About

Jon is a freelance engineer, co-producer and mixer who frequently works with Grammy Award-winning producer/composer Simon Franglen, recording and mixing on films and related projects, such as Avatar (end title track), One Direction’s film This Is Us in 3D, and the music for the Lionsgate theme park ride, Twilight Saga: Bella’s Journey.

Tom regularly works with names in both the music and film and TV world. He recorded the orchestral elements of Thom Yorke’s score for Suspiria, as well as elements of his short film collaboration with Paul Thomas Anderson, Anima.

Mat Bartram joined London’s renowned Angel Studios as an assistant at the tail end of 1999. In the 20 years between then and the studios’ unfortunate closure in 2020, he worked on many TV and album projects from the natural history epics Planet Earth and Life, to films such as In Bruges and Nine.

Goetz is an accomplished film and TV score mixer, whose recent projects include Four Kids and It, Mrs Wilson, American Animals and Untouchable for Anne Nikitin, War and Peace for Martin Phipps, Doctor Who Series 11 and 12 for Segun Akinola, and the Oscar-nominated Steve Jobs for Daniel Pemberton.

Fiona joined AIR Management in 2018, having already been involved with several high-profile film and TV scores, classical recordings, and pop mixing projects. She has since become a sought-after engineer among composers, artists, producers, and musicians. Notable collaborators include Nick and Ben Foster, Oli Julian, Marc Shaiman, Alex Baranowski, Keaton Henson, and Christopher Benstead.

Rupert is one of the few engineers to have experienced all three incarnations of AIR Studios, having started out at AIR’s legendary Oxford Street studio in 1987, and, via a stint at AIR Montserrat, moving with us to AIR Studios Lyndhurst where he finally joined the AIR Management roster.

Olga has been on our roster since 2013 and is a former Music Producers Guild Recording Engineer of the Year. She has worked with Oscar-winning composers and some of the world’s biggest bands on records for Coldplay, Foo Fighters, and Muse, as well as film and TV scores such as The Crown for Martin Phipps, The Innocents for Carly Paradis, The Last Tree and Doctor Who for Segun Akinola, and Gentleman Jack for Murray Gold.

Geoff has established himself as one of the leading recording engineers in the film scoring world. Starting with Stargate in 1994, he has worked on scores for numerous major movies and albums for bestselling artists. These include scores nominated for Oscars, BAFTAs, Golden Globes, and a Golden Reel.

Paul Golding is an industry renowned sound engineer with a career spanning over 30 years. Having co-engineered on the blockbusting trilogy The Lord of The Rings, Paul’s versatile portfolio spans across genres and partnerships such as his long-term collaboration with John Lunn.

Jake is one of the UK’s biggest names in film-score engineering & mixing, with the scores of Under The Skin for Mica Levi, Cinderella for Patrick Doyle and Pete’s Dragon for Daniel Hart listed on his CV. His mixing credits also include BAFTA Games-winning Everybody’s Gone to the Rapture by Jessica Curry.

Adam’s career began as an intern at British Grove, followed by working over a decade in-house at AIR. He’s honed his craft alongside some of the finest producers, engineers and musical talent in the world, on everything from feature films to classical records, games and major stadium shows.

Since beginning his career at CTS Lansdowne Studios in 2004, Jeremy established himself as a versatile and experienced recording and mixing engineer, specialising in film and television scoring, large ensemble tracking, and Big Band/Jazz.

Lee’s skill, versatility and experience as a producer/engineer/mixer have seen him turn his hand to collaborations with top acts across the whole range of contemporary music, from hip-hop and urban to indie and pop.

Nick is a highly skilled musical engineer, mixer and producer and his vast experience places him at the forefront of the film score and classical music world. In 2008 he recorded and mixed Dario Marianelli’s score for Atonement, which went on to collect an Oscar for Best Original Score.