Aggressive, powerful and organic mixes for heavy music.
Thousands of hours of recording and mixing metal, punk and hardcore have taught me how to create mixes in which in each element is as loud and aggressive as the next, without becoming overwhelming or muddy. My style is a blend of modern fullness and clarity, with an organic realness that is lacking from so many current productions, rooted in an understanding of an analog-workflow and an attention to detail.
I'm looking to expand my existing workload with remote mixing and mastering jobs. I take every job very seriously and put a lot of work and care into it—if it's going to have my name on it, it's going to sound the best it possibly can.
I'd love to hear about your project. Click the 'Contact' button above to get in touch.
- Year of the Knife
- No Option
- Chemical Fix
- Contrast of Sin
- Vicious Embrace
- Foreign Hands
- The New Harmony
- Struck Nerve
- Payback XXX
- Flesh Tomb
- Block War
- Drug Bust
- Please Die
- Time and Pressure
- Fast Car Slow Car
- True Self
- Mercy of the Blade
- Nowhere Roads
- Carried By Six
- Tiny Rainbows
5 ReviewsEndorse Wyatt Oberholzer
I worked on two different projects with Wyatt and was blown away both times. Working with him is a blast and he works efficiently with a quick turnaround time. I would recommend him for any project from mixing, mastering or full production.
Worked with Wyatt recording the Worn - Total Disease/Harm You single and enjoyed every second of it. He clearly knew what we were going for and helped us fine tune these two songs. He figured out how to get the best drum sound for us and beefed up the guitars. Would highly recommend him to anyone wanting to record hardcore/punk music.
Wyatt made my homemade E.P. sound like it was recorded at a fully operational studio. His remote process of receiving stems and returning mixes is completely seamless, leaving more time to focus on the quality of the mixes. He’s very receptive to mix notes, but honestly had my entire mix in a place of near-perfection after his initial pass. His mastering is also so satisfyingly loud and organic, that my songs stack up against any other professional recording I’ve compared them to. I’m incredibly satisfied with the final product, and can’t wait to churn out more music for Wyatt to work on.
Wyatt knows what's up! Such a great dude. Easy to work with and all the records he makes are bangers!
I’ve recorded with Wyatt 4 times and love it. Friendly environment, very easy to work with and he will work with you to make the finished product sound as good as it can possibly be. Highly recommended.
Interview with Wyatt Oberholzer
Q: Describe the most common type of work you do for your clients.
A: A lot of the work I do is projects that I see start to finish. A band will come in and track with me, I'll mix the record, and about 85% of the time I end up mastering the record too.
Q: What's your typical work process?
A: I prefer to track bands live, or at least partially live, rather than multi-tracking to a click. I think it ends up stifling the energy of aggressive music, and most bands seem to really enjoy the process a lot more that way. It's a lot less stress and pressure on everyone, and it's a more organic way of creating music.
Q: What type of music do you usually work on?
A: Hardcore, Metal, Punk (and the thousands of related sub-genres)
Q: Can you share one music production tip?
A: Selecting and tuning drums is a severely overlooked step in production—I spend hours getting sounds right at the source, because no amount of compression, EQ, saturation or whatever can fix it if it sounds like shit going in.
Q: How would you describe your style?
A: I try to find a line between big, full and modern, while still also retaining a fairly natural and organic sound.
Q: What's your 'promise' to your clients?
A: There's no such thing as an unimportant project to me. Everything I work on gets my full attention and if it's going to have my name on it, it's going to be my best work.
Q: Analog or digital and why?
A: Both, analog sounds great for many applications, particularly clipping the right mic pre's when recording drums, recording hot to tape, etc., but the convenience and flexibility of digital is undeniable—analog sound, digital workflow.