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Meet Sean Spence

Today we’d like to introduce you to Sean Spence. 

Hi Sean, it’s an honor to have you on the platform. Thanks for taking the time to share your story with us – to start maybe you can share some of your backstories with our readers?
I was born and raised in South Africa. While there, I did a short stint at college studying computer science and maths. This was definitely not for me but I had a fascination with all things audio. So, I dropped out and went to a school to study audio engineering. I eventually got a great job in the television industry in South Africa while also engineering and producing music on the side. 

I eventually decided to move to the US. I listened to a lot of a CCM music back then, most of which was made in Nashville, so I decided to give the city a try and loved it. I set up a recording studio which went to on to be featured in Mix Magazine and Pro Sound News and I got to work with some incredible artists. I just sold that space 3 months back and have moved into a new space in Nolensville where I’m setting up again. 

Would you say it’s been a smooth road, and if not, what are some of the biggest challenges you’ve faced along the way?
It has definitely not been a smooth road and I wanted to give up so many times along the way. Thankfully I have amazing family who are so supportive and keep encouraging me to keep going. Being in the music industry, there is always loads of impostor syndrome – am I good enough, do I belong, etc. It also takes time to find your place – to find the things that you excel at. So, it takes a lot perseverance. It is definitely a long, hard road. 

Can you tell our readers more about what you do and what you think sets you apart from others?
I am a music producer and audio engineer. I also write and produce tracks for film & TV. My background is in engineering and I have had the joy of engineering on projects for Lukas Graham, Kirk Franklin, Patrick Droney, Kylie Morgan, Kierra Sheard, Jonathan Jackson, and more. I have produced for Ginny Owens, Lockeland, Jessica Martindale and have produced lots of material with my wife, Anelda, which has been placed in TV shows on multiple networks. 

Recently, I was really proud to hear that a hit mixing engineering was raving about how good some strings sounded that I recorded at my studio. It took years of trying different techniques to get it sounding like a huge string section in a small room. On the production side, I will never get tired of hearing music that I produced in a TV show. 

What sets me aside from others is that I like to have a strong focus on the emotion in a song. If there is no emotion, then the listener won’t connect with it. People want to feel things when they experience art and so my goal is to pour as much feeling into the music as possible. 

Can you talk to us about how you think about risk?
Risk is one of those things that is both terrible and absolutely necessary. Risk makes us feel vulnerable and vulnerability is where all the good stuff in life comes from, but it is also one of the toughest things. I have certainly taken risks (like moving to America from South Africa, or dropping out of college, or even just working in music) but have also had times in my life where I have held back and chosen ‘safety’ instead. 


  • Mixing a song – $400

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