Karl "Kyaal" Lund

Mixing & Mastering, Vox-expert

10 Reviews (5 Verified)
Karl "Kyaal" Lund on SoundBetter

With releases on Sony, Universal, Island Records and 30+ million streams on Spotify I take all mixing and mastering request seriously with quick response and turnaround times.

I'm a professional sound engineer specialized in urban, reggae and electronic music - genres where vocals and bass are the key elements. My mix will make your bass big yet controlled, and the vocals will be loud, clear and detailed, yet feel they sit 'in' the mix rather than outside of it.

I work in an analog/digital hybrid studio, designed by Resonator Stockholm (Avicii, Steve Angello and more). This ensures a perfectly linear, full range listening environment where I can take the exact mixing decisions that your production needs.

Besides mixing and mastering I do offer 'invisible' vocal tuning as well as audio editing and restoration at an hourly rate.

International mixing credits; Beenie Man, Million Stylez, Anthony B, Promoe, Looptroop Rockers, Don Martin

Swedish mixing credits; Näääk & Nimo, Mwuana, Ison & Fille, L1na, Mack Beats, Janice, Ji Nilsson, Syster Sol

Commercial/Ad-work: H&M, Coca Cola, Ladbrokes, Telenor

Bonus fact: In 2004 I composed and arranged the horns for Junior Kelly's smash hit "Rasta Should Be Deeper"

Click the 'Contact' above to get in touch. Looking forward to hearing from you.

10 Reviews - 1 Repeat Client

Endorse Karl "Kyaal" Lund
  1. Review by Ashwin G.

    Karl was diligent with my needs and was displayed great patience, he's definitely someone who is dedicated to the project at hand.

  2. Review by Marco d.

    Working with Karl was super from start to finish!
    We had an idea of what we wanted, and Karl not only embraced that, but added to the concept.
    Positive, and smiling guy. Great work morale, and also sharp ears.
    He cares about the mix, listens, and provides accurate turnarounds.
    Professional result,- Reccomended.

    Thanks Karl!
    Nice work on the Harmonies!


  3. Review by Martin Masarov

    A pleasure as always!

  4. Review by Martin Masarov

    Karl is an fantastic guy. Started to work with him recently and I can’t see myself going somewhere else when it comes to mix and mastering. He listens, he always responds quickly and I always go home with a better song.

  5. Review by Philip N.

    Great work, communication and a great sounding track. I highly recommend Karl.

  6. Review by Max Richardson

    I found Karl while I was enquiring about impulse response packs recorded from the 480L - my dream reverb unit!

    Karl very generously offered to share his personal captures from his box, and went out of his way to ensure they were all working correctly. As if that wasn't generous enough, he then contacts me a day later to give me further responses he'd recorded from the unit!

    Karl - thanks a lot for your generosity, very much appreciate it!

  7. Review by Tommy Isacsson
    by Tommy Isacsson

    Great guy to work with! Easy fast communication och always open minded for ideas and suggestions. /Tommy, Looptroop Rockers & David vs Goliath Music.

  8. Review by Christofer E.

    Highly skilled, top level sound engineer! The one person I trust to make my music sound as good as possible.

  9. Review by Carl Ottosson
    by Carl Ottosson

    The best!
    I've been sending my mixes to Kyaal for years. Always crystal clear voice and perfect balanced mix! And if you want feedback on your production/arrangement, Kyaal is the perfect person to brainstorm with. Always been full of ideas if I get lost in the process.
    5 star plus!!!

  10. Review by Martin M.

    The easiest mastering situation I've ever experienced. Not only did the song turn out great, but he also delivered on my feedback very quickly. The communication is clear and easy-going. Whenever he did something with the track, he always explained why - making it easy to understand the process.

Interview with Karl "Kyaal" Lund

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

  2. A: I bring out the most important parts of the song, and let the less important parts work as a framing around the main elements. Since I come into the process when the song is already produced I can give it an objective overlook on what needs to be loud and what needs to be soft.

  3. Q: What's your 'promise' to your clients?

  4. A: My promise is to give the client's song the best treatment it could possibly get. I go great lengths to deliver the sound ideal that the client is looking for.

  5. Q: What do you like most about your job?

  6. A: Except for the fact that being able to work professionally with your 'hobby' is totally awesome - my favorite thing about this job must be the first 10 minutes of balancing in a new track with the console faders. There's something very satisfying having the 'power' over a full production and being able to listen to the producers ideas isolated.

  7. Q: What questions do customers most commonly ask you? What's your answer?

  8. A: I often get "What is your plug-in chain for that punching kick drum? " My answer would always be; "No magic, only basic EQ, compression and some slight distortion."

  9. Q: What questions do you ask prospective clients?

  10. A: What is your ideal of sound? What artists are you inspired by? How would you describe the sound you are looking for in a perfect mix?

  11. Q: Which artist would you like to work with and why?

  12. A: Robyn. Because she always deliver well-crafted songs with a production that is always on point. Often times kind of gritty dance beats with polished vocals - that's totally up my alley.

  13. Q: Analog or digital and why?

  14. A: Both! I typically use analog gear when tracking, while mixing is done 'in the box'. If the flavor is needed I do run mixes through a soft analog compression during final bouncing. This way the 'tone' of analog can be brought into the mix, without having to concern about outboard recalls.

  15. Q: What's the biggest misconception about what you do?

  16. A: Clients tend to believe that there are special tricks and processing tools that only professional engineers know about. But the actual skills that a client is paying for are years of experience, as well as the knowledge in how to _actually_ use the basic tools within the engineer's toolbox.

  17. Q: Can you share one music production tip?

  18. A: Always check your production in mono! A very common belief is that no one listens in mono any more. But if you think about it.. Mono is everywhere; club, stores, social media posts, phone/laptop speakers etc. If your production sounds 'too wide to be true', it's probably not. When I mix, I use mono compatible techniques to have the mix as wide as possible in stereo, yet containing the balance when played in mono.

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

  20. A: My room, my speakers, a computer, an audio interface and my beloved U87 microphone. Not even the fanciest of gear would be of use without a perfect listening environment.

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

  22. A: I usually work on Hip hop, Trap, Reggae, Dancehall and Pop/Dance. Well, basically any electronic music genre.

  23. Q: What's your strongest skill?

  24. A: My strongest skill is my ability to listen in and pin-point any problems within a production.

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

  26. A: When I receive a production in multitrack format, I will first off sort all files within the mix arrangement. Secondly I will check all channels for possible problems with phase issues. After this I bring the faders up for the instrumental parts to quickly get an idea of what sounds there are to work with. After balancing the instrumental roughly I will bring in the vocals to get a listening of all the song elements together. After the track level balancing, I will start to address the most noticeable resonant frequencies within the mix, typically the kick, bass line, lower chord instruments and of course the vocals. I start with the largest 'problems' and work towards the smaller, until the full mix sounds perfect without any distracting elements. What I spend most of my time on when mixing is manual level-riding of lead vocals. A compressor and a de-esser works fine to tame the vocal level, but only to a certain extent. This is why I believe this manual work is crucial to a mix.

  27. Q: Tell us about your studio setup.

  28. A: My studio and speaker system are designed by Jens Eklund at Resonator Stockholm / Holonor who has also designed for artists like Aviccii and Steve Angello. I chose to go with Jens because of his superb knowledge in acoustics. Within this listening environment I can take on the hardest tasks with little to no problem. Since my room reveals everything sound-wise within a production, I can address any issues very efficiently.

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

  30. A: I started playing instruments at a young age in the end of the 1980's. When I got my first computer in 1997 I began producing for a hobby, and later moved over to mixing in the mid-2000's. I went from mixing my own songs, to mixing friends songs, and later take in clients. Since my current studio was built in 2015 I have added mastering to my skill set.

  31. Q: How would you describe your style?

  32. A: My style is clean with not too much 'effects' going on. I like vocals to be crisp and upfront. The bass should be powerful and the drums should have maintained dynamics. I always work to give the mix a full frequency range, without it sounding 'cold' or 'boomy'.

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

  34. A: Typically, I get fully produced and recorded songs track by track from a producer for mixing. A common thing that clients need specific help with is to have the vocals sound clear and the bass and drums to be loud 'hitting' without taking over the mix.

Beenie Man - Go Fi Mi Money

I was the mixing and mastering engineer in this production

Terms Of Service

Mixing; first version for review within 5 business days. Mastering: 2 business days. Instrumental, TV-track and acca bounces included for free. Three revisions included. Additional revisions at $45/h.

GenresSounds Like
  • Wiz Khalifa
  • Major Lazer
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Gear Highlights
  • Lexicon 480L
  • Teletronix LA-2A
  • Roland Dimension D
  • Lexicon PCM 70
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