Learning and having the ability to handle a state-of-the-art facility does imparts a transferable skill; Making one able to work at a variety of environments. From fancy recording studio facilities to the smallest bedrooms in the world. For the duration of my 3 years in Lasalle College of the Arts, I was able to learn the ins and outs of this state of the art recording studio ( A.K.A C201 ) being able to incorporate such a workflow in my own practice, and in Line In Records.


Giving the musicians a greater ability to produce better takes and results is essential, as an engineer I highly relied on my interpersonal skills as well as the atmosphere of the space to make the artists more comfortable. The Live Rooms In C201 helped me with such tasks. It has 3 rooms that has acoustics that vary as you walk around the hall. Some areas more dead than others. Of course inner booths are much more dead than the main live room, but the application varies. Being able to set up the musicians anywhere to where we feel the musician would have the most comfort and where the instrument would sound its best.

Aside from this being a room for recording, The live room can also be used as a makeshift control room, having recordings done with the engineer inside. With its versatility and flexibility anything, out of the blue, can be done. Of course the need for creativity is there.


The control room is where most of the brain and bronze take place. This is where takes are cut and mixes are bounced. the producer, and the engineer normally sits here during the pre, post & the production stage, while In some instances the guitarist or bassist record here, while their instrument is being sent out to the live room. In this room mixing and mastering is highly practiced as well, especially when the engineer would like to have an analog feel incorporated into their mixes. A hybrid approach (Analog & Digital) is also possible, using the analog board and gear as well as computer plugins to craft a mix that is interesting.

Monitoring here is kept as important as well. Here we have 3 sets of monitors, so that we know it sounds good on multiple sources. This is important especially if you’d want your mixes to sound outstanding in multiple areas. Variety is highly regarded, so we get accustomed to different pro audio gear.


The brain of the entire studio. This is where most of the equipment, such as microphones, cables, power, and a ton of the other portable equipment, is stored. This is also where the main console is being powered, having all the Digital to Analog conversion happening in here as well. It is the room that has the most technicality across the entire studio.

Photo By: Eugene Ng ( )


Having learnt and worked  in this pristine studio has been a true honour. It gave me an insight on how the industry really is  and how one should respond to it being fast paced. Here I learnt to work with a variety of characters and gear, that it has made me the engineer I am today. With all that I have learnt here, I am able to translate into Line In Records and modernise the way engineering is done in SEA

As a studio engineer, touring can be a hefty task, especially when involved in small budgeted productions. In this case I love bringing a set of tools (a.k.a. my touring rig) everywhere I go.

This helps me run the session at its highest efficiency, eventually creating a working environment that is beneficial for the artist and the engineer. Whether the session is in a fully equipped facility or an empty space, I have all of this ready for me in my Pelican case.

Normally in these scenarios the luxury of time is not of the essence.


When travelling, a good audio interface is a must. Choosing one that is durable, has a great sound, and is compact. I love using Apogee’s element series, because of its versatility. Being able to control everything  inside one software. From gain, to EQ's to pads, I am generally able to just have it in my case, snap it out and start the session.


Another important aspect of the recording world would be the use of microphones. Normally choosing your microphone arsenal is key. This keeps you on the go and creates an overall workflow efficiency in the session. Knowing what to place and where to place such microphones tightens up your workflow, especially when time is of the essence.  In my recording rig I keep 3 main microphones - An SM57, an SM7B, and an AKG C214. Everything thing I need for versatility and for an extra sound candy, especially when the studio doesn’t have such.

Main Usages

SM57: Snares & Guitars

SM7B: Vocals, Snare, Kick, High - Hats, Bass, Guitar.

C214: Vocals, Overheads, Snare, High - Hats, Kick, Guitars & Bass


In my travelling rig, I bring around with me my trusty  Beyerdynamic DT770. Accustomed to its overall sound, I would from time to time reference recordings and mixes on it. This is to get a clearer perspective of the entirety of the songs I am recording, mixing, or mastering. During recording, I normally would have the artist pick between a pair of  headphones or earphones, This allows them to be comfortable while recording with the expectation of what they want to hear in their ears, eventually leading to an impeccable performance.

Misc Items

Nik Naks are items I like to bring with me wherever I go. These are tools  that I don’t necessarily need, however may help me during the session. This includes converters, power supplies, extra shock mounts, usb hubs, and even an extra interface. Sessions are very unpredictable, that anything can just happen anytime,, so it’s best to be prepared for anything to happen.


Last but not least is my trusty Mac book. One of the main brains behind the entire process. From recording, to mixing to mastering, this is where a large chunk of the the creative process happens. Everything I need to make is inside this. Whether im in Asia, or travelling around the world, this is where I place a big chunk of my creative juices.

Sound Engineering is an art and a science that deals with the technical aspect of sound from music to film to live events. Whether large or small scale, It is considered as an art which is prevalent in every form of entertainment —-making it one of the most demanding industries today.

When I was younger, I always admired the recording process. It was such that I spent the entirety of my weekends in my bedroom writing, recording and mixing my own tracks and showing it to family and friends the following week. It was an activity I enjoyed and didn’t want to give up. In my final year of high-school I made a decision to take it further.

Studying audio production in one of the most prominent art universities in Asia, Lasalle College of the Arts. Entering with the desire to be a producer, I was taken aback with my first real taste of the audio production process. After finishing a semester, I was inspired to take the leap, completely jumping to learn and grow as an audio engineer and to specialize. And so, after a year of practicing and doing voluntary work I opened an audio servicing start up called Line In Records.

It started out with the dream of taking the company global. Whether it was voice over recording, or it was music, I accepted opportunities that would come my way. A year later after being introduced to new people and really working to the end goal, I noticed I started growing my client base not just in Singapore but also in the Philippines. A few months ahead I found myself working with Universal Records, arguably one of the biggest labels in the Philippines.

Now with the experiences and knowledge that I have gained in opening up my own business and studying sound engineering, I’ve decided to move back to my hometown and blaze trail as I build on Line In Records and take it global.