Gregory Scott


Gregory Scott on SoundBetter

With over 10 years of experience on both sides of the mic, I know what you are listening for as an artist. Whether you're trying to get a beat out of your head into the computer, or need your new project mixed and mastered as hot as it sounded in the studio, I've been there and I'm here to help the whole way through.

I offer professional level mixes at consumer level prices. With expertise in all genres, from pop to hip-hop & R&B, electronica to rock, jazz, experimental, ambient, and beyond, I will elevate your sound to the next level.

Graduating from Loyola Marymount University in 2019 and rising through the ranks at the Westlake Recording Studios since, I bring 7 years of industry standard practice to your next project.

I offer discounts for those in marginalized groups. Allow me to use my skills to help you amplify your voice.

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

Interview with Gregory Scott

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

  2. A: I produced an ambient/experimental record based on the Apollo 10 communication recordings with my music project Gnosis a few years back, and we had the privilege of mixing it all on an analog console. The whole experience was so much fun, and we just made music with no expectations or judgement the whole way through. Whatever stuck the landing made it on the record, and I hope to continue making art as free and unbounded as that in the future!

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

  4. A: I have been working with VIVIAN LUTHER on some of her upcoming music... I can't say too much but it's gonna turn heads when it comes out!

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

  6. A: There are some absolutely world-class engineers on this platform, but they don't need my help.

  7. Q: Analog or digital and why?

  8. A: haha- a mix. They're useful in different ways. To pick one and ignore the other is to lobotomize your toolkit. digital is clean and precise, fast and (with enough computing specs) unlimited, but analog adds detail. Running signal through long stretches of copper introduces more potential points of error and noise, but forcing your sound to spend time in the physical world adds grit based on the laws of physics- the most fundamental boundaries that exist. Digital emulation will always get better but will always take more effort to achieve than raw physical limitations.

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

  10. A: I promise you will walk away feeling better about your music than when you first arrive.

  11. Q: What do you like most about your job?

  12. A: Being a part of something bigger than me. Helping create something that goes out into the world is one of the greatest feelings.

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

  14. A: "Can you *so-and-so* for free?" No. I'm sure your project is great, but I cannot eat on a sick beat alone.

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

  16. A: I cannot "Fix it in Post". Despite having incredible digital forensic audio tools and the skills to use them, a bad initial recording will at best be a polished turd. I can remove a fly buzzing in the background of a take, but I cannot fix your guitarist's bad form and sloppy chords.

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

  18. A: What are you looking for out of the final project? What are you expecting of me? Are you willing to put in the extra effort it sometimes takes to make something really special? How much of your original vision are you willing to sacrifice if it gets in the way of the music? What deliverable are you expecting? what platform will this end up on? Do you have any preferences for how you would like this work to be done?

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

  20. A: Bring bold ideas and a focused mind. The more you can visualize of the project you are trying to make, the more I can help you implement it in practice.

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

  22. A: a computer with Ableton Live, a Nord Keyboard, Barefoot monitors, a strat, and an apollo

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

  24. A: I started playing piano at the age of four when my parents inherited my grandmothers piano. I've played in bands, ran live sound, gone to college for audio, learned numerous instruments, and purchased way too much gear. 20-something years later, I still find music as magical as it was when I could barely play.

  25. Q: How would you describe your style?

  26. A: I would say it's 'Communal'. Music doesn't exist in a vacuum. in fact, a vacuum is the one place music cannot exist! I have only two ears, I can only hear so much. I only have two hands, I can only play so much. Music ends up passing through generations and across country lines, and it should be made for the world by the world. I am here to contribute my piece. I hope you contribute yours.

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

  28. A: Any artist who promotes the wellbeing of their fellow man is an inspiration and a privilege to work for.

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

  30. A: Layer your reverbs! We dont live in a 2-dimensional flatland, why should reverbs be the same?

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

  32. A: Pop, hip-hop, rock and bedroom/indie genres are my forte, but all music speaks to me. I hope to never settle into a groove of what I work on. challenge me!

  33. Q: What's your strongest skill?

  34. A: Feeling. I feel a lot. A technically competent mix is delightful to listen to, but it will only get you so far. if there's too much 15k+, a meter can tell me that. A meter cannot tell me how a track moves a listener, what it reminds them of, or how it makes them feel. Having a strong emotional core to any record is what makes or breaks a hit song, and that is what I am most capable of tuning into.

  35. Q: What do you bring to a song?

  36. A: I bring clarity. I have an obsession with 'pop' as an idea, but what that means to me is something that is clear, understandable, interesting and compelling. I never have an issue hearing the original intention of the artist (even if it’s not pop) but there are small mindset shifts that I bring that can universally uplift and reinforce the essence of the track, pushing it in the direction it naturally wants to go. In traditional storytelling, there is the idea that the audience doesnt have to agree with a character, but a compelling character is one whose motives are understood. Similarly, a track can be confrontational in its sound and presentation, but still be compelling to a wide audience.

  37. Q: What's your typical work process?

  38. A: It depends on the project. When I'm mixing, I start with the big picture, and listen to the reference, trying to figure out how loud, how quiet, how high, and how low the bounds of the track should be. Then I mix sound by sound, making sure each instrument has its place in the piece, before grouping and bussing. Getting proper staging is a matter of teasing the limits of the gear or tools in use, and then testing the extremes in either direction to find where it fits naturally. Once it's all together, I will rebalance individual sounds to make sure they sit properly in the mix. When I'm Producing, I follow my feet and I follow my ear. I will be halfway through tuning the sound for the keys and if I think I hear a bassline, I'll drop everything to track it out so I don't forget it or get lost in the sauce. Never get lost in the sauce.

  39. Q: Tell us about your studio setup.

  40. A: Consoles/Monitoring: Vintage Ramsa 8428 large format console, Adam T8Vs, TOA mixcube (auratone clones) Microphones: Warm Audio U47 tube mic, Audio Technica AT2020’s (2x), Audix DP7 Drum Mic set, Sm58's (3x), mxl 993 Stereo Pair, Custom subkick mic Outboard Gear: Mindprint envoice EZ-1, Warm Audio Bus Comp, Dbx 166, Ibanez Graphic EQ, Colour Cp5 Mic-pre with 70s card, Apollo Twin, Teac 2300 Reel to Reel tape Machine Instruments: Yamaha Compact 3 Piece drumkit, Behringer Pro-1, MicroKorg, Korg Minilogue, 2011 Fender Strastocaster, 1989 Samick Electric Bass, Assorted Guitar Pedals (strymon, ehx, rat, ect.) Marshall half-stack

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

  42. A: Watching artists like Daft Punk, Tyler the Creator, and Pharell effortlessly move from one project to another, one sound to the next, never stopping on genre lines, and always collaborating, mixing it up, and challenging themselves and the culture with their styles and sounds. Certified Genius Super-Producers.

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

  44. A: I spend most of my time engineer-producing. When Singer-Songwriters come to me with a demo or an unfinished idea, they typically have it all figured out musically, but need someone to fill the gaps in the musicality they can't accomplish, and then glueing that to the technical recording and processing side. As an engineer-producer, I span the gap between the creatives with the ideas and the tape (or DAW in most cases).

Various Artists, Compilation

I was the Tracking & Mix Engineer in this production

Terms Of Service

My default turnaround time is 4-7 days per track, and 2 days per revison, up to 3 revisons. Further work may cost more. Lets discuss what works best for your budget and your sound.

GenresSounds Like
  • Kanye West
  • Dominic Fike
  • Hayley Kiyoko
Gear Highlights
  • Warm U47 Clone
  • Mindprint envoice EZ-1
  • Vintage Ramsa 8428 Large Format Console
  • UA Apollo & Plugins
  • ADAM Audio T8V
  • Aurotone Super Sound Cube Clones
More Photos
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