With nearly 10 years of experience across music theory, performance, composition, studio recording and advanced music technology, I’ve developed a deep understanding of how to capture sound, and make sound connect emotionally.

I’ve spent years producing and DJing, learning how to shape mixes that hit hard but never distort, breathe dynamically, and translate consistently across every system using industry standard tools & hardware. To ensure the highest sound quality, I personally will always work in 48KHz sample rate at 32 bit depth audio - unlike working at 44.1KHz (CD Quality) this helps to alleviate any potential artefacts from aliasing in high frequencies, also known as the Nyquist Theorem. This is higher than CD standard quality, and you will receive back your files in distribution standard, lossless format .wav (WAVE).

Having worked extensively in Cubase and Logic Pro, I bring both the creative intuition of an artist and the discipline of a mastering engineer. I take a deep pride in audio quality - no sound gets clipped, squashed, or over processed for lack of understanding. Mixing and mastering isn't as simple as loading a global plugin that does everything in a click, it's understanding every aspect of your song, every nuance & instrument and frequency range they occupy and how they interact with each other, avoiding unintentional phase issues that often goes unnoticed and ensuring there are no momentary peaks that can clip your signal, introducing digital distortion - much worse than the beloved "warmth" of analogue distortion associated with tape recording & amplification, adding harmonic frequencies that contribute in a "musical" way.

As a DJ, I’m obsessively picky about sound quality, because I hear it immediately. You’ll never get a mix that’s just “louder”. You’ll get a mix that’s balanced, powerful, and true to your art. If this is a track you will also be sharing for other platforms such as DJs, I will always send back over a 320kbps MP3 too, as WAV isn't ideal for DJs - it doesn't store metadata or artwork which is personally very important if you're sharing download links as such and the file sizes balloon which take longer for DJ equipment to load and will leave your USBs more prone to corrupting due to increased read and write cycles on their NAND chips.

In the latter half of the process, when I'm mastering a track I ensure that all tracks are best optimised for digital streaming platforms, such as Spotify Loudness Guidelines which utilise new more human algorithms (known as LUFS) opposed to older algorithms (such as RMS). This is because, you can squeeze a song so that is one consistent volume throughout the entire track - and DSP (Digital Streaming Platforms) penalise this as they normalise all their tracks, so no one song is exceptionally louder than the rest creating an inconsistent user experience. Personally, this helps song character too, as too much compression can sound unnatural and remove impactful moments from music and cause listening fatigue.