I'm a musician, producer, certified audio engineer, and manager of the internet music label Noise Jazz Records.
My career in music began in 2016 when I was signed to Commodity Fetish Records in Rocky Mount, NC with the art punk band Marla. In 2017, I ventured into starting my own music label and producing for other people in order to add as much value to their music as possible. In early 2020, I earned my certification in audio engineering after studying with the Grammy Award-winning team at Gat3 Productions in Charlotte, NC.
As I mentioned before, my intention as a producer and audio engineer is to contribute value to other creators' visions. Music has been my passion since I was a child, so I know how much it means to musicians who deeply care about their craft as much as I do. Whether I'm mastering tracks or working with sound design, I'm putting an exceptional amount of time and energy into the recording process so the artist's desired result manifests.
I'm proficient with Ableton Live 10 Suite, Logic Pro X, FL Studio, and Pro Tools so I know how to record regardless of whichever mainstream DAW I decide to use for a project.
Click the 'Contact' above to get in touch. Looking forward to hearing from you.
2 ReviewsEndorse Brenden Sica
I came to Brenden to work on a poetry/spoken-word EP and it has been the smoothest project I have ever been involved in. Brenden is one of the most knowledgeable and open-minded artists I know. He has a natural ability to understand and execute your vision. He draws from a wide range of influences and skills and is always willing to be flexible. His work ethic is also phenomenal. He is passionate about music and takes pride in his work.
Brenden is a really open minded producer who is great at understanding artistic vision, and bringing that vision into reality. I’ve worked with him for a few years now, and always find great enjoyment when we collaborate. One of my favorite qualities about his mixing and production skills is his versatility. He’s made music from fully analog punk to glitchy edm with elements of noise music, and many other iterations of genres. His experience with so many styles makes him a superb choice for any project.
Interview with Brenden Sica
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: One specific project I am proud of is an EP I recorded while I was signed to Commodity Fetish Records in 2016. Two of the singles made their way to local radio stations and I knew from that moment on, I could have a career as a producer.
Q: What are you working on at the moment?
A: I'm currently recording a poetry EP for author and poet Nathan Nicolau which will be released in late April of this year under my music label. Not only am I recording his vocals, but I'm using virtual instruments with next level plug ins such as Portal by Output to add granular effects to the instrumental portion of the songs.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: No I currently do not know anyone else on SoundBetter but I look forward to collaborating with other members in the near future.
Q: Analog or digital and why?
A: It depends on what is intended to be accomplished. That's like asking what someone's favorite color is. Sometimes you need more than one to paint a proper picture.
Q: What's your 'promise' to your clients?
A: I promise to provide you with the sound quality that is in direct alignment with your artistic vision. I'm very passionate about what I do, and I imagine that you take a lot of pride in the music that you release. With that said, I take this work more seriously than a large majority of my peers and promise to have the projects we do together reflect that commitment.
Q: What do you like most about your job?
A: The best part about this is that it doesn't feel like a job, but more like a second nature set of skills which come easy to me. My workflow is best when I enjoy a song that I am working on!
Q: What questions do customers most commonly ask you? What's your answer?
A: I often get asked to listen to their demos and/or release their music through Noise Jazz Records, my internet music label, which I have to respectfully decline so I can better serve the artists that are currently on the label's roster. Also I am asked if I can produce a free beat which I also respectfully decline due to the time and mental energy required to provide a quality service in this field.
Q: What's the biggest misconception about what you do?
A: As a producer/ engineer, my family believes that I just push some buttons and click a few things on my computer or my friends who are not musically inclined believe that I manage every artist that I offer my services to. I only manage the musicians that are already on my label.
Q: What questions do you ask prospective clients?
A: I always ask what kind of vision do they have for their project because without something clear and concise to aim for, the end result will always be less than desirable and drowned out by other musicians' work in comparison. Otherwise, I also like to ask who they are influenced by since that can indicate which direction to take their project and sometimes even refine their ideas even better.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Be selective with who you hire for the work you would like to produce. On average, you get back whatever you put in. In this case, I put in my heart and soul into original compositions for other artists, and with mastering or engineering, I'm completely focused on the task at hand so I know that the end result will be enjoyable. Hire providers with that mindset and you will be happy with the process.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: iMac, Avid M Box Mini, Fender Stratocaster, TS cable, and Beyerdynamic openback headphones.
Q: What was your career path? How long have you been doing this?
A: I started playing guitar when I was 9, I was signed to a record label (Commodity Fetish Records) at 20, and started my own music label as well as being a musician/ producer at 21. At the age of 24 I decided to learn from Grammy Award-winning audio engineer Glenn Tabor III and become a certified audio engineer.
Q: How would you describe your style?
A: My production style is the electronic music equivalent of Butch Vig. I like to push boundaries while also staying authentic to the artist's vision for their project.
Q: Which artist would you like to work with and why?
A: I would love to work with the artists on my label because I see plenty of artistic potential in each of them. Not to mention, the intention of the label to begin with is to provide a platform where they can be connected with a larger audience.
Q: Can you share one music production tip?
A: EQ every track and not just the master. I see too many people make this mistake and I know their mixes can be so much better. The low end from the bass and the kick drum sometimes gets too muddy when EQ isn't properly utilized.
Q: What type of music do you usually work on?
A: I usually work on electronic or pop music since that is what I also produce for my own catalog. However, I love exploring into other musical territories such as rock music since engineering individual stems for a band's EP is much more simple than engineering an an entire modern EDM dance track.
Q: What's your strongest skill?
A: My strongest skill is a tie between song-writing and sound design. Since I finished school for audio engineering in 2020, I have developed my sound design abilities even more as I continue to study it every day.
Q: What do you bring to a song?
A: I take the Rick Rubin or Kanye approach to production and help an artist develop a song based on their strengths (i.e. Kanye recording Pusha T's "Daytona" and Rubin producing Kanye's "Yeezus").
Q: What's your typical work process?
A: If I'm recording a soundtrack, I always get the corresponding medium of art first and fill in the blanks with sound that I believe fits the artist's vision. If I am engineering a soundtrack for an artist, I utilize Ableton Live 10 Suite's effects and EQ, automate, etc. until I feel it sounds professional.
Q: Tell us about your studio setup.
A: My studio setup is geared towards recording music as logistically as possible. I have studio monitors (KRK Rokit 5s) placed on each side of me in order to provide each mix with proper sound design. The midi keyboard I use (Akai APC Key 25) has midi mapping, looping, and command features that are compatible with Ableton Live 10 Suite (one of several DAWs I'm proficient with aside from Pro Tools, Logic, and FL Studio).
Q: What other musicians or music production professionals inspire you?
A: I'm heavily inspired lately by Brian Eno, Kanye West, James Murphy, Aphex Twin, and Johnny Greenwood in terms of producers/composers. Throughout their careers, they have showed tremendous growth not just as songwriters, but as music producers for their own work along with other creatives' albums. Not to mention, the level of output they all have makes the work of their contemporaries look amateurish in comparison. As far as influences from engineers, I'm influenced by Glenn Tabor III from Gat3 Productions in Charlotte, NC. His work ethic is unlike anything I've ever seen in person from anyone else in the music field. When he operates the SSL 9000 J in his studio, he is able to finish several mixes within the same day.
Q: Describe the most common type of work you do for your clients.
A: I usually record original music for the musicians/artists I collaborate with. This includes everything from starting an instrumental by scratch and then mastering. If I'm just mastering a track, I still put the same amount of care in despite it being a minimum amount of tracks within the DAW. When I was 23 years old, I would ghost produce beats for Soundcloud rappers, but I decided to stop doing that after not receiving financial compensation from time to time, and realizing that it was diluting my time and energy.