Not just recordings - we make records!
Dereck Blackburn is a producer, mixing, and mastering engineer based on Boston’s North Shore. His work spans a wide range of production, mixing, and mastering for independent artists, including Dead to Fall, Crippling Alcoholism, True Faith, Quadvium, Sidewave, Husbands and many others. He approaches projects with an emphasis on clarity, musical intent, and steady, focused progress rather than trend-driven decisions.
Over the course of his career, Dereck has worked in and alongside a variety of established studios, experiences that informed a working philosophy grounded in preparation, critical listening, and mentorship. In addition to client work, he has served as Treasurer of the Audio Engineering Society and is a current member of the Recording Academy Producers & Engineers Wing. He also hosts The High Pass Podcast, which centers on long-form conversations with artists, engineers, and producers about creative work and sustainability.
From 2023 through 2025, Dereck received nominations for Producer of the Year and Studio Engineer of the Year from the Boston Music Awards and the New England Music Awards. He works out of several studios in the greater Boston area and operates a private studio, Quiethouse Recording, in Topsfield, Massachusetts.
Alongside engineering and production, Dereck is involved in mentorship and community efforts within the audio and music world. He views the work not only as a profession, but as a long-term practice shaped by curiosity, shared knowledge, and helping others make informed creative decisions.
Selected projects from recent production, mixing, and mastering work.
Every project here began as a set of ideas, rough sessions, or unresolved creative questions — and became a finished record with clearer intent, stronger emotional impact, and reliable translation across real-world listening environments.
In each case, the work supported the artist’s goals: tightening arrangements, clarifying production choices, strengthening performances, solving technical and tonal problems, and shaping the music into something they could release with confidence.
These records didn’t just get louder or shinier — they became more focused, more intentional, and more fully aligned with what the artist was trying to say.
