Mixes with a composer’s ear.

I’m George, a mix and immersive-audio engineer in London, though I came to the desk as a musician first. I trained as a composer and pianist, and studied and worked at Abbey Road, but what I really do hasn’t changed since I was a kid at the piano: I listen for what a piece of music is trying to become, and help it get there.

“Mixing is the never-ending journey of music through sound.”

I hear songs as journeys, they begin somewhere, they travel, they arrive somewhere changed, and I mix them that way, thinking about where a listener is being carried, moment to moment. I think cinematically. A lot of what I love comes from film and score, from music that builds a world you can step inside. And more than anything, I care about texture, the grain of a voice, the room around a piano, the small imperfections that make a recording feel human. My job isn’t to sand those away, but to protect them.

These days I mix from my own room and at a Dolby Atmos studio, where I’ve assisted on the immersive mixes for releases by Lola Young, Fontaines D.C., Gorillaz, Mark Ronson & RAYE and Rag'n'Bone Man, and on the official soundtracks for Better Man and Silo. My own mixing work runs across the spectrum, from full-band and ensemble records to intimate solo artists, and I’m ranked in the top 2% of engineers and top 10% of mix engineers on Muso.AI.

But the part I care about most is the conversation, hearing what you’re trying to say, what you’d hate to lose, what the song means to you, and making sure the record that comes back sounds like you. Over the years, one-off projects have a way of turning into lasting connections, and I think that’s why. If you’re making something you care about, I’d love to hear it.