FOH for Ricky Skaggs and Kentucky Thunder, Co-owner of Forty-one Fifteen, Host of Music City Listeners, Twice Grammy Nominated Assistant
My life’s work is to collaborate with artists to translate songs into the sharable, experiential realm of recordings.
I've spent the last decade honing my ears in Nashville in both live and studio settings. I specialize in organic sounds. For the last three years, I've been given a chance to work with and for the tone wizard himself, Ricky Skaggs, and through that experience have gained a whole new level of understanding and appreciation for recording and mixing acoustic instruments.
And with a mountain of gear all connected to my Trident 80b housed in the studio Forty-one Fifteen, I'm super into making big, big sounds.
Would love to hear from you. Click the contact button above to get in touch.
11 ReviewsEndorse Dewey Boyd::Mixer/Engineer
Dewey was great to work with and a true professional. Extremely pleased with the mix he did of my song. He was very responsive to requested changes and was focused on staying true to/achieving my vision for the song.
Dewey is a top notch professional! I’ve called him with super tight deadlines and he has not only delivered, but has took my outline of a vision and brought it to life beyond my imagination. He’s an absolute joy to record with and is especially great to work with as a vocalist. 10/10 recommended! You will NOT be disappointed.
I have been working with Dewey over the last few months on my upcoming album. Its truly been a joyful recording experience. Since day one he’s been genuinely and consistently focused on guiding me to the sound I’m searching for. There’s no doubt about it, he really cares so much about everything we’ve been working on and he’s extremely patientl and understands what I’m trying to communicate. In working with Dewey you will feel like you have found someone that isn’t jus on a clock but takes your project seriously, making all the difference in the world for your experience and your project.
Working with Dewey is truly a delight. I've had the pleasure of collaborating with him on four projects so far (and hopefully more to come!). He consistently proves himself to be a conscientious and knowledgeable audio engineer and mixer. He is a magician at elevating the artistic and professional quality of everything he touches.
Dewey is a mad-scientist of all things audio. He worked hard on my project recently from start to finish and did and impeccable job. He is great to offer wise suggestions and will do anything necessary to make things just how you'd like them. Dewey is a true rockstar and doesn’t even need an instrument in his hands.
Dewey is a kind, patient and fun collaborator who has a golden ear. A plethora of experience recording in the studio and in a live setting has led him to an arsenal of skills, gear and communication. He's always delightful to record with or share a bite to eat with on a break. I would give him my highest possible recommendation at all times!
I've been working with Dewey for 10 years now (wow... it's really been that long). Dewey has been a part of just about every project I've worked on. He's been my producer, co-producer, mix engineer, arranger, and "let's make weird sounds with this old keyboard guy". Dewey's greatest gift is his love for collaboration and seeing others succeed. From an artist's perspective, he makes a great effort to hear and understand the song before even beginning the production process. Forty-One Fifteen is amazing, and Dewey has crafted a truly creative atmosphere.
As a mastering engineer, I love hearing Dewey's mixes. He puts his best energy and talent in to every project. He has open and transparent dialog with the artists and production team on how to get the recording sounding the best it can. He is a great all around guy who communicates so well and makes my job easy. I have tracked at Forty-One Fifteen and from that experience, he has put studio environment together that encourages high creativity and ease of use without the gear or technical flow getting in the way.
I've worked with Dewey in his space, Forty-one Fifteen Studios, twice. Once on a live, bluegrass record and the other time he opened his space for a live music video shoot. I've called Dewey when I needed advice on a few things as well and you would never a better guy to do business with. His knowledge is vast and he treats artists with respect and genuine curiosity. He's all about the ''vibe'' and I plan on working with him as much as I possibly can.
Dewey is the go to guy! I've worked on with him several projects. His tenacity to "do it right" is extraordinary. It's hard to tell which is stronger, his skill level or his hard work. Although he's not one to toot his own horn, he's the real deal. And his space is unparalleled. Forty-One fifteen is one of the finest studios in Nashville, TN.
Dewey works hard to make sure your music sounds the best it can sound, and more importantly, communicates what it needs to sonically. He brings great ideas to the table while also valuing and listening to artists' input. Love working with him.
Interview with Dewey Boyd::Mixer/Engineer
Q: Can you share one music production tip?
A: Be a good listener.
Q: What type of music do you usually work on?
A: I typically work somewhere on the spectrum of Americana-Folk-Bluegrass-Rock.
Q: What's your strongest skill?
A: My strongest skill is finding sincerity and meaning in an artists' work and making sure we get that across to the listener. I'm disinterested in fads and facades. I think the only art that really lasts has substance, and I'm out to find it... even if it gets dressed up handsomely in production... I'm out to find the deep truth to make sure we guard it.
Q: What do you bring to a song?
A: To songs, I mostly bring questions and a willingness to listen. I want to serve what's being created and the one creating it. Beyond that, I bring my taste and musicality to the answers I get.
Q: What's your typical work process?
A: In mixing, I like to start with listening to what I'm sent. I want to get an understanding of what the artist or producer are looking to say before I develop opinions about helping them say it. I typically start with a fader balance and work my way from bus processing down to the channel level. I like to make sure I'm keeping perspective of the whole mix instead of hyper-focusing on single elements. In engineering a session, I like to talk with the artist or producer about what kind of sounds we're going for before I make an input list. Then, I like to do as much nerdy thinking ahead of time as possible so that I can fully engage during the session. During the session, I take time to get the sound right at the source before trying to "fix" anything on my end.
Q: Tell us about your studio setup.
A: I own and work out of Forty-one Fifteen, a warm and inviting 1920s bungalow turned recording studio. By sharing the space with some likeminded folks, I have access to a sprawling array of microphones, gear, and instruments. The rooms sound amazing and offer not only a great vibe for recording, but musical reflections that are worth capturing and keeping. At the center of the studio is a Trident 80b and an Antelope Orion... giving us 32 channels of options for simultaneous creativity.
Q: What other musicians or music production professionals inspire you?
A: I'm inspired by musicians and music makers who move me emotionally. I'm more interested in how a recording or a performance makes me feel than how it sounds... and I'm most impressed by sounds that augment the story and emotion of the music an artist itself.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: An Apollo Twin (with my UA plugins), a set of Focal Twin 6Bes, two good large diaphragm condensers, and enough room treatment so that I could believe what I hear.
Q: What was your career path? How long have you been doing this?
A: I dropped out of graduate school in another field to learn everything I could about recording music... in 2009. I moved to Nashville and interned for two greats, Shane D. Wilson and Paul Moak. I then assisted Paul until setting out on my own in 2012. As a kid, I tinkered with recording because of wanting to capture songs I had written. I started mixing live sound in middle school, and kept it up as a hobby through college. After moving to Nashville and setting out on my own as a studio engineer, I started picking up live sound gigs on the side for extra income. And then as providence would have it, I've been mixing front of house for Ricky Skaggs since 2017.
Q: Describe the most common type of work you do for your clients.
A: I am most often engineering a recording session or mixing for someone who has already recorded tracks for themselves.