
A small boutique studio for big emotions, Making music should be fun. It should be natural, and easy. and most of all, it should make you feel something.
Making music should be fun.
It should be natural, and easy.
and most of all, it should make you feel something.
We got our start making records out of the backs of tour buses, hotel rooms, spare rooms, kitchen tables, hell, even an attic one time.
And it worked. We got radio play (bbc r1, bbc 6music, xfm...) + a bunch of nice press (kerrang!, deadpress, the pentatonic, plastic mag... etc) + took us around the world.
It proved we didn't need the biggest, most expensive recording studio to make art that made people feel.
After making records like this for a while, a fellow producer said to us ":you guys should be doing this professionally, for other people".
So that's why we made Tiny Tone Loft.
We aren't the biggest or the flashiest.
We don't have *x-multi-million-$$ vintage blah compressor from the 60's.
(though we do have really neat studio gear).
But what we do have?
We can make songs that make you - and your audience - feel something.
Because that's what really matters.
So come on in, let's make some feelings. Let's make a record.
Send me an email through 'Contact' button above and I'll get back to you asap.
Languages
- English
Interview with Tiny Tone Loft
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I mean, the So Called Friends singles were a big one - the best stuff we've done to date. Cowriting, production, engineering.
Q: What are you working on at the moment?
A: We're working on the new Olly Flavell tracks: he's trying to break out of his songwriting habits and make something entirely new. Also the new So Called Friends album is in the works due for completion October '26.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Dave Boothroyd - an unreal mixing engineer and producer. We collab frequently. Lismore Mastering - our go to mastering engineer. Man's a wizard.
Q: Analog or digital and why?
A: Both. They're good for different things! Analog is lovely for adding character, but the convenience of digital is undeniable. Also, plugins these days are getting so damned good. Hey Universal Audio, if you're reading this, your sales will be the death of me.
Q: What's your 'promise' to your clients?
A: You, and your audience, will feel things.
Q: What do you like most about your job?
A: Helping people make something they really, really love. There's nothing quite like it. Pure magic.
Q: What questions do customers most commonly ask you? What's your answer?
A: Q: "Where's the bathroom?" A: down the hall on the right) Q: "Why are you tracking a DI for this guitar?" A: 'cause it allows us to reamp stuff later if we decide we want something different, and it's also super handy for editing Q: "Why do all these drums look so old?" A: BECAUSE OLD DRUMS ARE THE BEST *cue my Ted talk*
Q: What's the biggest misconception about what you do?
A: Well, my fiancé thinks I plug things in for a living. She's not entirely wrong.
Q: What questions do you ask prospective clients?
A: - Describe your project (a little goes a long way) - Who are your biggest influences for this project? - What type of musician are you? - Got a genre in there? - What would you like us to help with? - What budget are you working to per track?
Q: What advice do you have for a customer looking to hire a provider like you?
A: Be super clear with what you want: the more detail the better. Demos, references (songs you like the sound of), and don't rush it. You can't rush great art.
Q: What was your career path? How long have you been doing this?
A: We've been musicians since age 8, started touring in Jazz bands age 12, and played in bands from hardcore punk through to Alt-Grunge DnB ever since. We've toured the world with artists such as Bombay Bicycle Club, Tom Misch, Alt-J, Blossoms and more, all of which has fed our art and practice.
Q: How would you describe your style?
A: Squeaky clean, 'perfect' just means 'sterile' to us. We want grit, we want character, we make music that paints something unforgettable.
Q: Which artist would you like to work with and why?
A: Lizzie McAlpine, Orla Gartland, Half Alive... all of these people make music I love because it grabs me emotionally, builds a world I can inhabit, and keeps my ears interested. There's always gotta be just SOMETHING that turns my ear that little bit. Surprise is golden.
Q: Can you share one music production tip?
A: Use everything sparingly: use it too much and it stops being special. Oh, and always EQ your reverbs & delays.
Q: What type of music do you usually work on?
A: Indie Pop, quirky indie rock & Alt-Pop.
Q: What's your strongest skill?
A: Finding the heart of the song and making it a moment that really connects.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: MacBook Pro, UAD Apollo, Townsend Labs Sphere, Baritone Guitar, Midi keyboard.
Q: What do you bring to a song?
A: We're masters at crafting the 'moments' within songs: the emotional gut punch, the euphoric realisation, the therapy in the bridge.
Q: What's your typical work process?
A: We like to jump on a call first, get to know you, talk about the emotions. Then we like references, the stuff you're listening to and who's music inspires you. Then we get to work, either in the studio or remotely.
Q: Tell us about your studio setup.
A: Control room and vocal booth, linked by tie lines to a large live room for drum recording & larger ensembles. Our studio centres around a Universal Audio Apollo system, with 10x Unison Preamps and a variety of other outboard preamps and compressors.
Q: What other musicians or music production professionals inspire you?
A: Austin Hull, Greg Wells, Paul Meany
Q: Describe the most common type of work you do for your clients.
A: Songwriting and production! We take your song and some references and help you turn it into a track that hits emotionally. We also offer recording for drums, guitar, bass, keys and more...

I was the Producer in this production
- ProducerAverage price - $500 per song
- Recording StudioAverage price - $400 per day
- Pop-Rock ArrangerAverage price - $100 per song
- Songwriter - MusicAverage price - $100 per song
- Post EditingAverage price - $200 per track
- Mixing EngineerAverage price - $300 per song
- Live drum trackAverage price - $100 per song
Full terms here: https://tinytoneloft.bandzoogle.com/terms-of-service
- Twenty One Pilots
- half•alive
- Imagine Dragons
- Universal Audio Apollo X8
- Drawmer 1960
- Townsend Labs Sphere
- Focal Shape Twin
- DBX 160A
- Hologram Electronics Chroma Console
- Universal Audio Apollo 8
- Universal Audio Apollo Twin
April special! $400 track production.



