Mixing / RecordingProduction

I got pulled into audio around 2018 through Ragapop. At first it was just part of being in the band — recording, producing, trying to understand why some sounds felt alive and others didn’t. Pretty quickly, mixing became the thing I couldn’t stop thinking about.

I started studying everything I could find: interviews, masterclasses, gear notes, plugins, strange forum threads. In that search I became obsessed with the work of Tchad Blake — the person behind records I had loved for years without even knowing his name.

Since then I’ve been constantly working in audio, sharpening my mixing, investing in education, testing gear and software, and slowly building my own way of working. In 2025 I got to attend Mix With The Masters with Tchad Blake and meet him in person.

With time, and with more records passing through my hands, I moved further away from trying to simply copy Tchad Blake’s sound. What stayed is the obsession with character: distortion, movement, weight, air, and sounds that don’t feel over-clean. My workflow is hybrid — in the box when it works, out through amps and speakers when the source needs colour. I do a lot of reamping now, pushing sounds until they feel less like files and more like a record.

At the moment I work from the home studio I was finally able to build, doing a lot of commercial audio work for TV and film. But my heart still clearly belongs to alternative music — helping strange, brave, rough-around-the-edges projects find their sound. Over the last two years I’ve also been doing live sound as front-of-house engineer for Dakh Daughters, as well as consulting on complicated theatre projects and helping build systems where the sound has to be automated, synchronised, and shaped around the performance.