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Dialing in a Chamber reverb on the Bricasti… This thing is all about space that feels real.

Chambers give you depth without washing everything out. It sits around the vocal instead of drowning it… so you still get clarity, but with that rich sense of dimension.

Compared to longer halls or super bright plates, chambers feels tighter, more controlled and a bit more intimate. Perfect for lead vocals that need to stay upfront but not dry.

You can push it just enough to give emotion and space… without losing the focus of the performance.

What verbs do you prefer on leads and why?

#AudioEngineer #MusicProducer #Reverb

Dialing in compression on the Tube‑Tech CL 1B… a studio favorite for a reason. It’s smooth, musical & doesn’t choke the life out of a vocal.

Instead of aggressive clamping, it gently controls dynamics while keeping the emotion intact. You can push it a bit and it still feels natural… not squashed.

That optical response just rides the vocal in a way that feels effortless.

Perfect for keeping things present, warm and controlled without losing the performance.

#mixingandmastering #recordingstudio

Breaking the “rules”

A lot of training will tell you vocals belong in a treated booth. Clean, controlled, isolated.

And yeah… that works.

But it’s not the only way.

Here Brian and the team are doing the opposite… recording vocals out in a big room and letting the space speak.

You get air. Depth. A bit of life in the recording that you just can’t fake later.

Different approach, different result.

Because in music, “right” is whatever serves the song best.

#AudioEngineer #MusicProducer #RecordingStudio

Before you even touch a fader… you need direction.

After speaking with the artist, the vision was clear:
Keep it raw.
Not too polished.
Light on effects.

Brian breaks down how he approaches that using analog gear… leaning into character instead of cleaning everything up.

Because not every record needs to be “perfect.”

Sometimes the goal is to feel something, not smooth it out.

Knowing that upfront changes every decision you make in the mix.

#AudioEngineer #MusicProducer #MixingEngineer

Analog mixing signal flow by @brian.deck featuring… SILK

Had the pleasure of sitting down with Brian to learn about his analog mixing process.

Follow if you’d like to learn more and hear the finished song!

#recordingstudio #mixingandmastering #rupertneve

Analog Mixing session… Stay tuned to see Brian’s approach.

During this series we’ll also be seeing how Wesley approaches his in-the-box mix.

Follow for the final results!

#musicproducer #analogmixing #recordingengineer

Devil’s in the details…

There’s a sort of peace about this process no?

#mixingengineer #neveconsole #recordingstudio

Is it better to record multiple takes in short phrases or just let the artist run the whole song?

Brian’s take:

Background vocals? Break it down phrase by phrase. That’s more of a science. Tight, controlled, intentional.

Lead vocals? Let it run.

He wants the artist to perform… not just piece lines together. That’s where the emotion lives. That’s where you get something you can actually feel.

Two different approaches. Two different purposes.

Curious how everyone else is working 👇🏾

Let’s hear it 👀

#studiotips #musicproducers #singers

This probably a topic a lot of us don’t think about enough…

Do we really need everything locked to a perfect grid? Or does it feel better when the song moves a little?

Before the grid took over, a lot of records naturally pushed and pulled. Choruses might lift slightly, verses might sit back… and it just felt right.

Not sloppy. Human.

So now the question is… are we chasing perfection or are we chasing feeling?

Would you let your chorus speed up slightly if it made the song hit harder?

👇🏾 Let’s hear it

A. Lock it to the grid
B. Let it breathe
C. Depends on the song

#musicproduction #audioengineering

BTS with Brian breaking down how he comps lead vocals… and it’s not as surgical as you might think.

He’s leaving breaths in. Keeping the human moments. Because that’s what makes a vocal feel real, not perfect.

And when it comes to choosing takes? He’s not overthinking what the audience might want… or even what the artist might pick.

He goes with what feels right.

In fact some artists don’t even want to be in the room for this part. They trust the producer to make those calls without them overanalyzing every line.

Less second guessing. More feeling.

That’s how you turn takes into a performance.

#ProTools #SoundEngineering #StudioSession

Brian breaks down how he mics a piano 🎹

Using 3 mics: 2 AKG C414 Condenser mics positioned split in 1/3s from either end of the piano to pick up the area that gets the most play and 1 AKG C214 positioned around the middle of the soundboard to pick up rich tones.

Check out the last post to see why he swears by this method.

What’s your method?

#MusicCreators #GearTalk #AudioGear

“There’s a million ways to mic a piano…”

Brian: not really 😂

Years in the game and he’s got his way of micing a grand piano that just works. No guesswork, no overcomplicating… just experience speaking.

About to break it down step by step and show exactly how he gets that clean, full sound every time.

This is one of those quiet “secret weapons” you only pick up by being in the room.

Follow to catch the next post and find out this technique 🤫

#StudioFlow #grandpiano #IndieArtists