Graham Hope

Recording/Mixing Engineer

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4 Reviews
Graham Hope on SoundBetter

Credits include Santana, Spoon, Jason Mraz and more. I am a Grammy-nominated engineer who learned the art of engineering during my 12+ years of working at the legendary Sunset Sound in Hollywood, CA. My goal is simple, to help you achieve your vision for your songs. I love what I do and will work on a song until you are completely satisfied.

My mixing process focuses on collaboration to get the results you want:
• Before getting started I'll ask for any general direction and references you might have for the mix.
• I will get the song to a good starting point, then the collaboration really begins.
• I can link you to a high-res stream of my mix so you can listen in real time through a browser. We'll also be able to video chat in that browser window. If you ask for a change you'll hear it instantly. This way of working is the next best thing to being in the same room while mixing.

My Tools:
Digital Cooking, Analog Flavor - that's the approach I take. Most of my mixing is in the box. I use an Avid S3 and Dock so I can enjoy tactile interaction with the DAW. I do come out of the box to use analog audio gear and sometimes guitar pedals to add flavor. If I come out of the box for analog stereo buss treatment I use a Lynx Hilo A/D-D/A converter.

Other Services:
• Available for hire as an engineer for tracking/overdubs.
• Vocal editing/tuning/comping - (my tuning is very transparent and is phase aligned).
• General Instrumentation editing.
• Drum sample placement (phase aligned).

I want to be clear that not all of my credits are mixing credits - most of them come from assisting and engineering work during my time at Sunset.

All genres welcome!

I'd love to hear about your project. Click the 'Contact' button above to get in touch.

Credits

AllMusic verified credits for Graham Hope
  • Chris Cornell
  • Chris Cornell
  • David Haerle
  • Arturo Sandoval
  • The Madden Brothers
  • The Madden Brothers
  • Silversun Pickups
  • Spoon
  • Boney James
  • Dwight Yoakam
  • Kelly Clarkson
  • Jason Mraz
  • Micky Dolenz
  • Lee Ritenour
  • Lionel Richie
  • Boney James
  • M83
  • Christina Perri
  • Manchester Orchestra
  • Alain Clark
  • Santana
  • Sara Bareilles
  • Herbie Hancock
  • Charlie Musselwhite
  • Adam Stephens
  • Black Mountain
  • Kelly Clarkson
  • Toby Keith
  • Fall Out Boy
  • Cory Chisel and the Wandering Sons
  • Cory Chisel
  • Kris Allen
  • Silversun Pickups
  • Sam Phillips
  • Fall Out Boy
  • Switches
  • Fall Out Boy
  • Glen Campbell
  • Glen Campbell
  • The Vines
  • The Whigs
  • Donavon Frankenreiter
  • Daniel Martin Moore
  • Daniel Martin Moore
  • Boney James
  • The Rocket Summer
  • The Rocket Summer
  • Switches
  • Powderfinger
  • Eulogies
  • Switches
  • Maroon 5
  • Café Tacuba
  • Norman Brown
  • Switches
  • Jet
  • Jet
  • Jet
  • Kirk Whalum

4 Reviews

Endorse Graham Hope
  1. Review by Joel Nass
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    by

    Graham is a total pro, so comfortable with the gear that it functions as an extension of his fingers. He listens to artist input with the same focus he gives the NS-10s while he’s bringin up a mix.

    I can be a bear for detail, and to a fault. I’ve had many engineers / musicians walk out mid project.

    Graham. Never. Quits.

    His love for music and his craft push him hard. He’s got his own internal fire burnin for perfection.

    I’ve worked on dozens of mixing and tracking sessions with Graham Hope, lookin forward to the next one!

  2. Review by Aaron
    starstarstarstarstar
    by

    Graham is amazing! He brought out layers in my music that I didn't even realize were there. He is so patient and collaborative and due to his depth of experience is able to work on a variety of styles. He adds that special something to your mix to give it that professional sheen that is oftentimes hard to get on your own. I generally dread the mixing phase of production but not anymore, as one of the benefits of working with Graham is that he is able to explain why he makes each adjustment, so that you learn along the way. On top of all this, he's an excellent musician and producer.

  3. Review by Jason Cook
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    by

    Graham's a meticulous master, with a no-quit attitude and, most importantly, sharp ears. He recently mixed the soundtrack for my film The Creatress. Not only did everything come back flawless, but he was alway at or ahead of schedule. His work was so good that we requested some small edits to the music to fit adjustments in the cut, which he was happy to jump on and handle for us. He did warn us this was outside what he normally does, but that is exactly why I mention it - Graham is very upfront and honest, which makes for easy communication, and has more talent than he admits. Good man.

  4. Review by Ben
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    by

    Got a chance to work with Graham on an electronic pop track. Graham is a very sweet dude, and was willing to work and iterate on the details and really feels like he is after your best interest. The track came out big and lush! What more could you ask for?

Interview with Graham Hope

  1. Q: Analog or digital and why?

  2. A: Both. I don't really miss aligning tape machines, printing tones, or striping tapes with SMPTE, but working on tape forces decision making and commitment, and it also has built-in break time for doing all of the things I just mentioned. DAWs are clearly convenient for recording and experimenting. When it comes to gear vs plug-ins - I like em both. As much as I would like to for simple recall-ability, I don't think I'll ever go full in the box. Not because I think there's anything wrong with mixing in the box, I just like the tactile nature of touching a few pieces of gear on every mix. But having spent a large portion of my life documenting consoles and gear, I completely understand the draw to working in the box all day every day.

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

  4. A: I'll work until your happy. If for some reason we can't get there I won't take your money and I can hook you up with an engineer who can get you there.

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

  6. A: Have your sessions well organized and labeled, and just be clear about what you want - do you have a specific direction, or do you want a completely fresh take on the song(s)?

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

  8. A: An acoustic guitar, a laptop with Logic, a converter with one really nice preamp, headphones, and an SM57.

  9. Q: How would you describe your style?

  10. A: Experimentation with purpose.

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

  12. A: Commit. You don't need 6 mono tracks for one guitar part. Use some busses and buss them into a single channel, be brave and go for a sound!

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

  14. A: When I was working at Sunset it was all over the map. I might work on a rock album for two months, then a pure pop album, then do a quick 2-day live-jazz album, overdubs on a country song, then a few jingles, a classical date, string cues for a movie, it was just whoever walked in the door. Lately, in my "music career 2.0" it's been a lot of electronic music which I enjoy. I like the freedom within that genre to experiment with effects and to really try and get the low end feeling big.

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

  16. A: For mixing: 1) Talk to the artist about their vision for the song 2) Listen to any rough mixes and or stylistic references 3) Listen to individual tracks as I set up a session 4) Make choices on how I'm going to treat the tracks 5) Work on getting a balance - a good starting point 6) Begin automating 7) Bring artist in to listen/comment (realtime streaming and video chat, or just MP3s and messaging) 8) Make adjustments as necessary 9) Work until the artist is happy 10) Print the song, any alternate mixes, and stems

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

  18. A: I'm constantly blown away by how session musicians can hear a song and scribble down the changes during the playback of a demo in the control room, then walk out into the live room and completely own their part on the first pass.

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

  20. A: In the past, it was recording, mixing, assistant engineering - pretty much everything you could ever do in the recording studio. You could call where I'm at now the start of my second career in music, and now I'm focusing on mixing, and that's most of what I've been doing.

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

  22. A: My musical tastes and my experience are what I bring. I just try to put those two together and listen to the music like a fan. Other than that, I just bring a good attitude and a strong work ethic. I try to align the song with the artist's vision, and make it fun to listen to.

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"Me In New Light" Composed by Jeff Babko

I was the Recording and Mix Engineer in this production


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    "Me In New Light" Composed by Jeff Babko
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    "Your Love_Not Enough" by The Violet Lights
Gear Highlights
  • Dangerous 2Bus/DBox
  • Smart C1LA
  • API 550a/560
  • JLM Audio MAC (St)
  • EL8x/EL-Rx
  • DBX 120a
  • Fulltone TTE
  • Little Labs Pepper
  • Guitar Pedals
  • Pro Tools HDX
  • Logic Pro X
  • Waves
  • Sound Toys
  • FabFilter
  • UAD Plug-Ins
  • Digidesign 192s
  • Lynx Hilo
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