Meet SoundBridge Producer Tristan Hutton

In this article, we interview Dorset-based artist Tristan Hutton to explore his signature laid-back, indie country-pop sound and delve into the production techniques behind his debut EP, Thirty Something Symphony, created entirely on SoundBridge. Join us as we dive into his creative process, the inspirations behind his songs, and how SoundBridge helped bring his musical vision to life.

What was the inspiration behind the concept or theme of this EP?

At this stage of my life, I find myself surrounded by so much inspiration for songwriting - family, love, age, the future, nostalgia, self-doubt, courage, and, of course, my newfound love of contemporary country music! My debut EP, 'Thirty Something Symphony,' brings all that together in four brand-new songs. It is the story of your average thirty-something, navigating adulthood in the countryside and pretending to know what I'm doing.

How does this EP differ from your previous work, both in terms of sound and production process?

In early 2024, I took a break from releasing music. In the music industry, we're told just to keep releasing. But something was missing. I told myself that I would focus on writing and production until my work sounded more polished and professional and carried real meaning. I wanted to stop releasing music for the novelty and start focusing on quality.

I've always considered myself an artist rather than a sound engineer or producer, so I used the extensive SoundBridge online tutorials and community forums to understand the software's potential. 

The sound I've ended up with is much bigger, with more balanced layers and less overcrowding than my previous work. I'm hugely proud of what SoundBridge has enabled me to accomplish in only one year of using the software.

What features of SoundBridge stood out to you when deciding to use it as your primary DAW for the production of this EP?

I wanted a DAW that would allow me to focus on the creative process of writing and recording and take the hassle away from production. I wanted a simple, intuitive layout with everything I needed within easy reach, including return tracks, automation, sends, panning, plugins, tempo adjustment, and so on.

I'm always on a budget, so I also wanted a high-quality range of stock plugins available. I'm running an average Windows laptop until I can afford to invest in something better, so I wanted a DAW that could help with CPU usage, too. SoundBridge's 'Freeze' tool helped with this brilliantly.

The production process also required me to import stems from other recordings, such as lead guitar and female vocal parts, which SoundBridge allowed me to do easily.

Overall, I chose SoundBridge as my DAW for this EP because I knew it would support me at my current level of ability and in years to come!

Is there a specific track on the EP that holds personal significance for you? What makes it special?

From a personal production point of view, 'Found Me First' stands out, as it is the first artist collaboration I've written and produced. This song is a duet and required me to mix two different vocal parts recorded in two different studios with two different mics! It is a ballad that considers an alternate reality where our lives could have taken a different path. Bergendahl and I had a great time putting it together, and we're super proud of the result.

Can you walk us through your creative process when producing one of the standout tracks on the EP?

The idea for the title track, 'Thirty Something Symphony,' came to me while waiting for my partner in a bar. She was late (as usual!), and I felt way too old for the place, sitting there alone! I was bored, so I started typing out some ideas on my phone, and after that, the whole thing came together pretty quickly! I always find my best songs are the ones I don't overthink. The production process began with the muted acoustic guitar part you hear in the first verse. I just loved that riff, and it fitted perfectly with the melody. The whole thing was built from there!

Were there any unique tools or plugins within SoundBridge that played a crucial role in shaping the sound of this EP?

The stock EQ and Compressor/Expander are used on pretty much every track in the EP. I use these as starting points and use other Compressors/EQs alongside them. The visual is so user-friendly, and the results are great. I'm also very keen on the Resonance Filter to add that little bit of sparkle where it is needed! I use the stock Delay a lot as I love how easy it is to sync the delay time to the track and to alter the other feedback and wet/dry settings.

What new techniques or instruments did you experiment with during the recording and production process?

I ended up using quite a bit of parallel compression for that big sound and layered up the tracks using some great pop synths from Spitfire Audio. I also experimented with a plugin called Xvox as part of my vocal chain. As yet, I haven't found a plugin that is incompatible with SoundBridge, and I've experimented with many of them! Ultimately, however, I've found that 'less is more' in production. I have found that doing a small amount of processing very well and focusing on high-quality recordings and samples can be far more effective than loading up my tracks with plugins.

How did SoundBridge contribute to your creative process in terms of collaboration or session management for this project?

For this EP, I needed to collaborate with a mastering engineer, another artist, and a guitarist. I had not done this before, and SoundBridge made it easy to export and import wet and dry stems when needed. As is the ' count in ' function, the project markers within the sequencer are also great for punching in and out at the right points. I never need to go looking for anything in SoundBridge. It's just super logical!

Can you share any specific examples of how SoundBridge helped you overcome a production challenge or enhanced a particular track on the album?

One thing I wanted to improve for this EP was separation and clarity within my mixes. The ease of creating a return track/bus in SoundBridge (and altering the percentage of signal sent to that bus) has revolutionized my music and allowed me to get way more clarity and balance in my sound. 'Line In The Sand' is a good example, where multiple, panned electric guitar parts have a great sense of size, space, and width while still allowing the lead guitar to pop out the top.

Thank you, SoundBridge, for giving me the tools to do what I do.

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As Tristan Hutton launches his new chapter with Thirty Something Symphony, his music reflects a focus on quality, growth, and authenticity. SoundBridge was key in bringing his vision to life, helping him create a clear and polished sound. Each song on the EP shares a piece of his journey through the ups and downs of his thirties. Tristan hopes his music encourages listeners to think about their own paths, showing that sometimes the best art comes from trusting the process and using tools that truly support creativity.

Listen to Thirty Something Symphony here:

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