I am a musician, songwriter, producer, and mixing engineer. Records I have mixed have been featured on indie blogs, college radio, and placements such as MTV. I have been making records for about a decade. I started out producing my own albums with my band and have branched out to mixing for other artists and other kinds of audio projects.
My goal is to provide artists of all kinds at any level with affordable, high-quality mixes that exceed their expectations. I got my start working on shoestring budget mixing projects for garage bands and home studio-based projects, so I know how to achieve pro-quality results very quickly and for very little money.
I am proficient with Apple's Logic and have a large assortment of specialty plug-ins, including numerous vintage emulations including the FabFilter plug ins, Cytomic The Glue (SSL G-series emulation), PSP Vintage Warmer 2 (analog tape emulations), Valhalla VintageVerb (Lexicon PCM 42 emulations), Waves, and many, many more. I have a large selection of high-quality samples of found sounds, vintage drum machines, and production-quality sound effects. I also have a number of excellent hardware outboard pieces, pedals, amps, etc. for tracking that I sometimes use for mixing. I specialize in indie pop/rock and indie hip-hop productions but also have experience with many other styles of music. I am also equipped to do post-production for voice-over audio, audio books, and other specialized audio work.
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4 Reviews - 1 Repeat ClientEndorse Two Cheers Audio
I need some songs mixed with very little notice and Two Cheers (Bryan) was able to accommodate me and the quality of his work was awesome! Highly recommend him!
I was able to get exactly what I wanted working with Two Cheers. I was looking for a solid mix of six acoustic songs and I got that. I was also looking for creative suggestions to enhance each song--while keeping them simple and intimate. Bryan delivered on that count too. The songs all sound great and are better because of his work and expertise.
This was the best recording experience I have had. Everything sounds great and just as expected. Bryan has an excellent ear for making sure my recordings sounded the best they possibly could. I appreciated his input and suggestions throughout the project. I will not go to another sound engineer again. A+++++++
Two Cheers is super-talented, super-collaborative, super-creative. Basically all you might wish for in someone who's helping you make music! Worked quickly and cleverly and was all-around great. I'm very happy with how the track we put together turned out.
Interview with Two Cheers Audio
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: I can’t answer that, but here are my current favorite pieces of gear/software: Lauten Eden Tube Microphone Omnisphere by Spectrasonics Microtonic by Sonic Charge Fender 65RI Jazzmaster Olympic White Fabfilter Plug-In Mixing Bundle Apogee Ensemble Thunderbolt
Q: Which artist would you like to work with and why?
A: Probably Bjork, as I think I would learn a whole lot from her very original and distinctive approach to making records.
Q: Describe the most common type of work you do for your clients.
A: I am usually the mixing engineer for music projects like bands and hip hop artists, meaning I get the individual files recorded by the artists and mix them here in my studio. If the artists are local I can also provide some recording services like recording vocals, guitars, synths, drum machine, etc. Lastly, I am able to make nice, loud, competitive masters of their recordings as well using a suite of cutting edge plug-ins.
Q: What other musicians or music production professionals inspire you?
A: My mixing heroes are: Bob Clearmountain, Tchad Blake, Mark Saunders, Jimmy Douglas, and Dave Fridmann
Q: Tell us about your studio setup.
A: I used a hybrid of in-the-box and out-of-the-box tools, like most professionals today. I have host of plug-ins from some the big brands like Waves, PSP, and FabFilter, but also plenty of lesser-known gems that can work wonders like Valhalla, Cytomic, and SoundRadix. I use Logic for mixing on a MacBook Pro and I use Apogee AD/DA. I also have a handful of outboard pieces, including the exquisite Dave Hill Designs Europa-1 preamp, the GAP Comp-54 Neve-style compressor that makes almost everything pop in a mix, and the Sansamp Classic for achieving a huge range of tones when plug-ins don’t cut it. I typically mix through Yamaha HS 80 monitors.
Q: What's your typical work process?
A: I will get the tracks from the session, import them into logic, and begin editing. If there are vocals, I start with those: comping, editing, and tuning as necessary. Then I set up my aux sends and get the rhythm section grooving. Then I start applying EQ, compression, and other techniques to make a static dry mix that sounds good. Lastly, I use reverb, delays, and FX to add depth, atmosphere, and excitement. Once I have a mix I am happy with, I submit the mix to the client for review. Based on his/her feedback, I make whatever adjustments are necessary to get the track where the client wants it to be.
Q: What do you bring to a song?
A: I have always been particularly good capturing the passion of a song with my mixes, and making it sound like the performance is happening for the first time. I try to impart a sense of movement that is always engaging the listener. Lastly, I try to make a song sound larger than life.
Q: What's your strongest skill?
A: While I definitely think very holistically about the music I am working on, I am very methodical about the details. This might come from my past career as a chemist writing and testing formulas: I have a scientific approach to the technical aspects of mixing but an intuitive approach to the musical aspects.
Q: What type of music do you usually work on?
A: I have a lot of experience with indie rock bands, but also indie electronic music and indie hip hop.
Q: Can you share one music production tip?
A: I think parallel compression is an infinitely useful tool when doing a mix, and that goes for virtually any instrument be it voice or drums. With a large selection of compressors, I can control the subtle dynamics and tone contours of the elements of a mix without flattening out all the punch and impact.
Q: How would you describe your style?
A: I like to keep the vocals, drums, and main melodic elements very clear and upfront, like a Top 40 pop album or something mixed by Bob Clearmountain. On the other hand, I like a certain amount of movement and chaos too, like a garage rock record or something mixed by Dave Fridmann.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Having been an independent artist myself, I have had more misses than hits when hiring a mixing engineer. Be sure to listen to as many mixes from your prospective mix engineer as possible. Don’t go by their name and good reputation alone. Ask a lot of questions. Lastly, ask for a partial mix of one of your songs for a reduced fee to get a feel for the mixing engineer's workflow and - more importantly - the results.
Q: Analog or digital and why?
A: I have found that factoring in many analog elements during tracking adds a lot to a recording. During the mix however, the power and flexibility of today’s software is utterly incomparable. A hybrid approach is ideal, but if I had to choose, I would choose digital.