Dylan Nirvana

Mix Engineer for Sync

1 Review
Dylan Nirvana on SoundBetter

Mix Engineer & Producer Dylan Nirvana studied with Grammy Winner Chris Lord-Alge, specializing in Sync Licensing & Music Publishing. Sync is a vastly different landscape than Record Labels. If you want your tracks to successfully land with Music Supervisors and Libraries, the gatekeepers of Film/TV, I can help you get your music on the Screen.

Production for Sync Licensing
Tracks targeted for Film/TV & Commercials require a nuanced approach. All work is done in a hybrid digital + SuperAnalogue SSL environment, rendering the highest production values. I work in both Logic + Pro Tools. Deliverables include vocal-up, broadcast, underscore, instrumentals, alt mixes, cut-downs & stems

Pro Music Publishing
Beat your pub deal quota & build your catalog from work-tapes & demos to collaboration-friendly, targeted, Radio-Ready songs for Artists, Publishers + Record Labels

From Tracking to Master
Whether you're a working songwriter needing to edit, correct & stack your own vocals, or wanting the right mic to get it perfect from the start, I can coach you to bring out absolutely the best performance

Partnership with Utopia Bearsville & Studio Five: Vocals through a Telefunken TF 51, Neumann 87, 184s, Chandler Limited Redd have qualities that cannot be recreated after the fact. An expert touch with an 1176, G Channel or LA-2A can bring an urgency you can't get in the box

Rights Administration
From metadata, splits, one-stops, copyright, Performance, Mechanical & Record Royalties, I can help you succeed professionally & artistically

Dylan Nirvana was UX Technical Lead at BMI, has a BA in Classical Guitar, studied Mix Engineering + Studio Management with Multi Platinum Grammy Winner Chris Lord-Alge

Send me a note through the contact button above.


  • English

1 Reviews

Endorse Dylan Nirvana
  1. Review by Walter M
    by Walter M

    Dylan brings fresh ears, his own secret sauce and an open mind to every project. Easy to work with and always responsive.

Interview with Dylan Nirvana

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

  2. A: Everything is focused on the Brief and the Reference Tracks provided by the client. I spend time coaching the Songwriter in how to deliver and track their best performance. This entails rehearsal, microphone technique and performance strategies I learned in Pop production from Jim Wirt. We work together to build the assets I need to compose the recording. I typically do my own editing, correction, comping, stacking and sub-mixes. All this preparation for the mix is done separately and on a different day. CLA uses what I call an SSL 4K process. This is a reductive method Chris Lord-Alge used his whole career on a Solid State Audio 4000 G Console. When engineers were faced with 48 channels or less (the Beatles bounced on a 4 track!) they got creative. The mix was very dynamic, physical like a performance, sometimes taking 2 or 3 people! Today with Logic or Pro Tools we have unlimited tracks is not necessarily an advantage. You can only automate one track at a time. You can't mix what you can't see (or touch). Big diff. With all the preproduction and sub-mixing done ahead of time, mixing the song moves very quickly with this method. Post production I do with the client. I work with them to have Copyright Clearance, industry standard metadata, and One-Stop status. Deliverables include vocal-up, broadcast, underscore, instrumental, alts and stems as needed.

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

  4. A: Considering that there are requirements the client must meet with the song and the quality of the recording, our partnership will result in songs being both Broadcast Quality and Radio Ready, Sync Ready in fact. For they will be targeted at Music Publishers and Supervisors as service to them. We are there to make their jobs easier, right? And if the tracks fit their projects, there should be something undeniable about the music and professionalism with which we are presenting it.

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

  6. A: Turning it up and being taken to a new and unexpected place. Instrumentation and writing parts, creating something that just seconds before didn't exist. It is exhilarating. Using the Studio as an instrument to create experiences. Watching people react to the music. It's a long list.

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

  8. A: Because I am working mostly with Songwriters, I get asked about Splits vs Service-for-Hire agreements. 1. It is advantageous for you to keep ownership of your Masters, in that case it is better to pay a professional a fee-for-service than keep only half in a 50/50 split. 2. I only enter into Split agreements when it is clear that the partner can help exploit the Copyright of the song as well as the Master. Most Producers and Engineers work with either a Studio or Label mindset. So I get asked, what's different when working for Pubs or Sync. Two things are different for Sync. 1. is the lead must say out of the way of the dialogue. There is a real technique to this, and 2. there are very specific deliverables. Most studios create a single a master, a One Ring to Rule them All. Sync is not like that. Since the pandemic, working remote has become a kind of a new normal. People send in tracks, but more often than not, do not have the expertise or knowledge on how to properly record. I coach them on Recording Techniques, how to use a microphone, which ones to use. Not everything is gonna make it. Not everything can be fixed in post. In that sense, I am old school. There is nothing like capturing a stellar performance of an authentically well-written song.

  9. Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

  10. A: Most recently, I worked as UX Lead and Assistant to the Director of Web Services at Broadcast Music. Basically I ran the BMI website for 2+ years. Having a seat front and center in the Music Industry is very illuminating. A lot went into the Experience Design and we were always very conscious of Copyrights Administration with everything we did.

  11. Q: What are you working on at the moment?

  12. A: The newest song is in the middle of instrumentation. We have recalled last month's track for corrections from a review. Chris remixed a song of mine from a previous record that is scheduled for release. I just sent in a top-line and waiting for corrections from my friend and her library I have a pile of legal pads where the songwriting is "finished" waiting for production, and an even larger pile of songs that are unfinished. I have several new briefs to mull over and listen to their reference tracks to possibly send something by tomorrow. Older ones whose deadlines I've missed where I need to complete what I started so as to get out in front of similar briefs when they come up. I am reaching out to new clients in order to keep the money rolling in as well. Never a dull moment.

  13. Q: Is there anyone on SoundBetter you know and would recommend to your clients?

  14. A: As I explore, I will let you know. I am sure there is!

  15. Q: Analog or digital and why?

  16. A: Both! I work in a Hybrid environment with a SuperAnalogue SSL G-Channel Console, a Neve MBT, Urei 1176 and a Teletronix LA-2A, and Classic / Modern Telefunken TF51 and Chandler Redd Large Diaphragm Condenser Microphones. You cannot create everything post. Best of both worlds.

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

  18. A: Most people don't even know that music for Publishers or Licensing even exists. My clients either have Pub Deals or are working to make briefs from Music Supervisors or Libraries. The biggest misconception about this is assuming that because someone owns a Recording Studio or is a Record Producer that they understand what you are talking about. Working for Publishing or for Sync Licensing is vastly different than working for a Label. Unless these producers and engineers are experienced and knowledgeable about Publishing and Licensing, there may be quite a disconnect. So, this is the area that I focus on.

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

  20. A: Are you signed with a Publisher? Do you have a song-per-month quota? Do you get briefs from Music Libraries or Supervisors? Are you facing deadlines from Sync Agents or Libraries? If your songs are good, I can help you meet these deadlines.

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

  22. A: I specialize in Publishing and Sync Licensing. There is a lot to know here. If this is a world you are already in or are extremely motivated to get involved in, then working with me would make a lot of sense.

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

  24. A: Instruments, or gear? Instruments is easy, my Nashville Honey Tele and the Vox AC15 or the Fender 2x12 Tweed Deville and my Martin, just what I take with me on a solo tour. Gear wise - in that I am going to be apparently Producing on this desert island, my SSL Console, Telefunken TF51 Large Condenser, Moog, the 1176 and the LA-2A, exactly what I use in the composition studio.

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

  26. A: There are many people here who come from a studio background. I have always been an Artist Songwriter. And Production doesn't just "serve the song", it has to be part of the magic of the songwriting itself. I have always been creative and technical, a real unicorn. In conservatory for Classical Guitar, I had two Neumann 184's in my back pocket at all times. I was the recording engineer from Classical Oboe concerts to symphonies. I became an expert in Experience Design as well. Wearing a lot of hats, I've worked at Broadcast Music. Clients include Estée Lauder, Saks Fifth Avenue, Grand Central Terminal, Arista Records, Brunswick Records, Mattel (Barbie), LucaFilms (StarWars). The whole time I've been writing and recording songs. I've played at CBGB, Continental, Luna and other epic venues in the lost landscape of New York City's Lower East Side.

  27. Q: How would you describe your style?

  28. A: Historically informed style with dollop of fresh chaos. Whatever the style, there has always got to be some edge to it, however subtle that may be. It doesn't just happen. Honest, authentic, fantasy, both real and imagined.

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

  30. A: Don't be ridiculous! I would almost be too embarrassed to say!

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

  32. A: There is no such thing as Zero. Don't start from silence. Start from the sound of the room. Think like Bruce Swedien. This creates a sense of place. The air and sparkle of a ELAM251 or Studer 800 transports the listener the moment even before the first note. If you don't give them this, then the room they are listening in is the same one as before.

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

  34. A: Indie Rock, Pop, Punk, Post Punk, Singer Songwriter, Electro Clash, Glam

  35. Q: What's your strongest skill?

  36. A: Compositing the Recording as part of the Songwriting itself.

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

  38. A: Magic, hopefully. If you listen to your favorite recordings this is what you walk away with. It's not just about listening. It's know what to listen for.

  39. Q: Tell us about your studio setup.

  40. A: This is a Hybrid digital SuperAnalogue SSL Studio with G-Channel, Telefunken TF51, Chandler Redd Large Diaphragm, Neve MBT, Urei 1176, Teletronix LA-2A, Logic Audio / Pro Tools. Marshalls: 1978 Plexi 100W SLP, JTM45, JCM800, Vox AC15, Fender 2x12 Deville Tweed, Moog Little Phatty, ASM Hydrasynth Explorer

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

  42. A: I studied mix engineering and studio management with Platinum Grammy Award Winning Mix Engineer Chris Lord-Alge and Jim Wirt (Criminal by Fiona Apple).

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

  44. A: Are you signed with a Publisher and have song-per-month quotas? Are you getting Briefs from Music Supervisors or Libraries? If your songs are good, I can help you meet these deadlines. Working in a composition + mix studio, I am focused on get a cut with an established artist through a Publisher or a sync placement in Film/TV. As an Songwriter + Producer I am doing for my clients exactly what I am doing for myself. Producing for Publishing and Sync Licensing is vastly different than working for a Label

This Is The Greatest Day Of My Life

I was the Artist, Songwriter, Producer, Mixing Engineer in this production

Terms Of Service

Work produced to publisher's brief. With alternates, stems, cut-downs. Standard contract.

GenresSounds Like
  • Iggy Pop
  • Ziggy Stardust
  • T-Rex
Gear Highlights
  • Telefunken TF 51
  • SSL SuperAnalogue Big Six Summing Console
  • Urei 1176
  • LA-2A compressors
  • 1967 Marshall JMP 100w Super Lead Plexi
  • JCM 800 50w
  • JTM 45
  • Gibson Les Paul Custom
  • SG Custom
  • Fender Nashville Honey Telecaster
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