The Full Story: 40 Years of Decisions

The Spark: SARM West, 1983

It started with a day trip that changed everything. In 1983, while studying electronics in London, I walked into Trevor Horn’s SARM West Studios. It was love at first sight. Within months, I was an assistant engineer in the engine room of the 80s pop explosion.

Training under legends like Trevor Horn and Steve Lipson, I watched hits like Two Tribes and Wake Me Up Before You Go-Go take shape. At SARM, the philosophy was simple: perfection takes as long as it takes. I saw Trevor spend months on a single track, obsessing over every frequency until it was undeniable.

The Artist’s Interface: George Michael & The Older Sessions

In the mid-90s, I became the technical "interface" for one of the greatest voices in pop history: George Michael.

During the Older sessions, my role was to provide the "Diplomacy" between the technology and the emotion. George knew exactly what he wanted—it was all in his head—and he needed a partner who could make the gear disappear. We were among the first to use the Otari RADAR hard disk system; I set it up so George could drop himself in and out of vocal takes from the control room.

Those sessions taught me that being an elite engineer isn't just about the EQ—it’s about creating an environment where the artist feels safe enough to be brilliant.

The Journey: From Prefab Sprout to the Australian Coast

My career has been a series of deep dives into the minds of masters. I spent eight months in the studio with Thomas Dolby engineering Prefab Sprout’s 'Jordan: The Comeback'. I’ve sat behind the desk for Kate Bush, Eric Clapton, Phil Collins, Blur, and Echo & The Bunnymen.

After 13 years of working flat out in the UK’s most intense studios, I moved to Australia in 1998. Since then, I’ve focused my "SARM-level" scrutiny on the art of Mixing and Mastering.

The Philosophy: Mixing for the Public

I’ve always believed that as an engineer, I am the first member of the public to hear your song. My job is to listen with "new ears" and make the decisions that ensure your music feels expensive, emotional, and finished.

Today, I combine the surgical precision of modern digital tools with the "Analog Soul" I learned at the feet of the masters. I don't just fix mixes; I make them feel the way they were intended to feel.