Hi, I'm Philip Dust, a professional audio engineer
with over ten years of experience.
I've helped dozens of talented and dedicated musicians realize their sonic visions, achieve their dream sound and grab the attention of their audiences - and you could be next.
Whether you're an established band looking to release a great sounding album, a singer or producer trying to break into the industry, or simply a passionate musician who's aiming to take his recordings to the next level, I'm here to help.
I have the gear, the skills, and the experience to bring out the full depth of your creativity, artistry, and the best in your music.
I work towards your success.
Online mixing and mastering done right
Top-notch acoustics & monitoring
The state of the art mixing room was built in the span of one and a half years. Knowing the mixing space's acoustics in and out, our head engineer Philip is able to deliver masters that are going to translate to any speaker system or any listening environment.
Our state-of-the-art KRK Exposé E8B reference speakers, as well as our two other nearfield monitors - including PSI Audio, and Neumann - allow us to hear your songs exactly the way they really sound and reveal flaws in your mix that will otherwise remain hidden.
Combined with the accurate and made-to-measure acoustics in the studio, Philip is able to expertly balance out every part of your track until it "sits" just right.
Hybrid mixing par excellence
Philip is using a so-called "hybrid" workflow, which means that in addition to working solely "in the box" using a multitude of industry-standard plug-ins, he also makes sure that every song runs through world-class AD/DA conversion by Antelope Audio into a variety of boutique analog outboards, including compressors and equalizers by Manley, Prism Sound, Pultec, Avalon Audio, TL Audio, Teletronix, Tube-Tech, UREI, and Focusrite giving your music that coveted analog sound so sought after in modern recordings.
Professional equipment and an experienced engineer are crucial when mixing or mastering, however, what truly gives music its heart is creativity and soul. That's why we've put so much effort into creating a studio workflow that allows and inspires the creative process and provide unlimited free revisions on each mix based on your feedback.
Our first round of mixes almost always get approved, but if there’s anything that isn’t perfect, please let us know and we’ll make it right.
Once you receive the files, you will be able to make any changes if necessary.
Having your music properly mixed is more important than ever
By mixing and mastering your tracks, you are making sure your music sounds the best that it can on all speakers, platforms, media formats and devices.
To stand out you simply have to be the best. You have mere seconds to grab the listener’s attention before they skip the song and forget you. If someone starts listening to your track and hears poorly mixed vocals that clip regularly, or cymbals that overpower the other instruments, for example, they’re going to skip your track.
On top of this, you have to remember that your competition is what you hear on the radio. In the world of sync licensing, for example, you are directly competing for the same sync opportunities as your favourite artists. Only one song can be chosen. So make sure you’re on the same level and your music is mixed and mastered professionally.
A lot of clients ask Phil how he goes about analogue and digital processing. As far as sound processing is concerned, he uses a hybrid approach when it comes to mixing. There are certain things he prefers to do with digital tools and for other things he goes "outside of the box." However, all of the client's mixes will at some point be converted into the analogue domain using a world-class AD/DA conversion by Antelope Audio - sometimes even without much processing at all and other times very radical depending on the given material.
Phil will do as much or as little as he has to in order to take that mix to the next level.
Sometimes just a slight boost is needed at 12-14k with my Prism Sound EQ to give an audio file more "air" and a certain "mojo", other times more work it required.
Selected Analog Equipment
KRK Exposé E8B
PSI Audio A17 M
Neumann KH 120a
Prism Sound Maselec MEA-2 Mastering Equalizer
Pultec EQ-P 1A
TL Audio 5013 IVORY II Dual-channel Tube Parametric EQ
Pultec MEQ-5 Midrange Equalizer
Manley Vari-Mu Limiter Compressor
Avalon Audio 747 SP Spectral-Opto-Compressor
Tube-Tech CL 1B Opto Compressor
Universal Audio 1176 LN BlackFace
Teletronix LA-2A CLassic Leveling Amplifier
Antelope Audio Orion³² Multi-Channel AD/DA Converter