I specialize in helping artists capture the feelings their songs are written to express. I always keep the mood and meaning of the music at the forefront as I produce, mix and master. I also contribute guitar, bass, and synth parts where needed.
I love helping talented artists achieve their visions for their work. Let's work together on something!
Tell me about your project and how I can help, through the 'Contact' button above.
14 Reviews - 1 Repeat ClientEndorse Justin Ginn
tuning for vocals for song are very polished and professional. willing to work with again in the future. great communication throughout. delivered in timely manner.
great producer, excellent instrumental. wonderful vision and guitar skills to make a killer track. willing to work with again. highly recommended.
Couldnt be happier with the communication and hard work put in by Justin. Will be taking all of my future work here so I know it will come out 100%
great communication and attention/devotion mixing/tuning and mastering song. a pleasure to work with. willing to work with again in the future.
justin did a great job tuning, mixing, mastering of my song. great communication throughout, took my song to next level. highly recommended.
great communication, added magic to the song, wonderful mixing/mastering. took song to whole new level. pleasure to work with. willing to work with again.
great vocals and mix/mastering job to song. communication is top notch and very professional. looking forward to work with again.
justin did an awesome job and provided a jazzy backtrack as envisioned, always a pleasure to work with.
Justin paid special attention to detail and direction of song via vocals tuning and mixing. looking forward working with him on next project.
did an excellent job for vocals and guitar backtrack, great communication throughout. looking forward to work with again.
Justin did a wonderful mixing/mastering job on my song, paid close attention to detail via timing and vocals.
great vision for mixing and mastering a difficult song, wonderful communication for whole process.
my song need much work, justin came thru. great communication and attention to detail. looking forward to work again.
appreciate vision and devotion into song, went beyond expectations, great communication and input. willing to work with again on future projects.
Interview with Justin Ginn
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I produced and mixed the entirety of Hotel Heart by Coastlines. I'm very proud of this EP because every song tells a story and communicates a specific emotion. We wrote this record to center around memories of ours that captured visceral emotions for us as we experienced them. I think we captured each emotion such that the listener can feel what we felt as we were making that record.
Q: What are you working on at the moment?
A: Tiny Stars EP by Ghosts in Space Fools' Gold EP by Coastlines Apparition EP by Astor Place
Q: Analog or digital and why?
A: Tools are tools - what separates the boys from the men is how those tools are used to create a record. There is no substitute for ears and experience.
Q: What's your 'promise' to your clients?
A: I'll work with you to fit your vision into the song you have written. I'll go the extra mile, add extra parts, and remix until your record says what you want it to say to your listener. Most of my projects go beyond the terms we initially agreed upon because I would rather do more for you than deliver a finished product that doesn't capture everything you had envisioned.
Q: What do you like most about your job?
A: I love hearing from a client that I have taken the song beyond even their vision for it. It's hard work but these are the reactions that I work for.
Q: Which artist would you like to work with and why?
A: Pino Palladino is, to me, an artist who elevates every song he works on to be above what it could have been without him. His work is subtle but priceless. This is what I strive toward in every area I contribute to as I work with clients.
Q: Tell us about your studio setup.
A: I work out of a treated home studio. I monitor on a pair of Presonus S8s and matching sub in a treated rooml. I work in Logic or occasionally Reaper. For synth sounds, NI Komplete 10 and a handful of other VSTs in addition to outboard guitar effects and a Korg Minilogue. I have three acoustics (a steel-string, 12 string, and a nylon), humbucker and single-coil equipped electics, and a Thunderbird bass. I run my guitars through a Fractal Audio Axe FX II for a wide range of very realistic amp and effects models.
Q: What other musicians or music production professionals inspire you?
A: Production: Sound Awake by Karnivool, To Pimp a Butterfly by Kendrick Lamar, The 1975 by The 1975, Black on Both Sides by Mos Def, Nocturnal by The Midnight Mixing: Only Way Out by Madeon, 21 by Adele, TwelveFour by The Paper Kites Guitar: The Edge, Jeff Beck, John Mayer Bass: Pino Palladino
Q: What's the biggest misconception about what you do?
A: There's a formula to making music sound good.
Q: What questions do you ask prospective clients?
A: What emotion do you want your listeners to feel when they hear this track? Where do you want it played? What message do you want them to gather? What are your favorite parts of this track as it is? What do you not want me to touch? What are the limitations of this track to you? What are you hoping we can improve? What platform will this track be distributed on? This will affect how loud and dynamic it should be.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Have a vision for your work and make sure you find someone who can help you realize it
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: 1. Treated room 2. Accurate monitors 3. Laptop with a quality DAW 4. Sturdy dynamic mic 5. Big-sounding condenser mic
Q: What was your career path? How long have you been doing this?
A: I have been recording and mixing for around 10 years. I started mixing FOH for churches and concerts and went on to produce and mix EPs for three bands I was, as well as work for musician friends of mine. I have played guitar for 15+ years, bass for 4 years, and synth for just 2.
Q: How would you describe your style?
A: The music I write is guitar-driven electronica that often incorporates indie or hip-hop elements.
Q: Can you share one music production tip?
A: Treat your song like a place and let every decision be about describing that place to your listener or decorating it to make it more interesting. This applies to the chords you use, the effects you use, the balance of the mix, and even the final mastered loudness.
Q: What type of music do you usually work on?
A: indie-pop, electronic music, old-school hip-hop, rock, singer-songwriter stuff
Q: What's your strongest skill?
A: Capturing emotion while keeping the song commercial-ready
Q: What do you bring to a song?
A: First and foremost, I bring a focus on the emotion and meaning of a song. I approach each song differently, depending on what the artist wants the song to communicate and will break whatever production rules I need to in order to make this happen. In addition, because I have skills across the writing/recording/production process, I can contribute whatever is needed for a song, even if it isn't what you hired me to do.
Q: What's your typical work process?
A: For me, the first and most important step is to identify the mood and message of the music I am working on. I believe that all choices in the production, mix, and master process should serve the vibe the artist hopes to achieve and that this is always more important than technical perfection. I want the music I work on to put the listener in a place and experiencing a feeling that matches the lyrics and artist's intent. Production: I usually start with a few layers of percussion to develop a groove that matches the feeling of the song. Then I add a guitar or synth idea and build from there. My productions tend to be very layered with multiple instruments contributing to a melodic idea. I try to use unconventional percussion parts and groovy basslines to keep the music from sounding sterile. Mixing: I start by hearing the artist's vision for the song, what it means to them, what they like about it, and what they hope to improve on during the mix process. Then, I make notes of the elements of the rough mix I want to be sure to preserve. From there, I typically start from the ground up. First, I address any issues in the project (vocals that may need tuning, clicks/pops that need to be removed, etc). Next, I balance the elements of the song, paying particular attention to how each part contributes to the mood and meaning of the song. Finally, I address the dynamics of the song. I use parallel compression and automation to maximize the dynamics of the music while keeping the energy even in quiet parts. I typically get feedback from friends whose musical opinions I trust to make sure I haven't missed anything. Mastering: I try to address the dynamics issues carefully during the mix so that nothing invasive is needed during the master. When I master, I focus on checking how the song sounds on a variety of sources and make sure the loudness and dynamics are appropriate for the platform it will be distributed, especially if that platform uses loudness normalization (like Spotify.) Session work: I listen for space in the song to make sure my parts do not interfere with other aspects of the music. I am not afraid to play simple parts in the background but can add spice when needed. I often like to record double-tracked guitar and synth parts for extra stereo depth in case that is needed later on.
Q: Describe the most common type of work you do for your clients.
A: Mixing, composition/production, electric and acoustic guitar work. Because I have experience with each step in the recording process, I can be your one stop shop to perfect your song.