Mixing & Mastering Engineer

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

A: I recently took a project that was recorded in a very challenging environment and transformed it into a clean, modern pop record. My role was Mixing & Mastering Engineer, but I also acted as a consultant on the arrangement. Seeing that track get thousands of streams and radio play was a reminder of why I’ve done this for 10 years: the right mix can change everything for an artist.

Q: What are you working on at the moment?

A: Currently, I’m wrapping up the mixing for a series of international synth-pop singles and providing creative production for a cinematic indie-rock EP. My schedule at 39A Records stays busy, but I always keep slots open for projects that have a unique soul.

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

A: There are many incredible session vocalists and top-liners on this platform. I’m always happy to recommend specific talent once I hear a client's track and understand what the song needs to reach the next level.

Q: Analog or digital and why?

A: I’m a firm believer in a hybrid approach. I love the surgical precision, speed, and total recall of the digital world (UAD, FabFilter), but I always aim for that harmonic 'warmth' and 'glue' that analog gear is known for. In 2026, it's not about the gear—it's about using the best of both worlds to get a 'platinum' sound.

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

A: My promise is simple: I treat your music as if it were my own. I don't just deliver a file; I deliver a standard. You will get a mix that is radio-ready, emotionally impactful, and technically flawless. If you aren't 100% proud to release it, we aren't done.

Q: What do you like most about your job?

A: That 'aha!' moment when everything finally clicks. There’s a specific point in the mixing process where the song stops being a collection of tracks and starts being an emotional experience. Being the person who facilitates that transformation is why I’ve stayed in this industry for 10 years.

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

A: Question: 'Can you make my track sound like The Weekend?' Answer: 'I can definitely apply the same sonic characteristics — the depth, width, and vocal presence — while ensuring your unique artistic voice still shines through.

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

A: The 'Fix it in the mix' myth. While modern tools are powerful, a great mix starts with a great performance and a solid arrangement. My job is to take a 9/10 production and make it a 12/10, but the foundation needs to be there

Q: What questions do you ask prospective clients?

A: What are your top 3 reference tracks for this specific song? What is the main emotion or story you want the listener to feel? Are your stems properly labeled and exported without processing? The more we align on the vision early on, the better the final result will be.

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

A: Trust your ears, not just the gear list. Listen to the engineer’s portfolio and ask yourself: 'Does this sound like a finished record I’d hear on the radio?' Also, communication is key. Hire someone who asks about your vision and your 'why', not just about your bit rate.

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

A: 1. My MacBook Pro with my Logic Pro 2. My Beyerdynamics 1990 Pro 3. Waves Plugins 4. Pair of Genelecs 5. Sandwich

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

A: I’ve been involved with music since I was 7, starting with classical training on the flute. I’ve been a professional sound engineer for over 10 years now. I started in small local studios, worked my way up to major regional projects, and eventually opened 39A Records to focus on global high-end production.

Q: How would you describe your style?

A: My style is 'Hyper-Clean & Punchy.' I like wide, three-dimensional mixes where you can hear every detail, but everything feels glued together. I’m not a fan of 'mud' or over-compressed flat sound — I prefer my mixes to breathe and move with the rhythm.

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

A: I’d love to work with artists like Charlie Puth or Finneas. Their attention to sound selection and 'micro-details' in the production is world-class. Working with talents who understand that the smallest sonic choices make the biggest emotional impact is always my goal.

Q: Can you share one music production tip?

A: Always mix with intent, not just with plugins. Before you touch an EQ or a compressor, ask yourself: 'What is this element’s role in the story of the song?' Also, high-pass everything that isn't supposed to be bass — it’s the fastest way to double the 'expensive' feel of your mix.

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

A: I work mostly on modern Pop, Hip-Hop, and R&B. However, due to my background, I’m also very comfortable with Electronic Dance Music and Cinematic Soundscapes. I love projects that combine organic instruments with heavy synthesis

Q: What's your strongest skill?

A: My strongest skill is vocal production and frequency management. I have an obsessive ear for vocal clarity — making sure the voice sits perfectly 'in front' of the mix while remaining warm and natural. I also pride myself on my ability to create a massive low-end (kick and bass) that remains clean and punchy on any sound system.

Q: What do you bring to a song?

A: I bring a 'commercial ear' and 10 years of experience. I don't just balance levels; I find the emotional core of your track and amplify it. My mission is to make your music sound 'expensive' — giving it the depth, width, and clarity that usually requires a million-dollar studio budget.

Q: What's your typical work process?

A: Communication first. I start by analyzing your reference tracks and vision. Then comes the technical phase: cleaning up tracks, phase alignment, and building the sonic foundation. Once the mix is 90% there, I focus on the creative automation to give the song 'movement.' After your feedback and revisions, we finish with a commercial-grade master.

Q: Tell us about your studio setup.

A: We run a high-end digital hybrid setup centered around Universal Audio interfaces and the full UAD-2 library. Monitoring is handled by calibrated Genelec/Adam systems to ensure your mix translates perfectly from a smartphone to a club system.

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

A: I’m heavily inspired by the sonic precision of Serban Ghenea and the creative punch of Jaycen Joshua. I also look up to pioneers like Max Martin for their ability to craft timeless sonic identities. My goal is to bridge the gap between classic analog warmth and modern digital clarity

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

A: I specialize in high-end mixing and mastering for Pop, Electronic, and Hip-Hop artists. My daily work involves taking raw, home-recorded stems and turning them into polished, radio-ready tracks that stand up against major label releases. I also spend a lot of time on surgical vocal tuning and rhythmic alignment — making sure the heart of the song is perfect.