Are you relying on AI for mixing and mastering? That approach makes it impossible to build better music.
About Me:
With 30+ years in the Japanese music industry, I mix like a conductor, focusing on "Emotional Warmth." My major credits include Joe Hisaishi (Studio Ghibli films) and many others. For a full list of my work, please search for "Eiichi Tanaka" on Discogs or VGMdb.
My sound was forged at the UK’s legendary The Townhouse, Abbey Road, and Metropolis Studios. I provide a Total Sound Design—crafting every mix with the final master in mind. In 2024, my latest work was recognized by legendary engineer Tony Cousins (Metropolis) as "perfect."
What I deliver:
• Radio-ready, punchy & clear mixes
• Up to 5 free revisions
• Fast turnaround (4-7 days)
Studio:
• Mac mini M2 Pro | Pro Tools 2025 | Logic Pro | Studio One 7 (for Mastering)
• Neve 1073, Pultec EQP-1A, API 550B
• Monitoring: JBL 308P / NS-10M / IK Multimedia iLoud Micro Monitor
• Plugins: 2,000+ Plugins (Waves, iZotope, Soundtoys, etc.)
Eiichi Tanaka
Tokyo, Japan
▼ Current Rates (2026)
・Mixing: $500/song
・Mastering: $100/song
・Mix + Master package: $550/song
※ Multiple songs = big discount → contact me!
A common misconception is that mixing includes heavy editing (tuning, timing fixes). That's a separate process—let's discuss if needed at extra cost ($100/hour).
Tell me about your project and how I can help, through the 'Contact' button above.
Endorse Eiichi Tanaka7 Reviews - 1 Repeat Client
check_circleVerifiedI appreciate the work we’ve done together and the time you put into the project.
I’ve decided to move forward and focus on my next steps.
Wishing you all the best in your future work.
check_circleVerifiedI commissioned you to master my tracks this time, and I was thrilled with the result, which far exceeded my expectations. Your exceptional ear and masterful skills are truly in the realm of a master craftsman. I realized that the experience and techniques you've cultivated in world-class settings, including your work with Joe Hisaishi, are something that AI-generated plugins could never achieve.
check_circleVerifiedAlthough this was my second project with Eiichi Tanaka, my trust in him has grown even stronger.
He is not just a skilled engineer, but someone who truly understands the “heart” and emotional flow of a song.
His work goes beyond organizing sound — it expands the world the music carries.
I was deeply moved by his insight and sensitivity, and I truly hope to continue working with him in the future.
check_circleVerifiedTanaka pays close attention to both the overall direction of the track and the smallest details. His work is clean and musical, and he keeps the emotion and intention of the song intact. Communication was clear and professional throughout, and delivery was reliable. I’d be happy to work with him again.
I’ve worked with many engineers over the years, but Mr. Tanaka is a rare engineer who can dramatically raise the quality while keeping the “emotional warmth” of the music intact. His attention to detail extends from the low end to the overall sense of space, and his treatment of vocals is especially delicate, always pursuing the balance that makes the artist look and sound their best. With extensive experience recording live instruments such as strings and brass, he captures acoustic tones beautifully and delivers musical, convincing mixes and masters that naturally blend digital and analog.
We've created numerous works together. His deep knowledge of diverse music genres and meticulous mixing always impresses me.
Tony Cousins of Metropolis Studios also praised him.
He is someone I trust completely.I’ve had the pleasure of knowing Tanaka‑san for many years, both behind the mixer and in more casual settings. His talent is rare, his instincts unmatched, and his dedication exceptional. He’s always sharing insights, whether it’s new plugins, the latest gear, or speaking holistically about music as an artform at its highest level. He doesn’t just produce, he shapes emotion, atmosphere, and energy with precision and creativity that set him apart in the industry.
Highly Recommended!
Interview with Eiichi Tanaka
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: This is a work I produced myself. The song titled “Angel” currently uploaded on this site—I supervised every aspect of its creation, from recording and mixing to additional arrangements and even funding. Working with Tony Cousins again at Metropolis Studios in the UK after 30 years is also a cherished memory and a source of pride for me. I am grateful to everyone who contributed.
Q: What are you working on at the moment?
A: I'm gradually starting to update my equipment for next year. The gear listed in my profile isn't fixed. I'm constantly evolving it.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Unfortunately, I don't have anyone in mind yet. If I come across a creator I know and am familiar with their background, I'd certainly recommend them to others.
Q: Analog or digital and why?
A: I like both analog and digital. I just incorporate the good parts into the music. If it sounds pleasant to the human ear, it should be in a wonderful form.
Q: What's your 'promise' to your clients?
A: I guarantee you'll be thrilled with the results.
Q: What do you like most about your job?
A: That feeling of happiness when you see the light at the end of the tunnel during the intermediate stage—when the sound isn't fully formed yet—and the plan finally takes shape.
Q: What questions do customers most commonly ask you? What's your answer?
A: People often ask me specific questions about the process behind creating this sound image. They frequently inquire about the microphones I used or the tools employed during mixing. My response is always: “I simply painted the landscape I saw (or felt) inside myself with my preferred colors.” If someone asks detailed questions about specific equipment, I sometimes provide a thorough explanation.
Q: What's the biggest misconception about what you do?
A: What exactly do you mean by “misunderstanding”? Are you referring to common misconceptions the general public has about recording engineers or mixing engineers? If that's the question, then perhaps the general public sees us as “technicians,” but we are creators. Mixing, for instance, is akin to being a conductor in an orchestra, or perhaps more like a painter. We aren't just fiddling with equipment. Does this answer your question about the misunderstanding?
Q: What questions do you ask prospective clients?
A: I suppose it's partly because I'm Japanese, but I can't help but worry about the delivery date (the time available for the work). I think I'd ask the client how much time I can realistically spend on the project. After all, I want to create the best possible work.
Q: What advice do you have for a customer looking to hire a provider like you?
A: If you're seeking a better piece of work, I advise allowing more time. Clients who demand the best work by tomorrow should probably turn to AI. However, I would tell them that AI cannot create work that truly moves people.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: I will bring a tent, food, drinking water, my pet, and analog records.
Q: What was your career path? How long have you been doing this?
A: In 1988, while attending art school, I got a job at a studio. I worked as an assistant for about three years, and by my fourth year, I was entrusted with recording and mixing. I worked not only in Tokyo but also in the UK, and in 1997, I began freelancing. Since 2000, I have also participated in projects as a mastering engineer, producer, and additional arranger, continuing to the present day.
Q: How would you describe your style?
A: I want to create works that make you want to listen again after the music has finished playing. This is my style and has been my theme for many years.
Q: Which artist would you like to work with and why?
A: It's very difficult to name specific people or bands. The most important thing is for the client to be satisfied. We hope that leads to positive results.
Q: Can you share one music production tip?
A: Whether recording or mixing, it's crucial to maintain the overall mood of the music while narrowing your focus. Trying to showcase every single element can confuse listeners and diminish the enjoyment of the listening experience. I pay close attention to this in my daily work.
Q: What type of music do you usually work on?
A: Mainly pop and rock. Electric and chill-out styles have also been increasing.
Q: What's your strongest skill?
A: Recording and mixing.
Q: What do you bring to a song?
A: We strive to deliver beauty, power, and breath to our listeners. We also believe overly edited vocals fail to move people's hearts. However, we work daily while also considering quality improvement. We consider matching with the backing track to be crucial.
Q: What's your typical work process?
A: First, after importing the WAV files you sent, I observe the noise, instruments, and vocal groove. I don't jump straight into mixing. I believe it's crucial to understand the original state of the material.
Q: Tell us about your studio setup.
A: I primarily use Apple Macintosh computers in a fully digital environment to create a wide range of works, from high-fidelity pieces to lo-fi creations. To accommodate all genres, I possess nearly 2,000 different plugins. Occasionally, an analog touch is necessary, so I also use hardware and sometimes incorporate genuine reverberation captured from equipment like the EMT-140 into the mix.
Q: What other musicians or music production professionals inspire you?
A: We thank every artist and every talent, from major large-scale projects to indie work.
Q: Describe the most common type of work you do for your clients.
A: Mixing and mastering
