Born and raised in Belgium, Award winning engineer Wes Maebe moved to London to study audio technology in 1998, returning to live here in 2003. Initially dividing his time between being a visiting lecturer in Audio Technology at City of Westminster College and building a client base for freelance recording, mixing, mastering and live work, Wes moved to full-time engineering in 2006.
Wes has made live recordings of The Kooks, the Buzzcocks and Cat Stevens, amongst others - including distinguished classical pianist Alfred Brendel, Nigel Kennedy and Jean Luc Ponty. He's worked in some of the loveliest studios in London, including Mickie Most's RAK, Trevor Horn’s Sarm West and Mark Knopfler's private paradise, British Grove. In these studios he has recorded and mixed for artists like UB40, Carly Simon, Plan B, Arrow Benjamin, Gabrielle Aplin, Marti Pellow, Patricia Kaas, Celine Dion, Alexandra Burke, Elliott Randall, Melanie C, Beverly Knight, Ellie Goulding, One Republic, Praying Mantis and New Model Army. And has had the pleasure of working with many a great producers like Garth Richardson, Kevin Bacon, Jonathan Quarmby, Elliott Randall, Dave Allen, Chris Kimsey, Paul O’Duffy and Rick Nowels.
Clients have described Wes's "sound" like the bridge between old school edgy British engineering and lush American production values.
Wes has mastered more than 100 albums over the years for everyone from Sex Pistol Glen Matlock to folk heroes Fairport Convention, punk icons Stiff Little Fingers and post-punk icons New Model Army.
Wes has worked as a front of house engineer in over 300 venues and festivals all over Europe, and has toured with artists as varied as Sting, Chaka Khan, Hugh Cornwell, Paul Rodgers, Robert Plant, heavy metal rockers Exit Ten and classic blues/rock singer Deborah Bonham, sister of the late-lamented John. He's played John Bonham's gong too!
Wes is on the Grammy P&E Wing Advisory Board, he’s a board member of the APRS, MPG member, has done presentations for the AES, NAMM, IMSTA and is a regular reviewer for Mix Magazine U.S., Pro Sound News and Audio Media International magazine, which means he gets to play with lots of lovely new gear for nothing.....