As a songwriter, producer, and mixing engineer, Alex Nackman has written music and placed songs with artists from Sony, Warner, Nettwerk, & Kobalt among others, as well as shows on HBO, NBC, CBS Sports, AMC, Tour De France, Bravo, Showtime, Hyundai, Coca-Cola, Cadillac/GMC, and the BBC, among others. Alex is also a BMG-signed writer himself.
With six albums, hundreds of tour dates, and dozens of songs placed throughout television and film, Alex Nackman has found a way to see through the fog and have others see him, as he has run the proverbial "career-gamut" as a musician, producer, composer, and artist.
He has had the privilege of opening for Norah Jones, The Roots, Zac Brown Band, and Buddy Guy to name a few. He has headlined venerable rooms such as The Troubadour in Los Angeles, ShowBox SoDo in Seattle, Cafe Du Nord in San Francisco, and The Borderline in London, among others.
As a writer and composer, Nackman has written music and placed songs with HBO, NBC, CBS Sports, AMC, Pokemon, Bravo, Showtime, Hyundai, Coca-Cola, Cadillac, and the BBC, among others.
After the unexpected death of his drummer and close friend, Chris Williams (also from the Pat McGee Band), which occurred in 2006, Alex began taking less time on the road and more time in his Brooklyn recording studio, preferring to write, experiment, and master the studio environment. Nackman has worked with indie and major artists from Sony, Universal, BMG, Nettwerk/Kobalt, and Warner on production and album projects ranging from pop to alternative to rock to folk to Hollywood scores and more--- a writer/producer with a full spectrum of creative input with an expansive musical palette.
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8 ReviewsEndorse Alex Nackman
I have worked with Alex on songwriting projects for music library submission in the TV and Film space as well as seen him perform live in NYC. Always a pleasure to be around. I had the opportunity to visit his studio in the past and he is a very reliable producer and can work at a great pace. He is great at communicating ideas and very easy to collaborate with.
I’ve worked with Alex on several projects throughout the years, including my latest release ‘Songs From A Cliffside’ Alex is an immensely talented singer, guitar player, songwriter and producer/engineer - he really can do it all and do it at an extremely high level. He’s skilled at bringing out the best in whomever is he working with. I would highly recommend working with him.
I've known Alex for around 25 years and can say for certain that he's an all-around great musician, producer, and songwriter with a strong ear for hooks. This past summer, I worked with Alex when he engineered an EP I produced for another band. Top-notch engineer and super easy to work with, everyone loved working with him. Can't recommend Mr. Nackman enough!
Alex is a great singer, producer, and musician. Most importantly, he’s quick at communicating and has a quick turnaround. He’s helped me with last minute publishing submissions and came through quickly when a lot of others wouldn’t.
Alex has been a great writer and producer for a long time. I originally met him at BMG in New York in 2010. He's worked on many tracks for my band as well as some co-writes w. me personally. He has valuable studio experience and strong sense of what works. His studio in Brooklyn is also gorgeous.
I have known and worked with Alex for years and completely recommend him to anybody who is looking for a quality product in the form of help with songwriting, mixing, or any type of studio production.
It’s rare to find somebody who’s both detailed in what they do and at the same time brings a relaxed and fun vibe, and Alex is that person.
Consummate professional with a great ear and solid instincts for tasteful production. Alex mixed an EP for me in 2019 and I couldn’t have been more pleased.
You won’t be disappointed . Alex is just great all around !
Interview with Alex Nackman
Q: What advice do you have for a customer looking to hire a provider like you?
A: Be open, be kind, be professional.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: My Gibson Southern Jumbo Acoustic, a notepad, a pencil, big bottle of water, and a capo
Q: What was your career path? How long have you been doing this?
A: I've been at this for the better part of 18 years, though I've been playing guitar for about 25 years. Writing, recording, and producing began in high school and continued through college. I started booking acoustic shows at coffee shops and it slowly grew to small clubs and then some big clubs. I've been lucky enough to play with Norah Jones, Zac Brown, and even Buddy Guy at some pretty amazing venues. From there, it segued into the studio as I got more comfortable around all the gear and really fell in love with being inside a laboratory. I began licensing and writing music for TV shows and soon artists. Now, I split time between studio stuff and live stuff, depending on what's on my plate.
Q: What's your strongest skill?
A: I've felt writing melodies has been a strong suit-- at least I hope. But, I also love to find ways of being creative as a mixing engineer, where the song has already been written. A mixer can add his/her own touch to a track that lifts it, so I do all I can include my influences from the past.
Q: What do you bring to a song?
A: I try to bring honesty. I want the a song to feel real and feel like it took time to create. That doesn't mean a great song needs to be labored over for months and months, but I am against a cookie-cutter sound or a track that can be made exclusively with midi. Someone needs to play a real instrument somewhere. After all, we're humans with a message. If we want a computer doing all of the work, then there's little point. What inspires people is showing them what a human can do with his or her hands and mind.
Q: What's your typical work process?
A: This is a difficult question to answer succinctly. It truly depends on thew project. But, it all starts with the skeleton of a song (the melody). I like to establish the melody because for me, it sets the tone and the mood. Once that is confirmed, lyrics (the message) of the song can be written so they match that set mood. I know this can vary for many writers and there are different thoughts on this, but for me, melody leads me to lyrics.
Q: Tell us about your studio setup.
A: I have two studio setups. The first is my main commerical studio space in Dumbo, Brooklyn. It's a fully stocked live room and control room with tons of modern and vintage gear from Neve, API, Manley, Universal Audio, Avalon, and lot more. The live room has a 1926 Steinway as well as gear froim Gibson, Fender, Vox, Gretsch, Ludwig, etc. The feel of the studio is a re-creation to a 1920's speakeasy, so it's very vibey and cool. My second space is my mixing and writing room in my New York apartment. Certainly not a big space, but it's cozy, warm, and has a lot of beautiful gear that I've collected over the years. I've recorded some stellar vocals and acoustic guitar there. For an intimate writing or producing session (or obviously mixing), it's perfect and feels like home.
Q: What other musicians or music production professionals inspire you?
A: I love the sound of British-rock and Brit-pop producers (among others). There is something about that Brian Eno or Nigel Godrich sound that has always intrigued me. It's probably why I love New Wave music as well as songs from Radiohead and Coldplay. They combine lasting melodies with a sense of melancholy that truly pulls at me.
Q: Describe the most common type of work you do for your clients.
A: I've worked on a wide range projects, but much of the work I do starts at the writing level. I co-write with many artists, aid in finding the right melody or topline that fits, as well as hone lyrics and the direction of a song. After that, production is something I've spent many years doing -- from rock/pop to electronic to acoustic singer/songwriter, I try to bring all I can to a track with elements that keep the original song intact of course, while adding useful production tricks and instruments that lift the song right to where it needs to be.