Audio Stem Mix Engineering & Final Master (up to 12 tracks)

I have over 30 years experience in the music industry, particularly in the area of sound engineering, production and mastering.  I work with many labels and private clients and artists around the world. 

Spotted by Dave M Allen (The Cure, Human League, Depeche Mode, Neneh Cherry etc) in 1990 and taken under his wing to work along side him as a programmer and junior engineer at Rak, The Hit Factory, Olympic Studios, etc, introducing electronic and dance elements fusing genres, given the moniker “the groove consultant”

Signed to pioneering record labels of the 90’s (XL Recordings, BlueRoom, Dragonfly, A.C.I.D.)

I am considered to be one of the pioneers of Goa and PsyTrance from the 90s

Owned and ran labels

Toured for 25 years with my own successful dance act


Currently signed to Todd Terry’s Terminator Records and Kenny Dope’s DopeWax after meeting and working with them and numerous other household names due to managing and running the largest studio complex in Ibiza from 2016 to 2019.


  • Mastering typically includes:
    • Tonal balance correction and Equalisation – careful adjustment of low, mid, and high frequencies for enhanced low end punch, midrange presence, and clarity when needed.
    • Dynamic enhancement – enhancing a songs punch and dynamic energy with strategic compression techniques.
    • Subtle Saturation – when additional harmonics, warmth, and character is needed.
    • Stereo enhancement – small width adjustments for increased separation and clarity in the stereo field.
    • Loudness optimisation – transparent level maximisation based genre and industry specific loudness standards.

Revisions and re-tweaks are standard, so revisiting final masters to taste is normal, a guide track will help to understand goals and expectations, if analog colour is required it is also an option to add juice and flavour to DAW based in-the-box productions, transparent masters can also be delivered, the world is your oyster !

There are personal standards and preferences to loudness standards, club dance music is still in the “loudness wars” so this can be achieved easily if it is required as opposed to final masters delivered with a more dynamic range.  Everything is possible and understood. 

Tracks for streaming purposes are set to -14 LUFS as standard but downloaded music from sites such as Beatport for the purpose of Deejays to play out are still running ‘hot and loud’ and do contribute to the “loudness wars” at around -8 LUFS.  Preference is key and understandable and knowledge of all that is required is known and can be delivered though my services.