I am a sound recordist, sound designer and boom operator from Brighton, UK. I am looking for work in post production mixing, editing or sound design as well as locational sound for TV and film.
I homed in on my musical style, playing both the drums and bass guitar for metal bands around the South East of England and touring nationally.
I have worked as a live engineer at the Tunbridge Wells Forum venue, which was voted NME’s best small UK venue in 2011. I gained experience in Stronghold Recording Studios, Newhaven in 2013 and at CNN International, London later that year. In addition, I have played in several bands, released music on iTunes and Spotify and appeared in national magazines such as Kerrang!, Metalhammer and Front.
My production interest began when playing for the band ‘Lycan’s Blood’ whilst engineering our debut EP – ‘Dawn of Apocalypse.’ I have worked with many bands and artists throughout my musical career such as Malefice, Bleed from Within, Sanctorum and Spit Shake Sisters.
After attending and completing a National Diploma BTEC at the Academy of Contemporary Music in Guildford, I enrolled in a Foundation Degree at the University of Brighton in Music Production, graduating with a Merit. Upon Completion, I enrolled once again at Brighton University to Study the BA(Hons) Creative Music Production top up year.
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Interview with Phil Hutchins
Q: Which artist would you like to work with and why?
A: I would love to work with the band 'Trivium' as they are my all time favourite band and have been for the last ten years. I love their songwriting and production ethic alongside their energy that they give on stage. To be a part of one of their projects would be an honour.
Q: What type of music do you usually work on?
A: I usually work on rock or metal music as it is what I mainly listen to day in day out. I do listen to a wide range of music as well as produce it but that is whee my knowledge is highest.
Q: What's your typical work process?
A: It depends on the project at hand but I shall use sound design as an example: when designing a sound, I think about the sound that I am aiming to replicate or record, the texture, the way it is created and how that can be re created. I then look to see what can be used organically to get as close to the sound as possible and work outside of the digital realm until the sound requires digital plugins and processes to complete it. I have a view that the best ways to create audio is to utilise both analogue and digital and start from the ground up; part of the mindset is due to my instruction at university, where we had to create instruments from scratch just using synthesis. We had to think about how a snare drum was created and use synthesis theory to recreate a digital instrument in very basic software.
Q: Tell us about your studio setup.
A: My studio setup has a few pre amps and compressor rack units hooked up to my iMac with my eight channel mic pre interface; I use KRK Rokit 6 monitors for referencing.
Q: What other musicians or music production professionals inspire you?
A: Ben Burtt and Gary Rydstrom are my main inspirations for my pieces of work. They are the reason I do and love what I do.
Q: Describe the most common type of work you do for your clients.
A: I tend to do post production mixing for moving image medias or boom operation for film shoots and locational recording.
- Post MixingAverage price - $75 per minute
- Post EditingAverage price - $150 per track
- Sound DesignAverage price - $75 per minute
- Boom OperatorAverage price - $300 per day
- Dialogue EditingAverage price - $250 per minute
- Mixing EngineerAverage price - $250 per song
- iMac
- Tascam DR680
- Rode NTG2
- Waves
- Native Instruments
