After years of shadowing numerous Grammy-winning and nominated engineers and producers, I'm confident that I can help you achieve the sound in your head. Being an artist is challenging enough, so let me worry about the technical stuff!
After years of cutting my teeth in Chicago under the engineers that brought you artists like G Herbo, DMX, Chance the Rapper, and many more Billboard chart-topping artists, I'm more than confident that I have the tools to bridge the gap between where you are at and where you want your sound to be!
I have worked as a recording and mixing engineer for many successful artists including Slum Village, Probcause, Joey Purp, and many more. Mixing is a pivotal phase in the creation of your final product and "good enough" is simply not good enough. In my eyes, the job of a mixing engineer isn't just to "make things sound good," but rather to amplify the emotional content within the track so that every listen can be a meaningful experience.
Send me a message and we can talk about your next project! As a producer, musician, and engineer, there are few things I can't help out with!
Click the 'Contact' above to get in touch. Looking forward to hearing from you.
3 ReviewsEndorse Randy "Hoot" Brown
Randy was very accomodating and up front, making the process very easy
Took what had been good ideas on my hard drive for 6+ months, to a great song. Thorough, responsive and above all else bloody good at what he does, you’d be very (repeat very) hard-pressed to find anyone better. Thank you!
- check_circleVerified (Client)
A pleasure working on these cool beats
Interview with Randy "Hoot" Brown
Q: Analog or digital and why?
A: Analog across the full mix, digital on the track-level (unless I'm hitting something HARD). This way of working allows the mix to exist in the real world for a little bit and pick up some tone from real transformers/circuitry, but recalls aren't nearly the same headache as a full-analog mix.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: My PMC monitors, a computer, and then I'd take acoustic treatment over 3 pieces of gear. It doesn't matter how good you get the mix to sound if the room doesn't translate to the real world.
Q: Can you share one music production tip?
A: Over-dubbing you've heard of, but under-dubbing is also a thing...
Q: What do you bring to a song?
A: Fresh perspective! The best part about hiring me as a mixer (besides the fact that I've trained myself to hear some intense details) is that I haven't been beating my ears up with the rough mix the way that producers and artists are forced to. I'm gonna hear it the way your audience members will hear it, so I do what needs to be done and get out of the way while bringing all that I can to it.
Q: What's your typical work process?
A: Receive stems, organize and edit, THEN get fancy with the plugins. I like to think that I've improved things considerably before I even start with the processing.
Q: Tell us about your studio setup.
A: PMC Two-Two Six speakers and an Obsidian Bus Compressor attached to Apogee converters are the main highlights. Past that, I have a few extra outboard toys and pretty much ALL of the plugins!
Q: What other musicians or music production professionals inspire you?
A: Dilated Peoples, Dr. Dre, and Dilla are my top three, but Rage Against the Machine, Gramatik, Robert Glasper, and anything grimy out of NYC holds a special place in my heart!
Q: Describe the most common type of work you do for your clients.
A: Online I usually find myself mixing. That said, I work in LA as a freelance recording engineer as well.