Kevin Dietz - Recording Engineer, Mix Engineer, Music Producer (Toronto, Canada)
11 years pro studio experience, recording, mixing, and music production. I'm a musician myself, and take a very musical approach to recording and mixing. I'm fortunate to work with and be mentored by some very experienced and successful producers and engineers, and I strive to give artists high level work of the same caliber.
I specialize in mixing Pop/Top 40, Rock (everything from Folk Rock to Hard Rock to Metal!)
Send me a note through the contact button above.
- James Vincent McMorrow
- Randy Bachman
- Parkway Drive
- Stone Sour
- Jimmy Bowskill
- The Jimmy Bowskill Band
- The Cranberries
- Stone Sour
- Stone Sour
- Circa Survive
- Russell de Carle
- Enter the Haggis
- Living with Lions
- The Chris Tarry Group
- Protest the Hero
- Bachman Cummings
- Bachman Cummings
- Nelly Furtado
- Michael C. Maguire
- Animal Confession
- Fanfare Ciocãrlia
- Adrian Raso
7 ReviewsEndorse Kevin Dietz
Kevin is the best of the best! I've been so fortunate to work with Kevin since my first EP recording, and I know that when I work with him, my music is in the best of hands. Not only is he a fantastic musician, Kevin has an innate ability to bring out a song's true feel and identity and has a natural understanding of every musical style. Working with him is always a fun, uplifting and productive experience, and his results are always the highest quality. I can't recommend him enough!
Over the last few years, I have had the pleasure of working with Kevin Dietz on a number of projects, at various studios, with various personnel, under a variety of conditions. He has without a doubt pulled through in every instance, and maximized everyone's performance potential.
In addition to being an excellent team player in the studio, he is 150% committed to capturing a song's true essence during post production, satisfying both his own interpretation of the works in addition to the artist(s) who created it. A great ear for tuning, tone, and song arrangement. A++
I've recorded a number of times and have left sessions feeling like I didn't do my best work. However, Kevin pushed me to give the best I had and he really cared enough about me as a client to make sure I didn't half ass anything. That mentality alone makes him the dude you want behind the board.
I've worked with Kevin a few times now and will definitely be doing so again!
He's a complete pro.
Kevin is an incredible producer, recording engineer, and mix engineer. I have worked with him on various projects throughout the years and am always impressed with his keen ear and versatility in the studio. He is definitely my go-to guy for any project.
Kevin Dietz is truly one of the best in the industry! The process, the final product, and everything in between is always fantastic.
Kevin has done several mixes for me and they have always been exactly what I have been looking for. Kevin takes his time and really delivers a high quality product. Communication has always been excellent and any edits that I needed were always addressed in a timely matter. I would highly recommend Kevin as a top notch professional at what he does.
I've had the pleasure of working with Kevin since I was 18 years old (I'm 24 now). He's worked on almost every song I've written since then for a good reason. In any capacity whether he's recording/mixing/co-producing or all of the above he has continuously KILLED IT. If you want your song to sound the best it could be and competitive, go with this guy. If it's not obvious by now, I highly recommend working with Kevin in any capacity, y'all won't be disappointed!
Interview with Kevin Dietz
Q: What are you working on at the moment?
A: Feb 2018; completed mixing Grammy winning gospel artist Carvin Winans' first solo record. May 2018; Just had a session with Portugal the Man on their tour stop in Toronto! Ongoing; In production for new songs with Tiger & Bloom, as well as new EPs with Toronto rock bands The Road Heavy and Drop Top Alibi.
Q: What's the biggest misconception about what you do?
A: Often times the two separate processes of Mixing and Mastering get confused by artists. I am not a Mastering Engineer, but have many recommendations for some amazing ones!
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: In 2008 I spent 9 weeks with Placebo, producer David Bottrill, and engineer James Brown working on their record Battle for the Sun. Even though I was only the assistant on that record, that session still to this day stands out as one of my favourites. It was a great learning experience, very formative. I contributed a lot and played an important role in facilitating a lot of moving parts. Time moves on and now I work with artists directly in the creative phases of production. A huge reason why I have the skill set to do that is because of years of experience working on records with top-level producers, engineers, and artists, and learning the craft at that level.
Q: Can you share one music production tip?
A: I'm a big fan of playing parts through effects, and recording effects "to tape" (...as we still say!) This can mean using guitar pedals, or heavily EQ'd/Compressed source microphones, room mics etc...but it can also mean playing through any number of great effects/reverb/delay plugins available today. Try it out - you often get a very different musical performance playing *through* and effect, rather than adding it after the fact.
Q: What's your typical work process?
A: Pre production - hear the songs, discuss artistic vision with the artist, talk about what kind of recording process we should embark on. Recording - make it as natural, easygoing, and fun for the artist as possible! Keep the creative vibes flowing. Mixing - have all tracks organized and sorted, ready to go. Then....MIX
Q: What questions do you ask prospective clients?
A: The main question is, "what kind of sound are you looking to achieve? What is your artistic vision and what ideas do you have to bring it life?" First and foremost, let's establish the artistic vision, then I can bring my ideas to table, and thoughts on how to achieve that.
Q: How would you describe your style?
A: Direct quote from one of my clients - "I think you're pretty adaptive. I would say your style is a mix of modern and classic. Your primary focus is capturing quality sounds from the get-go (classic). That being said, you don't let some sort of fear of modernity get in the way. You set no limitations on applying contemporary ideas/tools to reshape or make something unique (modern)."
Q: Analog or digital and why?
A: Both! Certain genres/productions benefit differently from doing something in the digital domain vs analog. It's all about knowing your tools, their strengths, when/how to use them for the best possible result. I have extensive experience with both.
Q: What's your 'promise' to your clients?
A: You have my full attention and commitment to making your music the best it can be.
Q: What do you like most about your job?
A: I have met some of the coolest, quirkiest, and most genuine people I have ever known since starting down the path of a career in music. Ultimately, it's a people-business. What I love about this line of work is connecting on an artistic and a personal level with great artists, and the great music that comes from that interaction.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Ask lots of questions! Get into the details. Have a phone call/Skype and talk in person. Get a good vibe :)
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: For recording - Royer 121, U87, Neve 1073, 1176, Summit TLA100. For mixing - Universal Audio, SoundToys, & Waves plugins, summing mixer, and an SSL bus compressor.
Q: What was your career path? How long have you been doing this?
A: I've been working in the industry professionally for a little over 10 years. I started as an Assistant Eng. at Metalworks Studios, and worked my way up to Head Engineer of the facility. I was on staff for 7.5 years (Jan 2007-July 2014), and have been freelance for 3.5 years (July 2014-present).
Q: Which artist would you like to work with and why?
A: Daniel Lanois, Max Martin, Trent Reznor...just to see their process and get an insight into their creativity.
Q: What type of music do you usually work on?
A: Rock, Pop, Indie, Blues, Alternative, Metal, Country, Jazz ...I've had a lot of experience in all of them.
Q: What's your strongest skill?
A: I've been told I'm a very musical engineer, and I take this as a big compliment. Music first, always. My background is as a musician, and to me, the technical aspects of recording, mixing, and production are there to serve the song and the vibe. I'm also easygoing and fun to work with ;)
Q: What do you bring to a song?
A: I have a great ear for arrangement, which is paramount to production, but is not to be overlooked when mixing as well. I'm a very musical engineer, and just a very musical person in general. My goal is let the musicality and vibe flow through the whole process, to ultimately serve the song and help get the best performance from an artist.
Q: Tell us about your studio setup.
A: My personal studio setup is an analog/digital hybrid: Universal Audio converters, Dangerous Music summing box, SSL Bus Compressor, Sonic Farm Creamer+ tube/transformer line diver. I have the option of staying digital for very clean and controlled processing, or using my analog mix bus to add a great tube/transformer/analog sound.
Q: What other musicians or music production professionals inspire you?
A: Some of my biggest musical/production influences are - Brendan O'Brien, Trent Reznor, Daniel Lanois, and Max Martin - all for their own very unique reasons. Some of my biggest mixing influences are Brendan O'Brien, Andy Wallace, Serban Ghenea, Rich Costey, Alan Moulder...the list could go on and on!
Q: Describe the most common type of work you do for your clients.
A: Recording, Mixing, and Music Production and song Pre-Production - working closely with the artist to strengthen their songs, parts, and arrangements, as well as adding parts and production elements as necessary.