mix
engineer

I am inspired to help artists and producers finish their records in the mixing process.

Please fill out the form below or shoot me an email at mix@grahamcruser.com 

What I need from you:

• Tell me about your project and what you're trying to accomplish
• Let me know your timeline, how many songs, artist name
• Let me know who will be responsible for funding the project (independent or label)
• Send a sample of the music if you have it. I will keep it private, of course.

I look forward to hearing from you.

• Tell me about your project and what you're trying to accomplish
• Share any reference tracks or inspiration
• Let me know your timeline, how many songs, artist name
• Let me know who will be responsible for funding the project (independent or label)
• Send a sample of the music if you have it

Graham's journey started in 2014 at the John Williams Scoring Stage, where he recorded orchestras and big jazz bands for films. This foundation in high-level recording set the stage for his transition into mixing.

By 2016, Graham was tapped to mix Kobe Bryant’s podcast, The Punies—a project that pushed his storytelling instincts and refined his sonic approach. He soon expanded into mixing and producing, working with Saint Rogue Records, Sony Extreme Music, and began mixing for both Apple and Twitter commercials and independent artists.

In 2018, Graham’s expertise led him to design and build Ableton’s recording studio, before stepping into Ableton’s Artist Relations lead for North America for five years. 

But Graham's passion for mixing always pulled him back to the studio. In 2021, he left Ableton to pursue a mentorship with mixer Jon Castelli, dedicating himself to elevating his craft and building his own creative space—Calhoun Studios.

Today, Graham continues to work with artists, producers, and labels who value depth, emotion, and clarity in their records and loves helping artists and producers finish records.

In order to respect and maintain the integrity of the approved rough mix, stems are preferable. Working from ProTools sessions can introduce all manner of variables and issues that stems eliminate.

Vocal stems

Vocal stems should be dry with any wet effect returns (reverbs, delays, etc) printed on separate stems. Vocal stems should be “dry” but not fully “raw” – i.e. you dont have to take your EQ or compression off, and you dont have to zero everything out.

Instrumental Stems

Instrumental elements can all be left fully wet as you had these (if we need anything else we will reach out).

Bit Depth

32-bit Wav files are best; 24-bit minimum.

Tempos

Make note of the BPM of the song somewhere in your file name.

Rough mixes

Be sure to send the latest approved rough mix (i.e. the one everyone on the team loves and has been listening to) of the song along with the stems.