Producer Max Gilkes is based in Brighton where he runs 1Sonic, a studio facility he set up in 2007 to primarily handle mixing and mastering work. In terms of equipment, 1Sonic currently has an SSL Matrix 2 at its core, with Prism Sound and Focusrite Red audio conversion, and assorted outboard gear. With his diary filling up with postproduction work – particularly mastering and stem mixing to master – he recently invested in new monitors to give him greater confidence in low frequency realisation.

To this end he has installed a stereo pair of PMC IB1SA monitors that are better suited to the size of his room and his current workflow.

‘I predominantly work in the music industry where I have a mixture of roles,’ Gilkes says. ‘My specialisation is stem mixing but occasionally I do full production and I also get involved with some film work as well as original music that I write and perform as an artist.

‘My studio is a stereo set-up, and I have been using PMC twotwo8 monitors for some time,’ he continues. ‘I really loved my twotwo8s but the IB1SA monitors give me more confidence in sub frequency realisation. They also give me incredible stereo imaging, which is important for what I am doing, day in, day out. With IB1SAs, my work in the studio is more assured and efficient. There’s less double checking and doubting my instincts, which is where you want to be, working so you can follow your musical gut and allowing the technology to effectively disappear out of the way.’

Gilkes has a longstanding relationship with PMC spanning more than 12 years – another reason for choosing to upgrade within the company’s product ranges.

‘PMC has always had time to listen to my requests and needs, regardless of how small I started off,’ he says. ‘They have always made me feel part of the family. It’s not just about having good kit - you need to know about it and be able to feed back - and feel like you are listened to. It’s all about listening.’

Gilkes is also house engineer for Ninja Tune and has worked with a large number of the label’s artists. Mot recently he mastered the forthcoming Little Dragon album and stem mixed radio edits for the singles ‘Hold On’ and ‘Are You Feeling Sad’. He was involved with Cinematic Orchestra’s album To Believe, and has mixed tracks for Jayda G, Mild Minds, Frenship, Jordan Rakei, TSHA, Laurel, Chris James and Roots Manuva. His latest mastering credits include Marie Davidson, Bonobo, Odesza, Cold Cut, Maribou State, Big Wild, Fink, Giraffage and Kate Tempest.

Most recently he has done film score work with Emmy Winner Andrew Phillips and On Phillips’ project Grasscut, whose forthcoming album has just been mastered at the studio. Gilkes has also mixed and mastered The Rewilding EP for the Turin Brakes spin-off project OKPM, and mastered Mama Ode, the new Reggie Omas Mamode album.

‘I am also involved with fantastic project called InHouse Records, which is the first record label set up in prison with a mission to reduce re-offending,’ Gilkes adds. ‘Working with artists who have little opportunities or resources to access music production in the normal way has been one of the most rewarding things I have done in my career.’