Making tracks & Mixing records

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: I had a chance to work on a alternative version of a Demi Lovato song for Hollywood Records. I was contracted to record, produce, mix and master an alternate pop rock version for a licensing deal. We recorded a simple piano part with some co-writers, and that started it all. 18 hours later and 2 McDonalds runs we had the song recorded and sent to post. It was effortless to come together, I look back on that day and wish all my production sessions could be that easy. I love that track.

Q: What are you working on at the moment?

A: I’m currently working on a double EP for a project in collaboration with the Croatian Catholic Church. I'm also wrapping up three pop singles set to be pitched to my friends at Universal by the end of the summer.

Q: Analog or digital and why?

A: Both, because it’s 2018 and nobody edits on reel to reel anymore. Also sometimes I don’t feel like patching in all the gear. Joking aside I really believe we are in the age where cross over setups are the way of the future. You can't have a studio without either one present, so it's only natural to make them work in harmony.

Q: What do you bring to a song?

A: Clients come to me because they know a song will be brought to a commercial level. I spent many years bridging the gap between artists and labels. The artists want something true to them creatively, the labels want a specific format. I try to make all my records something digestible and understandable for the audience, but also creative enough that it still has an edge. In the end, I make every song sound like it deserves its own spotlight.

Q: What other musicians or music production professionals inspire you?

A: Honestly, it’s the pop punk era of 1998 to 2005 that inspires me. They acted like fools and the world loved them for it (or at least a decent enough number of people to get them featured on about 7 Tony Hawk games and to literally embody the X games).

Q: Describe the most common type of work you do for your clients.

A: The bulk of my work is mixing, prepping sessions and helping my clients get all their recorded material ready for the next phase. I do spend a great deal of time working things out on a production level with artist in how we might be able to boost the production.

Q: How would you describe your style?

A: Loud! Especially when I comes to drums and guitars. I have a soft spot for compression and width in a song. I produced and co-mixed a lot of pop and rock tracks in my early years, so that influences many of my mixing choices.

Q: What's your typical work process?

A: I start by importing all the audio and pressing space bar. I like to hear the song without any references, it helps prevent having a preconceived direction to take the song in. When Mixing a song, I’ll arrange my session with what I feel are the lead focus parts/instruments. Do some basic EQ, compression and minor effects. Nothing too much, just enough to get some space. After that I’ll go back and listen to any references the client may have sent. I like being surprised by what they did and what I did. It brings a different element to the table and helps mash our vision together.

Q: Can you share one music production tip?

A: Not every track needs to be the cleanest, most pronounced sound. Sometimes a muddy backing vocal or gritty organ is just what the song needs. Don’t try and make it clean, just make it fit. Another specialty of mine is using reverbs and delays to create specific moments in a song that emphasize the lows and highs of the energy, rather than using them as glue to bring a song together.

Q: What's your strongest skill?

A: When working on a song I imagine what it would make people feel like and how would they move or jam out to the song in their car all by themselves. I always try to see the big picture and who the music is for.

Q: What's your 'promise' to your clients?

A: I, TheOnlyBrianArnold, promise to make you the best sounding record or single that you could get.

Q: What do you like most about your job?

A: The people - everyone has a story and I love hearing them. Plus, most musicians are a little wacky, so that always makes things interesting.

Q: What's the biggest misconception about what you do?

A: I often get people asking me to present their record to my label contacts, but, unfortunately, I rarely do. It takes a lot of 'wow' factor to get labels to buy into an artist these days, so naturally I have to be selective on what I bring forward to them. If you do want to get presented however, my best advice is to be active in the artists’ and producers’ community. Word travels very well once people start hearing good things about you.

Q: What advice do you have for a customer looking to hire a provider like you?

A: I’m very easy going and I like to get to know the person I might be working with before we get started. My best advice is to be personable and don't be afraid to ask any questions. I look forward to hearing from you!

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: I’d bring a 96 channel SSL desk (good for for making a tent), 2 channel Millenia mastering EQ (good for weighing things down), an AKG C12 (it’ll keep me warm at night), and a harmonica.

Q: Which artist would you like to work with and why?

A: All American rejects, Paramore or Dr.Dre (who wouldn’t want to cook beats with that dude?) because they are all iconic and defined a generation. Their music captures the emotions, thoughts and style that spanned genres and demographics. You might not have listened to their music, but you've definitely listened to an artist that was made to sound like them.

Q: Tell us about your studio setup.

A: My studio setup is quite basic, I have a protools HD2 system and my favourite pieces of hardware. I have a special place for outboard compressors and tube pre amps. They’ve been curated over the years and so far it’s the gear that I find the most versatile. I can mix a rap record and the next day reconfigure for a pop/rock track. I like the flexibility of working both in the digital and analog domain.