Mixing. Nowhere is it truer that a picture tells a thousand words than with mixing. The proof is very much in the pudding.

Still, each mixer has their own unique take on mixing, and their own approach. With a background as a musician, mine is very much focused on the song, the music, and the story they tell. I don’t see mixing so much as a technical exercise, but as a musical and narrative one.

As a mixer, my focus is always on getting your story across, and bringing out what you’re saying through your songs, arrangements and lyrics. Apart from getting mixes nice and punchy, one particular focus for me is the space in the mix: I look for separation, depth and width – depending on the material of course. Also of course, sometimes what’s required is a wall of sound, and nothing gives me more pleasure than cranking it up!

I’m open to all propositions, and I would never put myself forward unless I thought I could bring something to what you’re doing. I’m open to any interesting project, but in general, I tend towards music that’s more indie or roots/acoustic. Having said that, I’ve mixed everything from more full on rock, to semi-classical film scores, and take each projet as it comes.

You’ll find a list of my gear below. I usually mix in Pro Tools, but run whatever I feel could benefit through the hardware. I have a couple of gems that I couldn’t mix without, such as my original Urei LA3A, Purple 1176 clone, Original Focusrite 115 HD, Nevey and edgy Audix 35102, and Lexicon M300 reverb. But it all gets a workout, as required.

Here are a few examples of my mixes, each of which (I hope!) shows different sides to my work. A few of these tracks I also recorded and produced as well, but that’s for another time.

Please don’t hesitate to drop me a line, always happy to chat.

Marble Sounds: Good Occasions

Marble Sounds: No-one Ever Gave Us The Right

Hollywood Black List: Miraculous Train

Starkeeper: Elle

MouseDTC: Mon Corps

Suarez & Stéphanie Crayencour: Juste pour voir

Pieter Van Dessel/asoundscenario.com: Labyrinthus feature film:


Desk: Studer 169 10/2

Monitoring: Adam S3X-V, AR Redbox II, Auratone

ProTools Native HD with huge (and legal) plugin collection
Interface: Avid HD I/O, Digidesign 192 I/O


Phoenix Audio DRS 4Q (ex Neve company in the UK)
Focusrite 115 HD (an original, not the reissue)
Audix 35102 (duplicate Neve 33114)
Studer (as above).


Urei LA3A (original, not a reissue)
Urei LA4 (original)
Purple MC76 (duplicate original 1176)
Peavey/AMR VCL2 (all tube, copy LA2A)
Buzz Audio SOC (stereo)
2 x DBX 160XT
1 x DBX 163X
2 x DBX 263X de-esser
Eventide Omnipressor (original .. the one the plugin is copied from)
Aphex Dominator II


Lexicon M300 (half of 480L)
Yamaha SPX 900


Soundelux 195
Neumann 87, modified in a tube body
2 x ADK C12 tube copy (custom, high-end components)
1 x ADK CS1 (Blue 47 capsule, custom, high-end components)
1 x ADK Hamburg AU (copy 87)
1 x ADK Vienna AU (copy 414/C12)
2 x Groove Tubes GT44 tube sdc
2 x DPA (B&K) 4006 (sdc, omni)
2 x Beyer M160 Ribbon
1 x Royer 121 Ribbon
2 x ATM 25 (kick/tom mics)
2 x AKG D224E (classic dynamics)
2 x AKG D190E (60’s dynamics)
1 x AKG 451 condensor
1 x Beyer M201 (original)
1 x Beyer M88 (original)
2 x SM57
1 x Sennheiser 409 (original)
1 x Sennheiser 431 (Prince vocal mic …)
1 x Shure SM7B
1 x Shure Beta 52
1 x Shure 512C (vintage, 50’s)

Little Labs Redeye (DI/Reamp)
Sansamp Bass Driver DI
Tubeworks 4001 (tube DI)
Motherload Elemental (Dummy Load/Speaker Sim)

Sennheiser HD580
Sennheiser HD 280 Pro
Sennheiser HD 565
AKG 240M
Fostex T20
Symetrix Headphone Distribution Amplifier

Studer/Revox C270 stereo tape machine
Tascam DT790 DAT machine
Marantz CD 52 CD player


Heathkit IC12 Amplifier
Dynacord Jazz Amplifier
Vox AD30 Amplifier

Epiphone Sheraton Guitar
Squier Classic Vibe Stratocaster
Squire Classic Vibe Jazz Bass
Epiphone J45 Acoustic
Yamaha U3 Piano (real one)
Emu EIV Ultra Sampler, Korg 01, various keyboards, Philicorda, Hohner electric Harmonium, Pianotone, Toy Piano, Hohner Melodica, Hohner Symphony Organ, Hohner Drum Machine (70’s)