Studio Talks sits down with Ryan “Killshot” Prieur, the Dallas based engineer, producer, label head, and manager for Kodak Black, whose fingerprints are on records by Polo G, Jennifer Lopez, Key Glock, and more. In this conversation, we trace his path from drums and marching band to high stakes sessions, dig into his mixing philosophy, favorite gear, and advice for the new generation of music creatives. We also cover his growing Killshot Records operation and his move into plugin development. This interview was conducted via video call by Rudy Manager for Studio Talks on October 8, 2025.
“Network sideways. An introduction will take you further than a cold DM.”
- Killshot
How did you first get into music, and how did that lead to music production and engineering?
I started off as a drummer when I was very young. I had a sparkly blue drum set in my bedroom and I was fascinated with music from the start. Around age 10, I got into guitar and started taking production lessons, which led me into band in middle school. Middle school runs from sixth to eighth grade, so I was about 11 to 13. I played percussion in school and took guitar lessons outside of it. In high school I joined marching band, mostly on percussion and drum parts, and I also played in winter concert band and in the full orchestra as a percussionist when the band and orchestra came together. I always had a strong interest in music. I just didn’t apply myself fully at first.
Around 18, I started experimenting with FL Studio. During my junior and senior years, I took audio and video production classes. Those classes focused on video, and I initially wanted to be a movie director, but after I graduated, my focus shifted to music because it felt more accessible and I had a stronger background in it. One thing led to another. I began making beats and recording local artists, and I realized no one around me took music as seriously as I did. That pushed me to go to college for music. I earned a degree in Recording Arts, graduated as valedictorian of my class, and from there it’s been full speed ahead. The rocket ship took off, and I’ve been very blessed.
What was your experience studying music in college?
I didn’t go to college to learn how to make music, since I’d already been making it for a long time. I went to meet people who were as passionate about it as I was. In my experience, many of my peers became my teachers because they really understood music. My instructors also shared techniques and industry insights they’d used throughout their careers to reach a high level of success. Shout out to my teachers. My favorite teacher at school was Tim Kimsey, a widely known audio engineer whose credits include Vanilla Ice’s “Ice Ice Baby.” He introduced me to my mentor, Chris Godbey.
Chris is a GOAT. I call him Mix Godbey. He’s worked with Justin Timberlake and Timbaland. He got me on Chloe Bailey’s album and brought me in as an assistant engineer on Jennifer Lopez’s album. I’ve built a lot of knowledge and connections through my mentor, and I think that’s one of the most valuable things college gave me. It gave me access to people at a high level in the industry who could recognize the skill set I brought to the table.
What advice from your mentor Chris Godbey stood out the most?
Yes. I live by this: if it’s good, let it be good. A lot of engineers approach mixing thinking they have to copy someone else’s exact EQ curve or use a certain amount of compression because they saw a well-known mixer do it. The truth is, if the music is recorded extremely well, it often doesn’t need much fixing in the mix. Many people assume their job is to repair everything, but I prefer to take it as it is and mix. If it’s already in a great place, doing too much can make it worse, especially when it isn’t necessary. So if it’s good, let it be good.
How do you approach a new project sonically with an artist you’ve never worked with before?
Two things: First, I want to understand their musical influences. If an artist tells me they like Gunna, Coi Leray, and Lil Tecca, I’ll listen to those records and get a feel for how their vocals sit in the mix, how many effects they use, and what’s loudest in their balance. Is it the 808, the snare, or the hi hats? Every genre tends to prioritize a different element as the loudest point. The focus should be on the vocals, but many hit songs actually place the vocals slightly under the mix. In a lot of modern pop, the vocals sit clearly on top. That’s also how I often mix, because that’s the industry sound I’m known for. Still, each genre dictates its own balance, and studying those references points me toward the characteristics that will make the artist love the result.
Second, if an artist loves their demo and you completely overhaul it, they’ll often say they hate it. If you take that demo and recreate the same feeling with a little more polish, they’re much more likely to love it. The real trick in any genre is to preserve the artist’s intention while shaping the record to fit the sound of the style they’re aiming for.
How do you approach a new project sonically with an artist you’ve never worked with before?
Two things: First, I want to understand their musical influences. If an artist tells me they like Gunna, Coi Leray, and Lil Tecca, I’ll listen to those records and get a feel for how their vocals sit in the mix, how many effects they use, and what’s loudest in their balance. Is it the 808, the snare, or the hi hats? Every genre tends to prioritize a different element as the loudest point. The focus should be on the vocals, but many hit songs actually place the vocals slightly under the mix. In a lot of modern pop, the vocals sit clearly on top. That’s also how I often mix, because that’s the industry sound I’m known for. Still, each genre dictates its own balance, and studying those references points me toward the characteristics that will make the artist love the result.
Second, if an artist loves their demo and you completely overhaul it, they’ll often say they hate it. If you take that demo and recreate the same feeling with a little more polish, they’re much more likely to love it. The real trick in any genre is to preserve the artist’s intention while shaping the record to fit the sound of the style they’re aiming for.
How do you approach a new project sonically with an artist you’ve never worked with before?
Two things: First, I want to understand their musical influences. If an artist tells me they like Gunna, Coi Leray, and Lil Tecca, I’ll listen to those records and get a feel for how their vocals sit in the mix, how many effects they use, and what’s loudest in their balance. Is it the 808, the snare, or the hi hats? Every genre tends to prioritize a different element as the loudest point. The focus should be on the vocals, but many hit songs actually place the vocals slightly under the mix. In a lot of modern pop, the vocals sit clearly on top. That’s also how I often mix, because that’s the industry sound I’m known for. Still, each genre dictates its own balance, and studying those references points me toward the characteristics that will make the artist love the result.
Second, if an artist loves their demo and you completely overhaul it, they’ll often say they hate it. If you take that demo and recreate the same feeling with a little more polish, they’re much more likely to love it. The real trick in any genre is to preserve the artist’s intention while shaping the record to fit the sound of the style they’re aiming for.
Do you have any creative routines that help you get into the zone before you start working on music?
Yes. Before I start mixing, I listen to two or three of my favorite songs. It puts me in the right vibe and helps reset my ears a bit. I also make sure to eat before I mix. It might sound surprising, but when I haven’t eaten, I end up thinking about other things, and it hurts my ability to fully focus on what I’m doing.
What are your thoughts on AI in music production and engineering, especially in mixing?
I love AI, and I want more of it. Two years ago, my friend Umair Ali, who is also a producer, created an AI artist named Umiku. Umiku is signed to Killshot Records and has a full album built around the concept of her breaking out of the computer. She shares her journey of being trapped in the computer and trying to escape. Our approach is more human driven than purely automated. We make it, but we use Vocaloid for her voice and a range of AI tools to build the instrumentals and other elements. We also use AI in parts of the video work and animation.
I believe AI is the future. If you’re not using it, you’re already behind. Give it five more years, and it will be very hard to catch up.
What tips would you give new engineers for recording artists in the studio?
Two things: First, do not turn your preamp up too high. One of the most common issues I see is engineers chasing volume at the mic pre. The real solution is to turn the beat down and turn the artist’s headphones up. When you push the preamp, you increase the chance of overloading the mic capsule, introducing distortion, and pulling in room noise. It’s the number one problem I come across.
Second, do not overcompress. I like recording through an analog compressor because it can give you a modern vocal feel, but only when the hardware is in good shape. If the unit isn’t maintained, if the tubes are old, or a bad capacitor adds hiss or crunch, you’re printing that into the take. We live in a world of plugins, and I love them. I can always add compression later, and my usual choice is R-Vox because it’s simple and effective. What I can’t do is uncompress something that’s already been recorded. If the artist says keep that one and the take is a little crunchy, that’s a no go. More than half the time, around 65 percent, the artist can’t redo that exact take. You end up choosing between the burnt cookies and no cookies at all, and most of the time you’re stuck with the burnt cookies.
What’s your favorite studio gear?
Neve 1073s and Neve 1081s are equal in my book. Sometimes, I use the SSL channel on the console as the preamp, but I usually patch out to something else for compression. I track vocals through either a Retro unit, a CL 1B, or a Manley Variable Mu. Some people say the Manley Variable Mu is a mastering compressor, but if you set it to mono and use just the left channel, the compression you get can be extremely smooth. I love tracking through a mastering compressor for that reason.
If I had to pick one compressor for everything, it would be a Distressor, because it lets you run very fast attack and release, or switch to “Opto” mode for more of an LA-2A style feel. Most of the time, I have plenty of options, so I choose what I know will be reliable rather than what I think might sound good in theory. If you don’t fully understand the gear and record it wrong, you can lose a big opportunity. It could be the biggest song of your life, and they might go track somewhere else because something was overcompressed or a small mistake spoiled the take.
Do you have any creative routines that help you get into the zone before you start working on music?
Yes. Before I start mixing, I listen to two or three of my favorite songs. It puts me in the right vibe and helps reset my ears a bit. I also make sure to eat before I mix. It might sound surprising, but when I haven’t eaten, I end up thinking about other things, and it hurts my ability to fully focus on what I’m doing.
What are your thoughts on AI in music production and engineering, especially in mixing?
I love AI, and I want more of it. Two years ago, my friend Umair Ali, who is also a producer, created an AI artist named Umiku. Umiku is signed to Killshot Records and has a full album built around the concept of her breaking out of the computer. She shares her journey of being trapped in the computer and trying to escape. Our approach is more human driven than purely automated. We make it, but we use Vocaloid for her voice and a range of AI tools to build the instrumentals and other elements. We also use AI in parts of the video work and animation.
I believe AI is the future. If you’re not using it, you’re already behind. Give it five more years, and it will be very hard to catch up.
What tips would you give new engineers for recording artists in the studio?
Two things: First, do not turn your preamp up too high. One of the most common issues I see is engineers chasing volume at the mic pre. The real solution is to turn the beat down and turn the artist’s headphones up. When you push the preamp, you increase the chance of overloading the mic capsule, introducing distortion, and pulling in room noise. It’s the number one problem I come across.
Second, do not overcompress. I like recording through an analog compressor because it can give you a modern vocal feel, but only when the hardware is in good shape. If the unit isn’t maintained, if the tubes are old, or a bad capacitor adds hiss or crunch, you’re printing that into the take. We live in a world of plugins, and I love them. I can always add compression later, and my usual choice is R-Vox because it’s simple and effective. What I can’t do is uncompress something that’s already been recorded. If the artist says keep that one and the take is a little crunchy, that’s a no go. More than half the time, around 65 percent, the artist can’t redo that exact take. You end up choosing between the burnt cookies and no cookies at all, and most of the time you’re stuck with the burnt cookies.
What’s your favorite studio gear?
Neve 1073s and Neve 1081s are equal in my book. Sometimes, I use the SSL channel on the console as the preamp, but I usually patch out to something else for compression. I track vocals through either a Retro unit, a CL 1B, or a Manley Variable Mu. Some people say the Manley Variable Mu is a mastering compressor, but if you set it to mono and use just the left channel, the compression you get can be extremely smooth. I love tracking through a mastering compressor for that reason.
If I had to pick one compressor for everything, it would be a Distressor, because it lets you run very fast attack and release, or switch to “Opto” mode for more of an LA-2A style feel. Most of the time, I have plenty of options, so I choose what I know will be reliable rather than what I think might sound good in theory. If you don’t fully understand the gear and record it wrong, you can lose a big opportunity. It could be the biggest song of your life, and they might go track somewhere else because something was overcompressed or a small mistake spoiled the take.
Do you have any creative routines that help you get into the zone before you start working on music?
Yes. Before I start mixing, I listen to two or three of my favorite songs. It puts me in the right vibe and helps reset my ears a bit. I also make sure to eat before I mix. It might sound surprising, but when I haven’t eaten, I end up thinking about other things, and it hurts my ability to fully focus on what I’m doing.
What are your thoughts on AI in music production and engineering, especially in mixing?
I love AI, and I want more of it. Two years ago, my friend Umair Ali, who is also a producer, created an AI artist named Umiku. Umiku is signed to Killshot Records and has a full album built around the concept of her breaking out of the computer. She shares her journey of being trapped in the computer and trying to escape. Our approach is more human driven than purely automated. We make it, but we use Vocaloid for her voice and a range of AI tools to build the instrumentals and other elements. We also use AI in parts of the video work and animation.
I believe AI is the future. If you’re not using it, you’re already behind. Give it five more years, and it will be very hard to catch up.
What tips would you give new engineers for recording artists in the studio?
Two things: First, do not turn your preamp up too high. One of the most common issues I see is engineers chasing volume at the mic pre. The real solution is to turn the beat down and turn the artist’s headphones up. When you push the preamp, you increase the chance of overloading the mic capsule, introducing distortion, and pulling in room noise. It’s the number one problem I come across.
Second, do not overcompress. I like recording through an analog compressor because it can give you a modern vocal feel, but only when the hardware is in good shape. If the unit isn’t maintained, if the tubes are old, or a bad capacitor adds hiss or crunch, you’re printing that into the take. We live in a world of plugins, and I love them. I can always add compression later, and my usual choice is R-Vox because it’s simple and effective. What I can’t do is uncompress something that’s already been recorded. If the artist says keep that one and the take is a little crunchy, that’s a no go. More than half the time, around 65 percent, the artist can’t redo that exact take. You end up choosing between the burnt cookies and no cookies at all, and most of the time you’re stuck with the burnt cookies.
What’s your favorite studio gear?
Neve 1073s and Neve 1081s are equal in my book. Sometimes, I use the SSL channel on the console as the preamp, but I usually patch out to something else for compression. I track vocals through either a Retro unit, a CL 1B, or a Manley Variable Mu. Some people say the Manley Variable Mu is a mastering compressor, but if you set it to mono and use just the left channel, the compression you get can be extremely smooth. I love tracking through a mastering compressor for that reason.
If I had to pick one compressor for everything, it would be a Distressor, because it lets you run very fast attack and release, or switch to “Opto” mode for more of an LA-2A style feel. Most of the time, I have plenty of options, so I choose what I know will be reliable rather than what I think might sound good in theory. If you don’t fully understand the gear and record it wrong, you can lose a big opportunity. It could be the biggest song of your life, and they might go track somewhere else because something was overcompressed or a small mistake spoiled the take.
What are your favorite microphones?
Neumann U47s are a favorite of mine, and I like U87s too. If I had to pick one mic, the Sony C-800G would be my choice. Most of the biggest songs I’ve worked on were recorded on a C-800G. It has a bright top end, something special about it, and it usually doesn’t require much EQ. Some people say it’s so sensitive you have to EQ it heavily, but I disagree. If you know how to record and understand mic technique, the C-800G is almost always flawless.
How do you know when a mix is finished? Is there a moment like that?
The joke is that a song is never really finished, but it goes back to my mentor’s advice. If it’s good, let it be good. At some point, you’ve done enough, and you can say this sounds right. I often think of a clip of Bruce Swedien speaking at Full Sail University, where he said “Billie Jean” went through 91 mixes, and they chose mix two. When it’s vibing and it feels right, you have to commit. On the industry side, once it goes to mastering and you get it back, it’s done.
How did you first connect with Kodak Black, and is there a story you can share?
I first met him briefly backstage at a show in Grand Prairie, Texas, in 2023. We said a quick hello but did not really talk. Almost exactly a year later I was on the rooftop at the Swexan Hotel in Dallas on a Saturday night when my friend Roadrun Cmoe called around two in the morning. He runs the clothing brand Roadrunner Worldwide (RRW) and also raps. He told me he had just shared my number and that I should answer and do whatever they asked.
About twenty minutes later, DJ E Money called. He’s the main DJ at Booby Trap On The River in Miami. He said he needed me to bring a mobile studio to his Airbnb right away. The address was an hour and fifteen minutes away, and I hesitated, but most of my biggest opportunities have come from late night calls between two and five in the morning. I decided to go, grabbed my suitcase rig, got a ride, and headed over. When I arrived, E Money asked if I knew who I’d be recording. I had a feeling. I set up in the room, and about thirty minutes later Kodak walked in, dapped me up, and watched Netflix for a couple of hours while I waited with everything ready.
Around five or five thirty in the morning, he loaded a beat and recorded. We finished around six thirty. He asked me to play it back. The moment he heard it, he said, “You are coming on tour with us.” I had to pause and ask myself if I could do it. He stayed in town for about two more days, and we recorded around ten songs in that first stretch, with his artists moving through as well.
I ended up going on the Sexyy Red 4 President Tour with Kodak, Sexyy Red, BossMan Dlow, Hunxho, and Loe Shimmy. Kodak and I hit about twenty five cities, and it was a life changing experience. He believed in me early and saw what I could bring to the table. It wasn’t the first time an artist wanted to lock in with me, but it was the first time someone was so insistent I come along.
Is there a project you worked on that holds a special place in your heart?
Definitely. If I had to pick one, it would be “Let’s Go” by Key Glock. It’s one of the biggest records I’ve worked on to date. I actually have a platinum plaque in the mail that should arrive in two days, which is exciting. From the minute we recorded it, I felt it would do something. When I heard the beat, I told him he should pick that one. He was weighing a few options, asked his brother for an opinion, and his brother agreed. We recorded it on January 23, 2023. I believe it officially dropped in August 2023, maybe late July, and by December it was already certified platinum. In less than six months, the song went crazy.
Anyone who knows me knows that Young Dolph is one of my favorite rappers. I started recording and getting deeper into music with the dream of working with him one day. He ended up on the official remix of “Let’s Go” with Key Glock, which was incredibly special for me. I joked that I retired from the industry the day that happened. About two weeks later, people were calling me to come back, so here I am.
When you recorded that song, what told you so early it would be a hit?
Yes. I knew it the moment he added the ad libs. We’d recorded the whole song, and everyone in the studio was vibing, but once the ad libs went in, it felt different. There’s this animator, I think his name is JKD Animator, who made a clip of Key Glock going Super Saiyan in the booth while recording. That’s exactly how it felt in the room. I don’t know how else to explain it. In my opinion, the ad libs are what took that song to a new level.
What is your vision for Killshot Records?
Killshot Records is a major independent label based in Dallas, Texas. I was one of the first to work with Sony’s distribution company, The Orchard, and I brought that to Dallas. My vision has always been to help independent artists achieve success in the major music industry. Many artists have a misconception about what it means to be independent. Being independent means you own your master copyright and your publishing. It doesn’t mean you don’t have a team. I focus heavily on artist development and educating artists on how to build momentum as an indie. I am also committed to helping producers and engineers build sustainable independent businesses.
I’ve never signed with a major label. I’ve done high level major label work, but always through independent contracts under Killshot Records. That access is both a blessing and the result of strategy, hard work, networking, and building the right relationships. The greatest benefit is the freedom. I work when I want to, with who I want to, and I make a living wage doing it.
What advice would you give emerging engineers and producers who want to build a career in music and start landing placements with major artists?
The best advice I can give is to network sideways. Many people try to go straight to the top, but the fastest path usually comes through an introduction. Look to your peers first. Your friends, family, and coworkers all know other people, and that’s often how doors open. Someone might say, “You know my cousin. His name is ATL Jacob,” and now you have an introduction you couldn’t have created on your own. Opportunities can appear out of the blue, but waiting for them is like waiting for money to fall from the sky. An introduction will almost always take you further than introducing yourself cold.
Find people on a similar level with the same drive and ambition. That will open doors much more quickly than trying to buy your way in or waiting for a perfect opportunity to fall into your lap. Getting to the top is very difficult, but it’s not impossible. It starts in your mind with a clear idea and the determination to pursue it before it becomes real in front of you.
Where do you see yourself in a year, and what are your personal plans and career goals?
In a year, I see myself as a high level music tech guru. I’ve shifted into plugin development and have been building some very cool tools for about two years. It’s taken time to figure out the moving parts, find the right people for my team, and refine the marketing and branding. There’s been a lot of demoing and testing. Anyone who wins has had to fail, and repeated trial and error shows you what works and what doesn’t.
I see huge opportunity in tech, whether that’s AI or tools that help artists, engineers, and producers improve their sound and make the process easier. For example, many people from the analog world are skeptical of plugins because they say they don’t sound the same or people don’t know how to use them. My view is simple: if I put it on and it makes the record sound better, the result speaks for itself. Knowledge without action yields no results. It is more important to do the work than to know how to do it.
Personally, I’ll keep learning, so in a year I’ll be smarter. I enjoy building wealth, so in a year I plan to be richer I also love helping people, so I’ll have a larger team of like minded, hungry, and ambitious collaborators who are willing to put in the work to reach the next level. Even the most successful people I know aren’t content with what they have, and neither am I.
What stage are your plugins in right now?
I’m in beta testing with the first plugin I’m bringing to market, and it’s almost through beta. I can’t share too many details yet, but it’s a multi effects plugin aimed at crafting a specific ad lib sound, and it also works well on loops and lead vocals. It’s built for utility and versatility.
I’ve combined elements from my favorite reverbs, compressors, and other processors into an all in one tool. On my ad lib bus in Pro Tools, I normally use around six plugins, and those now live inside this single plugin. You’ll be able to browse presets designed by top engineers and tweak every control, so if you want to dive deep and shape the sound precisely, you can.
Follow Killshot on Instagram: @killshoteng
