Ron Nevison

Producer, Engineer, Mixer

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15 Reviews (1 Verified)
Ron Nevison on SoundBetter

Nevison first found success in England as the engineer on Quadrophenia (The Who), Physical Graffiti (Led Zeppelin), and Bad Company's first three albums. He produced, engineered and mixed Heart's hits "Alone" and "These Dreams" Chicago's "Look Away" Damn Yankees "High Enough" Dave Mason's "We Just Disagree" and the Tommy Film Soundtrack and album

Full production, Mixing or Consultation.

Ron Nevison's career highlights include many of the record industry's highest distinctions, including his being recognized as Billboard Magazine's 'Top-5 Producers of the Year' four separate times, garnering countless Grammy-nominated and winning hit singles & albums, and producing a host of multi-platinum and gold-selling albums, well over 100 million in the course of his nearly five-decade career. Since Rolling Stone magazine observed in their 1973 review of Quadrophenia that it had been "magnificently recorded," Nevison continues to maintain that high standard for all of his artists through his mix of experience, taste, and cutting-edge technology.

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Credits

AllMusic verified credits for Ron Nevison
  • Valerie Carter
  • Jefferson Starship
  • Jefferson Starship
  • Bad Company
  • Bad Company
  • Rex Smith
  • Joe Cocker
  • Joe Cocker
  • Dave Mason
  • Eddie Money
  • Eddie Money
  • Eddie Money
  • Survivor
  • Survivor
  • Bad Company
  • Bad Company
  • Bad Company
  • Chicago
  • Faces
  • The Rolling Stones
  • Meat Loaf
  • Kiss
  • Ozzy Osbourne
  • The Who
  • The Who
  • Heart
  • Jefferson Airplane
  • Jefferson Starship
  • Heart
  • UFO
  • UFO
  • Heart
  • Night Ranger
  • Meat Loaf
  • Melissa Manchester
  • Starship
  • Starship
  • Heart
  • Heart
  • Heart
  • Michael Schenker Group
  • Michael Schenker Group
  • Starship
  • Jefferson Starship
  • Jefferson Airplane
  • Starship
  • Jefferson Starship
  • Jefferson Airplane
  • Dave Mason
  • Dave Mason
  • Jefferson Starship
  • Thin Lizzy
  • UFO
  • UFO
  • Meat Loaf
  • Meat Loaf
  • Kiss
  • Kiss
  • Dave Mason
  • Dave Mason
  • Jefferson Airplane
  • Jefferson Airplane
  • Chicago
  • Foreigner
  • Chicago
  • Foreigner
  • Jefferson Starship
  • Jefferson Starship
  • Jefferson Starship
  • Jefferson Starship
  • Jefferson Starship
  • Jefferson Starship
  • Europe
  • Europe
  • Europe
  • UFO
  • UFO
  • Days Before Tomorrow
  • David Johansen
  • David Johansen
  • Led Zeppelin
  • Damn Yankees
  • Damn Yankees
  • Stefan Grossman
  • UFO
  • UFO
  • Flo & Eddie
  • Flo & Eddie
  • Flo & Eddie
  • Flo & Eddie
  • Led Zeppelin
  • Jefferson Starship
  • Chicago
  • Chicago
  • Chicago
  • Lynyrd Skynyrd
  • Lynyrd Skynyrd
  • Lynyrd Skynyrd
  • Heart
  • Candlebox
  • Candlebox
  • Candlebox
  • Survivor
  • Europe
  • Thin Lizzy
  • Thin Lizzy
  • Eddie Money
  • Chicago
  • Chicago
  • Damn Yankees
  • The Babys
  • Michael Schenker
  • Kiss
  • Kiss
  • Faces
  • Faces
  • Faces
  • Thin Lizzy
  • Thin Lizzy
  • Never the Bride
  • Never the Bride
  • Freddie Mercury
  • Survivor
  • Survivor
  • Chicago
  • Chicago
  • Chicago
  • Chicago
  • Jefferson Starship
  • Eddie Money
  • Eddie Money
  • Eddie Money
  • Ozzy Osbourne
  • Tony Hadley
  • Tony Hadley
  • Lynyrd Skynyrd
  • UFO
  • Heart
  • Heart
  • Heart
  • Heart
  • Damn Yankees
  • Ozzy Osbourne
  • Ozzy Osbourne
  • Chicago
  • Chicago
  • Chicago
  • Lynyrd Skynyrd
  • Lynyrd Skynyrd
  • Lynyrd Skynyrd
  • Thin Lizzy
  • Thin Lizzy
  • Thin Lizzy
  • John Wetton
  • The Babys
  • The Babys
  • The Babys
  • Eddie Money
  • Eddie Money
  • Kiss
  • Kiss
  • Michael Schenker
  • Jefferson Airplane
  • Firehouse
  • Dave Mason
  • Lynyrd Skynyrd
  • Lynyrd Skynyrd
  • Lynyrd Skynyrd
  • Jefferson Airplane
  • Styx
  • Lynyrd Skynyrd
  • Lynyrd Skynyrd
  • Lynyrd Skynyrd
  • Faces
  • Grace Slick
  • Bad Company
  • Bad Company
  • Grand Funk Railroad
  • Grand Funk Railroad
  • Michael Schenker
  • Michael Schenker Group
  • Michael Schenker
  • Michael Schenker Group
  • Michael Schenker
  • Michael Schenker Group
  • Ozzy Osbourne
  • Ozzy Osbourne
  • Candlebox
  • Candlebox
  • Candlebox
  • Jefferson Airplane
  • Jefferson Airplane
  • Foghat
  • Foghat
  • Foghat
  • Night Ranger
  • Night Ranger
  • Europe
  • Europe
  • Europe
  • Chicago
  • Meat Loaf
  • Meat Loaf
  • Shooting Star
  • Shooting Star
  • Grand Funk Railroad
  • Night Ranger
  • Night Ranger
  • Night Ranger
  • Eddie Money
  • Eddie Money
  • Eddie Money
  • Chicago
  • Michael Schenker
  • Michael Schenker
  • Michael Schenker
  • Michael Schenker
  • Heart
  • Firehouse
  • Firehouse
  • David Johansen
  • Melissa Manchester
  • Melissa Manchester
  • Melissa Manchester
  • Dave Mason
  • Never the Bride
  • Never the Bride
  • UFO
  • UFO
  • UFO
  • Meat Loaf
  • Meat Loaf
  • Michael Schenker
  • John Wetton
  • John Wetton
  • Survivor
  • Jim Jamison
  • Europe
  • Europe
  • Europe
  • Jefferson Starship
  • Cher
  • Led Zeppelin
  • Vince Neil
  • Vince Neil
  • Vince Neil
  • Vince Neil
  • Damn Yankees
  • Damn Yankees
  • John Waite
  • Michael Schenker
  • UFO
  • Bad English
  • Bad English
  • Chicago
  • Chicago
  • Thin Lizzy
  • Starship
  • Starship
  • Quireboys
  • Quireboys
  • Damn Yankees
  • Damn Yankees
  • Hans Zimmer
  • Hans Zimmer
  • Hans Zimmer
  • Stefan Grossman
  • Led Zeppelin
  • Chicago
  • Jefferson Airplane
  • Jefferson Airplane
  • Jefferson Airplane
  • Melissa Manchester
  • Melissa Manchester
  • Chicago
  • Chicago
  • Europe
  • Europe
  • Europe
  • Heart
  • Heart
  • Kiss
  • Kiss
  • Flo & Eddie
  • Flo & Eddie
  • Joe Cocker
  • Joe Cocker
  • Ozzy Osbourne
  • Ozzy Osbourne
  • Ozzy Osbourne
  • Ozzy Osbourne
  • Survivor
  • Survivor
  • Bad Company
  • Bad Company
  • Bad Company
  • Heart
  • Heart
  • Icon
  • Shooting Star
  • Shooting Star
  • Shooting Star
  • Shooting Star
  • Jefferson Starship
  • Jefferson Starship
  • Jefferson Starship
  • Grace Slick
  • Grace Slick
  • Grace Slick
  • Survivor
  • Survivor
  • Rex Smith
  • Led Zeppelin
  • David Johansen
  • David Johansen
  • The Babys
  • Heart
  • Heart
  • Jefferson Starship
  • Jefferson Starship
  • Michael Schenker
  • Michael Schenker Group
  • Michael Schenker
  • Michael Schenker Group
  • Dave Mason
  • The Babys
  • The Babys
  • Eddie Money
  • Eddie Money
  • Eddie Money
  • Survivor
  • Jefferson Starship
  • Jefferson Starship
  • UFO
  • UFO
  • UFO
  • Mike Finnigan
  • The Babys
  • Dave Mason
  • Dave Mason
  • UFO
  • UFO
  • UFO
  • Alexis
  • Alexis
  • The Babys
  • The Babys
  • Dave Mason
  • UFO
  • UFO
  • Dave Mason
  • Flo & Eddie
  • Flo & Eddie
  • Bad Company
  • Stefan Grossman
  • Barbra Streisand
  • Barbra Streisand
  • Led Zeppelin
  • Bad Company
  • Bad Company
  • Bad Company
  • Bad Company
  • Bad Company
  • Bad Company
  • Bad Company
  • Bert Jansch
  • Thin Lizzy
  • Thin Lizzy
  • Thin Lizzy
  • The Who
  • The Who
  • The Who
  • The Who
  • American Chart MANIA
  • American Chart MANIA
  • Peter Nashel
  • Peter Nashel
  • UFO
  • Chilli Willi and the Red Hot Peppers
  • Chilli Willi and the Red Hot Peppers
  • V2
  • V2
  • V2
  • V2
  • V2
  • V2
  • V2
  • V2

15 Reviews

Endorse Ron Nevison
  1. Review by Kyle H.
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    Ron is a no-nonsense professional. He was attentive, he started when he said he was going to and finished on time. Our tracks sound terrific as well. Overall a pleasure to work with!

  2. Review by Mike C
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    To say that Ron helped to shape my career would be an understatement. He was a mentor to me and the experience I had working with him was invaluable. Jefferson Starship, Heart, The Babys, and UFO are just a few of many timeless and classic projects that we worked on together. Ron gives all aspects of his productions full attention. He is there to guide you and make sure that the arrangement, the melody and instrumentation serves the song. His mixes have clarity and dynamics. I don’t think you can ask for a better partner to make your music the best it can be.
    Mike Clink / Producer

  3. Review by Jim Peterik
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    “Out of all of the music producers I’ve had in my 55 years in rock & roll, Ron Nevison is at the top of the list. Not only does he have massive engineering chops (big ass drum sounds and shimmering vocals) but his musicality and arrangement ideas can elevate an ok song into greatness and a great song into incredible. His work on the Vital Signs album will stand the test of time in part by the production work of Ron Nevison.” Jim Peterik of the Ides Of March, formerly of Survivor and of 38 Special fame.

    Rock on!! Jimbo

  4. Review by Kenny Aronoff
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    Ron is one of the greatest engineer producers I have ever worked with in my 40 years of making records. He's musically brilliant, understand songs, lyrics, artists, bands, and knows how to make a record sound amazing from top to bottom. Ron gets the best sounds when he engineers and is an amazing mixer also. He gets so passionately involved with each record he makes, it feels like he is a member of that band. I have worked with Ron for over 30 years and I know he is the best at what he does.

  5. Review by Tess Barr
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    You don't have to be a rock star to work with Ron Nevison, but he sure makes you feel like rock n' roll royalty. He's a class act through and through. With his vast knowledge of music, his finely tuned ear and spot on rhythm there is a reason why he is one of the most formidable talents and one of the greatest producers of all time. Work with Ron on your team and you'll never regret it. One of the best things I've ever done!!

  6. Review by Craig Chaquico
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    This rating only goes to 5. Mine goes to 6. That’s one more than 5! As the only original founding member and lead guitar player/songwriter for Jefferson Starship and Starship on everything during the only hit-making years (1974-1990), the albums produced by Ron are outstanding examples of classic rock guitar production with songs like JANE, FIND YOUR WAY BACK, STRANGER, SAVE YOUR LOVE, ROCK MUSIC, etc., every album I was on went platinum and the ones Ron produced are still favorites and are still heard everyday on classic rock radio and streams. His vocals, drums, and keyboards are stellar!

  7. Review by Tamar
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    Tamar here from the Portland based band Paradise. In July 2017, we were lucky enough to work with Ron Nevison on our third full length album which also happened to be a rock opera. We knew Ron engineered Quadrophenia and worked with Pete Townshend so for us, it a dream come true. From our first conversations about what we wanted to achieve, Ron was incredible. He listened to our demos, came to our rehearsal, helped book and negotiate which is something you just do not see today in producers. Our time in the studio was TRULY MAGICAL. I cannot say enough good things. LOVE YOU RON!

  8. Review by John Sinclair
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    Working with Ron in the 1970s basically set the benchmarks for me in terms of the "quality to aspire to" for the recorded sounds of all instruments. Whether drums, guitar, piano.... from that point on the question would always be ""How would this sound if Nevison had recorded it?". Add to that my first real experience of the sound of "epic" mix wise, a razor sharp intuition of how to enhance the writer's original idea production wise and you have my biggest studio influence in the package of one person. My time spent with Ron Nevison was truly unforgettable. (John Sinclair)

  9. Review by frankie sullivan
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    Always prepared, highly proffesional and talent like no other. Preproduction is a process Ron does not skip. He is terrific at helping to choose the best songs and the transition into the studio becomes much easier. I first worked with Ron as a twenty two year old and from then on we had a string of hits. Ron asked me to play on other artists projects and his game plan always contains success in the form of hit records. Ron also has the ability to use his terrific engineering chops that at times can go unnoticed due to of his uncanny sense of production. He’s brilliant - frankie sullivan

  10. Review by Michael Cartellone
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    I cannot say enough about Ron Nevison. I was young and inexperienced when we recorded that first Damn Yankees album... and Ron really took me under wing. To me, he was more than just a great Producer and Engineer... he was a creative, guiding force... and he quickly became a confidant and a supportive friend. That established a relationship which continued through the second Damn Yankees album... recordings with Freddie Mercury and Cher... and into my current band, Lynyrd Skynyrd. If you have an opportunity to work with Ron Nevison... do it.

  11. Review by Anthony Piazza
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    Ron produced all of our albums. We just completed studio album 5, titled, Rock Show Girl which will be released in a month or so. Ron is great to work with. He is a real professional and meticulous in getting the perfect finished product. He has a great ear for the right guitar sounds, drum set-up, tempo and timing. His formula for creating epic rock songs is well documented over the hundreds of hits he has produced in his 40 plus years in Rock N Roll. We love working with him. Vittorio and Vincenzo, V Squared.

  12. Review by Makana
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    Ron Nevison produced a number of songs for me on my RIPE album. In short time and on a limited budget he assembled a team of uber-talented engineers, arrangers and studios to bring my songs into accessible form and speaker-popping fidelity. His vibe is chill in the studio; he knows how to guide an artist toward their potential and away from their own misgivings. His stories are the stuff of legends. He’s a sweetheart. Aloha Ron!

  13. Review by Cory Coons
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    I first met and worked with Ron in California in 2014 on my E.P “Share A Little Time”. I had worked and recorded in Canada on previous projects of mine, but not with a producer of Ron’s calibre, skills and experience in the business. His track record speaks for itself. I had always wanted to work with Ron because of the many influences I have of his work with the bands I was influenced by. What he got out out of my vocal abilities in the studio is something I will always remember, and be grateful for! I have a great amount of respect for him, and I am proud to call him a friend! Cory M. Coons

  14. Review by Paul Stanley
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    ”Paul Stanley Here... For years I wanted to work with Ron because his history of working with great singers was well known. From Paul Rodgers to Robert Plant to Ann Wilson he was the guy. He had the ears for making hits and he knew how to make something sound great on the radio. His discography speaks for itself. On top of all that he’s a cool guy!”

  15. Review by Tommy Shaw
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    Preproduction rehearsals with Ron got us fully prepared for recording the first Damn Yankees album. His excellent engineering and skills as producer quickly brought our new music to life and it was an exciting time hearing it unfold. Bombastic drums, soaring guitar sounds, big vocals, magnificent orchestral sessions. Unforgettable times. Great Nevison memories!

Interview with Ron Nevison

  1. Q: Tell us about your studio setup.

  2. A: I have a home studio setup that can handle nearly every requirement, but I have made a second home in professional studios all over the country and abroad. Something I’ve learned over the years is that you have to be able to record anywhere, whether it’s a barn, a country house, a castle, or a post office, all of which I’ve done.

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

  4. A: George Martin’s work with the Beatles deserves all of the recognition it’s gotten, of course. He and his EMI co-conspirators were the very definition of ‘make it work.’ When George opened AIR Studios in London, I made sure to take my projects there, both mixing the Tommy film soundtrack there as well as recording Bad Company, the Faces, and UFO. I’ve always been fond of Gus Dudgeon’s production on Elton John and Tom Dowd’s production on nearly everybody else, from Atlantic Records artists to Derek and the Dominos. I’ve been lucky enough to learn from or work with all three and draw inspiration from them daily.

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

  6. A: Matthew Thomson

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

  8. A: I’m especially proud of engineering the Who’s Quadrophenia for several reasons. First, I built the Airstream mobile studio (LMS) that I used to record it and even converted it from 8 to 16 track in the process, which involved no small amount of troubleshooting on the job. Secondly, I was able to capture one of the world’s most dynamic rock bands on tape performing one of their most ambitious albums, including an ARP synthesizer and host of sound effects and field recordings. And last, I mixed the entire album with Pete Townshend at his home studio. This was literally my first album—trial by fire.

  9. Q: Analog or digital and why?

  10. A: I think both media have their advantages and disadvantages. I was raised on analog and made some of my biggest recordings in digital. Although the fuller, warmer sound of analog is certainly nice, it has become a scarce luxury that doesn’t have the flexibility and ubiquity of digital—of course, that situation has begun to change slightly.

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

  12. A: To listen to what they have to say and find a way to make it real for them.

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

  14. A: When I do something that the artist(s) love, and it becomes a hit.

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

  16. A: Aside from my background, many of my customers are justifiably concerned about my turnaround time and my rates. Clients are leery of a project getting mired in unproductive studio time and endless mixing sessions. My answer to them is that experience removes many of these obstacles, and if they arrive knowing what they want and prepared to work, making and recording music is anything but tedious. Rather, it’s fun and exciting, and the mix you receive will be the clearest representation of that.

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

  18. A: The biggest misconception about engineering and producing albums is that I am here to either take your music away from you by changing the sound of it or that I magically take something that’s bad and make it good. The quality of the work is what makes anyone’s music sound as great as it does.

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

  20. A: How do you hear the music you want to make? Which albums and sounds do you love that made you want to record your music in the first place? What kind of attitude do you want your music to give off?

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

  22. A: Make sure you do your homework and choose someone who has the experience for the type of project you envision, and then let them do their job and help you achieve it.

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

  24. A: A U-47 tube mic, a Urei 1176 black-face limiter, a Neve 1073 mic-pre/EQ, Pultec EQP and a pair of KRK E8 monitors.

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

  26. A: I started as a live sound mixer working with Traffic, Joe Cocker, Eric Clapton, and Jefferson Airplane, even mixing their sound at Woodstock. I then worked as an engineer at Island Studios in London and within a couple of years was the engineer on the Who’s Quadrophenia, Led Zeppelin’s Physical Graffiti, and Bad Company’s first three albums. I joined the Record Plant as the chief engineer in the mid-70s and started producing Dave Mason, the Babys, UFO, Jefferson Starship, Survivor, Heart, Ozzy Osbourne, KISS, Chicago, and Damn Yankees, to name a few. Almost five decades later, I’m still on it.

  27. Q: How would you describe your style?

  28. A: My body of work is most easily characterized as big guitars and big voices, but that overshadows the other sonic contributions I’ve made to bands. For example, I was the one that put the phaser on John Bonham’s drums, added female vocals to the Babys’ two hit singles, and helped UFO crossover with string and horn arrangements. Another major aspect to my style is working with artist on repertoire, either tightening the songs they bring in or helping them find suitable material, as I did with Heart.

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

  30. A: There are so many, but U2 and TV on the Radio comes to mind as they write the kind of adventurous, no-limit, soulful music that reaches everyone on a deep level. They are the epitome of vision and ambition and talent equaling results.

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

  32. A: Always jump to conclusions slowly, and make decisions as you work, so in the end, all you have to do is balance what is already a satisfying collaboration.

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

  34. A: Rock, hard rock, R&B, blues, and pop.

  35. Q: What's your strongest skill?

  36. A: Getting great vocal performances, building dynamic arrangements, and maximizing hooks for an unforgettable impact on the listener.

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

  38. A: For a producer’s bedside manner, it’s important to be a music fan first and an engineer second. We all started by listening to songs first before we started taking them apart and putting them back together again. When an artist plays me a song, I have to understand the why of the song before I can accent its virtues and shore up any of its shortcomings. Some songs arrive fully formed and the discussion shifts to what is the best way to present it. Aside from being a sounding board for the artist, what I bring through my experience is a body of technical knowledge that can give the artist a concise and authoritative choice on how they can put their material across to others. In a field with too many options, guidance is key.

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

  40. A: Talking comes first. Listening comes second. Tracking comes third. Mixing comes last. And throughout all of it, a hell of a lot more listening and talking.

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

  42. A: Producing, Engineering and Mixing

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Heart - These Dreams

I was the Producer and Engineer in this production

Terms Of Service

Typically seven day turn around per song, with up to five revisions within ten days time. Cost of song includes consultation and mix only. Editing, vocal comping or tuning extra.

GenresSounds Like
  • The Who
  • Heart
  • Chicago
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