About

Dylan Elliot

Hey, my name is Dylan, the engineer behind the company, and I've been working with audio for 5 years. I've come from a musical background, where I took up the drums and guitar when I was 13 years old. I became obsessed with composition and began using Ableton Live 10 to write better music at around 16 years old, my skills for Mixing & Mastering grew from there on.

Having studied both Music Technology at UWS in Paisley and Sound Production at NCL in Cumbernauld, I learned much of what I know today from my experience from these courses. I have been a part of a diverse range of projects which include recording, mixing & mastering, podcast, spatial, restoration and live sound projects. I am also a Live Sound Engineer at King Tuts Wah Wah Hut in Glasgow. My studies and the projects I have been apart of have given me a broad scope of experience in the audio industry and has allowed me to work with a great number of audio professionals.

Coming from a musical background, it is my main focus to enhance the emotional impact of your music, as well as establish clarity, balance and depth in the mix. If the audience who will be listening to your music are deeply moved by what they hear, then my job has been achieved!

Influences

Many artists and bands have influenced my approach and the love for what I do, these include:

Wunderhorse, Rage Against the Machine, Jake Bugg, Fontaines D.C, Royal Blood, Catfish and the Bottlemen, Kings of Leon, Arctic Monkeys, Linkin Park, Daft Punk, Vistas, Two Door Cinema Club, Inhaler, Beartooth, The Black Keys, Oasis, Wage War, Korn, Queens of the Stone Age, I Prevail, Slipknot, Hozier, Black Sabbath, Turnover, System of a Down, Limp Bizkit, Deftones, Loyle Carner, Nirvana, Coldplay, The Snuts, Joyner Lucas, The White Stripes, Ed Sheeran, Dua Lipa, Charli XCX, Cancer Bats, Greta Van Fleet, Foo Fighters, The Beatles, Pink Floyd, Fleetwood Mac, AC/DC, Stone Sour, Tame Impala, King Gizzard and the Lizard Wizard, Sevendust, Pantera, Dropout Kings, Sungazer, The Lumineers, Bring me the Horizon, Blur, Muse, Beady Eye, R.E.M, Kasabian, Radiohead, Queen, Razorlight, The Wombats, IDLES, Boy & Bear, Sam Fender, The Paper Kites, Grandma's Tea Party, Nothing But Thieves, Whitehorse, Calvin Harris, AJ Tracey, Dave, Central Cee, FISHER, Ollie Wride, Architects, Dragged Under, Being as an Ocean, Stray From The Path, Normandie, Metallica, Superhaven, Rammstein, South Acrade, Of Mice & Men, My Ticket Home, Dan Auerbach, Creedence Clearwater Revival, Duster

An extra bonus, here are, production wise, the best 10 albums I have had the pleasure of listening to:

Rage Against The Machine - Rage Against the Machine (1992)

Daft Punk - Homework (1997)

Linkin Park - Meteora (2003)

Two Door Cinema Club - Tourist History (2010)

Arctic Monkeys - AM (2013)

Turnover - Peripheral Vision (2015)

Metallica - Hardwired...To Self Destruct (2016)

I Prevail - TRAUMA (2019)

Inhaler - It Won't Always Be Like This (2021)

Kings Of Leon - When You See Yourself (2021)

Here are some of my business values:

Quality

The top of my priority list is the quality of my work. I guarantee industry-standard mixing and mastering that delivers clarity, depth, and balance, allowing your music sound its best. I will provide you with a high quality .wav mix/master which is ready to be released as is.

Affordable & Competitive Pricing

Getting your music out there comes completely out of your own pocket. That's why I want to provide clear, competitive rates, without hidden fees or extra charges to make your decision easier when choosing an engineer.

Quick Turnaround Times & Transparent Communication:

Waiting to get your music out there can be a frustrating aspect of being an artist/band, and several month-long emails back and fourth with a slow mixing engineer can turn the process into a nightmare. Getting a mix/master back to you as soon as possible as well as being clear during communication is very important to me.

Tailored To You

I allow for the artist/band to provide me with as much information about their vision for their music as they choose. Mixing/mastering is just as creative as it is corrective, and I want you to be driving the creative aspect. Whether it's a chorus that floats you on a cloud, a breakdown that slaps you in the face, a drumkit that is slammed with 30dBs of compression, or a vocal that has a delay with a 60-second delay time, your vision will always be in the finished product.

Competitive Material

An overlooked aspect in the success of a band/artist is the quality of the audio itself. It's true that your image and branding can drive your success, but if the music sounds underdeveloped, the journey to the top becomes near-impossible. I want to provide you with mixing/mastering that beats your competition with regard to the quality and loudness. I go slightly beyond the loudness standards of Spotify to give you a slight edge on other bands, and I test my mixes on a range of speakers and headphones to ensure your music is punchier, fuller, clearer, and more present that anything on the market.