Some people are born to be in the studio. One of those people is Thomas Warren.
Unlike those in the music world who come from a family of musicians (professional or otherwise), Thomas naturally found his way into the business. From learning foundational production principles by rebuilding beats to interning at major studios, Thomas found a way to turn his passion into a career, leading to a discography that features names like Rihanna, Kendrick Lamar, Sam Smith, Dominic Fike, and Prodigy of Mobb Deep, just to name a few.
Thomas recently took some time to sit down and talk with us about his career beginnings, his favorite part of the production process, and some key things engineers should know to set themselves up for a successful future in the industry.
Drew Van Buskirk: Thanks for sitting down with us, Thomas. For those who might not be familiar with you, could you give us a quick introduction?
Thomas Warren: Yeah, of course. I’m Thomas Warren, a mixing and recording engineer based in Los Angeles. I’ve been doing this professionally since around 2012. I got my start by attending the Conservatory of Recording Arts and Sciences, then did internships at places like Quad Studios and Premier in New York before moving to LA.
Once I got to LA, I spent several years working at Westlake Studios and with Stargate before transitioning into full-time mixing. Over the years, I’ve been fortunate to work on a range of projects spanning hip-hop, R&B, and pop, collaborating with some of the biggest names in the industry.
DVB: Did you grow up in a musical household? Were you ever in bands, or were you always drawn to production?
TW: I didn’t really have family in music. Some of my uncles in England were into metal, but I was never in that world. I was more into production and hip-hop. I played piano growing up and did some production work before getting deeper into engineering. I remember being fascinated by the way beats and melodies came together, and that naturally led me into studio work. I was always trying to reverse-engineer my favorite tracks to understand how they were put together.
DVB: What was your ‘light bulb’ moment when you knew you had to work in a studio?
TW: I’ve always been drawn to music — I’d fall asleep listening to it, constantly messing with sound. But the real moment came when my mom had a friend whose husband was an engineer. He’d worked with Bone Thugs, Korn, and other artists. I visited his studio in high school and just thought, “How do I do this?” One of the guys there told me about the Conservatory. The second I walked into that school and saw the plaques on the walls, I knew. That was it. It was a moment of absolute clarity—this was where I needed to be.
DVB: What was your first big project, or at least the first one you handled on your own?
TW: That would be working with Prodigy from Mobb Deep at Quad Studios. It was my first real solo engineering session. I was originally scheduled as the second engineer, but the lead engineer didn’t show up, so I had to step in.
I was nervous — I grew up listening to that kind of hip-hop — but Prodigy was super cool, even teaching me things along the way. He was patient and really helped me build confidence in the moment. Looking back, that was one of those defining moments where you realize you’re truly in the game.
DVB: That’s wild. Sounds like one of those classic music industry moments where you either step up or miss out.
TW: Exactly. It happened again when I worked on Dominic Fike’s “Mona Lisa” for the Spider-Man soundtrack. I was with Stargate at the time, and they knew I wanted to mix more. They just said, “Hey, can you throw a mix on this? We need it right away.” I dropped everything, mixed it in three hours, sent it off, and it was approved. You just never know when those opportunities will come. That’s why it’s so important to always be ready.
DVB: Is that kind of last-minute chaos common in this industry?
TW: All the time. Just the other day, an artist booked me for a session the next night, and I had three other projects I needed to finish beforehand. It can be overwhelming, but it keeps things exciting. No two days are ever the same. The unpredictability is what makes it thrilling: you’re always on your toes, adapting, problem-solving, and pushing your creative limits.
DVB: What was the first huge project that really put you on the map?
TW: That would be ANTI with Rihanna. I spent two years on that project, starting at Westlake, then moving to a big mansion in Malibu to finish it. I worked closely with Kuk Harrell on vocal production and learned a ton from her engineer, Marcos. We probably went through two or three albums’ worth of material before settling on the final version. It was intense — 17, 18-hour days — but such a valuable experience. Seeing how Rihanna worked, how meticulous she was with every element, was inspiring. It taught me how much precision and effort go into crafting a truly great album.
DVB: That’s incredible. Any other major sessions that stand out?
TW: Working with Kendrick Lamar on Mr. Morale & The Big Steppers was amazing. He booked out Stargate’s studio while they were on break, and we had all the rooms going at once with top producers. Kendrick is one of the easiest artists to work with: super focused, great energy. He has a clear vision and an intense work ethic, which makes the whole process smoother. The way he approaches storytelling through sound is on another level.
DVB: What’s the biggest lesson you’ve learned in your career?
TW: The biggest thing is that skill gets you in the room, but your personality and ability to adapt keep you there. You need to be able to work with all kinds of people, handle different personalities, and know when to step up or step back. The technical side is always evolving, but relationships are what sustain a long career. It’s not just about being a great mixer, it’s about being someone that people want to work with again and again.
DVB: Is there a specific part of the process you love the most?
TW: Mixing. I love being the last person to touch a song before it goes to mastering. It’s where I can really bring everything together and add that final touch. The details matter, and I love refining every element until the track sounds exactly how it should.
DVB: Ok, let’s talk Slate Digital. I’d love to know how our plugins fit into your workflow.
TW: I use Slate Digital every day. The SSL plugins are in my mixing template, and I love the Virtual Mix Rack. Fresh Air is amazing, and the FG-DS 902 is a hidden gem for high-end smoothing. I also use VerbSuite all the time for reverb, it’s really versatile. It’s a key part of shaping the depth and space in my mixes.
DVB: Sounds like you’re super familiar with our lineup! Any underrated plugins you’ve found cool uses for?
TW: The Monster compressor is awesome for parallel processing, especially on drums and ad-libs. And I just started messing with the FG-401 compressor, I really like its transformer option. It adds a nice warmth and character.
DVB: Taking notes for my own future use (laughs). Before I let you go, any parting words of wisdom for young engineers just starting out?
TW: Stick with it. This industry takes time. I graduated in 2011 and only started full-time mixing two years ago. A lot of people don’t make it because they expect instant success. If you’re committed and willing to hustle, you’ll find your way.
