JB on SoundBetter

Professional producer, mixing & mastering engineer, songwriter, composer. Currently signed to Ultra Records as an artist. I specialize in hybrid workflow using Class A analog equipment and digital plug-ins. I have mixed and mastered for respected indie labels like TH3RD BRAIN and Mind of a Genius, and my work has accrued over 10million streams.

I have always believed that the greatest asset in music is the ability to translate the sound in your head onto the speakers. As such, I have spent nearly 15 years honing my skills as a producer, songwriter, composer, and engineer so that I can achieve a musical vision as quickly and accurately as possible. When you hire me for any of the services I offer, you get the added benefit of my knowledge in the adjacent disciplines necessary to execute and finalize a record or piece of music. I approach songwriting from the perspective of a producer, production from the perspective of a mixer, and mixing from the perspective of a mastering engineer. With that said, I still approach all of these from the belief that the music comes first. No matter what stage of the process I am working on, my goal is to best service the soul of the idea sitting in front of me.

Since I am a versatile and technically equipped producer, I am able to bring an added level of creativity to mixing that can elevate your record from good to great. If I think I can enhance the vision of your music by adding a little creative processing on my end, I won't hesitate to put in the extra legwork during mixing. Similarly, as a mastering engineer, I can hear the intention behind the mix as well as the reality of its tonal and dynamic state. I enhance it as much as possible, while respecting the mix's intention.

Would love to hear from you. Click the contact button above to get in touch.

Credits

3 Reviews

Endorse JB

by Chase
Justin has mixed all of the tracks for our upcoming project, and we couldn't be happier about it. His sonic knowledge and taste elevate your sound and production, and he goes the extra mile to teach you mixing and production concepts. 100% would recommend if you need mixing for your songs!
by Bryce
Justin mixed my song I Can Change that has over 5 million streams! He's a very talented engineer that knows how to get a punchy modern sound without sacrificing tone and dynamics. Definitely recommend working with him
by Matt Ebrani
Justin mixed our debut record for our band The Ehems. He has a wealth of knowledge and insight, and is more than accommodating. He worked with me way more than he probably needed to just to make sure we were happy with everything.

Interview with JB

Q: What's your typical work process?
A: For mixing, the very first thing I do is "raise the faders" and set levels, adjust any track labelling to help me best navigate the mix, and color code the multi-tracks and/or stems. After that, if there are drums, I start with them, then bass, then lead instruments, then lead vocals, and finish off focusing on background layers, whether vocals, FX, or instrumental layers. For each of these phases, I asses the quality and functionality of the individual elements, and start by first correcting any obvious issues I hear, almost always digitally. This usually amounts to a simple stock EQ, and tools like transient shapers, gates, and dynamic resonance suppressors. If I think the sound is missing some tonal or dynamic mojo, I'll run it through one or more of my analog processors and print it into the mix. Yes, that's right, I commit to the sound right away! Just in case I've done something the client doesn't like though, I keep the pre-processed tracks in a folder at the bottom of the mix. To this day, I have never had to access those folders, but I still keep them there just in case! Once I have a solid foundation in the mix, I begin using return/aux tracks to enhance depth, psychoacoustics, and vibe, and apply parallel processing like compression or distortion/saturation. When everything in the mix has been fit into place, I group process, and then pass the mix through my analog 2Buss chain to give it a final polish, where I will make finishing adjustments in tandem. For mastering, I listen to the song before doing anything. As I'm listening, I simultaneously am absorbing the emotional content/intent of the record and the tonal/dynamic state of the mix. After I have listened, I start by correcting any obvious issues. If something can be simply adjusted to improve the master, I communicate that to the client to see if they'd like to adjust it on their end before I get going. Correction tools typically include Mid-Side EQ adjustments with FabFilter, dynamic EQ adjustments, multi-band compression, and occasionally dynamic resonance suppression. After correction, I apply analog processing to sweeten the mix that little extra, sometimes tube, sometimes solid state, often times both, but it really depends on what will best service the mix. I tend to begin applying limiting at this point, almost always in series (2 or more limiters in a row), and make any tonal or dynamic adjustments accordingly. Often times, I do a small bit of additional digital processing after the analog signal. It's here that I'm starting to consider loudness targets. I shoot for between -8-10 LUFS, and -8-9 RMS, but the goal is always to achieve an open sound. Once satisfied, I print the result into the session, export a 32 Bit float from my DAW, and dither in Ozone.
Q: Analog or digital and why?
A: Both. And if you forced me to choose, digital all day. Way more flexible. But if you can afford to use both, and have the expertise to understand when and why to use each, the result is magical. I adore analog for the sturdiness, heft, and confidence it brings to sounds, but it does not excel at precision. I always say, "You wouldn't use a Ferrari to transport a family of 4 to a soccer game." I have my analog tools, I have my digital tools, and I always choose the tool that most easily takes me where I want to go.
Q: What's your 'promise' to your clients?
A: It's not done until you're satisfied. Within reason... lol
Q: What questions do customers most commonly ask you? What's your answer?
A: "Can you make my song sound like X song by Y artist?" If I'm mixing, then I say, "Only if your production/music already sounds like that." If I'm ghost producing, I just say, "Yes".
Q: What's the biggest misconception about what you do?
A: Mixing or mastering cannot solve arrangement problems or sound design problems. Mastering is like getting a car wash. I can make your car look really nice and clean, but if it's a busted, used POS, it'll still be that when it's washed! Just a really clean one! Mixing is like building a car. If you give me the parts for a Toyota and expect a Ferrari in return, you need to go back to the drawing board.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Communicate clearly. Don't feel shy about asking questions or making requests, and don't feel embarrassed if you have to ask about something you think you're supposed to know. That's why you're hiring me :) If we're on the same page from the outset, the results will likely be to your satisfaction.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Computer, Prophet 6, electric guitar, UAD Twinfinity 4-710d, Shure Sm57.
Q: How would you describe your style?
A: The tone and soul of the pre-digital age with the precision and power of the contemporary toolkit.
Q: Which artist would you like to work with and why?
A: Johnny Greenwood (from Radiohead). He's an absolute wizard of a musician. So avant-garde, but also so intensely listenable.
Q: Can you share one music production tip?
A: The secret to a great song and a great mix is an intentional and well-crafted arrangement. Arrangement is not simply the order in which things come, it is also the manner in which sounds intermingle with each other - that is, instrumentation and rhythmic interplay. You're going to struggle to achieve an open, clear, and focused mix if every section is busily stuffed with competing rhythmic and harmonic elements. You can think of arrangement as pre-staging the mix. Each sound is like a little notch on a giant EQ that is your track. From your bass to your highest octave instrument, you are creating one giant chord. If you stuff lots of notes together in 1 or 2 octaves on a keyboard, you tend to get a muddy, unclear result. Music production is no different. If you write/record tons of parts that are in competing octave/frequency ranges, even if they're musically harmonious, you're going to get a very muddy result, and decrease the quality and fidelity of each sound because they will have to be carved apart to function in a mix. The more separated and layered your parts are by octave/frequency and rhythm, the clearer and more balanced your mix will sound. Focus on quality of writing and quality of performance, not quantity of parts.
Q: What type of music do you usually work on?
A: Hybrid live/electronic music. Electronic productions with live instrumentation, or live bands with accompanying electronics.
Q: What's your strongest skill?
A: Creative processing. This can include any host of tools, but I specialize in adding a "vibe" to music that imprints a unique musical stamp - but this stamp is always in tow to the music, not leading it. It's not my vibe, it's the vibe your music is asking for.
Q: What do you bring to a song?
A: A rich and nuanced musical perspective that sources inspiration from many different styles and eras. I listen to every conceivable type of music, from every conceivable time period, and I am always trying to discover new techniques and approaches hiding in the music. My philosophy is to give a "classic" and timeless tone that still feels immediate and contemporary. Furthermore, I am not only an engineer - I am an active musician and artist, and I relate to the music from the perspective of someone who knows exactly how the creative process works. I have a very strong intuition for what a sound is intended to sound like versus what it actually sounds like, and given my breadth of production knowledge, my vault of internal musical references, and a wealth of technical know-how, I can really hear a sound, envision its potential, and take it there.
Q: Tell us about your studio setup.
A: I work in a treated room using Hedd Type 20 monitors. My AD/DA conversion is a UAD Apollo x6 with a Ferrofish Pulse 16 linked via ADAT. I use Audeze LCD-X and Phonon SMB-02 reference headphones. My studio is set up to be as creative as possible at all times, so it's as much a production suite as it is a mixing/mastering environment. Choice analog synths are to my right, drum machines sit on an Output desk in front of me, and my go-to outboard gear is racked in the desk. A host of additional outboard gear and 3 patchbays sit alongside me in an Output sidecar. I have both tube and solid state gear. Guitars and bass hang on the wall, amps sit beneath them, and miscellaneous drum heads and percussion are in one corner. I also receive ample natural light, which adds a nice touch!
Q: What other musicians or music production professionals inspire you?
A: I am very inspired by Nicolas Jaar, Radiohead, and newer acts like Khruangbin, The Viagra Boys, and Automatic. I also find Jack Joseph Puig's mixing philosophy very inspiring.
Q: Describe the most common type of work you do for your clients.
A: Mixing. I am accustomed and prepared to receive any variety and quality of multi-tracks and stems
Q: Analog or digital and why?
A: Both. And if you forced me to choose, digital all day. Way more flexible. But if you can afford to use both, and have the expertise to understand when and why to use each, the result is magical. I adore analog for the sturdiness, heft, and confidence it brings to sounds, but it does not excel at precision. I always say, "You wouldn't use a Ferrari to transport a family of 4 to a soccer game." I have my analog tools, I have my digital tools, and I always choose the tool that most easily takes me where I want to go. With all that said, I haven't used a digital synthesizer in my own work for a very long time.
Q: What's your 'promise' to your clients?
A: It's not done until you're satisfied. Within reason... lol
Q: What questions do customers most commonly ask you? What's your answer?
A: "Can you make my song sound like X song by Y artist?" If I'm mixing, then I say, "Only if your production/music already sounds like that." If I'm ghost producing, I just say, "Yes".
Q: What's the biggest misconception about what you do?
A: Mixing or mastering cannot solve arrangement problems or sound design problems. Mastering is like getting a car wash. I can make your car look really nice and clean, but if it's a busted, used POS, it'll still be that when it's washed! Just a really clean one! Mixing is like building a car. If you give me the parts for a Toyota and expect a Ferrari in return, you need to go back to the drawing board.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Communicate clearly. Don't feel shy about asking questions or making requests, and don't feel embarrassed if you have to ask about something you think you're supposed to know. That's why you're hiring me :) If we're on the same page from the outset, the results will likely be to your satisfaction.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Computer, Prophet 6, electric guitar, UAD Twinfinity 4-710d, Shure Sm57.
Q: How would you describe your style?
A: The tone and soul of the pre-digital age with the precision and power of the contemporary toolkit.
Q: Which artist would you like to work with and why?
A: Johnny Greenwood (from Radiohead). He's an absolute wizard of a musician. So avant-garde, but also so intensely listenable.
Q: Can you share one music production tip?
A: The secret to a great song and a great mix is an intentional and well-crafted arrangement. Arrangement is not simply the order in which things come, it is also the manner in which sounds intermingle with each other - that is, instrumentation and rhythmic interplay. You're going to struggle to achieve an open, clear, and focused mix if every section is busily stuffed with competing rhythmic and harmonic elements. You can think of arrangement as pre-staging the mix. Each sound is like a little notch on a giant EQ that is your track. From your bass to your highest octave instrument, you are creating one giant chord. If you stuff lots of notes together in 1 or 2 octaves on a keyboard, you tend to get a muddy, unclear result. Music production is no different. If you write/record tons of parts that are in competing octave/frequency ranges, even if they're musically harmonious, you're going to get a very muddy result, and decrease the quality and fidelity of each sound because they will have to be carved apart to function in a mix. The more separated and layered your parts are by octave/frequency and rhythm, the clearer and more balanced your mix will sound. Focus on quality of writing and quality of performance, not quantity of parts.
Q: What type of music do you usually work on?
A: Hybrid live/electronic music. Electronic productions with live instrumentation, or live bands with accompanying electronics.
Q: What's your strongest skill?
A: Creative processing. This can include any host of tools, but I specialize in adding a "vibe" to music that imprints a unique musical stamp - but this stamp is always in tow to the music, not leading it.
Q: What do you bring to a song?
A: A rich and nuanced musical perspective that sources inspiration from many different styles and eras. I listen to every conceivable type of music, from every conceivable time period, and I am always trying to discover new techniques and approaches hiding in the music. My philosophy is to give a "classic" and timeless tone that still feels immediate and contemporary. Furthermore, I am not only an engineer - I am an active musician and artist, and I relate to the music from the perspective of someone who knows exactly how the creative process works. I have a very strong intuition for what a sound is intended to sound like versus what it actually sounds like, and given my breadth of production knowledge, my vault of internal musical references, and a wealth of technical know-how, I can really take a sound, envision its potential, and take it there.
Q: What's your typical work process?
A: For mixing, the very first thing I do is "raise the faders" and set levels, adjust any track labelling to help me best navigate the mix, and color code the multi-tracks and/or stems. After that, if there are drums, I start with them, then bass, then lead instruments, then lead vocals, and finish off focusing on background layers, whether vocals, FX, or instrumental layers. For each of these phases, I asses the quality and functionality of the individual elements, and start by first correcting any obvious issues I hear, almost always digitally. This usually amounts to a simple stock EQ, and tools like transient shapers, gates, and dynamic resonance suppressors. If I think the sound is missing some tonal or dynamic mojo, I'll run it through one or more of my analog processors and print it into the mix. Yes, that's right, I commit to the sound right away! Just in case I've one something the client doesn't like though, I keep the pre-processed tracks in a folder at the bottom of the mix. To this day, I have never had to access those folders, but I still keep them there just in case! Once I have a solid foundation in the mix, I begin using return/aux tracks to enhance depth, psychoacoustics, and vibe, and apply parallel processing like compression or distortion/saturation. When everything in the mix has been fit into place, I group process, and then pass the mix through my analog 2Buss chain to give it a final polish, where I will make finishing adjustments in tandem. For mastering, I listen to the song before doing anything. As I'm listening, I simultaneously am absorbing the emotional content/intent of the record and the tonal/dynamic state of the mix. After I have listened, I start by correcting any obvious issues. If something can be simply adjusted to improve the master, I communicate that to the client to see if they'd like to adjust it on their end before I get going. Correction tools typically include Mid-Side EQ adjustments with FabFilter, dynamic EQ adjustments, multi-band compression, and occasionally dynamic resonance suppression. After correction, I apply analog processing to sweeten the mix that little extra, sometimes tube, sometimes solid state, often times both, but it really depends on what will best service the mix. I tend to begin applying limiting at this point, almost always in series (2 or more limiters in a row), and make any tonal or dynamic adjustments accordingly. Often times, a small of digital processing takes place after the analog signal. It's here that I'm starting to consider loudness targets. I shoot for between -8-10 LUFS, and -8-9 RMS, but the goal is always to achieve an open sound. Once satisfied, I print the result into the session, export a 32 Bit float from my DAW, and dither in Ozone.
Q: Tell us about your studio setup.
A: I work in a treated room using Hedd Type 20 monitors. My AD/DA conversion is a UAD Apollo x6 with a Ferrofish Pulse 16 linked via ADAT. I use Audeze LCD-X and Phonon SMB-02 reference headphones. My studio is set up to be as creative as possible at all times, so it's as much a production suite as it is a mixing/mastering environment. Choice analog synths are to my right, drum machines sit on an Output desk in front of me, and my go-to outboard gear is racked in the desk. A host of additional outboard gear and 3 patchbays sit alongside me in an Output sidecar. I have both tube and solid state gear. Guitars and bass hang on the wall, amps sit beneath them, and miscellaneous drum heads and percussion are in one corner. I also receive ample natural light, which adds a nice touch!
Q: What other musicians or music production professionals inspire you?
A: I am very inspired by Nicolas Jaar, Radiohead, and newer acts like Khruangbin, The Viagra Boys, and Automatic. I also find Jack Joseph Puig's mixing philosophy very inspiring.
Q: Describe the most common type of work you do for your clients.
A: Mixing. I am accustomed and prepared to receive any variety and quality of multi-tracks and stems