We’ve found another worthy subject for the Audio Pro International Rising Stars section, our regular focus on the best young industry talent from around the world.

This week we catch up with London-based up-and-comer, Bryan Wilson…

Where did you study?
I did the Sound Technology degree at The Liverpool Institute for Performing Arts.

Which band/project are you currently working on/with?
I have been working with an upcoming band based out of London called Arthur Beatrice. We have pretty much been living at their personal studio for roughly the last month and a half tracking their debut album.

Around this, I have had the pleasure of working with some pretty varied artists; everything from mixing tracks with a Scottish band called Frightened Rabbit, and mixing an iPod advertisement with Willy Moon, to recording vocals with Eve.

Where are you based/working at the moment?
I usually move around between different studios in London. I like being kept on my toes with different rooms. The studios I have been working from lately are mostly at Miloco Studios. I find the options they have to be great and they cover all grounds for whatever stage of a project I might be in.

Which audio console are you currently using? And how many channels?
There have been a number of different consoles as of late. Both small and large format, like the SSL X-Desk with X-Panda expansion option, the 16-channel Audient ZEN 16MPMF (mic pres and moving faders), to the larger 56-channel SSL G Series and 60-channel Neve VR 60.

What is your console of choice?
One of my favorites thus far is a 40-channel vintage Neve 8026. It is producer Craig Silvey’s personal console and it sounds fantastic. It has a mix of modules in it (1084, 1076, and 1066) and it’s a beast! I wish it was mine!

Do you use any outboard effects or EQ? If so, what are they used on, and why?
I do like to use dynamics and effects often. It varies if I am tracking with the knowledge that I will be mixing myself. If I am, I tend to use compression and EQ to carve out and shape aspects of a sound that I would adjust in mixdown anyway. If I know someone else will be mixing the project, I would tend to go with a more broad approach to leave the mixer some room to make those types of calls themselves. Of course I try to get the best starting sound possible before making those decisions.

In mix world, I have a hybrid approach with both outboard and plug-ins, but I certainly do like to include lots of outboard effects, particularly multiple types of delays and short spaces. I always have an interest in exploring crazy new effects to see how I can include them in a way that works within the context of the song, but would be surprising to hear on their own.

If you could tour with any band or artist, who would it be?
I would probably have to say Michael Jackson at the peak of his solo career. I bet it would have been an experience to have all those fainting women at your feet! Or equally Elvis would have been pretty interesting.