Emotional Sensitivity,
Technical Mastery

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

My most common work is stereo mixing and recording live bands and instruments, with Atmos mixes becoming more and more of a mainstay. A lot of the artists I work with are trying to create something new — something that makes an artistic or emotional statement.

What do you bring to a song?

I'd like to think I bring emotional sensitivity and a creative ear that connects with the musical and emotional intention of the track. Combined with years of technical and practical experience in mixing and production, I try to draw out or enhance that narrative to create something that resonates with listeners.

What's your strongest skill?

Attention to detail, a creative ear and being a friendly and approachable human.

What type of music do you usually work on?

I've worked across many styles — from major label pop to heavy rock, experimental electronics, and everything in between. Most of my freelance work has been electronic, experimental, soundscape-driven, psychedelic rock, heavy rock, and singer-songwriter projects.

What's your typical work process?

For any mix or production, the most important thing is understanding where the artist is coming from and what they are trying to say. I usually don't ask for references. People can tell me what records they've enjoyed, but what I really want to know is why they wrote the song, how they felt at the time, and how they want listeners to feel. A reference track can tell me what someone likes, but it doesn't always tell me anything about the emotional intention behind their music.

How would you describe your style?

Powerful, sonically interesting, and emotionally resonant.

What's the biggest misconception about what you do?

That it's just a technical exercise.

What do you like most about your job?

Talking with artists and helping them articulate and enhance their creative vision.

What other musicians or music production professionals inspire you?

Most of the people who inspire me don't necessarily do the same job I do. I've been inspired by artists because they've let me in on their creative process. For example, I'd mention Powell, who I've worked with for over a decade. The records we've made together have shaped the way I approach other projects. Working with someone who does something unique or experimental changes how you hear records, no matter the genre.

Which artist would you like to work with and why?

One that comes to mind is Tanya Tagaq, a Canadian Inuk throat singer. She blends throat singing with electronic music, brass, and band arrangements in a way that's unlike anything I've heard. She has an incredibly creative approach to sound, able to move from beautiful sung notes to powerful, resonant throat drones. Her book Split Tooth is also inspiring. When I hear music that sounds unlike anything else — something I don't fully understand — I want to know why, and I want to get behind it.

Can you share one music production tip?

There are no real rules except this: music is about emotion. If you don't connect emotionally with what you're working on, how can a listener be expected to? Also, the space around a sound is just as important as the sound itself.

What's your promise to your clients?

That the client comes first, and I will do everything I can to ensure they are happy with the sound of the music we work on together.

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

Be clear about what your music means to you and how you want other people to feel when they hear it.

What questions do you ask prospective clients?

I usually ask them to write a short sentence about why they wrote the song, how they felt when they wrote it, and how they want listeners to feel. That gives me context for the sonic direction. I also like to know how the track was recorded and whether the space influenced the artistic choices. I'll also ask if they'd like to attend the mix, either remotely or in person. I encourage it — mixing is a creative process, and artists should be involved if they want to be.

What questions do customers most commonly ask you?

Often, I get asked whether to send stems wet or dry. If possible, I prefer both.

Tell us about your studio setup

I mix out of a studio in the countryside just north of Bath in the UK, surrounded by rolling green fields and natural daylight. My main monitors are ATC SCM25A with smaller speakers for reference, and I also use Audeze LCD-2 closed-back headphones. I run mixes and elements through analogue gear, including Neve 1081 preamps on the main mix bus and an SSL bus compressor. I also have equipment that adds character, such as a Thermionic Culture Vulture, WEM Copicat delay, Roland Space Echo units, and a collection of pedals. I often re-amp through vintage guitar and bass amps, including a 1950s Silvertone and an Ampeg B-15N. In the same facility, I have access to a dedicated Atmos room with Focal speakers for immersive mixing, as well as a fantastic live room with an SSL Orion console for recording anything from full bands to small string ensembles.

Analog or digital and why?

Both. I love analogue equipment — the sound, the tactile workflow, and the way it can influence creative decisions. Digital, however, is incredibly powerful, fast, and flexible. It allows for remote sessions, fast revisions, organised stems exporting, and more time to be creative.

Desert island gear — five pieces only

• WEM Copicat
• Roland Space Echo
• Neve 1081 Preamps & EQs
• LA-2A Compressor
• 1950s Silvertone Guitar Amp

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

I've been doing this for 21 years. I started at 16 recording rappers in my bedroom, then moved to London in 2014 to study audio engineering at SAE Institute. I later worked in the tech and mastering departments at Metropolis Studios, then assisted producer Jim Anderson before running my own studio in Wembley for 12 years. After that I moved on to Sony Music, where I've been a senior engineer for the past six years.

Tell us about a project you are especially proud of and why

I recently remixed Dido's iconic debut No Angel for Sony Music. The album was remixed for Dolby Atmos using raw multitrack tape transfers. I meticulously reconstructed the original stereo mix, carefully reviewing and editing every take to ensure accuracy before rebuilding the instrument balance, tone, dynamics, and effects from the ground up — preserving the intent and integrity of the original production, providing the foundation to craft a uniquely immersive Dolby Atmos listening experience.

I also recently mixed Living Matter, an immersive deep-listening experience using D&B Soundscape for artist Mara Simpson. I mixed the 40-minute work completely without a front of stage location, which was incredibly liberating and forced me to approach the mix in a new way. It changed how I thought about immersive sound in general.