I specialise in live audio editing/fixing and mixing. We have all had the 'sound guy' record our gig then not been happy with the live files and not sure what to do next. Send the project to me. I have so many years in live sound production and post-production I've forgotten how I started.
My name is Wilson Nash.
I have been involved with music and music technology since I plugged my first electric guitar into my dads HiFi and killed it. I was 12.
Since then I have pretty much worked in every area of music production. Be it live, location, studio or film, I have learned it all from the ground up.
I engineer and produce records at Gilbert O'Sullivan's studio (equipped with the legendary SSL 4048G+ console) and my personal hybrid studio centred around the latest DAW technology and analogue hardware in Jersey CI.
I mainly use Pro Tools with Universal Audio DSP & UAD2 plugins where I have invested heavily over 10 years. Other software plugins I endorse are Fabfilter, SoundToys, McDSP, Gullfoss, Isotope and Zynaptic. My studio has expanded with the ultra-fast fibre broadband in Jersey and I now work remotely in online mixing, mastering and audio editing via my website and SoundBetter.
I love stereo 2-Buss processing including analogue summing to add some grit and life to digital audio. So with this, together with my ‘sonic taste’, I can get a project happening quickly and I’m always open to new ideas...
Keen to hear from you.
I'd love to hear about your project. Click the 'Contact' button above to get in touch.
ReviewsEndorse Wilson Nash
Interview with Wilson Nash
Q: Describe the most common type of work you do for your clients.
A: I guess the most common type of work I do is 'audio project management', that means to say I'm hired to manage an audio projects creative end-to-end cycle as a producer. This would commonly entail pre-production, recording, mixing and mastering an artists work holistically from the top down.
Q: What other musicians or music production professionals inspire you?
A: My main inspiration comes from a life long love of music. I was taught how to critically listen to music by professional engineers during my apprenticeship in acoustic engineering in 1992 at Ruark. Since then I have loved work by producers and engineers such as Andy Wallace, Greg Fidelman, Steve Albini, Flood, Tchad Blake, Tony Maserati, Eric Sarafin, Ethan Johns and Jason Boshoff.
Q: Tell us about your studio setup.
A: Currently, I am the resident engineer at Gilbert O'Sullivans' studio in Jersey centred around an SSL 4048G+ console and two 24 track Studer A800's. The studio has a great selection of vintage outboard and mics such as the revered GML 8200 EQ, Urei 1178 and Neumann U67. My home DAW is also well stocked and centred around a Dangerous Music analogue summing mixer and TK Audio BC1-LTD stereo 2-Bus compressor. I use Universal Audio, FabFilter, SoundToys and McDSP plugins mainly and also have room correction by SonarWorks Ref4 and mastering processing by Gullfoss, Zynaptq and LANDr.
Q: What's your typical work process?
A: I am approached through word of mouth on Jersey, via my Facebook Page and Website, I guess based on my work ethic and discography proceeding me... I'll get into my clients' work and live it for the duration, bringing my tastes and technicals 100% to the process - I won't stop till my client is satisfied and signed off on the masters.
Q: What do you bring to a song?
A: I like to think I bring my experience, skills and tastes to the songs I work on - I have a great ear for detail, a hyper-real mental soundstage I am constantly chasing.
Q: What's your strongest skill?
A: I guess my strongest skill is my knowledge of sound and performance - I love to engage in all aspects of the musical process.
Q: What type of music do you usually work on?
A: I currently work on anything - I guess the creative winds in my circle revolve around acoustic alt-folk, rock, metal and rap with some healthy classical and choir work thrown in.
Q: Can you share one music production tip?
A: Get your gain structure right from the start!
Q: Which artist would you like to work with and why?
A: I secretly want to be Metallica's next producer. I love their work and sound, it's inspiring to have grown up through their career and shared so many similar experiences along the way yet never met.
Q: How would you describe your style?
A: Upfront, larger than life yet honest to the work. I love to bring the hidden detail out in a song.
Q: What was your career path? How long have you been doing this?
A: I gravitated to digital production from analogue live sound paralleled with the evolution of computing power. As processing power increased and storage became cheaper we have been able to build extremely efficient DAW's and access DSP like never before! I'm an engineer at heart and came up through the tried and tested old school method of learning on your feet and having some great mentors along the way. I guess I have been working in sound for over 25 years now - Madness!
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: I'm hopeless at this... Presuming there is access to electricity and supplies to live on and there was a reason for recording sound, say a natural sound recording gig I'd take: Laptop, Apollo, a pair of C414's and a multitool.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Be positive, open to suggestions and above all honest with yourself about what you need in a professional capacity from your producer/audio expert.
Q: What questions do you ask prospective clients?
A: What is your vision for the work, the projects scope and a what reference tracks seem to you to be in the ballpark for your work to base a sound on?
Q: What's the biggest misconception about what you do?
A: That all producers with decent gear are loaded!
Q: What questions do customers most commonly ask you? What's your answer?
A: 'How much to record a song'... Dang, that's hard sometimes... I'd work for free if I could but have mouths to feed and rent to pay. I charge myself out based on the project normally, with a menu of options based on certain criteria such as the projects scope, experience of the client, past work and future aspirations.
Q: What do you like most about your job?
A: Meeting new people, working on awesome tracks in a project - getting out in the world and doing location recording too.
Q: What's your 'promise' to your clients?
A: To deliver a piece of work you can be proud of that will outlast us all.
Q: Analog or digital and why?
A: Digital workflow for efficiency coupled with an analogue hybrid summing mixer and analogue 2-Bus compressor for versatile colour and vibe.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Jason Boshoff. We have worked on many projects together and share a similar outlook on life in general, especial over a beer (San Miguel Zero for me these days).
Q: What are you working on at the moment?
A: I am currently balancing normal life and pursuing my production career by looking to work on the next record which will catapult my client into the stratosphere - obviously.
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I am especially proud of engineering and recording my mentor Ray O'Sullivan on his latest record 'Gilbert O'Sullivan' in Jersey with Ethan Johns and Dom Monks. I'm credited as Assistant Engineer for the record and Recording Engineer (lead vocals) on 'For The Record'. It was really inspiring working with Ethan Johns and learning the real Glyn Johns drum recording method.