Erykah Badu, Mama’s Gun · “Bag Lady” at No. 1, Billboard, October 2000
No screens or computers.
“I met Erykah engineering her dialogue on the movie “The Cider House Rules”… she asks if she could bring her band in for a session… We worked super long hours and left no stone unturned. By the way kids this was all on tape on a Studer 800 MKIII. No screens or computers.”
“Recorded at Palmyra, Dallas, on a Neve 8038 to a Studer A800 MKIII on Quantegy 499. This was before most records were made in Pro Tools, when Billboard still printed the console, the tape machine and the tape.”
Alejandro Escovedo · live at the Continental Club, 2024
From stage to groove.
“Proud to have recorded and mixed this one… Three nights… This record is being released exclusively on vinyl, only available at Alejandro’s shows. No streaming. No digital. Just the performance, pressed into wax. Honored to be part of this chain, from stage to groove.”
“The Edge and I edited this intro music for different lengths and versions for the Pop Tour. We left the studio around 3 am and the next day I got to hear our edit at their show at The Cotton Bowl in Dallas. I still have a DAT Tape with around 10 different versions we made. I remember we did all the edits on Sonic Solutions back then because The Edge didn’t want to run it into Pro-Tools which sounded so bad at the time.”
“When I produced this album, I think maybe I fantasized of getting a 5 star review in the German Hi-Fi Magazine… historically, very tough critics of sound… congrats to my engineer Chris Bell.”
Mike Flanigin, producer, on Sue Foley’s The Ice Queen
“I had my doubts about it, and put it on the shelf for a year… I wasn’t going to release it at all. Thankfully, my sound engineer Chris Bell talked me back into it. The rest is history.”
Mike Flanigin, on The Drifter
from clients · Google reviews, 5.0 out of 5
“I’ve recorded several musical projects with Chris Bell from vintage jazz and western to hard rock. Everything sounds great after he has captured the sound and the vibe… he is also patient and knows how to give you space to work things out.”
Whit Smith, Hot Club of Cowtown
“One of the most professional, down to earth and knowledgeable mixing engineers I’ve had the pleasure to work with. Chris has handled all the Atmos mixing for my last two releases and he will be doing any of my future releases.”
Nakia
“Chris has such an amazing ear. He also has the gift of listening to the artist and their intentions… he brought out little things that elevated the songs more.”
Lisa Morales
34 years in the studio
34 years
In the studio
Sessions, consoles, tape machines and the people in the room.
Full-project recording & mixingThe preferred way to work: one pair of ears from the first take to the final mix.
Stereo mixing
Dolby Atmos & object-based mixing
Back-catalog Dolby Atmos mixing“Catalogue Atmos work is a different discipline. You’re not making the record — you’re making room inside it. The original mixes are sacred. The job is to honour them whilst opening up the space.”
software
Tools for immersive audio work, built in a working studio by the engineer who uses them.
