About

Josh Reynolds

Josh Reynolds builds intricate, balanced, and memorable worlds using sound. As a full-time front of house live sound engineer, studio engineer, and record producer since 2006, his work and his world revolve around the process of making music sound exactly right for a wide range of performers, audiences, and venues.


With a resume that includes touring with acts like Little Big Town, Joe Nichols, Wynonna Judd, Love and Theft, and Craig Campbell, Reynolds has proven his ability to deliver in both packed arena settings as well as more intimate venues. He has also mixed live performances for Ronnie Dunn, Miranda Lambert, Brothers Osborne, and Kacey Musgraves. In the studio, Josh and his wife Femke are the team behind LV records, with Josh mixing music from Dancing On Tables, Kane Miller, Micah Dalton, and Belle Mt. Reynolds has worked as a Producer, Engineer, and/or Mixer for albums by PET ENVY, Jon Reynolds & The Aches, WHEATS, Little Big Town, and Florida Georgia Line. Reynolds has worked as broadcast engineer for Little Big Town at the Grammys, ACMs, CMAs, CMT Awards, CMA Fest, Billboard Music Awards, The Tonight Show, Late Night with Seth Meyers, The Ellen Show, The Voice, Dancing With The Stars, and the Kennedy Center Honors.


In addition to his unique flexibility, Reynolds’ most remarkable talent is his ability to capture and manipulate the intricacies of human voices. Whether he’s tweaking a singular melody, recording layered backup vocals, or weaving together complex harmonies, Reynolds excels in his talent for showcasing the nuances of individual voices within a cohesive whole. “I love mixing harmonies, having grown up surrounded by church choirs. I’ve always been sensitive to the voice and how it’s represented.” This aptitude for vocal distinction is characteristic of Reynolds’ work, and is apparent in many of the albums he’s worked on in the past. His current work with Little Big Town provides him ample opportunity to continue developing his acute sense for vocal blends.


- written by Elise Anderson