Hey Ben, thanks for joining us! Let's start with the classic question: how did you get your start in music production and engineering?
Thanks, Mark! Well, it all started back in middle school. I didn’t want to be in a play, so they sent me up to the sound and lighting booth. That’s where I got introduced to sound, signal flow, and how mixers work. Later in high school, I had friends who wanted to rap, and we used GarageBand with a Rock Band microphone. It wasn’t until I got to Grammy Camp in New York that I really experienced a studio environment. From there, it was just internships and studio jobs. Funny enough, it started from a love of computers and audio, and the love for music came later.
That’s awesome! So, when did you make the transition to mixing?
I feel like I’ve been mixing for as long as I’ve been working on songs, but I didn't feel like I got good at it until maybe 2022. I’d been working on music since 2010, but that’s when my mixes started sounding like what I heard on Spotify or the radio. That’s also when I got to the point where I could improve a song no matter what the inputs were like.
When did mixing become a bigger part of your income?
It was around 2023 and 2024 that mixing made up most of my income. Before that, it was more from recording, but now it’s about 50/50, as I’ve jumped back into some great recording opportunities.
What advice do you have for creating depth in a mix?
Depth is about placing things in the stereo field. You can’t make everything loud or wide without losing focus. You need to decide which instruments are taking up space. Like, sometimes making an instrument smaller in the mix and panning it creates a clearer image. So it’s all about balance everything can’t be pushed to the sides, or you lose the middle.
Great point. Now, on to something trendy—Atmos mixes. How do you feel about working in Atmos, and what advice would you give to someone trying to build relationships as an Atmos engineer?
Atmos is a whole different beast, but I enjoy it! One piece of advice is to network where it counts—labels, mixing houses, producers. Atmos engineers don’t necessarily hire each other, so it’s essential to put yourself in environments with those who need your services.
How much time do you usually spend on a mix?
All in, about 5 to 10 hours per song. That includes everything—revisions, stems, clean versions. It can take less or more time depending on the complexity, but 5 to 10 hours is typical.
Do you have a structured way of analyzing a rough mix when you first hear it?
I usually listen to ensure the files are right and see where the vibe is. Rough mixes are essential because even if they aren’t great, the artist has been living with that sound. So, my job is to enhance, not deviate too far from what they’re used to hearing.
What about when you get a rough mix where the vocals are way too loud, and it’s clearly not balanced?
You still have to work within that framework because they’ve been listening to it that way. If the vocals are too loud, then I’ll figure out how to keep them prominent but still balanced. Maybe I’ll change EQ or other settings, but I won’t just drop them.
Do you have any favorite reference mixes or songs you go to for inspiration?
Yeah, for sure! One I like to reference a lot is “Partition” by Beyoncé. It has a great 808 sweep that helps me gauge how low the studio monitors can go. I have a playlist of mixes I admire, especially ones done by my friends and peers—they inspire me constantly.
You mentioned working with different monitoring environments when traveling. How do you adapt to new spaces?
Headphones. I’ve had the same type of headphones for about 10 years, and I know exactly how they sound. Even in new spaces, those headphones keep me consistent, and that’s key when you're bouncing between different environments.
What are your thoughts on out-of-tune elements like an 808? Do you correct it, or can it add to the vibe?
It depends. If it’s a newer producer who might not be aware, I’ll bring it up. But if it's a veteran producer with more experience than me, I assume it’s intentional. Ultimately, my name is on the back of the record, not the front, so if it’s what they want, that’s what I go with.
What tips do you have for managing CPU resources in large projects?
First, stick to your stock plugins—they're always going to be more efficient. Second, start committing things, especially instruments or VSTs that aren’t going to change. You just have to get used to making decisions and moving forward rather than freezing or leaving everything open.
What do you consider the pulse of a track like “Rehab” before the drums kick in?
In the intro, it's the bass. On the first hook, it's the clap, and on the verse, it's the high hats. Each part of the song has a different element driving the rhythm before the drums come in fully.
If a multitrack doesn’t sound like the rough mix at all, how important is it for you to match the rough before moving forward?
Essential. Even if they say they hate the rough mix, I need to start where they left off because that’s what they've been listening to. I have to enhance from there, not reinvent it.
You’ve mentioned how important it is to take your ego out of the process. Can you talk more about that?
Yeah, it’s important to remember that it's not my song. The artist has to stand on this record, whether it’s a hit or not, so I defer to their vision. Even if they want a revision that I think is wrong, I’ll do it so they can hear it. Often, they’ll realize that their idea doesn’t work, but I let them hear it first rather than argue.
What’s your approach to getting an in-your-face vocal sound?
Honestly, turn it up! But more technically, manage your EQ and compression carefully, especially the low mids. You can use a lot of compression without making it sound squashed if you get your attack and release times right. I like using an 1176 for that because it’s easy to dial in.
You mentioned some great plugins earlier. Do you have a favorite from Make Believe Audio?
Oh, definitely! All of their plugins are great, but I really like Kevin's Limiter and the S Clip. They’re easy to use and get amazing results without too many options to overwhelm you.
How do you map out Dynamics for a lead vocal, especially for rap? Do you have a target dB range?
No set dB range. I compress until it starts sounding compressed, but I focus on using the attack and release times to keep the compression musical. If the needle moves with the vocal, you can get a lot of compression without it sounding crushed.
You’re very strategic about keeping things dry in your mixes until the end. Can you explain why?
I need to set the level of the vocal first before adding any effects. If I start with too much Reverb or delay, it skews how I hear the vocal in the mix. I prefer drier vocals anyway; it leaves room for creative effects later on.
What are some challenges you've faced with producers being particular about their drums?
Producers are very attached to their drums, so I have to respect that. I focus on getting the top and bottom right—tight low end and clear vocals—and then the middle works itself out. Sometimes it’s about gently suggesting changes rather than overhauling the sound.
One last question—what’s your favorite drink while mixing? Any favorite beer?
I actually don’t drink alcohol, so no beer for me. But I do love Spindrift, especially the grape flavor! It’s hard to find, but it’s my go-to.
That’s great, Ben! Thanks again for sharing so much insight with us. We appreciate your time and wisdom.
Thanks for having me, Mark! It was a great conversation.