Nashville, TN - USA

Ryan Hewitt is a Grammy®-winning engineer, mixer and producer with a credit list spanning all popular genres of music for such notable artists as The Red Hot Chili Peppers, The Avett Brothers, blink-182, The Dixie Chicks, Flogging Molly and Jamie Cullum.


Relocating from Los Angeles to Nashville in early 2015, Ryan took residence at House of Blues Studios in Berry Hill and jumped into a non-stop string of records. In between mixing albums for The Avett Brothers, Third Eye Blind, Sean McConnell, and Harry Connick, Jr., Ryan produced and mixed up-and-coming Georgia rockers, Crass Mammoth, and Knoxville troubadours, The Black Lillies. He spent the end of the summer recording and mixing The Lumineers’ new album with producer Simone Felice in upstate New York.

Ryan found his love for music and recording working along side his father, famed remote recording engineer David Hewitt. Traveling around the world recording live albums and providing broadcast audio for an incredible array of artists, Ryan spent his youth in small clubs, massive arenas and every type of venue in between. As a result of these experiences, he developed a work ethic and preparedness seldom seen among studio recording engineers because on the road, there’s only one chance to get it right.

After earning a degree in Electrical Engineering and running the campus sound company at Tufts University in Boston, Ryan moved to New York City to work at Sony Music Studios. Opportunities then took Ryan to Los Angeles, landing him at Cello Studios (now EastWest Studios), where he began working with The Red Hot Chili Peppers and Rick Rubin. Striking up a close working relationship with guitarist John Frusciante, Ryan recorded and mixed eight solo albums with him. This led to Ryan engineering and mixing their multiple-Grammy-winning double album, Stadium Arcadium. Rick and Ryan have continued to work together on a number of projects with artists such as Angus and Julia Stone, Brandi Carlile, Lady Gaga and Johnny Cash, as well as three albums and two live DVDs for The Avett Brothers.


The Reflexion Filter Pro.

The Reflexion Filter Pro.

When did you first hear about sE's Reflexion Filters?

About 5 years ago, working with Matt Serletic on a Matchbox 20 record. He’s a diehard fan. I've been using the RF Pro, but just got the RF Space and it already feels better. Much more solidly made with a great mounting system.


In what situations do you find them most useful? 

Any time I want the recording to be as in-your-face as possible. It puts a vocal right on top of the mix like you wouldn’t believe. For most records I make, I like to start with a super-dry vocal so that I can add what I want to it.

The RF can also help improve the sound of recording in a poorly treated room, and block out unwanted noise from computers, air conditioning and street noise.

I’ve also used it to help isolate guitar amps, acoustic guitars, bass amps and upright basses from unwanted room sounds and bleed from other instruments.

The RF Space.

The RF Space.

How would you describe the difference they make to the sound?

For vocals especially, it’s like getting a deeper black in a film. It makes the experience of listening a lot more intimate to me.

What is the main reason someone should consider using a Reflexion Filter?

It’s a great tool for getting better isolation on recordings, and it helps create better recordings in poor sounding rooms.


"I've placed an RF between the vocal mic and acoustic guitar mic when a musician is singing and playing at the same time. Helps achieve better isolation in this case. I’ve also used an RF behind the kick mic to keep bad room sound from getting back into the mic."

"In another bad sounding room, I put an RF over the top of an overhead fiddle mic; I needed the distance from the instrument, but the room was not helping me, and created a boxy sound. After trying several mics, it was clear that nothing else was going to help, so I picked the best sounding mic and put the RF behind it. Problem solved."