Professional Mix & Mastering

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