What does a scoring mixer do?

A scoring mixer balances, shapes, and enhances the recorded elements of a film score. This includes orchestral recordings, soloists, electronic elements, and more. The goal is to translate the composer’s intention into a cohesive, emotionally powerful mix that works both musically and technically for the cinema (as part of the overall soundtrack including dialogue and sound effects), and also standalone for the soundtrack album.

How is film score mixing different from album or pop mixing?

Film score mixing combines both classical and pop techniques with a sensitivity to the need to integrate with dialogue, sound design, and overall narrative. This includes mixing in parallel for both the film and the soundtrack release, in surround/immersive and stereo. Deliverables include multichannel stems for the film’s re-recording mixers, as well as soundtrack album masters in multiple formats.

Can you mix my score even if it was recorded elsewhere?

Yes. I regularly mix projects recorded elsewhere — it is not uncommon for a project to be recorded remotely and even in multiple locations by a variety of engineers, depending on the music’s content, project budget, and other factors.

Do you offer remote mixing?

Yes. Many film, TV, and game projects are mixed remotely. Deliverables, approvals, and revisions can all be handled online, and real-time review sessions are available with picture sync as needed.

What formats do you mix in?

Stereo, 5.1, 7.1, Dolby Atmos (ADM BWF), and Sony 360 Reality Audio. I also provide Apple Digital Masters deliverables and immersive mixes that meet UMG and Apple specifications. For film mixes I typically deliver a set of 7.1.2 stems (+ object tracks if applicable).

How do I deliver my sessions for mixing?

Either as a Pro Tools session, or as a set of .wav audio files (if .wav files also include tempo maps and start timecode). Good documentation and labelling is key in either case. If delivering .wav files for a given cue/piece, all files should be the same length with the same start time (even if that means some files are 99% silence). I can also work from other DAW sessions if it makes the most sense for the project at hand.

How long does it take to mix a film score?

On average, I mix around 10 minutes of score per day, depending on orchestration complexity, revisions, and deliverables.

Do you record classical and acoustic music on location?

Yes. I record chamber groups, large ensembles, soloists, and contemporary classical works on location using high-resolution immersive techniques. I also produce, edit, mix, and master classical albums.

Do you offer Dolby Atmos for classical projects?

Absolutely, classical projects can greatly benefit from Dolby Atmos releases, which help remove the listener from their own environment and create the sense of being in the room with the artist — providing a greater sense of connection with the performance.

Do you work internationally?

Yes, I work with clients around the world, both remotely and onsite.

“It became clear to us in post that Mark puts the film and story first. When we came to a fork in the road creatively, Mark would look to the film / story / character for an answer. Drawing inspiration from the bigger picture of the project is what makes his work so great.”

— Zach Johnston & Matteo Roberts (Composers)

Scoring Mixer | London, UK

Grammy®-winning mixer & scoring engineer delivering high-end film score mixing, and Dolby Atmos/immersive music production

Whether recorded with a full orchestra, a hybrid ensemble, or created entirely with samples, I help bring your musical vision to life.

“Mark Willsher is an absolute pro. Great ears and complete command of the skills and technology to deliver.” — Phil Klein (Composer/Keyboardist)

“Mark produced amazing mixes of the audio to my project, for both Cinema and Streaming. Incredible clarity with every sound and dialogue crystal clear.” — Gary Louca (Composer/Producer)

Close-up of a woman's face with dark skin, dark hair, and a earring, looking to the side. Text indicates this is a poster for a short film titled 'Lea Tupū'anga' or 'Mother Tongue,' written by Luciane Buchanan and directed by Vea Marile'o, with film festival recognition.

Bright animated poster for the Netflix film 'Ultraman Rising' featuring Ultraman and a flying, penguin-like creature with a yellow crest in a colorful cityscape at night with bright lights and motion blur.

Cover art for a video game or movie titled 'The Lord of the Rings: The War of the Rohirrim,' featuring a character in white armor with a shield, surrounded by horsemen and other characters, with a mountainous landscape in the background.

A group of four people dressed in white t-shirts and holding weapons stand in front of a large, creepy puppet resembling Jason Voorhees from Friday the 13th, with a pink furry body and a large hockey mask. The background is a foggy forest with bare trees. The movie title "Puppet Killer" is displayed at the bottom.

Movie poster for 'Morning Hate' featuring a person in a hat emerging from green water with trees in the background.

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Animated poster for the movie "Léo" showing two young girls dressed in period costumes standing on a balcony, gazing at a large full moon in a starry night sky over a cityscape. French text at top and bottom promoting the film's release date.

Movie poster for 'The Aviator' featuring a young Leonardo DiCaprio in close-up, with an airplane on a runway below and a cloudy sky in the background.

A man in a wheelchair and an elderly woman kneeling in front of him sharing a moment in a kitchen with groceries on the counter. Curtains let in natural light, and there are shelves filled with snack items on either side. The poster for the film "Paper Bag Plan" is displayed, with a top banner referencing "East Side Sushi."

Movie poster for Pinocchio featuring Roberto Benigni and a puppet dressed as Pinocchio in a warm, glowing room with a window in the background.

Animated poster featuring a diverse group of characters including a girl with a microphone, a robot, a drone, and various giant robotic creatures with the title "Super Giant Robot Brothers" from Netflix.

SCORING MIXER

As a scoring mixer with extensive experience across feature films, streaming series, and classical music projects, I specialise in shaping orchestral, hybrid, and electronic elements into clear, emotionally expressive mixes. My work supports directors, composers, and music teams by delivering mixes that translate confidently across cinematic, broadcast, and immersive audio environments.

Film & Streaming Score Mixing

Whether recording live orchestra, mixing hybrid cues, or refining electronic stems, my goal is to help the score serve the narrative. I work closely with composers, and directors to preserve musical intention while meeting the technical and dynamic needs of modern post-production.

My score mixes are created to integrate smoothly on the dub stage, with full deliverables as 7.1.2 stems (+ objects where appropriate). Standard additional deliverables include soundtrack masters in stereo and Dolby Atmos. I support composers from inception through final delivery.

Typical film and streaming services include:

Orchestral and hybrid score mixing
Re-recording mixer-friendly mixes
Remote review sessions for international clients
Soundtrack Album Sequencing & Mastering

Classical & Contemporary Classical Projects

My background spans both film scoring and classical music, and I regularly mix classical albums, ensemble recordings, and contemporary concert works. I aim for a natural, transparent sound that honours performance, space, and timbre - allowing all the subtleties of the music to be revealed.

Classical score mixing includes:

Solo, chamber, choral, and orchestral projects
Natural acoustic imaging & balance
Transparent dynamic shaping
Dolby Atmos and binaural classical mixing
Label-ready deliverables

This dual expertise—film and classical—allows me to handle projects that blur boundaries, including contemporary film scores rooted in classical performance.

Dolby Atmos & Immersive Score Mixing

My London studio is fully calibrated for Dolby Atmos (7.1.4) and immersive music production. I mix film cues, albums, and classical releases in Atmos and other spatial formats, ensuring the score translates beautifully in both immersive and stereo environments.

Immersive services include:

Dolby Atmos score mixing
Binaural and headphone-first deliverables
Sony 360RA
Streaming-platform–compliant ADM files
Spatial reinterpretation of stereo or 5.1 archives

Remote Collaboration

I work with clients worldwide through a streamlined remote workflow. Composers and music teams can review mixes via:

High-quality live streaming sessions, or
Offline review with time-coded notes

Projects can be booked directly via email or Air-Edel Associates LTD

Why Work With Me

• Grammy®-winning engineer with a background spanning film, classical, and immersive audio

• Experience on major studio features (New Line Cinema, Warner Bros., Sony Pictures, Netflix, Pixar Animation Studios)

• Deep classical expertise including releases for Deutsche Grammophon and the San Francisco Symphony

• Calibrated 7.1.4 Atmos studio in London

• Balanced musical + technical approach

• Highly efficient workflows for tight schedules and international teams