BIO

Chris G Wilkinson is a recording engineer, record producer and mixer. His recordings have earned him a Grammy along with multiple nominations and #1's in America, Canada, and Australia.

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2011-2018, Nashville - Working his way through the traditional studio ranks. Chris started his career under the wing of Vance Powell (Jack White, The Raconteurs, Chris Stapleton) while also working for House Of Blues Studios, where he eventually held the position of Chief Engineer. It was here that Chris began working as an engineer for recording icon TBone Burnett, who has sonically and creatively shaped much of Chris' own approach to production.

“I was very fortunate to have a really traditional studio ‘upbringing’ assisting on projects for producers and engineers such as, Jacquire King, Eddie Kramer & David Leonard. I first met TBone assisting on sessions for “Inside Lewin Davis” and the first season of “Nashville”. There was so much going on I was quickly thrown in to a First Engineer role when Tbone’s usual engineers had to go back to LA or move on to a different project. This lead to me engineering often for him. After that  people wanted to hire me specifically because of his “approval”, so I’m forever grateful to him for that”

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2018-Present, Sheffield & Fox Den - In 2018 Chris and his wife Allison moved to his native Sheffield, England to spend some time close to family. Since then he renovated and re-launched Fox Den Studios, where he has been developing independent artists in the role of Producer and Engineer. Chris also continues to engineer for other producers in the UK and Nashville. 

“Since moving back to Sheffield I’ve really been able to stretch myself. Independent artists who come to Fox Den are looking for more than an engineer they want input throughout the whole process from songwriting to release. I’ve loved getting to think more from a producer’s perspective, which I know has made me a stronger engineer too.” 

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Ethos & Workflow - “I’m passionate about sonics but ‘good engineering’ just needs to happen; once we start rolling I don’t want to stop so we can fix or change something, we have to be ready for that from the start. I spend a long time ‘setting the stage’ before an artist comes in so that the process feels as natural as possible and I almost always track bands live together in as few rooms as possible.”