Tim Nelson

Producer / Mixing Engineer

Tim Nelson on SoundBetter

I have worked with Tove Lo, Foster the People, Slash, Marina and the Diamonds, Kerli, Talib Kweli, Juliette Lewis, Korn, DJ Chucky, Monarchy, as well as official remixes for Wiz Kalifa, The Killers, Alt-J, Janet Jackson, Marina and Diamonds, Christina Perri, and Fun.

I've been producing professionally for the last 8 years. I've had several dance songs go to #1 or #2 in many different countries including the United States and the UK. I produce and mix for all my own music and various other pop acts, as well as mix less electronic music such as pop or classical pieces involving many instruments. I spend a lot of time mixing down songs and vocals and hace done it for every one of my songs with many Grammy winning artists.

Can produce full songs, write melodies, mix songs, record vocals. Whatever you need, especially in electronic, hip hop, and pop music.

Specialize in Pro Tools and Ableton, medium knowledge of Bitwig and Logic.

Classically trained pianist and decent at Jazz Trumpet

Hope I can help your next project!

Send me an email through 'Contact' button above and I'll get back to you asap.

Interview with Tim Nelson

  1. Q: Analog or digital and why?

  2. A: I think this is a silly question because you can make anything sound like anything else. If something isn't 'warm' you can ad over tones and undertones, EQ and compress to exactly recreate and analog sound. Not to mention 'warmer' often isn't better and just messes up your mix. I think where analog is important is workflow. It creates a different feel doing things analog. Spinning knobs real time and creating something purely based off of sound and not clicking a mouse around creates a special kind of sound.

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

  4. A: Kanye... He takes chances and makes music that he thinks to great. leading the way not following

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

  6. A: People I talk to who electronic music never seem understand the importance of panning. Making things mono, delaying one of the stereo sides a bit. Treating a mix like an orchestra where everything has its space.

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

  8. A: I work mostly on dance music, atmospheric music, and hip hop. I just like making music that makes you feel a specific way

  9. Q: What's your strongest skill?

  10. A: I think making a distinct unique mix and unique chord structures are my specialty. Having studied classical music I think taking a complex chord or note structure an making it feel familiar and comfortable instead of over the top and trying too hard.

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

  12. A: I like to start every song differently. I think routines in production create stale production and getting start. I like to find something that is inspiring and then let that guide the track. Whether a melody, drum beat, or just strange sound FX

  13. Q: Tell us about your studio setup.

  14. A: I have a pair of near field Genelecs 8040s with an Adams A7 sub and some classic Mackies HR824 which I use the majority of the time. Really can't beat the flatness of them to get a song sounding good on all speakers. I have some rolland synths and a Virus, acoustic piano, couple guitar amps and pedals for external FX, and an audio technica mic. And of course a the most important part, a well treated room

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

  16. A: Artists like Deadmau5, Daft Punk, and Moderat inspire me in that they have their unique sound and you can always tell when it's their work just by listening

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

  18. A: Most of the work I do is very mixed based electronic music. What I mean by that is the music focuses on strong mixes that compliment the song directly instead of just mixing down at the end. I mix my songs as I produce so that everyone has it's own space.

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