FREE UNLIMITED REVISIONS. FULL MONEY BACK GUARANTEE. With over a decade of experience, TeaHouse Studios offers a wide variety of services ranging from mixing and sound design to foley recording and beat production. All of our work is highly polished, euphonic, and not done until you're satisfied!
Founded by Joseph Campo, TeaHouse Studios boasts world class equipment and software that can handle projects of all sizes. Our engineers sculpt refined, polished sounds that fit seamlessly into any professional-grade project.
Whether it be a chart topping album, a film score, or dialogue for the next big podcast, your recordings will rise to their full potential.
TeaHouse specializes in mixing and mastering for R&B, vibey hip-hop, industry rap, and pop. However, our engineers have experience with EDM, indie rock, classical, jazz, latino pop, house, boom-bap rap, lo-fi hiphop, and drill--not to mention dialogue and foley mixing!
We use industry standard techniques, creative effects, extensive speaker/headphone/car referencing, and some secret sauce to create a refined, polished sound that translates on all playback devices.
TeaHouse offers drum, synthesis, and keyboard services as well. Upon request, our in house studio musicians can add authentic drum backing, synth lead solos, lush background pads, wall-shaking bass lines, and even orchestral overdubs to supplement your production.
Please tell us about your project and how we can help bring it to life; hit the ‘Contact’ button to get started!
I'd love to hear about your project. Click the 'Contact' button above to get in touch.
10 Reviews - 1 Repeat ClientEndorse TeaHouse Studios, LLC
Joe does top notch work, he’s the kind of engineer who actually listens to what the artist has to say about the mix and is willing to try new things, no ego! Hire him you’ll get the best sounding tracks in Boston
Joe is a fine engineer, and I always get a dope final product whenever I work with him.
I've worked with Joe on two songs and both have been awesome experiences. I'm not a person who knows too much about the terminology behind audio engineering however Joe could figure out exactly what I wanted to change with the song(s). Great guy, great attitude, and great level of skill for sure––would highly recommend going to Joe for anyone looking for a producer!
For the past 4 years, Joe has met every project I bring to him with a professional, creative, and eager demeanor. Through his mixing and mastering, he’s helped my clients transform their music to high-profile streaming quality. Joe is the only sound engineer I go to and the only one I recommend to anyone I know in the industry!
I’ve managed two different artists and brought both to Joe, and it I’m glad I did! He’s very professional & timely but can also make your sound go from good to great. Plus, his rates are very reasonable. Also just a good guy who’s easy to get along with, definitely a good guy to go with!
I worked with quite a few critically acclaimed and grammy nominated engineers in the past and when i started working with jo i was able to work out of the comfort of my own home, while still being provided the same sound id get going to a professional studio. Jo pays extremely attention to detail and is very cooperative when discussing vision and may even give artistic/creative direction when needed so I highly recommend this guy!
If you need a mix.. #GOTOJOE. I've worked on several projects with him and he always delivers. Very professional and always meets deadlines with his work. I highly recommend his services.
My go to guy! He has mixed and mastered several of my songs for over the past two years! He will take your music to where it needs to be. I highly recommend him. Worth every penny!
Really good at finding your sound that you want and he’s very much about the quality of the sound vs how much money he can make so I respect that ...his studio gave me and my crew life as artists
I have worked with Joe for about 5 years now and have nothing but amazing things to say. Joe is incredibly willing and able to bring any vision you have to life. I have worked in studios with Grammy nominated engineers and i can confidently say that Joe is, before anything else, a listener - which is rare in the industry. Joe carefully works with each artist to capture the exact vibe they are going for with every song he touches. He simply makes himself the piece that makes YOUR vision a reality, no matter what you want. Please do yourself a favor and invest in this man. Youll thank yourself.
Interview with TeaHouse Studios, LLC
Q: What's the biggest misconception about what you do?
A: That mixing engineers aren't creatives!!! Outsiders see what we do as a highly technical process that has a fixed and inevitable end goal. A lay person would think that the final mix is, more or less, the ONLY way the song could have possibly turned out. That couldn't be farther from the truth. If two different, equally talented engineers mixed the same song, their versions of it could be COMPLETELY different. A mixing engineer's taste is largely what dictates the direction of the mix and everybody's taste is different.
Q: How would you describe your style?
A: Aggressive. I mix with the biggest stage possible in mind. I mix, master, and reference with the mindset that millions of people are about to hear it. A lot of engineers I know are very relaxed about mixing and just want to please the artist. "If the artist is happy, I'm happy" is something I'll never say. I want to take the song to a level that the artist themself didn't even anticipate. If I'm satisfied, AND the artist is happy, I'll be happy. Lol. To me, is chicken sh*t to do it any other way.
Q: Which artist would you like to work with and why?
A: I actually have no interest in working with big artists. You can't build with them. They've already made it. I want to work with the amazing artist that nobody knows. I want to mix their breakout single. Undiscovered talent is where the money is, and not enough people get that. I've been working with a few artists for years that nobody knows, but who I really believe in. When they make it, I make it. Having that mutual interest in the production is part of the fun and it's your ticket to being able to do something significant in music--not just mix a random song in a famous artist's discography.
Q: What type of music do you usually work on?
A: I work on hip-hop/rap pretty frequently, but that's mostly a product of who has reached out to me for work. I feel very comfortable mixing everything from hip-hop/rap, to pop, to orchestral, to whatever. I love working on new-sounding material. It makes the mix that much more fun.
Q: What's your strongest skill?
A: Being able to use my tools effectively. I understand the sound of my room, the subtle tones of each plugin, all of that. But to me that's only half the battle and that's where so many engineers stop. Being able to use your tools in a tasteful and artful way is the other half. Anybody can buy the greatest pieces of gear and have all the shiny tools and expensive plugins, but that just means you have money. It doesn't mean you're a good engineer. It doesn't mean that you can bring an artist's vision to life. I pride myself on being able to use my tools to make ART, to truly bring a song to life. That's my strongest skill as well as the one I am most proud of.
Q: What do you bring to a song?
A: Creativity in the mixing process (I love injecting some personality and attitude into songs through creative effects like delays, reverbs, distortion, and filters, as well as manual edits like stutters, beat drops/spins, etc.). I also bring a lot of experience in knowledge regarding what resonates with people sonically. One very important skill that I should mention here as well is my ability to interpret what an artists mean when they describes their music. In most cases, artists won't know the technical terms to describe something and often struggle to describe what they're hearing or what they want changed. Most of the time the song will "feel" too much this or that. I've gotten very good at interpreting these cryptic descriptions and am able to understand what the technical change that corresponds to the artist's feeling is. The last thing I want to note here is that I master every song I mix. I studied mastering in Cybersound Studios in Boston and found that being able to really do it (not just throwing an EQ and a limiter on the mix bus like I know so many engineers do lol) adds a ton of value to the production because you save the artist from either having to get that done separately or not at all. Mastering is an art in and of itself, and being good at it is very advantageous. Artists that work with me walk away with a radio-ready song without needing to seek out somebody else that can push it's volume to commercially competitive levels and retain the same impact found in the mix. Plus, that added step introduces an opportunity for a perfectly good mix to be ruined by somebody else.
Q: What's your typical work process?
A: I spend lots of time organizing the tracks before I even start mixing. I'm pretty OCD about that. My template, which I have been refining continually for several years, is the backbone of my workflow. I plug everything into it and get The first thing I do substantively is clean up the audio. Clicks, pops, hums, breaths, noise, sibilance, tuning, etc. I clean that all up and bounce everything in place. That's what I really consider my starting point. Then I get a static mix (mostly, my attention is paid to leveling and clip gain automation here). Then I start building the mix with my plugins. My bus routing is already set up in my template, but I pay lots of attention to my gain structure at this phase. Then I get into the meat of the mix, this is where I split up tracks, apply all of my heavy lifting processing, mid/side, dual mono, stereo imaging, harmonic enhancement / exciters, creative FX, delays, reverbs, parallel processing (compression, EQ, harmonics, flangers, spacializers,). About 3/4 of the way through this phase, I set up my buss compression, a few series of summing busses, and my mix bus processing (which I mix into from this point on). From there, its all about tweaking and tweaking and tweaking until it's perfect. The only time this process changes for me is if I'm on a time crunch, in which case I work through the mix "top-down" style. In this method, I still end up with pretty much all of the same processing in the end but get there a different and more efficient way. In this method I start at my busses and start with big brushstrokes that affect groups of sounds as opposed to going through each one at a time from the beginning. It's just a big of a different methodology. Again, it all depends on how much time I have. I find that this method shaves about 3 hours off of a mix, but it's a little bit less thorough in my opinion and a greater degree of separation and clarity is possible with bottom-up mixing.
Q: Tell us about your studio setup.
A: My studio is professionally and thoroughly sound treated (which to me is the most important thing because it allows for my mixes to translate across many speakers). I have NS-10's, Genelec 8341's, and an Auratone Mixcube. I also reference on Beyerdynamic DT 990's, Audio-Technica ATH-M40x's, and $5 headphones (important!). I have every major noteworthy plugin that anybody can think of for the most part (yes, I know what they all do and the best ways to apply each). I use an Apollo 8 interface, Pro Tools HD, Logic Pro X, and supercharged MacBook Pro which serves as the hub of my studio. I reinvest pretty much every dollar I make from music into my setup and I take a lot of pride in having the highest quality tools. As a practical matter, I love having tools that I can manipulate in lots of ways like the FabFilter plugins because I can really get the sound in my head to translate into real life with them. Whenever I come across a new tool like that, I have to have it.
Q: What questions do you ask prospective clients?
A: WHETHER YOUR PROJECT IS WELL RECORDED!!!! I'd like to say that I can make anything sound good, but the reality is that artists are greatly limiting the potential of the mix by sending poorly recorded tracks. I generally avoid working with poorly tracked projects because I feel like I'm stealing money from the artist. You would do your song much more good by recording the tracks properly in a professional studio for ~$100--$200 than you would by paying me $500 to mix a song that has inherent flaws in the recording.
Q: What other musicians or music production professionals inspire you?
A: Jaycen Joshua and Dave Pensado account for a disproportionate percentage of the mixes that I study. @Neenamixedit (IG) and Andrew Luce (@andrewluce on IG) have also personally aided in my development a lot--so them too.
Q: Describe the most common type of work you do for your clients.
A: I mix and master their songs. I'm pretty hands on about it though and really want to know what they have in mind. Once I know what they're going for I do my best to take that vision and run as far as I can with it sonically.