Multi instrumentalist, producer and all round music guide. I provide high quality and friendly remote production and mixing services to artists across all genres. Numerous singles on BBC6, Introducing, Radio 1 and countless international releases. Obsessive record collector.
If it makes a noise, I'll probably be able to help.
Understanding an Artist's needs is always my priority. The technology around production is always something I feel the Artist should be unaware of. It's the easiest way for me to make sure whenever we're talking, we're talking about the music. I always strive to work in a way that prioritises the musicality of a piece. For that reason, I've spent years collecting some of the best equipment available so I know that any decision I make is made with the best tools to hand.
Rather than being limited to editing or manipulating sound, I like to find ways that capture performances as they are intended to be heard. The less things are 'messed with', the shorter the route between the Artist and audience. Taking time to get the right mic, feel, and delivery is how I like to run things.
I try to be as creative as possible. Even with 'objective' tasks such as mixing and editing, I try and bring something extra to the table. I find this keeps the Artist involved on a creative level and stops the mixing process from being arduous and dry. No part of the process is ever about my 'vision', just a helping hand towards the right decisions.
After all, my aim is to make you sound more like you, not to make you sound more like me...
Releases // https://open.spotify.com/playlist/3iyBQpHE23ijnEbUAGHevP?si=Gofs4CemQTKPIQiU1qcCog
Contact me through the green button above and let's get to work.
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Interview with Jake Bright
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I co-wrote and produced the score to a film called Iris Warriors. It was a full symphony orchestra score that we recorded in Bratislava. The movie is mostly danced as the story is told through ballet. It was a huge production that saw me work in four different countries with a huge host of talent. I believe it's due out next year.
Q: What are you working on at the moment?
A: Just started a multimedia installation project in France. I'll be doing the composition, sound design and system design for a premiere in May 2021. I've got the usual production commitments alongside that back at home. Next year is looking pretty busy!
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Jai Widdowson-Jones and James Graham. The bedframe of any great rhythm section.
Q: Analog or digital and why?
A: Well, I always listen to vinyl at home, but certainly don't do the same on the train. There's perks to both. The trick's knowing WHEN it makes a difference...
Q: What's your 'promise' to your clients?
A: You'll be back..!
Q: What do you like most about your job?
A: That I can listen to music all day long and no one can tell me I shouldn't be.
Q: What questions do customers most commonly ask you? What's your answer?
A: What do we do next..? Well, get it out there! Find a distributor, label, publisher, whatever. Getting something recorded is only the first step. Need a team? Sure, I can find help somewhere...
Q: What's the biggest misconception about what you do?
A: That it's never difficult. I have bad days at work sometimes! Some days it's the gear; sometimes it's you.
Q: What questions do you ask prospective clients?
A: Do you want it fast, cheap or good? Pick two, you can't have all three!
Q: What advice do you have for a customer looking to hire a provider like you?
A: Do you need someone creative or technical? You might not know, but often you need both. Having someone who understands how a piece of kit works is handy, but having someone who can be expressive with it is always better.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Pencil, paper, laptop, 1073 preamp, Neumann M147. That coconut solo is gonna sound like you're actually there.
Q: What was your career path? How long have you been doing this?
A: After finishing my MA in Composition I did a bit of time writing Opera and Ballet. As in pencil and paper for an orchestra. I've been playing with bands for most of my life, so the studio world was always there too. Once I realised that orchestration and production were essentially the same skill I was hooked. They compliment each other too.
Q: How would you describe your style?
A: Easygoing. I don't want an Artist to leave sounding like they've been with me, I want them to leave sounding like THEM.
Q: Which artist would you like to work with and why?
A: Queens of the Stone Age or Björk. My grand plan is that one day I'll get them in a room together...
Q: Can you share one music production tip?
A: Listen. Don't watch.
Q: What type of music do you usually work on?
A: It's a very broad church. The one unifying thing is that I don't progam much any more. Everything I work on is played or created by hand. Big pop, experimental electronic music, psych rock - all genres I've woked in this year alone!
Q: What's your strongest skill?
A: Patience. Followed by brevity.
Q: What do you bring to a song?
A: A new perspective and the drive needed to get things done. I know how hard it can be to decide when something's 'finished'. By supporting (and occasionally challenging) Artists, I can help bring most productions up another level. Both artistically and technically.
Q: What's your typical work process?
A: I try and keep my work outside of the computer. Most of my time is spent routing and rerecording material through various bits of gear, so I'm often at my patch bay or the controls of a compressor. I spend a surprising amount of time on the floor! I love stripping the sterile sheen off sounds - by keeping my work to my hands and ears rather than my eyes, that process is much more musical for me.
Q: Tell us about your studio setup.
A: I'm based at home. I use a Native ProTools rig. Alongside that I run Cubase 9 for MIDI and VSTi programming and Native Instrument's Maschine hardware and software. I focus a lot on outboard. My collection is always changing, but my favourites are my Studer PR99 tape machine; Pioneer SR202 Reverb; Neve 1073 preamps; and my collection of stompboxes and guitar pedals. I have a number of hardware synths including an original SH-101 and a Dave Smith Instruments Prophet Rev2. I much prefer using the 'real thing' than digital plugins. Not even for the sound really, I just like the thought required when using hardware.
Q: What other musicians or music production professionals inspire you?
A: Love everything Inflo has done for the past few years. Steve Albini, Sylvia Massey, Tom Elmhirst and Blake Mills are pioneers of the studio and I have a lot of time for all their work. Good songwriting is always a joy to hear. Labi Siffre, Scott Walker and Isaac Hayes are the kings of their craft. I always have an eye Josh Homme's posse and the Brockhampton collective. Recent vinyl purchases include some of Marseille's best Hip-Hop; the complete works of Nirvana; and Eric Buchholz' realisation of some classic Legend of Zelda music with the Slovak National Symphony Orchestra (who I have recorded with!).
Q: Describe the most common type of work you do for your clients.
A: Sorting! Quite often the client doesn't actually know what they need, so I'll fix it up. Sometimes it's a simple case of mixing; other times we might need to take a look at the arrangement. I'm happy at all points in the production process - from voice memo all the way up to release day.