Ryan Richko

Mix Engineer

10 Reviews
Ryan Richko on SoundBetter

Mixed Get Carter's "Machine" coming out in 2019 through BMG.

Ryan Richko is a Los Angeles based mix engineer and two time Hollywood Music in Media Award nominated composer for film, television, and video games. He has also won 6 Global Music Awards.

Ryan recently mixed the song "Machine" by "Get Carter" (BMG) and "Underdog" by "Speed Of Light." Both songs were written for a feature film that Ryan scored called "Underdog" slated for release in 2019.

"I love to help artists reach their sonic vision. Please send me a rough mix (if you have one) so I can get an idea of what you are going for. I'm easy to collaborate with, and will do everything I can to help you achieve your needs and goals."


Tell me about your project and how I can help, through the 'Contact' button above.

10 Reviews

Endorse Ryan Richko
  1. Review by Ty Leisher
    by Ty Leisher

    Ryan is an excellent composer. He's a great collaborator and fantastic artist. I had the pleasure of working with Ryan on my short film Stranded, and he took the film from what was a decent thriller and made it into a masterpiece. The tension and the ambient landscape that he created took the film to a whole other level. I highly recommend him, and as long as he'll work with me, I want to work with him.

  2. Review by Charlene
    by Charlene

    Ryan recently finished mixing/mastering the sound track for our 2d adventure game, and we couldn't be more pleased with the outcome. Ryan is very upbeat, motivational, and of course highly professional. He spends time getting to know the game and the team members, which isn't something you normally see in the game industry and it's why Ryan is on a different level to work with. He also has an innate ability of finding the "right" sound and instruments that will bring your game to life. I would definitely work with him again in future projects and can't recommend him enough.

  3. Review by Charlene
    by Charlene

    Ryan recently finished the sound track for our 2d adventure game, and we couldn't be more pleased with the outcome. Ryan is very upbeat, motivational, and of course highly professional. He spends time getting to know the game and the team members, which isn't something you normally see in the game industry and it's why Ryan is on a different level to work with. He also has an innate ability of finding the "right" sound and instruments that will bring your game to life. I would definitely work with him again in future projects and can't recommend him enough.

  4. Review by Travis Eliot
    by Travis Eliot

    Ryan is an outstanding composer and mixer! We've worked together on multiple yoga and meditation projects. He's fast, amazing, and fun to work with! I highly recommend him!

  5. Review by Jonathon Conant
    by Jonathon Conant

    Ryan has done a number of projects for me over the past 8 years all of which have been given the utmost care, talent and expertise. Ryan is a head down, get it done kind of guy who has always dealt honestly and fairly with me. I trust his judgement musically and as a business man. Kind of rare no?

  6. Review by OceanWizard Ltd.
    by OceanWizard Ltd.

    Ryan is a joy to work with. From start to completion he is dedicated. He is consistently innovative and a staple for the pursuit of a unique and project specific sound and score. He’s someone we have had the pleasure of working with on several projects. We are always looking forward to the future, with more of his involvement. We highly recommend him, as he is superiorly knowledgeable, a vanguard of his craft and a master weaver of distinct sounds and music. He is an asset to any project he joins.

  7. Review by Cameron Christensen
    by Cameron Christensen

    Ryan mixed my band's SPEED OF LIGHT's first EP. He was thoughtful, meticulous and very professional throughout the whole process. You can tell he really enjoys what he does, and that makes the whole process worth it. He patiently guided us through every step of the mixing, explaining his choices and offering suggestions. We cannot recommend Ryan highly enough. He's a true professional. We will definitely be working with him again in the future!

  8. Review by Ritchie Greer
    by Ritchie Greer

    Some people are born to be doctors. lawyers, bus drivers, and so on. Ryan was born to make music. His ability to create the perfect mood for not only a particular scene but the entire film is simply remarkable.As a filmmaker, I can sleep soundly every night knowing that Ryan’s music will elevate the story I’m trying to tell. If you are in the film business, you know how important music is. I can say with confidence and years of experience working with Ryan that he is passionate, extremely easy to work with, and is a master of his craft.

  9. Review by James Richards
    by James Richards

    Ryan worked on two projects at our studio (www.squishstudios.net) and he was fantastic to work with. Not only was his work top notch, he was also very professional, positive, and all around great to work with. Ryan has a good perspective on the industry and he'll go the extra mile to help guide your sound direction. Thanks Ryan! I look forward to working with you again soon!

  10. Review by amber wegner
    by amber wegner

    Ryan is one of the best in the biz! He is very open to ideas and extremely talented. We have worked with Ryan on multiple projects and have never been disappointed. Ryan, I think you are terrific and I look forward to working with you again.

Interview with Ryan Richko

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

  2. A: Speed Of Light's first EP (which isn't out yet). The recordings were less than ideal so I had them re-track everything. All the drums were done at revolver recordings in Thousand Oaks California. After that we tracked the guitars, bass, and vocals at my home studio where I mixed the rest of the EP. It was a really fun learning experience. I think the best part of it was getting paid! I've never met a mixer who got paid their full fee on their first mix job. =P

  3. Q: What are you working on at the moment?

  4. A: I'm working on some mixes with the band Get Carter for their new EP releasing next year through BMG. Aside from that, I'm scoring a new horror feature film and a new video game.

  5. Q: Is there anyone on SoundBetter you know and would recommend to your clients?

  6. A: I saw Darrell Thorp on here! While I don't know him personally, he's an amazing mixer and I would highly recommend checking out his work. I was lucky to watch his live Q&A on puremix.net awhile back.

  7. Q: Analog or digital and why?

  8. A: Both! There are so many pros and cons to both worlds. From my experience, hybrid setups are the future and my favorite way to work. While mixing in the box 100% digital is way more convenient, these types of mixes tend to sound more flat and less 3d. I've never met a plugin that beats a piece of hardware. Anyone who says an analog modeled plugin is 100% accurate to a piece of hardware is lying or has a bad ear. It's all just marketing hype to get you to buy plugins. Plugins tend to sound more dark and flat. Hardware tends to sound more wide, add depth, and sparkle more. I don't think I could ever go 100% in the box because of how beautiful hardware sounds. I think those that do mix 100% in the box choose to out of convenience.

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

  10. A: The mix won't be done until everyone is happy. I'll always have your best interest in mind while providing my expertise and creative opinions.

  11. Q: What do you like most about your job?

  12. A: Getting to experience so many forms of art and music. It's also interesting to meet so many new people. It keeps things fresh and exciting! Oh and I like turning knobs too, it makes me look like I know what I'm doing! =)

  13. Q: What questions do customers most commonly ask you? What's your answer?

  14. A: Usually balance issues. Clients most often ask for small changes in volume on certain tracks like bass or vocals. My answer is usually "Lets try that and see what everyone thinks!" I also get asked about mastering a lot. Who to use, how much it costs, etc. I usually refer clients to my most trusted mastering engineers that I've worked with before and do a great job. I don't master. I just mix. I tend to believe mastering is best left to actual mastering engineers. Having a second unbiased ear on the final outcome of the song is never a bad thing.

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

  16. A: That I'm like any other mixer. We are all different. You're literally paying for our ears, not our gear. Gear means nothing. Many great mixers today can do a killer album with only stock plugins. And many have switched to 100% in the box mixing. I've heard horrible mixes come out of studios with tons of expensive gear and consoles. The point here is, I could do a great mix on headphones while traveling with a laptop, or in my home studio with my hybrid setup.

  17. Q: What questions do you ask prospective clients?

  18. A: Some typical questions may include; 1. When do you need the mix / album done by? 2. What other similar artist mixes do you like? 3. What kind of emotions do you hope to convey with your music? 4. What kind of music do you enjoy? 5. How can I help you achieve your goals and meet your needs? 6. What are some common issues you've faced in the past with mixing? 7. What are some amazing mixing experiences you've had?

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

  20. A: Have a pro tools session with a rough mix printed on it ready to go. It will increase productivity by a lot! If you don't have Pro Tools, Logic Pro X is also ok but Pro Tools is much preferred. Name all of your tracks! This saves a ton of time. Also be sure to know exactly what you want. Uncertainty leads to frustration and wasted time. Clients who aren't sure of themselves often ask for way too many revisions and nothing ever gets finished. Focus on and decide your goals before contacting me.

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

  22. A: An SSL bus compressor, Manley Massive Passive, Dangerous Bax EQ, Api 512v pre, Bricasti m7 reverb.

  23. Q: What was your career path? How long have you been doing this?

  24. A: I started professionally mixing in June 2018 (for other clients). I've been mixing my own film and video-game soundtracks since 2010. While I may not have a huge track record yet (as I'm just starting out), I think my mixes speak for themselves. If you like them, let's work together!

  25. Q: How would you describe your style?

  26. A: I love wide mixes. I don't know why, but when I hear anything narrow it sounds really boring to me. I like my mixes to have this huge 3d sound (front to back, left to right) while the transients just punch you in the face. I also like my mixes to have some balls to them. Meaning, a good amount of healthy low end and smooth top. A lot of punk recordings for example, have like nothing below 80hz. To me, that's not really my cup of tea. One thing I like to do is try something new with every artist. This gives everyone their own unique stamp so to speak. Experimentation is key to growth.

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

  28. A: Circa Survive. I think they have amazing production value in the way they orchestrate their parts. Plus I love Anthony Green's voice.

  29. Q: Can you share one music production tip?

  30. A: When I set reverb levels on dense rock songs, I tend to hit play and then stop right away to listen to the tail (if I'm going for a tail style reverb). If the volume of the tail is the same volume as the dry signal or louder after I hit stop, then I know the reverb is too high and I need to back off a bit. This is mostly a common case for a subtle reverb when I want the reverb to be not so obvious.

  31. Q: What type of music do you usually work on?

  32. A: Rock, pop, jazz, film, video games, indy, metal, funk, reggae.

  33. Q: What's your strongest skill?

  34. A: As a mixer I suppose my strongest skill is my ear. It's different than everyone else. So you're getting my bias and subjective sonic opinion. Our collaboration will be based on what I like to hear, and what you want to hear. I always enjoy a new challenge! It's the best way to learn.

  35. Q: What do you bring to a song?

  36. A: Emotion and honesty. I think a good mixer is able to enhance the emotion that the artist was striving for. To help the artist reach their fullest sonic potential in order to convey their message to their audience. I can help you get the bigger more badass version of your song! It's also important to be honest. If a song needs work or there is some sort of weak link, we can discuss ways to solve common problems. I'm always a man of solutions and will do everything I can to make things work and keep people happy. If my name is going on the album, I want to be proud of your work and mine.

  37. Q: What's your typical work process?

  38. A: I use a template that usually translates well to any mix I do. So I start there, and if needed, I'll make small adjustments. I'll do all the technical work first like organize tracks, groups, get all the boring stuff out of the way. Then once I feel like I got all the pre-mix elements taken care of, I'll start working on the creative part. I begin with balancing all the tracks together and getting the spatialization part right. Usually I do LCR method of mixing, but it really depends on the style of music or artists vision. I tend to like wide mixes with a lot of depth. Once I get the balance right, then it's time to polish the mix with eq, compressions, and other tools. I usually start polishing on my master bus first by adding some hardware, and a few plugins for sweetening. Once I feel it's got the right vibe, i'll tweak any groups or individual tracks that require attention. Sometimes I'll eq or tweak things as I'm doing the rough balance if I hear a problem that needs fixing right away (like clipping or a muddy low end). I'll add reverb and effects as I go depending on what needs extra help with creating a space within the mix. After getting the balance and polish right, I'll end with any last minute creative effects (delay throws, flangers, etc) and use automation to make the song dance and tell a story. Nobody likes a chorus that feels like it didn't go anywhere. When that chorus kicks in, I want it to punch you in the face! It needs to feel like we've all gone somewhere new and exciting. I'm not a fan of static mixes. Music needs to evolve and grow.

  39. Q: Tell us about your studio setup.

  40. A: I have a hybrid analog / digital setup. An ever growing collection of hardware preamps, eqs, compressors, etc. I run pro tools on a Mac trash can along with my Universal Audio Apollo 8 and Apollo Twin. I mix inside of pro tools but combine my outboard hardware with my in the box plugins (Uad, waves, soundtoys, slate, and more). The hardware gives a little added vibe and flavor that I really enjoy. It adds the depth and overall 3d image that I am always striving to achieve. I like big wide 3d mixes.

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

  42. A: Chris Lord Alge, Andrew Scheps, Mick Guzauski

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

  44. A: Well to be honest my main gig is film and video game scoring. But I've recently fell in love with mixing and hope to do a lot more work in that field as well. So I'm using this website to focus mainly on the mixing aspect of my career.

Get Carter - Machine

I was the Mixing Engineer in this production

Terms Of Service

You will get up to 3 revisions. If more revisions are required then it will be $15 per revision. Turn around time is one day per song (before revisions).

GenresSounds Like
  • Paramore
  • Imagine Dragons
  • SYML
Gear Highlights
  • SA4000 (ssl comp clone)
  • SA-76ADF (1176 clone)
  • WA-76 (1176 clone)
  • Warm Audio Tonebeast pre (Api clone)
  • Stam Audio 1073 MPA pre (neve clone)
  • Warm Audio Pultec clone x2
  • Universal Audio Apollo interface with UAD plugins
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