Nick Page

Production, Mixing, Mastering

Nick Page on SoundBetter

Mixed BB King (nominated grammy), recorded: Dave Grohl, DJ Bonebrake, Natalie Maines, Leon Russell, The Bronx, The Drips, Pete Yorn, The Darkness, Kevin Haskins (Bauhaus,Love and Rockets) Theme for The Nightshift (NBC), OST The End (British Gangster).

Cut my teeth sitting by the side of producers Michael Beinhorn (Soundgarden, Herbie Hancock, Marilyn Manson) Roy Thomas Baker (Queen), Steve Power (Robbie Williams), Andy Johns (The Rolling Stones, Led Zeppelin), Pete Smith (The Police, Sting)
Proud to be a mixer for Make Music Matter and A4A Records
Mastered 40 albums a year for Sound Manipulations (APM Music Library)
Mixing 5 songs per month for AbacuSync (custom APM Music Library)
Cover versions used in Justified (FX) , The Seeker (trailer mix) by The Who used in Batman vs Superman Trailer.
Grammy Nominated as part of teams for best Engineered album (Natural Selection, Fuel 2003), producer Michael Beinhorn and Best Live Blues album (Mixer) BB King Live 2008.
Managed The Darkness in 2003/4 for the US, 3 million albums sold, Ivor Novello Songwriting Award, 3 Brits Awards.
Reinterpretations have had thumbs up from Captain Sensible (The Damned), Ray Dorset (Mungo Jerry)
Golden Reel Award Nomination music editor for Ultimate X (Touchstone)
Music Consultant Sweet Home Alabama (Touchstone) No.1 US Movie.

Would love to hear from you. Click the contact button above to get in touch.

Interview with Nick Page

  1. Q: What advice do you have for a customer looking to hire a provider like you?

  2. A: give it me a shot, Im up for doing it if you dont like it then just let me know, better to try something than not.

  3. Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

  4. A: DW Fearn comp, PMC MB1s, Quested 3100, anything by Inward Connections

  5. Q: What was your career path? How long have you been doing this?

  6. A: Originally management in 91 (the Cramps), Label Manager for Bronze Records in 92 (Motorhead, Wolfsbane, The Wildhearts), A&R East Records in 94, A&R for Almo Sounds for Jerry Moss and Herb Alpert until 2000. Moved to LA from UK, then worked as music supervisor, music editor for Jerry Bruckheimer had a number one film with Sweet Home Alabama (Touchstone). Then was Michael Beinhorn's engineer/editor for 2 years, then managed The Darkness.

  7. Q: What type of music do you usually work on?

  8. A: pretty varied due to mastering and mixing library music which is essence is great as I have to mix a very broad amount of work.

  9. Q: What do you bring to a song?

  10. A: dynamics and class

  11. Q: What's your typical work process?

  12. A: rerecord the tracks through the various pres, eqs and comps and capture through Dangerous AD. This then goes out through the Inward Connections and chandler mixers. Bus compression on Chandler for drums is Auroa Audio, overall bus compression for whole mux DW Fearn VT7. Once mixed will then master via analogue outboard gear as mentioned above and using DMG plugs for maybe a little eq and final limiters from DMG which I think sound the best.

  13. Q: Tell us about your studio setup.

  14. A: In and out of the box. Plugs used UAD, Plug In Alliance and DMG Audio. using Dangerous, Cranesong and Mytek converters into Chandler mini mixers and Inward Connections mixer and then preamps such as Auora Audio, Forssell. Mastering chain includes Inward Connections, RJR EQ, DW Fearn VT7, Foote Control compressors and Aurora Audio compressor.

  15. Q: What other musicians or music production professionals inspire you?

  16. A: that would include Reznor, Mack, Spike Stent, Alan Moulder, Flood, Nick Launey

  17. Q: Describe the most common type of work you do for your clients.

  18. A: Mixing new hybrid tracks (5 per month) for AbacusSync and Mastering albums (50 per year) for Sound Manipulations, production companies for APM Libraries. Mixing for Make Music Matter (David Bottrill -Peter Gabriel,Tool, Mastadon) in Canada specializing 3/4 mixes per year - Using the creative process as a therapeutic tool to help empower marginalized individuals and communities.

You'll Never Leave Harlan Alive by The Sordid Details

I was the artist, producer, engineer, mixer and mastering engineer in this production

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Gear Highlights
  • DW Fearn
  • PMC
  • Inward Connections
  • Roger Foote
  • Hendyamps
  • Chandler
  • Quested
  • Dynaudio
  • Gretsch
  • Fender
  • Gibson
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if you want a mix I'll throw in a mastered version for free