I am a mix engineer and also a producer. I’m also a recording engineer occasionally!

If you want advice on how to improve your own mixing skills then you want my other website, The Mix Consultancy.

You might have noticed from the list of artists that I’ve worked with above, I like to keep reasonably varied in what I work on. I’ve been told that my sound is a kind of ‘organic pop’ - warm, wide and often with real instruments and vocals. As you can see from my credits though, indie, electronic, folk and rock also come into it so it’s certainly not just pop. Whether you are looking for a mix engineer or a producer, it’s best to just use the contact form and get in touch then we can chat about what you want to achieve.

You can reach me anytime via the contact form above. I aim to respond quickly—it just depends if I’m deep in a session!.

I’m afraid it does vary depending on what the project involves. It depends on whether you need me as recording engineer, a mixing engineer or a producer, whether we will be working in my studio or another studio, etc etc.

I mix out of my studio in Oxfordshire, UK. 95% of the time this is working remotely for clients all over the world, so I’m very used to remote work - both as a mix engineer and increasingly as a producer as well.
That said, I’m more than happy for you to attend the session if you want.

There are a few things to cover here, so I’ll do a list:
1. I mix in ProTools, so if you use ProTools too, you can just send the session.
2. If you don’t use ProTools then please just send audio files - all bounced from the very start of the song. This way I can drop them into my ProTools session and everything will be in the right place. If you use Logic then please check this video first to make sure you’re bouncing your mono tracks properly. Logic doesn’t do this by default!
3. MIDI files can be useful as well. I have a massive modular synth (it’s an addiction but I’m getting it under control) and sometimes it can be good to add some of that to your synth sounds in the mix. Your MIDI tracks mean I can do that.
4. Plugins. As your mix engineer I’d like to have full control over EQ, compression, and effects like reverb and delay on all your sounds, so please bounce them with those plugins off. That said, if a particular sound that you have is exactly as you want it in the mix then send it over with the effects. The best way to look at it is like a guitarist. If you have a sound that you like and you’ve just put a bit of reverb on it with a pedal, then I’d rather have it without the reverb as I can recreate what you had easily, and have some extra control of it in the mix. If. however, you’ve got a whole chain of pedals going, generating a crazy sound, then send me that. Recreating it would be a waste of time, and it probably wouldn’t be as good!
5. Plugins part 2. If your’e sending me your ProTools session then remember that I probably don’t have exactly the same plugins as you, so either check in with me before you send teh session, or just do the process described in point 4.
6. WeTransfer is great. So is Google Drive. DropBox is also great, but please send download links instead of adding me to your project.

A music producer is involved in shaping a recording from the creative and arrangement stage — helping develop the songs, the sounds, and the overall direction of a record before it's finished. A mix engineer comes in at the end of that process, taking all the recorded tracks and balancing them into a final, polished stereo mix. Think of the producer as the architect and the mix engineer as the person who fits everything together perfectly and makes it shine. In practice, the lines blur — some people (like me) often do both - but those are the two distinct roles.

It depends on where your music is in its journey. If you have rough ideas, demos, or songs that aren't fully formed yet — you probably need a producer. If you have fully recorded tracks that just need to be balanced, polished and made to sound like a record — you need a mix engineer. If you're at the very beginning and want one person to take your project from concept to finished master, then working with someone who does both (as I do) can make the whole process more coherent, because the mixing decisions are informed by having been there from the start.

First, listen to their credits — not just the famous names, but whether their mixes actually sound like what you're going for. A Grammy-winning mix engineer who specialises in orchestral records isn't necessarily the right choice for your indie EP. Second, look for experience across genres — a mixer who has worked widely tends to bring more creative problem-solving to your project. Third, find out how they communicate: do they take the time to understand your reference points and what you want the finished record to feel like? The technical skill is a given at a professional level — the collaboration is what separates a good experience from a great one.

The recording and production stage should be essentially finished before you send tracks for mixing. That means the arrangement is locked, the performances are the ones you want to keep, and any production elements (synths, samples, programmed drums) are in their final form - making significant changes to the arrangement or re-recording parts after mixing has started creates extra work and cost. If you're unsure, send me what you have and we can have a conversation about whether it's ready.

Yes — around 95% of my sessions are remote. I mix from my studio in Oxfordshire, and clients send files via WeTransfer, Google Drive etc. We communicate throughout the mix and I'll send mixes for approval before sign-off. Remote working hasn't changed the quality of the output at all — it just means I can work with artists and labels anywhere in the world, which I do regularly.

I use MultiBand to orgainse sessions. It’s an app I designed myself to do everything I need to have super smooth collaboration - especially for remote sessions. You can set up a free account if you want. It’s great.