Mixing is an art that encompasses the physics of sound. It is a delicate balance between sonic cleansing and dynamic taming. You want your mix to bring all the excitement and drive needed to make people dance. Your mix deserves to shine and be bold! Take pride in your music and select an engineer that that will take you record to the next level.
Breeze is a Multi-Platinum and Billboard charting mix engineer, who began his pursuit of music and sound in Oklahoma where he was a producer and engineer in the top studio in Oklahoma City. Breeze developed a love for engineering and enrolled at the Art Institute of Atlanta, where he graduated with a B.A. in Audio Engineering and Production and is currently working on his Masters in Entertainment Business. Breeze has an extensive track record in Atlanta going back over 10 years and spans across all of the major studios in the metro area. Breeze is an accomplished mix engineer and has mixed records for several major artist including Kris Stephens, R Kelly, Yung Jock, Juicy J, Rocko, Mase, Lil Durk, Summerella, Young Scooter and many more. Breeze is also an Instructor at SAE institute and teaches several large format consoles such as the SSL 4000 G+ as well as Mixing and Production.
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Reviews (1)Endorse Breeze
Dude was amazing i have been through 9 engineers including him makes 10 and he is the only one who could deliver that sound, tone and quality that i was longing for man thats why dude will be receiving of of my tracks from now on as my personal engineer shout outs to breeze 10\10💯💯💯💯
Interview with Breeze
Q: What was your career path? How long have you been doing this?
A: I started working on records in 2000 with friends from college. I immediately gravitated to the engineering aspect of the process and started to slowly buy equipment and began to teach myself how to record and mix. before the time of youtube and all of the other modern resources to learn from, I had to enlist the help of local engineers in Oklahoma city to show many any little trick or tip that they could to improve my skills. After fumbling with protools for a few years and subsequently recording several local projects, I moved to Atlanta and enrolled in Engineering school and received my bachelors degree in Audio Production and Engineering. I late went on to get a Master after my several years of internships in the studios of Atlanta. I became staff engineer at the famous Hotbeats Studios in downtown Atlanta. I have worked at many studios in Atlanta including Zac recording, Stankonia, Doppler, DARP, Icon studios and I am currently on staff at Billboard Studios in Atlanta and I am a staff engineer for YSL... I have been honing this craft for the last 18 years
Q: How would you describe your style?
A: Classically trained with an Urban Edge
Q: Which artist would you like to work with and why?
A: I would love to work with Drake bc Hopefully Noah "40" Shebib would be there and I can pick his brain...lol
Q: What type of music do you usually work on?
A: I usually work with YSL, 300 Ent, BMG as well as Young Joc, Mase, Sean Garrett... Your typical Atlanta Urban Hip Hop, RnB and lots of trap lately!
Q: What's your strongest skill?
A: Being that I am also a Producer one of my strongest skills is arrangement. I find all the time that the client is looking to me to create some excitement and dynamics in the record and to eliminate and static feelings. I have a good ear for creating drops, subtle arrangement changes and edits that will have the listener wanting to hear the record over and over!
Q: What do you bring to a song?
A: Clarity, Excitement, Dynamics! I strive to take the record to the next level in every way!
Q: What's your typical work process?
A: My first 20 minutes is just spent listening to the record. I listen to the last audio image that was given by the previous engineer. I then Will start soloing tracks and bypassing any plugins just to see what is going on. If it is a good starting point for me to begin my mix, then I will typically address any lead vocals, moving to back grounds and finally I go an address any adjustments that may need to be made to the production. If it is not in a good place to start or perhaps delivered in dry stems then I will typically start with the all faders down and raise up the kick first. Once I get the Kick loud and proud, tight and might, then I add in each additional drums in your traditional order of operations. i.e. Kick, snare, toms, hats etc. Once I get a real nice groove going with just the drums then I start introducing each musical instrument, one by one starting with the Low frequency instruments first. This is most often a bass of some sort. Once all of the music is working nicely together, I then start to introduce the vocals one at a time, starting with the leads. If there is any need for Melodyne or pitch correction I would address this at this time. After the Vocals are mixed into the production and everything is sounding cohesive I will usually vibe with the record to see what I like about it, what I don't like about it, and possibly anything I can do to improve or enhance the overall record. I don't like to rush records and I take several ear breaks throughout the mix. Mixes can take me anywhere from 2 hours to an entire day depending on all of the factors of the universe!
Q: Tell us about your studio setup.
A: I mix off of NS-10 Near fields, Augspurger 15's, 18 in BBI Subs, Pro Tools HD, Universal Audio Complete plugin bundle, Waves Platinum bundle, Avalon 737, Neve, Tubetech, Manley, Avid C24
Q: What other musicians or music production professionals inspire you?
A: Leslie Braithwaite, Phil Tan, Miles Austin, Dave Pensado, Guru, Tony Maserati