Three
names, three
desks.
The engineer on your invoice is the engineer on your faders. We don't run a junior pipeline — these three are the entire bench, and you can request whichever fits the record best.
Marcus Hale.
Started as a tape op at a Brooklyn studio at 19, ran the desk by 24. Joined the studio as Lead Engineer in 2014 — the year we opened. Tracked and mixed records for indie-rock, neo-soul, jazz, and the occasional film score. Grammy-nominated three times; won once for an indie-folk record nobody saw coming.
Marcus likes ribbons on guitars, a U47 on a horn, and a Distressor on the bass bus. Drinks black coffee before sessions, beer after, never the inverse. Books out at $1,400/day for tracking, $2,200/song for mixing.
Iyana Cole.
Trained at NYU, apprenticed at a midtown studio for four years before joining us in 2019. Specializes in vocal-forward records, modern soul, alt-R&B, and any song where the singer is the entire reason the record exists. Latin Grammy winner, 2023, for a record she also tracked.
Iyana mixes with a deep low end and a deeper patience — most of her records get four or five passes before she'll call them done, and her revision policy is generous to a fault. Pairs an LA-2A on every vocal she touches. Mentions Maxwell daily.
Jonas Berg.
Mastering engineer, full stop — never tracks, never mixes, never says yes to a "quick balance pass." Jonas treats mastering like translation work: the record has to read in every room it ends up in, from a $40k mastering suite to a phone speaker on a kitchen counter.
120+ records mastered in the last three years, including three of last year's most-streamed indie LPs. Specializes in vinyl pre-mastering and album-style sequencing. Owns more turntables than you do, and he probably owns the record you're holding.