Lyell Evans Roeder

Mixing, Mastering, Production

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6 Reviews (2 Verified)
Lyell Evans Roeder on SoundBetter

Mixing, mastering, and production: I'll match your music to your imagination. I specialize in vocal driven pop, indie pop, electronic, r&b, soul, neo-soul, hip-hop, and modern cinematic. I will take an idea from production through mastering or help you take a nearly finished tune to the finish line.

Hi! My name's Lyell. I'm a Los Angeles based music producer and engineer. I'm a lifelong musician whose devoted the last ten years to creating beautiful records with a huge range of artists.

I believe a great master is as much about knowing when to EQ or compress and when not, just as a great mix is knowing when to finesse a stem vs. when to trust the producer's choice, and a great production when to trust a performance, and when (not) to add a layer.

Those choices come down to understanding where the music is and where it wants to get to.

Across genres, I guarantee great mixes, masters, and productions that are true to your vision of the tune. I guarantee this because my 20,000 or so hours mixing, mastering, and producing music have given me the technical and artistic understanding of how to bring a song to its fully formed, professional level.

I work on mixes and masters across every genre. If we work together on a production, I will take your music to where you imagined it and further, bringing in my family of artists, fellow producers, and instrumentalists as is desired and feasible.

For more on my work, get in touch and I can give you samples specific to what you're looking for. My website also offers a much wider look at my work than can fit on the profile here. I can't wait to hear your music!

Would love to hear from you. Click the contact button above to get in touch.

Credits

AllMusic verified credits for Lyell Evans Roeder
  • Bones UK
  • Bones UK
  • Bones UK
  • Bones UK
  • Bones UK
  • Bones UK
  • Lyell Evans Roeder
  • Lyell Evans Roeder
  • Lyell Evans Roeder
  • Lyell Evans Roeder
  • Lyell Evans Roeder
  • Lyell Evans Roeder
  • Lyell Evans Roeder
  • Lyell Evans Roeder
  • Lyell Evans Roeder
  • Lyell Evans Roeder
  • Lyell Evans Roeder
  • Lyell Evans Roeder
  • Lyell Evans Roeder
  • Lyell Evans Roeder
  • Lyell Evans Roeder
  • Lyell Evans Roeder
  • Lyell Evans Roeder
  • Lyell Evans Roeder
  • Lyell Evans Roeder
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  • Tigers Are Bad for Horses
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  • Tigers Are Bad for Horses
  • Tigers Are Bad for Horses
  • Tigers Are Bad for Horses
  • Tigers Are Bad for Horses
  • Tigers Are Bad for Horses
  • Tigers Are Bad for Horses
  • Dani W + Drew
  • Dani W + Drew
  • Tigers Are Bad for Horses
  • Tigers Are Bad for Horses
  • Tigers Are Bad for Horses
  • Tigers Are Bad for Horses

6 Reviews

Endorse Lyell Evans Roeder
  1. Review by Parker W.
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    Lyell did a fantastic job with a few masters for me. I was really delighted with how they come out, and he was able to turn them around quickly too, which worked great for my procrastinating self. Highly recommend working with him!

  2. Review by Ankit Suri
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    Loved working with Lyell. Has a rich understanding of music production and composition while at the same time, being an incredibly talented engineer. Give him a call.

  3. Review by Troy Everett
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    by

    Absolutely love working with Lyell. He knows his way around mixing and mastering for multiple genres. I've had the pleasure of working with him multiple times on soundtracks for films and I've seen his skills firsthand. Would definitely recommend him for any recording, or mixing/mastering job.

  4. Review by Danielle C.
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    Lyell is a pro on all levels! He is very skilled which allows us to work quickly and effortlessly. Lyell is intuitive and knows how to deliver authenticity, serving each song. I write for myself as an artist and also write for film and tv. Because of Lyell’s talent, my songs stay ready and relevant and my band landed a TV placement. I highly recommend working with him. His mastery elevated my music.

  5. Review by Will J.
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    We worked with Lyell to produce a series of interaction sounds for our iOS and Android apps, and we were extremely pleased with both the results and the process of working with him. Highly recommended.

  6. Review by Teddy Zambetti
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    by

    Lyell’s Sonics are unstoppable. His combination of analogue & digital is seamless making it work specifically for the song or piece of music he’s creating or producing.

Interview with Lyell Evans Roeder

  1. Q: Analog or digital and why?

  2. A: Hybrid, leaning digital. Most of my mixing and mastering is digital, because it is so much faster and easier to do iterations and revisions, which I believe are crucial to delivering top quality results. In the mastering realm, as a producer, I've worked with some of the truly legendary mastering engineers and we've decided to work ITB with amazing results. Seeing those guys have so much success working digitally convinced me to dial in my ITB work as well (that said, your converters and your monitoring is absolutely critical). I think the debate should be more focused around the production/the production-mixing crossover side of things. Working more analog when you're first putting a track together or getting a mix going can do things that are nigh impossible to achieve digitally. To me, it's more about how working analog changes your process rather than the sound. When I'm putting, say, an fx vocal through my tape machine, I'm going to play with things and get weirder (read more interesting) results than I likely would were I automating a plugin. There's huge value to getting an interesting stem and working from there rather than something that you're endlessly tweaking.

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

  4. A: I produced, mixed, and mastered one of the tracks off BONES UK's album last summer, another song off which ended up being nominated for a Grammy. The recording was a tricky one in a lot of ways - we did five songs live with an audience and video crew - and Carmen (their guitarist) and I worked really hard on those arrangements. It was beautiful to see it come together and even more exciting for them to get that recognition from the academy.

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

  6. A: It changes week by week. Unfortunately I'm bound to secrecy on some of my most exciting production projects.

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

  8. A: Great results, full stop. I don't see the point in making mediocre music; there's more than enough of that out there already.

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

  10. A: Thinking of mixing and mastering as purely technical, or production as purely non-technical. If you're writing a book in English, you need to have a good degree of mastery over the English language, but just because you've got great language skills doesn't mean you'll write anything good. The technical side of mixing and mastering is essential to learn, but it will only get you so far without developing the artistic side, and knowing how the material fits into context. Likewise, most of the really good modern and producers have a pretty high degree of mastery of the mixing (and in some cases) mastering sides of the work. Producers like Labrinth or Finneas are expert mix engineers, and you can hear it in their work.

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

  12. A: It's really important for me to get a sense of timing and sonic expectations right off the bat. I want to know where they think the song needs to get (or if they're just looking for a bit of magic/another voice to take it to 100%), and I need to know how fast they need it to get there so we can set expectations accordingly. I always like to get a couple reference songs, both for sonic matching and overall song vibe.

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

  14. A: A sat phone to call a lift out of there.

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

  16. A: Totally unexpected! I would say my musical path began when I was 5 or 6 and began taking piano lessons. My professional career path began when I was 19 and began getting paid for scoring/production work. Since then I've spent almost every day with a DAW open. The two things I'm most grateful for in my career has been the artists and engineers I've worked with and learned from, and the range of studios and stages I've gotten to spend time in/on. For me, the best learning has come collaborating with others, and I wouldn't be the engineer or producer I am today without the people I've worked with and learned from.

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

  18. A: Don't change something just because you can. Listen to what the song needs first and move accordingly, everything you do is at the service of the song and the artist.

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

  20. A: I intentionally keep it as wide a spread as I can. Recently I've worked on pop/indie-pop records, soul/rnb, lo-fi, cinematic, future rock, trip-hop, neo-classical, the list goes on. Fuck genre.

  21. Q: What's your strongest skill?

  22. A: Listening.

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

  24. A: My work is split between mixing, mastering, and production. I've also scored some films (including an upcoming big budget historical epic in India - that was rad!) and I perform from time to time, but the vast majority of my work is in the studio.

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Terms Of Service

Open communication! Every project needs something a little different. Get in touch and let's talk about it. Turnaround time for non-production work is usually 2-3 days.

GenresSounds Like
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Gear Highlights
  • Pro Tools HD
  • Neumann
  • UAD
  • Nord
  • Fender
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  • Duesenberg
  • Lewitt
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