I've worked on songs and cues on 75+ different TV Shows, Films and Commercials. I can help you write, record, program, edit, mix and master, or any one of those pieces you might need a little help with. I love to take what you've made at any stage in the process and help you shape it into a placeable piece of art.
Producer. Composer. Mixer. Songwriter. Orchestrator. Programmer.
Pop. Singer-songwriter. EDM. Film Score.
Fast. Easy communication. Meets deadlines.
Records. Sync Music. Ads. Trailers.
Experienced. Creative. Technical.
Send me a note through the contact button above.
9 Reviews - 1 Repeat ClientEndorse Brian Steckler
Very responsive and produces high-quality production. I'd use Brian again.
I don't want much. Just a producer who can take my basic words and music and turn them into a song, while reading my mind and adding the instruments, vibe, and mix that I didn't know I wanted. Brian is a find, plus he's professional, fast and easy to work with.
It was great to be able to work with Brian! The song came out perfectly. He was able to incorporate some really cool sounds into the song, and emulate the emotion that I was going for. I definitely recommend!
100% happy with Brian's work. Most of what I am writing and producing is getting pitched to major licensing opportunities, and the work needs to be at a high level to match and compete for these tv/film/ads opportunities. Brian's work does this exact thing, production at a level that helps songs/music stand out in a saturated industry. Would use again and highly recommend.
Brian is an absolute treasure across the board to work with. His open and kind nature makes you instantly comfortable to express freely who you are as an artist, what you are looking for, and what you can expect from him. Brian's musical background puts his ears on another level that I haven't found in a lot of producers I've worked with. He embraces your vision, while adding his expertise and flavor that always takes the music to the next level.
He is a master on genre and what is required in production and mixing to take it to its highest level. Brian is one of the best I the biz.
Brian is a total pro that makes the process of recording a song incredibly simple and stress-free. After trying our luck with a few different studios, we settled on Brian’s place because of his ability to understand and capture the exact sound we were going for with such ease. His advice on performance, tone and arrangement were incredibly valuable to our process. When we came in for our first day of tracking, he’d already mapped out extra keys, horns, percussion parts to pitch to us. His dedication & knowledge paired with his expertise and audiophile quality make him a dream for any artist.
Brian is an outstanding programmer and mixer. A total pro. I have hired Brian to work on numerous projects with me and he delivers the highest quality work. His sounds are totally current and he will do a GREAT job on anything you need. If you want your music to sound like it's on the radio or some big-time artist's album - call Brian. He's the man.
I've worked with Brian on a variety of different music projects and I cannot recommend him highly enough. He is super easy to work with, faster than you could imagine, and always produces incredible sounding work. He can take a seed of an idea and help you grow it into a fully produced song/recording, or he can take your direction and get the sound you knew you were shooting for. Whenever I get a gig for a music project, Brian is my first call. If you hire Brian, you will NOT be disappointed.
Interview with Brian Steckler
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I had the opportunity to score a really interesting documentary film about the cigar industry called "Hand Rolled." The soundtrack is available to stream, and you can find the film on iTunes and Amazon.
Q: Analog or digital and why?
A: It doesn't matter. The song is all that matters. But if I HAD to choose... Digital. Collaboration across the country, speed of recalls and revisions, size and scope of sessions, and the "analog" sound can easily be modeled with today's current technology.
Q: What's the biggest misconception about what you do?
A: New clients are often surprised at the number of different elements I can help with on their productions. I can start with the nuts and bolts of the songwriting itself, build the track's groove and arrangement, play drums/bass/keys/synths/FX, write and notate for live instruments (from for example, a single cello to full orchestra), coach vocalists on their performance, edit and tune, and finally mix and master. But, I'm happy to do as few of those as a project requires... have a mastering house you love? Great, I'm happy to prepare premasters for them. Want me to just add strings? No problem!
Q: What are you working on at the moment?
A: I'm mixing a few songs for a long-time client for television sync opportunities, producing songs for a new artist from Nashville, and preparing to dive into a scoring project for a new Netflix show.
Q: What do you like most about your job?
A: The music! I love that get the opportunity to work on all kinds of material. I never get bored with anything because I know it'll be something totally different tomorrow.
Q: What questions do you ask prospective clients?
A: How do you plan to distribute your music? What other artists are in the niche of the particular genre you're hoping to fit into?
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Mac, Focals, Raven, keyboard controller, iPad.
Q: What was your career path? How long have you been doing this?
A: I have a Piano Performance degree from Western Michigan University. From there I moved to Nashville and got hired by a large Jingle House on Music Row. I worked on lots of commercials... most famously, I did the sound design and was the voice of "Er" for the Clio winning Budweiser "Frogs" Super Bowl commercial. Then a move to LA to work on songwriting and production... I was signed to Sony ATV publishing and wrote a lot of songs with lots of co-writers like Billy Porter (Tony Winner), Gary Barlow (Take That) and Jason Blume (Britney Spears, Backstreet Boys). Since then, I've moved to the Sacramento area to raise a family and have worked with indie artists and bands, as well as scoring and writing songs for film/tv.
Q: Can you share one music production tip?
A: Keep that session organized! I color code the tracks in every session exactly the same way. Drums are blue, Bass is yellow, Guitars are green, Keys are orange, and Vocals are pink and blue depending on the singer. Use markers to show the song's sections. And start with a template for the routings, busses and effects you always use.
Q: What type of music do you usually work on?
A: Pop, singer-songwriter, a little R&B, all kinds of genres for film/tv sync.
Q: What's your strongest skill?
A: I'm able to hear the vision and get it realized fast. Many of my clients say things like "wow, I can't believe how fast that came together." Of course, the key is 'high quality work' in a short amount of time.
Q: What do you bring to a song?
A: I bring a lot of experience in a lot of different genres. Because I'm also a songwriter, I'm sensitive to what the song is trying to say and able to keep that as the focus of the production and mix. Technically, I can bring a lot of clarity to your sounds and vision.
Q: What's your typical work process?
A: Because I've got a family, I'm pretty much a "day job" kind of producer. But, when deadlines loom, I'm always up for getting it done.
Q: Tell us about your studio setup.
A: I'm lucky to have a building I designed on my property. It's sound proof and carefully acoustically treated so I can really hear what's going on in my mixes. My monitoring is by Focal... the Twin 6BE and Sub6. I'm running Pro Tools and Logic on a TrashCan Mac with the amazing Slate VRS8 as my interface and mic pres. For recording, I've got a couple of Slate's ML-1 large diaphragm mics and 8 of the ML-2s for mic-ing drum kits and all kinds of instruments. I love the flexibility of the VMS mic modeling system. And I'm using the Slate Raven touchscreen to be able to reach out and touch the faders and plug-ins. It's amazing what technology allows for these days compared to the giant consoles, slow tape machines and racks of MIDI gear I dealt with at the beginning of my career!
Q: What other musicians or music production professionals inspire you?
A: Oh man... that's hard to answer. Everything I hear has qualities that I appreciate and strive to attain. Jacob Collier is an inspiration, but he's on such another level it's hard to apply what he's doing. I love the modern pop simplicity of Ed Sheeran, and the rich orchestral complexity of Hanz Zimmer.
Q: Describe the most common type of work you do for your clients.
A: I do a lot of Additional Production and Mixing. A client will send me a fairly rough session that I'll clean up and add instrumentation... anything from drums, bass and synths to full orchestra. Sometimes that new track will go back to the client to record vocals, or I'll use the vocals they sent. Then I'll mix and master!