Markus Sommer – Mixing Engineer, DJ, and Co-Founder of Pager Records

Welcome, Markus! You come from an audio engineering background, but you’ve taken quite an eclectic path—eventually co-founding Pager Records and producing your own music. Can you start by telling us a bit about that journey?

Sure. I studied audio engineering formally, which gave me the fundamentals—acoustics, signal flow, all that. Then I landed a steady job in the field, but I quickly realized it wasn’t offering the creative freedom I craved. It was well-paid, but I felt my growth was limited. That’s when I decided to produce and mix my own music, eventually co-founding Pager Records with Phil Evans.

A lot of engineers dream of going independent but hesitate to leave steady employment. What pushed you to take that leap?

My course provided me with technical know-how, which was great, but I wanted more than just a safe nine-to-five. I realized the real shift comes when you’re willing to embrace risk for the sake of creative freedom. With Pager Records, I can explore my musical identity and apply my engineering background on my own terms. It’s definitely high-risk, high-reward—but that energy keeps things exciting.

You’ve mentioned that you still handle a lot of mixing duties, but sometimes outsource mastering. Can you explain how you see the mixing vs. mastering relationship?

For me, mixing is very much part of the production process—shaping the narrative of a track and emphasizing the emotional elements. Mastering, on the other hand, feels more like a final polish. There’s a definite synergy, and fresh ears can be invaluable. Even though I’m an engineer myself, sometimes I’ll send tracks to an outside mastering specialist because they catch issues I might overlook after listening to the song a thousand times.

You run Pager Records as both a DJ and an engineer. How do these roles intersect with your mixing approach?

Running a label makes you see the importance of a cohesive sonic identity. Mixing isn’t just about one track—it’s about a sound that suits the label’s overall aesthetic. If we’re aiming for a raw, analog vibe across releases, my mixing choices reflect that. Each track I work on isn’t just an isolated project; it shapes the Pager Records brand.

Let’s talk about technology—specifically AI. Are you incorporating AI-based mixing aids in your workflow?

I’ll sometimes use AI or automated tools for repetitive tasks—like basic noise removal or quick leveling passes—but I still prefer manual control for the creative stuff. If an algorithm is making too many decisions, you risk losing the human imprint that makes a mix truly resonate. AI is great for efficiency, but mixing is still a subjective art.

You’ve mentioned business aspects like marketing and distribution. How critical are they for an engineer who also wears the hat of DJ/producer?

They’re vital. Once we started Pager Records, I realized audio is about 50% music and 50% business. You need to know how to pitch your tracks to DJs, handle distribution deals, promote on social media—basically everything that ensures the music you create actually reaches people. It’s a massive learning curve, but it’s also empowering.

If you had to distill your experience into a few key pieces of advice for newer mixing engineers, what would they be?

Define Your Sound and Be Patient: Don’t chase every new plugin. It’s far better to master a handful of tools and develop an identity.

Build Real Relationships: The best gigs often come through referrals, not random DMs. Make real connections with artists, labels, other engineers.

Stay Grounded Musically: Always keep one foot in the creative side. All the technical trickery in the world won’t substitute for a track’s emotional impact.

Thank you!

As Markus sees it, success rests on consistent refinement of one’s core tools, a genuine approach to client and collaborator relationships, and the courage to follow personal vision—even when it involves stepping away from stability to create a niche in an ever-evolving music landscape. You can find more about Markus here and about Pager Records here.