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Steve Wilk: “I can get an intimate feel of the depth and textures within our sound design”

With more than 20 years’ experience in the music industry, Australian, LA-based producer, programmer and audio engineer Steve Wilk has always been at the cutting edge of his craft.
Adopting and adapting the latest in digital audio software and programming technology to become a highly sought-after creative, Steve is a groundbreaking musical disruptor.

By combining old-school audio engineering knowledge with the latest software music sequencers and digital audio workstations, Steve continues to hone his production, live engineering and programming skills, rapidly earning him a reputation as a highly sought-after programmer, producer and audio engineer.

Can you tell us a little about what you do?

I am an Australian Producer/Engineer. I do playback work for Kat Graham, working with MD Michael “Nomad” Ripoll.

I have also done this work for Keyshia Cole, Babyface, and some tour programming for Rihanna and Jay Sean.

How did you learn about Ultimate Ears? Which model did you choose?

I got my ear scans and wanted to get the biggest baddest IEM’s, but Jeanette, with her experience and genius, advised me to get the Capitol Reference series as they have a flatter more accurate response, as I am an engineer. Which also are not as expensive (UE’s great customer service!!!)

At the time I hadn’t thought of using the IEM’s for anything other than tour work.

But happily I can say Jeanette was absolutely correct, and I was wrong!!!

Since then I have been working on an upcoming EP for A-list records, a subsidiary of Megatrax.

Tell us about your latest production work.

I have been doing production, sound design editing on the IEM’s working remotely in Australia while the rest of the team is in Los Angeles. The project is called H&E, (Hannah & the Engineers). The music is geared towards the film and tv market exclusively, and will be released later 2018. Head creative director Derek Jones signed us to the label based on the way we create depth, texture and flip sounds around in our music.

His quote is “3d music in a 2d world”

How has working with the UE PRO helped with your workflow?

This is all possible because of the IEM’s. They are my go to and preferred way of producing and editing.  One track “Place For You” I recreated the sound design for in a cafe, it made it to the EP. Another track “Goodnight” I created and did the production for whilst sitting on my sofa, and Wonder-woman was on.

What’s your favorite thing about working with UE IEMs?

I know what I am hearing is accurate and sounds fantastic.

Now I am originally a drummer so I am doing all the drum production and programming. I can get fat beefy Booms and Clacks going in the DAW. But I can get an intimate feel of the depth and textures within our sound design too.

Also another important point for the blog is I check how the tracks sound using the UE bluetooth speaker (Boom 2), I do this as most consumers will listen today using some kind of bluetooth speaker.

The IEM’s also blatantly show off over compression and distortion, they have become my security blankey!!!!! Not to mention are very comfortable to wear for extended periods.

You can find Steve on the Web:  stevewilk.com & Instagram @steve_wilk

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