Graham Hope @ Hybritone Audio

Recording/Mixing Engineer

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4 Reviews
Graham Hope @ Hybritone Audio 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!

Click the 'Contact' above to get in touch. Looking forward to hearing from you.

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 @ Hybritone Audio
  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
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    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 @ Hybritone Audio

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

  2. A: I'm proud of my involvement with so many of the projects I worked while I was at Sunset Sound, I'm just proud of and thankful for that entire experience. A recent project I'm proud of is one I did for a friend who was directing a movie. It's the second project I've done with him, so hopefully, there's more to come as far as us working together. This time around we recorded a quintet in studio 3 at Sunset Sound. 2 violins, Viola, Cello, and Clarinet. I walked in thinking we were going to record 5 or 6 cues. We ended up cramming in almost 30 cues. I brought the tracks back to my mix room and was so happy with the sound, it made me very proud. I then had to mix all of them in a very short time. I ended up pulling an all-nighter a couple days after the recording so that he could meet his deadline. Hard work but I enjoyed it and am proud of the results!

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

  4. A: I just finished mixing an electronic pop song for a producer I just met. It was very cool because the singer was an opera singer, but she was doing a pop thing, so I enjoyed that a lot, and the music was right up my alley.

  5. Q: Analog or digital and why?

  6. 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.

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

  8. 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.

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

  10. A: I love audio and the creativity of music. I like patching things up in the patch bay, dialing in settings on gear or plug-ins, mixing quietly and then listening back loud just once to feel it. I can't single out one thing. When I was working at the studio every day for 12-18 hours, I loved it, but you get burnt out. After being away for a few years, I now find myself thinking about recording and mixing as I fall asleep and when I wake up. It's like I've rediscovered how much I love doing it - absence makes the heart grow fonder as they say.

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

  12. A: Folks who don't have a whole lot of experience will ask "why do we need to get the mix mastered?" My answer is because that final step in the process takes a good mix and makes sure it sounds great everywhere. They'll ask if I can do it, and I'll say I can give it a shot, but you should go to someone who's been doing it their whole career. It's an art all it's own, and generally getting a single mastered isn't going to break the bank.

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

  14. 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)?

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

  16. A: An acoustic guitar, a laptop with Logic, a converter with one really nice preamp, headphones, and an SM57. Not because these would help me mix, but with those 5 things i could spend endless hours creating and writing and just enjoying music. Besides if I'm on a desert island with no one else around to record a bunch of fancy gear won't do much for me.

  17. Q: How would you describe your style?

  18. A: Music wise - experimentation with purpose.

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

  20. 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!

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

  22. 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.

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

  24. A: First I like to talk to the artist about whether they have predetermined ideas for how a mix should go and listen to any rough mixes or references they might want to share. Next, I'll start pulling their tracks into a template session where I have sub-mixes, stereo tracks, and stems ready to go. I get everything routed and organized, then I start getting tones and making sure the tracks gel together. Once things feel good and each track has it's place, it's time to start mixing and moving the faders. I like to pull in the artist before I get too deep into a mix so that we can collaborate and work toward their vision. I use a tool that lets me send them a link so that even if we're far apart, we can work together in real time and try things out together. I don't love sending emails and waiting around for comments on mp3s. Having the ability to work, listen, and chat in real time through a browser really speeds things up. Once we think everything sounds good I can print a "mix In progress" and let the artist live with it for a bit. If they approve the mix I will print all the alternate mixes and stems, or if they want changes, we'll keep working until they are happy. When it's all done I deliver the masters, mix in progress files, and everything they need. If necessary I document outboard gear settings. I always make sure I'm backed up locally and in the cloud, and make sure that the artist has access to the files.

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

  26. 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. I'm also impressed with producers/engineers who manage to do both at the same time and do both well. How do you spend an entire rehearsal take tweaking bass and guitar channels, then talk about the hi-hat pattern in the second pre-chorus, and then intelligently discuss each of the drum fills with the drummer? That kind of ability and focus always blows my mind too. Both of those scenarios are inspiring to me - they illustrate just how good people can become at their jobs.

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

  28. 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. I stepped out of the studio for a few years to pursue starting a business, a business very similar to soundBetter. It never got off the ground, but all my time went into that endeavor. I'm basically starting over in music and this time around I'm focused on mixing, so those are the type of projects I've been seeking out.

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

  30. 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. I think about what do I want to hear from this song as a music fan? My experience helps me achieve that - I know how to get the sounds the artist and I want to hear. Experience also helps me make sure that technically we are doing things right and not overlooking problems or causing new ones. 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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"Your Love_Not Enough" by The Violet Lights

I was the Engineer in this production

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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