Music Producer/Mixing Engineer

Q: Analog or digital and why?

A: I’m hybrid on purpose: analog-style on the way in, digital for creation and precision. Analog front end (Why It Matters) For vocals and live instruments, I like an analog-flavored front end because it gives you that “finished” energy before we even touch a plugin. I track through high-end capture options like Slate VMS, an AKG C414, and an Avalon-style preamp tone so the sound hits with warmth, depth, and presence right at the source. That translates to vocals that feel expensive, controlled, and confident, and it reduces the need to “fix it in the mix.” In plain terms: analog on the front end helps you sound like a record immediately. Digital production (Why It Wins) Once we’re building the world of the song, digital gives me unlimited range and speed without sacrificing quality. I rely on premium instruments like Roland Cloud, Omnisphere, Arturia, and Native Instruments Komplete to create modern, cinematic, and melodic textures—everything from futuristic synths and arps to realistic keys, pads, strings, and sound design. That’s how I get the “epic drop” moments and emotional movement you feel in my productions. Digital also lets me move fast, recall sessions instantly, and tailor the sound to your exact lane—Top 40 pop, R&B, contemporary Christian, film/game cues, or genre-blends. Digital mixing (Precision & Polish) Mixing is where digital shines using SSL and Neve emulated consoles because it gives surgical control and consistent results across every playback system. My mixing toolkit includes Waves, SSL, UAD, Fabfilter, Slate Digital, Soundtoys, Plugin Alliance, iZotope, Antares, and other industry-standard suites. That means I can shape your record with the same kind of processing approach you hear on commercial releases: tight low end, clear vocals, wide depth, punch, and polish—without losing the emotion. The result is a mix that translates: car, club, headphones, AirPods, TV, and big speakers. That’s the real test. The client benefit So if you’re asking “analog or digital?” my answer is: both, because I’m chasing the best of both worlds. Analog-style capture for tone, weight, and vibe and digital instruments for modern sound, versatility, and speed Digital mixing for precision, translation, and commercial polish That hybrid approach is how I consistently deliver radio-ready, streaming-ready records that sound current, feel emotional, and hit hard—no matter the genre.

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

A: What genres do you specialize in? I work across pop, R&B, contemporary Christian, hip-hop, cinematic, film/tv, video games, podcasts, and genre-blending records. My focus is always modern, melodic, emotionally driven music that competes commercially. What is your production style? Futuristic, melodic, and emotional. Music you feel. Epic drops, strong musical moments, pianos, arpeggiated synths, pads, and dynamic builds that pull listeners in. Do you produce full records or just beats? Full records, and I also sell beats. I produce songs and tracks from concept to finished, radio-ready masters. Can you help with songwriting? Yes. I assist with song structure, melody development, lyric refinement, and creative direction as needed. I have a professional team around me with many years of writing for major artists. What is your typical work process? We start with a creative interview, align on vision and goals, then I produce the record, record vocals, handle vocal production, mixing, and final prep for release. How many revisions are included? Up to 3 revisions are included. Additional revisions are billed at $50/hour. What is your turnaround time? Up to 10 business days after the initial session and receipt of all materials. Do you handle recording and vocal production? Yes. I handle recording, vocal coaching, comping, timing, tuning, and performance polish. Is mastering included? Mastering is handled separately by trusted mastering engineers unless otherwise agreed. What do you need from me to get started? A rough idea or reference, your goals for the song, and clear communication. You don’t need everything figured out, just a starting point. Do you work with remote artists? Yes. Most of my work is done remotely with artists worldwide. How involved can I be in the process? As involved as you’d like. I guide the process but collaborate closely with the artist. What is your pricing? Pricing depends on the scope of work. I’m transparent upfront and tailor packages to the project. Do you require payment upfront? Yes. Payment is required to begin work. Final files are delivered once payment is complete. Who owns the song and how does publishing work? Artists own their releases, but commercial projects require standard producer credit and publishing splits per industry norms. Do you take producer points or publishing? Yes, on commercial releases. All splits follow standard music industry practices. Can you help prepare music for streaming or radio? Absolutely. My goal is to deliver release-ready, competitive records that translate everywhere. Have you worked with established artists? Yes. I’ve worked with artists including Angela Via, Brian Angel, GI (H-Town), Lil Flip and others across indie and major spaces. Do you work on film, tv, or games? Yes. I create music for Film, TV, Video Games, and Media, including Mutant League Football 2. How do you ensure my song sounds competitive? Experience, musicianship, and intention. Every decision serves the song and the market. What if I’m not satisfied? That’s what revisions are for. Clear communication upfront helps avoid issues. Can you handle rush projects? Sometimes, depending on availability. Rush fees may apply. Will you sign an nda? Yes, if needed. Can I hear examples of your work? Yes. Samples are available on my profile and upon request.

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

A: Roland Fantom-G, Slate VMS, Computer; Waves Mercury Bundle, NI Komplete

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

A: One project I’m especially proud of is my work with Angela Via on her forthcoming Christian Contemporary album, including the lead single “Image of U.” This project means a lot to me because it represents full-spectrum producing—not just contributing, but truly building a record from the ground up. I was responsible for the entire musical foundation and execution. I produced and composed all of the music, recorded the vocals and instruments, assisted with vocal arranging and songwriting, played keys, handled mixing and post-production—every role a producer can step into on a record, I stepped into on this one. What made it special wasn’t just the workload, but the intention behind it. The goal was to create music that felt modern, emotional, and competitive, while still honoring the heart and message of contemporary Christian music. Balancing authenticity, spirituality, and commercial quality is a real challenge, and this project pushed me creatively in the best way. “Image of U” is a record I’m proud of because it reflects trust, collaboration, and execution at a high level. It’s a clear example of how I approach producing: guiding the vision, elevating the performance, and carrying the song all the way across the finish line. This wasn’t a demo. This was producing—fully. It will be released soon!

Q: What are you working on at the moment?

A: At the moment, I’m working across several projects simultaneously—which is pretty much my normal state. I’m currently producing five songs for Brian Angel’s upcoming solo project, continuing to build records that are competitive, intentional, and artist-driven. At the same time, I’m creating music for Mutant League Football 2, contributing to game-ready compositions that translate across gameplay, menus, and high-energy moments. Beyond that, I’m actively producing music for Film, TV, and Video Games, developing tracks designed for sync, storytelling, and placement. I’m also working on jingles and branded music, where clarity, memorability, and impact matter just as much as creativity. On the personal side, I’m developing my own instrumental album, pushing my sound forward and exploring new musical ideas without limitations. Alongside all of this, I’m constantly creating songs intended for major artist placements, staying ready for opportunities as they come. Simply put, I’m always working on music. Different formats, different goals—but the same standard every time.

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

A: Yes, Producer/Engineer. Dana Nielsen is a personal friend who has worked with countless major records and artists (Justin Bieber, Justin Timberlake, Adele, Kanye West, Rihanna, The Smashing Pumpkins, Neil Young, Red Hot Chili Peppers, Weezer, The Avett Brothers, Bob Dylan, and Rick Rubin). Dana Nielsen is an exceptional mix engineer and producer with a deep understanding of how records need to sound at a commercial, major-label level. His attention to detail, balance, and translation across systems is top-tier, and he has an instinct for knowing what a song needs without overprocessing it. Dana brings clarity, impact, and polish to every mix, while still preserving the emotion and intent of the record. He’s professional, reliable, and easy to work with—someone you can trust when the stakes are high and the music has to compete. If you’re looking for mixes that translate on radio, streaming platforms, and real-world systems, Dana delivers consistently. Let him know Big Chrizzle sent ya!

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

A: The biggest misconception about what I do is that it’s easy, or that anyone can do it if they have the right gear. Every project is different. There’s no template, no button you press, and no “one size fits all” solution. Even when things sound smooth on the outside, each record comes with its own set of creative, technical, and emotional challenges that have to be solved in real time. What works for one artist or song might completely fail on the next. Another misconception is that once you reach a certain level, the learning stops. It doesn’t. I’m constantly studying—new sounds, new techniques, new workflows, and how music continues to evolve. Production isn’t just about equipment. It’s about taste, experience, decision-making, and understanding how to guide a song from idea to finished record. Gear helps, but it doesn’t replace years of listening, learning, and problem-solving. What I really do is take complexity and turn it into something that feels effortless to the listener. That’s the part people don’t see.

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

A: I’ve been doing this since 1996, and my career path has been a long, intentional build rooted in musicianship, technology, and real-world record making. My musical foundation actually started earlier. I began playing saxophone in 1993, which shaped my ear for melody, phrasing, and emotional expression long before I ever touched a DAW. Around that same time, I learned how to compose music through church, working closely with the music director. I didn’t fully understand how music was made until I watched him sequence arrangements on a Yamaha SY77. That moment changed everything. Seeing music built layer by layer sparked my interest in production and composition in a real, practical way. I spent four years playing saxophone in jazz band, constantly talking with the band director and learning the importance of improvisation, feel, and emotional expression. Jazz taught me how to listen, react, and play with intention—skills that still show up in my production today. Alongside that, teaching myself piano helped connect theory, harmony, and melody, and ultimately cultivated the foundation for my music production chops. I started producing on a small home computer, moving into sequencing and production using hardware like the Roland XP-60 alongside Cakewalk, which gave me a strong foundation in composition, arrangement, and musical structure early on. After moving to Austin, my growth accelerated. Being surrounded by stronger musicians, vocal arrangers, recording engineers, and mix engineers taught me a crucial lesson that still guides my work today: a record is not just a beat. It’s the full process—composition, songwriting, vocal arrangement, performance, recording, mixing, post-production, and mastering—all working together to create something complete and competitive. One of my early career milestones was working with Lakrea Clark, who at the time was recognized as the #1 unsigned artist in the world. That experience helped open doors and gave me firsthand insight into what it takes to build records that stand out at a high level. From there, I branched off and built my own production company, which led to working with a wide range of artists across local, indie, and major spaces. Over the years, I’ve collaborated with and produced for artists such as Lil Flip, Angela Via, Brian Angel (Day26), Daryl “GI” Jackson (H-Town), Amir Cuyler, Simply Rayne, Mizzy (Netflix’s Rhythm + Flow), Koder Brown, Robert Allen Berry, and TJ Moore, among others. Beyond artist records, I’ve expanded into film, games, and media. In 2025, I worked on music for Mutant League Football 2, contributing to a major game release across console and PC platforms. I’ve also been involved in music for film projects, branded content, and custom compositions that demand both creativity and technical precision. My career goal has always been clear: to produce records full time and compete at a professional level—and that’s exactly what I do now. I don’t stop at ideas or demos. I finish records. Looking ahead, I’m focused on continued growth as a composer, producer, mixer, and creative, taking on new challenges, working with new artists, and expanding further into Film, TV, Games, Podcasts, and Sync. Just as important to me is building strong creative relationships, networking within the music industry, and continuing to grow my brand while delivering music that feels current, emotional, and competitive. This has never been a phase or a hobby for me. It’s been a lifelong craft—and I’m still pushing forward.

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

A: I’d love to work with artists at the level of Beyoncé, Chris Brown, Ty Dolla $ign, Usher, Rihanna, Ariana Grande, or Lady Gaga because they combine elite vocal ability with real creative instinct. I’m drawn to artists with powerful, expressive voices who are willing to explore ideas in the room—pushing melodies, reworking lyrics, and letting the song evolve during the writing and recording process. That kind of collaboration brings out the best records. When the artist is open, fearless, and invested creatively, the results tend to be special.

Q: Can you share one music production tip?

A: Keep an open mind in the studio. Some of the best records come from spontaneity, unexpected suggestions, and creative “accidents.” Don’t kill an idea too early just because it wasn’t part of the original plan. If something feels different but works emotionally, follow it. That flexibility is often what turns a good track into a great one.

Q: What's your strongest skill?

A: My strongest skill is taking an idea from concept to a finished, competitive master—and making sure it actually works in the real world. I don’t just create music. I translate vision into execution. That means hearing a concept in my head, shaping it into a song with purpose, producing it at a high level, and guiding it all the way through to a radio-ready, release-quality record that can stand next to major releases. I’m especially strong at creating inspiring, meaningful music that still competes commercially. Emotion matters, but impact matters too. I know how to balance creativity with market awareness so a song feels authentic without losing its edge. That skill comes from years of experience working across genres, collaborating with charting artists, and finishing records—not stopping at ideas or demos. I understand the full lifecycle of a song, and I know how to push it across the finish line with confidence.

Q: What do you bring to a song?

A: I bring professionalism, clarity, and confidence to every song. Artists work best when they feel comfortable and supported, and I create an environment where creativity flows without pressure—but with a clear standard for excellence. Creatively, I bring out-of-the-box thinking paired with a competitive, market-aware mindset. I’m always focused on how a song translates in the real world—radio, playlists, sync, and live performance—not just how it feels in the moment. That mindset comes from real experience working with charting and platinum-level artists, not theory. I’ve worked with artists like Angela Via, Brian Angel, Lil Flip and others who understand what it takes to compete at a high level. That experience shapes how I approach songwriting, production, and overall record quality. I also bring versatility and musicianship. I play piano and saxophone, which allows me to build records musically, not just technically. That shows up in stronger arrangements, better melodies, and records that feel intentional from top to bottom. I adapt easily across genres and artist styles while still delivering a polished, cohesive sound that feels current and competitive. No matter the lane, the goal stays the same: elevate the song and make it undeniable. Most importantly, I bring the ability to finish records at a professional, radio-ready level. Not ideas. Not sketches. Fully realized songs that stand confidently next to major releases.

Q: What's your typical work process?

A: My typical work process is structured, intentional, and focused on delivering radio-ready, Top 40-quality records from start to finish. I begin every project with a focused creative interview to understand your sound, vision, goals, and target audience. This step is critical. Once I’m clear on the direction, I research your genre, current market trends, and comparable artists to ensure the record is competitive in today’s landscape—not dated or experimental for the wrong reasons. From there, I move into full production. I create the music from scratch, develop the song structure, and write or refine lyrics as needed. I don’t produce demos—I build records to sound finished from the start, so what you hear is what you’re preparing to release. After the direction is approved, we move into recording. This can happen immediately or on a timeline that works best for you. I handle all vocal production, including performance coaching, comping, timing, and tuning, to make sure your vocal sits confidently and professionally in the track. Once recording is complete, I mix the record to industry standards, focusing on clarity, impact, and translation across systems. Final mastering is handled by trusted mastering engineers to ensure the song translates properly across Spotify, Apple Music, radio, film, and all major platforms. I take my time with each project and hold a high creative standard. I work best with artists who trust the process and are committed to excellence, because the end goal is always the same: a polished, competitive record that stands next to major releases.

Q: Tell us about your studio setup.

A: My studio is a hybrid studio with hardware to get into the DAW, and I do almost all of my composing/beatmaking, mixing, post-production, and mastering in the box. Slate Virtual Microphone System (All MIcrophones), Avalon 737, AKG C214. Cakewalk by Bandlab, Studio One, Pro Tools, NI Maschine, Roland Fantom-G (Fully Loaded), Roland Fantom-X (Fully Loaded); Motif Rack ES, Roland JD-XI, Banshee Talk Box. Yamaha DX100, Roland XP-60, Roland JV2080, Slate VSX Headphones, MOTU 1248, Dangerous D-Box, IK MTM Studio Monitors. JBL 4326 Studio Monitors with Sub, IK Multimedia ARC Studio, Splice Virtual Instruments: Roland Cloud, NI Komplete, Omnisphere 3. Arturia Collection, Korg Collection, IK Multimedia Total Studio Max, Nexus. Output Sound Libraries and Arcade/Co-Producer, Orange Tree Sample Libraries, UVI Falcon Plugins: UAD Suite, SSL Complete Access. Slate Digital All Access, Waves Complete Suite, Plugin Alliance Mega Bundle, Izotope Bundle, Antares Audio Complete (Including Autotune2026), Fabfilter Suite, Vocalign. Soothe. SpecCraft, Gold Clip

Q: How would you describe your style?

A: My production style is futuristic, melodic, and emotionally driven. I create music you don’t just hear—you feel it. Every track is built to pull the listener in, then reward them with moments that feel epic, cinematic, and immersive when the beat drops or the instruments fully open up. I’m drawn to strong musical foundations. Pianos, arpeggiated synths, and evolving pads are core to my sound, layered in a way that creates motion, depth, and atmosphere without losing impact. The goal is always to balance emotion with power—something that moves people while still hitting hard. My records are designed to breathe and build. I focus on dynamics, tension, and release so the song has a journey, not just a loop. Whether it’s pop, R&B, or something genre-blending, the production is intentional, modern, and built to translate on big systems, headphones, and everything in between. At the end of the day, my style is about creating moments—music that feels big, current, and unforgettable, while still leaving space for the artist’s voice and story to lead.

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

A: I typically work on R&B, Pop, Hip Hop/Rap/Trap, Film Scoring, Instrumentals, Film/TV, Video Games, Podcasts, Jingles, and some Pop-Rock records

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

A: Rodney Jerkins, Max Martin, Timbaland, Babyface, Jimmy Jam and Terry Lewis, Stargate, Noah "40" Shebib, Tim Kelly & Bob Robinson, Diane Warren, David Foster, Michael Jackson, Metro Boomin

Q: What questions do you ask prospective clients?

A: What is your budget and timeline for this project? What genre or lane do you identify with, and where do you want this record to sit in today’s market? What is the primary focus of your career right now—artist growth, radio, playlists, sync, branding, or content? What message, emotion, or story do you want the song to convey? What style or energy are you aiming for (upbeat, ballad, club, trap, cinematic, piano-driven, etc.)? Who do you see as your competitive artists or sonic references? Do you already have a rough idea, demo, or sketch, or are we building from scratch? Are you looking for full production, or specific services like songwriting, vocal production, mixing, or mastering? How hands-on do you want to be during the creative process? What systems or platforms does this song need to translate well on (radio, streaming, film/TV, games, social content)? What is your plan for the finished product—release strategy, distribution, pitching, or placement? Do you understand how publishing and royalities work? Are you registered with a PRO?

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

A: My advice is to come prepared and be intentional. You don’t need to have everything figured out, but having a rough sketch of what you want—references, a vibe, a direction, or even a few notes—goes a long way in helping us move quickly and creatively. Be professional in your approach and direct in your communication. Music is a time-sensitive business, and clear, concise feedback keeps the process smooth and productive. Don’t be afraid to ask questions or speak up about your vision—that collaboration is how great records are made. Most importantly, trust the process. When you bring preparation and openness, and you lend me your trust creatively, the goal is always the same: to elevate your sound and help move your career forward.

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

A: To give 1000% into their project, deliver something that is professional, high quality, and competitive. Your music should be able to be slid into rotation without anyone batting an eye. We take pride in giving you our best!

Q: What do you like most about your job?

A: What I like most about my job is the journey of the creative process. I love taking an idea from a feeling or a concept in my mind and shaping it into a finished record that sounds exactly how I envisioned it. I enjoy telling new and interesting stories through music—playing instruments, exploring new sonic textures in production and mixing, and experimenting until the song feels alive. There’s a lot of joy in the process itself. It should be fun, creative, and inspiring. Just as important is the people. I love working with artists at every level, from indie to major, helping them realize their vision and watching that moment when they hear the final record and it clicks. Seeing artists smile, feel confident, and believe in their music is a big part of why I do this. At the end of the day, there’s nothing better than hearing the final product sound incredible and knowing it came from a blank slate to something real, powerful, and finished.

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

A: Full song production which includes: composition of the music, song formatting and structuring, songwriting, vocal production, recording, mixing, and mastering. We are a production team focused on providing top quality, professional, and competitive songs to our clients.