'm not just pushing faders. I'm bringing 10 years of specialized experience in Hip Hop, R&B, Trap, Afrobeat, and Amapiano. I understand the sonic requirements of each genre and how to make your track translate globally. You're paying for expertise, reliability, and results that actually compete commercially. "Can you fix my vocals if they're recorded poorly?" Depends on how poor. If it's basic noise, room reverb, or mild clipping, I can usually salvage it. If it's severely distorted or unusably damaged, I'll be honest with you upfront. Sometimes restoration works. Sometimes re-recording is smarter. I'll never take your money knowing I can't deliver quality results. "How long will this take?" My standard timeline is 3 days after you approve the Optimization Draft, with 16-hour turnaround on revisions. If you need it faster, express delivery is available. But rushing rarely improves quality. Good mixing takes time and attention. "Do you take royalties or publishing?" Absolutely not. You retain 100% ownership and all rights to the final master. I work strictly on a work-for-hire basis. You pay the fee, you keep all your earnings. No backend payments, no splits, no surprises. "What if I don't like the final mix?" That's why I send you the Optimization Draft early in the process. You hear the tuned, cleaned, and balanced version before I build the full mix. This catches any direction issues early. Then you get revision rounds to dial it in exactly how you want it. I'd rather spend time getting it right than have you unhappy with the result. "What if my files have problems?" I evaluate your raw files during the consultation phase before mixing starts. If there are severe technical issues, I'll show you exactly what the problems are and explain your options. You can choose to proceed with restoration work or get a full refund. No penalties, no surprises. I won't take your money if I can't deliver quality results. "What if I change my mind about the vocal tuning or timing after you've started?" The Optimization Draft is your final lock-in point for tuning, timing, and vocal comping. Once you approve it, those manual processes are locked because changing them means rebuilding the entire mix foundation. If you need changes after approval, there's a re-preparation fee because it requires starting over. That's why I emphasize reviewing it carefully. "How do I know you understand my genre?" That's exactly why the demo review happens first. I specialize in Hip Hop, R&B, Trap, Afrobeat, and Amapiano with 10 years of experience. If your demo isn't in my wheelhouse or I'm not the right fit for your sound, I'll tell you upfront before you spend a dime. "What if we can't communicate clearly about what I want?" I prefer voice calls via WhatsApp or Telegram for revisions because it's faster and clearer than text. We can talk through what's working and what needs adjustment in real time. Reference tracks also help us speak the same language about the sound you're chasing. "Will I own the final recording?" 100%. You retain all rights to the final master including copyrights, publishing rights, and Content ID. I work strictly work-for-hire. No royalty points, no splits, no backend payments. You pay the fee, you keep everything.

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

A: Here's the biggest misconception about what I do: Clients think mixing is magic that can fix terrible recordings. They believe that plugins and AI can magically transform a badly recorded track into a Grammy-winning hit. The reality is harsh but simple: garbage in is always garbage out. You cannot polish a turd. Mixing enhances what's already there. It doesn't create what isn't. My job is to balance your elements, add clarity and depth, and make your track translate across all playback systems. I can make good recordings sound great and professional. But I can't manufacture quality that was never captured in the first place. If you recorded vocals on a cheap laptop mic in an untreated bedroom with clipping and background noise, there's only so much I can do. Sometimes I can salvage problematic recordings. Sometimes the best option is re-recording. My job is to make the best of every situation, and that doesn't always mean perfect results. The foundation of any great mix is a solid recording. Clean vocals, properly gained levels, and decent acoustics make all the difference. When clients invest in quality at the recording stage, the mixing process becomes about elevating their vision rather than damage control. So my advice is always: record it right the first time. If you can't, be honest about the issues upfront so we can figure out the best path forward together.

Q: What questions do you ask prospective clients?

A: What's your vision for how this song should sound? I need to understand the emotion and energy you're going for. Tell me about the vibe, whether you want it wet with effects or more dry, and your tuning preference like natural, subtle, or heavily autotuned. What reference tracks inspire the sound you want? Send me 1 to 3 commercially released songs that capture the clarity, loudness, and overall feel you're aiming for. This helps us get on the same page quickly. Are there any known technical issues with your recordings? Let me know if specific vocal tracks have noise, clipping, or room reverb. Being upfront about these problems helps me plan the right approach and avoid surprises. How were your vocals recorded? What microphone and recording setup did you use? This helps me assess the quality I'm working with and whether any restoration work might be needed before mixing. Do you have any specific creative requests? Are there parts you want emphasized or de-emphasized? Any creative effects you're imagining? Special moments you want to stand out? What's the message or story of the song? Understanding the lyrics and meaning helps me make better creative decisions about how to support your performance with the mix. What's your timeline? Knowing your release schedule or deadline helps me plan the project properly and keep you informed throughout the process.

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

A: Here's my advice for anyone looking to hire a mixing and mastering engineer: Start with a demo review before purchasing anything. The biggest mistake artists make is ordering a service without knowing if the engineer is the right fit for their sound. I always require a demo MP3 first so I can evaluate whether I'm genuinely the right person for your project's style and genre. This protects your timeline and budget. Be brutally honest about your file quality. If you recorded in a bedroom with background noise, clipping, or reverb issues, tell me upfront. I've salvaged countless projects with severe technical problems using restoration tools. Discovering these issues after purchase only delays your project. There's no judgment here. I just need to know what I'm working with. Understand that mixing can't fix fundamental recording problems, but restoration can. If your vocals are severely clipped or unusably noisy, you'll need restoration work before mixing. This is a separate process with additional cost and time. It's often the difference between a project that sounds amateur versus professional. Provide clear reference tracks. Don't just say "I want it to sound good." Send me 1 to 3 commercially released songs that capture the vibe, clarity, and energy you're after. This is the fastest way to get on the same page. Review the Optimization Draft carefully. When I send you the tuned, cleaned, and balanced draft early in the process, take your time reviewing it. This is your final chance to request changes to tuning, timing, or vocal takes before I build the entire mix foundation. Changes after this point require starting over and will cost extra. Trust the process, but speak up. I'll guide you if a requested change might hurt the track. Ultimately you're in control. Just communicate clearly. Voice calls work best for revisions.

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

A: Laptop - any one that can handle audio well and runs Windows. That's my entire DAW and plugin arsenal. Lewitt LCT 440 Pure - for recording vocals when needed. Behringer U-Phoria UMC404HD - to connect everything. My 4TB sound bank - years of collected samples, loops, and sounds I've curated. That's irreplaceable. Bluetooth speakers - not ideal for mixing, but better than nothing for reference and creative decisions. Honestly, if I have my laptop and sound bank, I can make it work. Everything else is just to capture and hear it.

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

A: I've been producing and engineering for over a decade now, officially going full-time in 2019. I initially started as an artist in 2006 before transitioning into production and engineering by 2008. That artist perspective gives me a unique empathy for a client's vision and performance. Since going full-time, I've had to quickly sharpen my skills to deliver commercial-grade work consistently. Over the years, I've collaborated with artists across Africa, Europe, and beyond, delivering everything from award-winning tracks to unofficial national anthems. The decade-plus experience has taught me that the production process is as much about understanding people and their vision as it is about technical skill—that's the real value I bring to every session.

Q: How would you describe your style?

A: My style is what a friend once called 'Eff-ish'—a sound I describe as Effortless Fusion—melodious, genre-blending, and layered with intricate harmonies. It's underground with a polished edge. Never lo-fi sounding, but also never overly pristine. I bring complexity and emotion to every track, treating vocals like instruments and stacking melodies the way R&B legends like Mario, Ne-Yo, and J. Holiday do. I'm influenced by producers like Timbaland, Dr. Dre, Ryan Leslie, Darkchild, and Just Blaze - people known for bringing something unique to every project. In a world where everything sounds alike, I aim to create something that stands out while staying true to the artist's vision.

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

A: Ryan Leslie—because his musicality is on another level. His sound selection makes every song a masterclass. There are so many questions I'd love to ask him: Why does he nod his head the way he does when he's in the studio? How does he pick his sounds? Does he spend time designing them beforehand so that in a session he can only focus on the creative part? How did he discover his sound - by accident through practice or by intentional exploration? Watching his studio session videos on YouTube and listening to his discography has infected my music in a good way. It would be the session of my dreams to be in the presence of such a music god, just watching him work and learning from his process. His musicality can only be compared to a few, and that's the kind of insight you can't get from textbooks or tutorials.

Q: Can you share one music production tip?

A: Two-stage selective sidechaining on the master bus for vocal clarity. Before I even start mixing, I set up my bus structure: all music elements are routed to three submixes - Melody Sustain (pads, chords, atmospheric elements), Melody Attack (plucks, stabs, transient-heavy sounds), and Drums - then all three feed into a Music Master bus. All vocals go to a Vocal Master bus. After applying my 2-bus processing (Slate Virtual Bus Compressor and Kush Audio Hammer EQ for glue and tone), I implement two stages of selective sidechaining: Stage 1: The Vocal Master ducks the Melody Sustain submix using spectral sidechaining. This keeps atmospheric elements like pads and chords out of the vocal's frequency space. Stage 2: The Vocal Master ducks the entire Music bus using multiband sidechaining, with more ducking in the center than the sides. This creates a rhythmic pulse across the entire instrumental while keeping the vocal upfront. The result is surgical clarity - the vocal never fights for space, and the entire mix breathes with the performance. This foundation makes the actual mixing process smoother because the vocal presence is already guaranteed before I even touch individual faders.

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

A: My primary focus is Hip Hop, R&B, Trap, Afrobeat, and Amapiano - but my full portfolio is vast. I've worked on Folk, Kizomba, Reggaeton, Dancehall, Zouk, Makossa, and more. I work best with artists who are flexible and want something that fits within my primary genres, but I'm equipped to handle diverse projects when the client's vision aligns with what I bring to the table.

Q: What's your strongest skill?

A: My strongest skill is arrangement and structure - knowing how to make a song flow like a journey, building tension and contrast so the listener stays engaged from start to finish. I know when to drop elements, when to bring them back, and how to use silence strategically to make sections hit harder.

Q: What do you bring to a song?

A: I bring clarity, depth, and emotional impact. My R&B background gives a natural ear for melody and vocal arrangements. I know how to stack harmonies, build intricate vocal layers, and create textures that support the song's message. That sensibility shows up whether I'm working on Hip Hop, Afrobeat, or Amapiano. I treat every track like a journey, using strategic contrast, silence, transitions, and drops to keep the listener engaged from start to finish. The goal is to prevent boredom and make sure every section drives naturally into the next. Technically, I'm a problem-solver. I study the song's challenges first, then figure out which techniques it is demanding. Whether that is spectral sidechaining, serial, or parallel processing, each decision is meant to serve the song, not a formula. I also work across genres and blend them when it serves the track. This helps artists stand out and gives me variety in my work. Ultimately, what I bring is intentional music—songs that sound purposeful, not accidental, and built to last beyond the current trend cycle.

Q: What's your typical work process?

A: My work process varies depending on the task - whether it's beat making, full production, or mixing and mastering - but the core philosophy stays the same: early alignment and strategic checkpoints. Before I even accept a project, I require a demo review - I need to evaluate the rough demo to confirm I'm the right fit for the project's style. This protects both the client's timeline and ensures we're aligned from the start. For mixing and mastering specifically, once hired, I follow a structured process: Step 1 - Consultation & File Check: We discuss the vision, reference tracks, and vibe. I evaluate the raw files for any technical issues. Step 2 - Optimization Draft: I clean up vocals, tune them, and create a balanced rough draft. This locks in all pitch, timing, and direction decisions. Step 3 - Full Mixing: I process everything - compression, EQ, effects, spatial placement - for a competitive, professional sound. Step 4 - First Mix Delivery: You review and provide feedback. Step 5 - Revisions: I implement feedback, offering guidance if a change might hurt the track. Step 6 - Mastering: Final treatment for competitive loudness across all playback systems. Step 7 - Final Delivery: All files organized and ready for release. It's this same mindset I apply across different tasks - eliminating possible bottlenecks that slow down or complicate production.

Q: Tell us about your studio setup.

A: I work out of my dedicated, acoustically treated mixing studio in Douala, Cameroon. For monitoring, I use Yamaha HS8s as my primary speakers with Behringer Truth B2031As for reference checks. This dual system ensures my mixes translate across all playback systems. My main DAW is Studio One, though I also use Cubase and FL Studio depending on the project workflow. For plugins, I rely on industry-standard tools from Waves, Plugin Alliance, FabFilter, iZotope, Slate Digital, Kush Audio, and Softube. For mastering specifically, I use the T-Racks 6 Suite, iZotope Ozone, Eventide Elevate, and the Softube Weiss Collection. For vocal work, I have iZotope RX, Steinberg SpectralLayers for restoration, Melodyne for tuning, and Revoice Pro for alignment. When recording is needed, I use a Lewitt LCT 440 Pure through Behringer U-Phoria UMC404HD and M-Audio M-Track interfaces. The space is backed by redundant power and fiber internet to ensure zero technical delays - critical for maintaining deadlines in my location.

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

A: On the mixing side, I'm deeply inspired by Jaycen Joshua and Leslie Brathwaite - their ability to make vocals sit perfectly in dense, modern productions is something I study constantly. Noah "40" Shebib taught me that lo-fi textures and space can be just as powerful as aggression - that OVO Reese bass technique I use comes directly from studying his work. Andrew Scheps and Chris Lord-Alge showed me how parallel processing and bold decisions create records that translate everywhere, while Dave Pensado and Matthew Weiss have been invaluable for understanding the "why" behind every technical choice. For production, I'm influenced by storytellers and sonic architects. Dr. Dre and Timbaland taught me that drums are everything - they have to knock. Kanye West showed me that pushing genre boundaries and being intentional is more valuable than following trends. Pharrell Williams and Ryan Leslie inspire my melodic sensibility - that R&B warmth I always bring to my productions. Boi-1da, Hit-Boy, and Mike Will Made-It keep me sharp on contemporary hip-hop energy, while DJ Mustard and Diplo remind me that simplicity, when done right, is unforgettable. On the Afrobeat and Amapiano front, I study DJ Maphorisa for his genre-blending fearlessness, Sarz and Don Jazzy for their pioneering production techniques, and London for his non-traditional approach to Afrobeat. Rexxie, Young Jonn, and Legendary Beatz keep me grounded in the current sound, while Maleek Berry, Masterkraft, Coublon, and Chopstix inspire my musicality. Asake's recent work shows how you can honor tradition while creating something completely fresh. What ties them all together for me is intentionality - they don't just follow formulas; they make bold, musical decisions that serve the song.

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

A: I specialize in full-spectrum music production for Afrobeat, Amapiano, and genre-fusion projects - but with a twist: my clients typically come to me when they want something that stands out from the trends. The most common workflow looks like this: I handle complete production from composition through mastering. This usually starts with recording the artist's vocals or accapella to a click track, then building the instrumental around their performance. This approach ensures the music serves the vocal, not the other way around. A significant portion of my work is also remedial production - I'm frequently called in when original productions fail to capture the client's vision. Songs like "Seniorita" and "Myself" are perfect examples where I had to completely rebuild instrumentals, fix poorly recorded vocals using iZotope RX and Melodyne, and restructure arrangements that were causing listener fatigue. My clients value my ability to blend genres intentionally - like fusing Drill with Cameroonian Njang folk percussion, or combining Amapiano with orchestral elements and R&B warmth. They're not chasing trends; they want music that feels fresh but authentic to their roots. The technical side involves heavy use of spectral sidechaining, parallel processing, and strategic arrangement to create movement and prevent boredom. I'm obsessive about making every section feel like a journey - constantly building, dropping, and resetting the listener's ear. Essentially: I'm the producer artists call when they want something more musical, more intentional, and built to last beyond the current trend cycle.