Mixing/Mastering
Single track (mixing): £50
EP [3-5 tracks] (mixing): £200
Album [6-12 tracks] (mixing): £500
Album [13+ tracks] (mixing): +£45/track
Radio edit: £25/track
Single track (mastering): £50
EP [3-5 tracks] (mastering): £150
Album [6-12 tracks] (mastering): £375
Album [13+ tracks] (mastering): +£33.75/track
Minimum Requirements (mixing):
All files must be a lossless format (such as .wav or .aiff)
All files must be of 44.1kHz sample rate or higher and possess a bit depth of 24-bit
All files must be clearly named according to what they are (i.e., kick in, kick out, bass DI, bass mic 1, etc.)
Supply 2 - 3 reference tracks (i.e., tracks that are professionally produced and represent your artistic vision)
Minimum Requirements (mastering):
All files must be a lossless format (such as .wav or .aiff)
All files must be of 44.1kHz sample rate or higher and possess a bit depth of 24-bit
All files must not exceed -6dBFS
All files should be mixed between -25 and -19 LUFS
Supply 2 - 3 reference tracks (i.e., tracks that are professionally produced and represent your artistic vision)
Nailbed - Don’t Have Time to Lie
Alternative Metal
Nailbed are good friends of mine from my hometown of Ipswich. I recorded, mixed, and mastered their song Don’t Have Time to Lie over the course of late 2025.
During the whole process, I worked closely with the band to ensure the track was to spec and exactly as it had sounded in their minds. This meant a few mix and master revisions which in the end proved to be absolutely worth it as the track came out exactly as they had wanted.
Overall, this was a formative experience in terms of my production career. My first real-world project, I was able to learn a lot about my approach to recording, mixing and mastering from this project.
For example, I learned the importance of maintaining a fun feeling in the studio. Recording can be a long process, maybe the longest process for the artist overall. Therefore, it is important that something as permanent as a recording for a band never begins to feel like a job.
In this case, though we definitely got some really solid recordings, I couldn’t help but feel the vibes may have been even better if I had provided the band with the ability to record together as if they were jamming, rather than defaulting to the typical separation-centric approach.
Tristan Latchford - Rain
Classical
I was introduced to Tristan in January of 2026 when I volunteered to record and produce a dual-piano concert he had organised with the wonderfully talented pianists Marion Caldwell and Kristin Barone-Samadi. Together, they were performing pieces from the likes of Rachmaninov, Brubeck, Milhaud as well as Rain, an original piece Tristan had written some years earlier that had secured him a place studying at Durham University.
Tristan asked me to produce a version of rain with more of a “studio feel”. To do this, I mixed the track entirely in analog, making use of Anglia Ruskin’s flagship recording studio which is built around an API 2448 desk.
After printing the track through some simple outboard EQ with live-panning and fader moves to give the track some motion, I mastered in digital taking a careful, minimalistic approach.
Mastering Rain taught me much about the intricacies of what is an often oversimplified yet integral part of the music production process. Mastering is far more than “just turning the track up” as so many amateur mixing engineers might claim.
Indeed, once you have worked with music such as Rain where retaining the dynamic range is just as important as ensuring consistency throughout the piece, you quickly learn that this is simply untrue. Mastering can very much make or break any song, even one at the highest grade musical integrity.
Marion Caldwell & Kristin Barone-Samadi - Blue Rondo à la Turk (Brubeck)
Jazz
The final piece of an hour and a half of music performed at the dual-piano concert arranged by Tristan Latchford mentioned above, the recordings of this concert were requested to retain a more live feel than the above recording of Rain, though either were approached with respect for the style of music in mind. For example, dynamics were delicately handled with the utmost care in this case during mastering.
Along with Rain above, Blue Rondo à la Turk concerned two simultaneous grand piano performances from Marion Caldwell and Kristin Barone-Samadi, two wonderfully talented pianists. Marion and Kristin swapped between Kawai and Steinway grand pianos. I was careful to maintain the unique tonalities of either piano during mixing and bring out their best qualities with simple EQ and light dynamic processing.
The microphone setup was fairly minimalistic across pianos due to being a live recording. Either piano had stereo AKG C414s position centrally over the strings and a Neumann KM184 in a plate hole. Two Oktava MK-012 cardioid SDCs were placed central of the two pianos at the back of the hall in X/Y configuration as room mics.
The Okatava SDCs ended up being a very useful tool for maintaining the live feel of the recordings during mixing, as this made the tracks feel live without the use of added reverb or delay in post, giving the finished product a real sonic honesty.
To fulfil Tristan’s request to convey the use of two pianos through panning, whilst myself conscious of mono compatibility issues, panning was never excessively wide and EQ was carefully utilised to help the frequency ranges of either piano sit nicely together.
Anglia Ruskin University Musical Theatre Vocal Reels
Pop/Various
Myself and fellow Anglia Ruskin University student Luciana Montoya Escalante worked in conjunction with the final year Musical Theatre students recording the audio for their Vocal Reel module.
This involved weekly vocal recording sessions with 3 - 5 students recording parts of songs they had chosen for a professional vocal reel for use in post-education. Luciana often took charge of arranging time slots for small groups of students to get time in with us, as well as general technical assistance and running her own sessions where necessary.
My approach to the vocal reel sessions involved a range of high-quality vocal microphones, including standards like the Shure SM7B, ElectroVoice RE20, and Neumann U87Ai, as well as the very nice JZ V67, a clone of the classic Neumann U67. In the earlier weeks, we would run clients through a microphone shootout, allowing us to move forward more efficiently in future weeks by keeping a record of what microphone most flattered their voice before.
We tracked with backing tracks played through speakers rather than headphones, as course leader Pippa O’Brien informed us that it had recently become a standard to track this way, though it would perhaps have been the best choice anyhow in order to allow students to sing more naturally as they might onstage.
Assisting with the Vocal Reel module allowed me to sharpen my instincts with setting gain levels for what were often extremely dynamic vocal performances, as well as my confidence communicating with clients in a clear and constructive manner.
Very little processing was used at all during the entire process. Vocal tracks were mixed with backing tracks chosen by the students, so I often cut would 2-4dB around 800Hz-1kHz to allow the bulk of the energy in the vocal to sit nicely with the backing track, with any excessively quiet parts handled using clip gain.
However, in some cases it was necessary to compress vocal performances, which was kept to low ratios (often only 3:1, if not less,) to allow the performer’s use of dynamics in their performance to translate to tape. Simple de-essing was used fairly often, particularly for performers who had used the U87Ai, which is naturally a fairly bright microphone with a small boost around 7-10kHz.
