About
Brian Jinks is the audio engineer behind Solidus79 Productions — mixing, mastering, recording, and vocal production for artists across the Charlotte–Statesville metro and, remotely, worldwide.
As an engineer and producer, every mix is built meticulously in Ableton Live and Pro Tools, backed by access to official outboard and hardware — not just plugin emulations. That combination is what turns a session into a record that holds up next to anything else on the platform.
I also work live production at arena scale, at front of house. That’s where the studio work gets audited. Every week I hear finished, released records meet a large-format PA, and I hear which ones fall apart: the low end that turns to mud through a sub array, the wide mix that collapses when the room sums to mono, the master with no headroom left for the house engineer. I mix with that in the room.
Sessions run just as precisely in-studio or fully remote, with a fast turnaround on every mix and master. Beyond the standard master, records come back in the alternate versions an artist actually needs — DJ mixes, radio mixes, and performance mixes built for the room they’re going to hit.
There’s also a layer of insight that goes beyond the technical — knowledge earned over years behind the console that shapes not just how a record sounds, but how it moves an artist’s career forward.
That range shows up in the credits — mixing for artists including Young Dro, Keith Murray, DaBaby, Young Scooter, Young Dolph, Key Glock, Kehlani, and Miri Ben-Ari, alongside audio work for the Greensboro Symphony Orchestra and NCAA Tournaments.
Work With Solidus79why solidus79 Productions
Precision first, feel always. A studio teaches you what a record should sound like; an arena teaches you what survives the trip.
I run live production at arena scale — front of house on large-format PA systems — which means I hear how records behave in real rooms every week. That's not a second career; it's the reference. What I learn out there is what I mix toward in here.
Every session starts with meticulous prep — gain staging, editing, comping, and tuning — so the mix has clean, honest material to work with. Precision before the fader ever moves.
Beats, arrangements, and sound design built natively in Ableton Live — from first idea to a session-ready session, produced by the same engineer who mixes it.
Backing tracks, performance stems, and show files built for the stage — timed, labeled, and rehearsal-ready before soundcheck. It's the same prep that ships inside a Venue-Ready Record.
Lighting design spans grandMA3 for large-format shows and Beam 2 with Ableton for smaller productions, plus a range of other software shaped by my own programming knowledge. That systems thinking carries over into how a mix gets built.
Send the rough. I’ll tell you what it needs — and what it’ll do on a big system.
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