Full interview: Maxim Milutenko

A graduate of the Schule für Tontechnik in Wuppertal, Maxim Milutenko initially pursued audio engineering to refine his own music projects, quickly discovering a passion for the nuanced art of mastering. Transitioning from mixing to specialized mastering services, he now operates in a carefully tuned acoustic environment—emphasizing that proper monitoring, deep signal-processing expertise, and transparent client communication are the foundations of his craft.

Milutenko’s perspective is shaped by a balanced embrace of modern technologies, including AI-assisted noise reduction, alongside a resolute belief in “old-school” engineering fundamentals. By pairing advanced digital tools with time-tested techniques, he illustrates how thoughtful adoption of innovation can streamline workflows without sidelining the nuanced listening and creative agency that define truly memorable masters. Moreover, his trajectory underscores the importance of building credibility through reliable collaborations—often beginning with small projects for friends—and gradually scaling up via word-of-mouth referrals. Through his experience, Milutenko offers a compelling model for aspiring engineers seeking to merge technical excellence with a genuine commitment to elevating every mix that comes his way.

Introduction & Career Beginnings

What initially drew you to mixing/mastering engineering, and what steps did you take to break into the industry (e.g., formal education vs. self-taught, early mentors, etc.)?

You usually don’t get mastering lessons when you just start to learn audio production. Neither was I, when I entered Schule für Tontechnik in Wuppertal. That is a SAE sort of thing. Mastering guys say sometime that before you can try mastering you need years and years in mixing before that. Meaning that you need profound knowledge about how equalizers and compressors work. But also, you need a fairly decent monitoring system and most importantly a treated room. Both are expensive. You can’t do mastering in your bedroom.

Early in your career, did you prioritize investing in high-end equipment or focus on maximizing what you had? How did that decision shape your growth?

Youngsters rarely have budgets for collecting high end gear. If you are not J-M Jarre ) Of course you try to use what you have at hand. But with the years you learn how pro gear works differently than cheap stuff and start to look for opportunities to get some.

What were the biggest barriers you faced when starting out, and how did you overcome them?

There are no so many jobs in this field. And they get even more rare. As for me, I just wanted good results for my own project and I now always had budgets to pay other people for mastering. So I started to learn myself. Having said that, I thing It’s a good thing to let other people master your stuff if you can, or your label does this. Because it is good if someone else evaluate and re-touch your stuff.

Skill Development & Craft

How do you stay updated on evolving tools/technologies (e.g., AI mastering plugins, spatial audio trends) while maintaining your unique creative voice?

You always need to stay up to date, like in any other profession. But also with the years you understand the values of old school production techniques. They just work. But, in some field new things like AI are revolutionary as we speak, i.e. in noise reduction.

Can you share a project where you had to radically adapt your approach to meet a client’s vision? What did you learn from that experience?

Not in mastering, but I was the sound guy in a production house, doing ads for the industry, many years. There it happened very often, and same is for the other participants like music composer or even narrator. Sometimes your client can come up with crazy ideas, or even doesn't now how the whole process works. You learn to be patient with people, very much so.

What’s one technical or creative skill you wish you’d honed earlier in your career?

I recently started to use M/S techniques extensively. That should have happened much earlier.

Building Clientele & Relationships

How did you secure your first paying clients, and what strategies worked best for building trust as a newcomer?

First you need a decent treated room. Then you need some gear which people don’t have at home. At some point you just start to master a lot for friend and colleagues, for free. With time people spread the word, if they like your results. Then it is time to think about some advertising of your services and skills.

How do you navigate turning friendships into professional collaborations without compromising either the relationship or the work?

This is a natural process. But if both of you or all in the team are talented and ambitious, things sometimes can loose track. Many cool projects suffered from that. Still, people are doing projects together.

What’s your approach to retaining long-term clients while attracting new ones in a competitive market?

Offer competitive skills and prices. Maybe there is something only you can do, or something you do better than others.

Business & Marketing Strategies

How has personal branding (e.g., niche specialization, social media presence) impacted your career? What’s your advice for engineers struggling to stand out?

In my case it didn’t. I am lame at social media and self-promotion. Modern people now much better than I than in a world of today you can’t go without a certain media presence. Learn it.

Beyond Instagram/Facebook, what platforms or offline methods have been most effective for connecting with clients?

In my case mostly word of mouth did the trick.

How do you balance creative work with the business side (e.g., pricing, contracts, chasing payments)?

It’s everybodys dream not have to bother with all those non-creative paperwork. You can hire special people for that only I you are somewhat successful. Otherwise you need to do it yourself.

Industry Challenges & Ethics

What’s a common misconception about mixing/mastering work that frustrates you?

Many people think that they can do things like recording or mixing sloppy, but then it will be “fixed” during mastering or post-production. That is a fatal error. In sound you need to care about a proper procedure from the very beginning of the whole process. A good mix will stand out after mastering, a bad one will not be as good anyway.

Have you ever faced ethical dilemmas (e.g., clients wanting uncredited work, AI-generated content disputes)? How did you handle it?

Sure. Obviously when you are young you don’t take some restrictions too serious. Over the years you find out that many people will give their permissions is you just ask kindly. In AI some issues regarding creative right still remain unsorted, so we have to wait until the industry settles to some rules.

How do you manage burnout or creative fatigue during high-pressure projects?

If you had a hard time to finish some work for deadlines, you definitely need some rest. Go fishing, dance out, have a whiskey with a good friend.

Technology & Industry Evolution

How has the democratization of tools (e.g., home studios, affordable software) changed the role of professional engineers?

Democratization of the tools changed the role of the pros to the worse. And always had. Before inventing of the mp3 every professional involved got proper wages, because a physical carrier has some value to it, and you need mastering, a cover design, you have mechanical rights and so on. Since music now is virtually free, the market of sound services changed. Today many productions are made literally in the bedroom, and you can market them from there as well.

Where do you see the future of mixing/mastering heading (e.g., AI, immersive audio, streaming formats)?

AI gets built into the tools today, like Adobe does this for example. But I am afraid that at some point prompt writing will replace scholar audio skills. This is not desirable.

What’s one outdated industry practice you’re glad to see disappearing?

We don’t have to do cutdowns with tape and razor blades and sticky tape anymore.

Advice & Reflection

What traits separate engineers who thrive long-term from those who struggle?

Those who thrive get better gear.

If you could give one piece of advice to your younger self, what would it be?

Get out of your flat and go to professional sound studios. Maybe they have an assistant job for you. You certainly will see and learn useful things.

Bonus Questions

What’s a project you’re most proud of, and why?

I discovered how I can set up my modular to play on it’s own without repeating itself.

How do you handle clients with unrealistic expectations (e.g., “Make it louder than XYZ track”)?

You need to explain patiently what is possible and what is not. Make people listen what you say.

Thank you!

You can follow Maxim here.