Ken Sluiter is a Grammy‑nominated recording engineer, producer, and mixer whose career spans from Chicago’s indie scene to major Los Angeles studios. He has worked with a diverse roster of artists, including Weezer (Red Album), Morrissey, James Blunt, Heart, OK Go, Jerry Lee Lewis, Andra Day, The Mekons, and Flogging Molly. After establishing himself at Chicago’s Kingsize Sound Labs, Ken moved to LA in 2003, where he assisted legendary engineers Andrew Scheps, Greg Fidelman, and Jim Scott on projects for artists such as Metallica, Pink, and Keith Richards.

Known for his refined in‑the‑box Pro Tools workflow and ability to commit to bold sonic decisions early in the process, Ken blends analog tracking with digital precision in his own API‑equipped mix room. His credits extend to film and television scores—including Hannibal and American Gods—and he now works extensively in Dolby Atmos, continuing to shape mixes for artists across genres.

IN THIS EPISODE YOU’LL LEARN:

• Working on jingles
• The process of editing on tape
• Charging based on time vs per project
• Checking your ego at the door to help grow your career
• Always being ready for anything to happen in the studio
• Being flexible to a band’s style of working
• How clocking affects your sound while mixing
• How to identify a good clock from a bad one
• Mixing in-the-box vs. hybrid
• Why you should listen really loud when starting a mix
• Listening in context to determine when something is/isn’t a problem
• Making bass sound good on small speakers
• Focusing on mixing translation
• Mixing kick drums to feel big, but without being muddy
• Using gates as a sound shaper
• Kick/bass relationships: How to get them to work well together

To learn more about Ken Sluiter, visit: https://promixacademy.com/mentor/ken-sluiter/

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