Brian Malouf pursued a career in music with unwavering passion from the third grade. A first chair symphonic percussionist by the end of his university days, and later drumming for a noted L.A. based rock and roll band (Giant City), he became immersed in sound engineering in 1980. In 1983, his career as a world class studio talent was jump-started when the legendary Michael Jackson, at the height of the Thriller phenomenon, tapped Brian to begin work on his next album, BAD.

Brian has described this experience as nothing short of life-changing for both the obvious reason (being so close to the most famous musician on earth at that time), as well as to witness the interactions between Michael and his producer, the legendary Quincy Jones. By 1989, Brian had risen to the top of his field as a mix engineer and producer, working independently for every major label and amassing an impressive string of hit albums, singles, and soundtracks for artists such as Madonna, Roxy Music, Prince, Seal, Pearl Jam, Tokio Hotel, Wolfmother and All Time Low. To date, Brian's album credits total a combined 53 Gold, Platinum and multi-platinum albums representing millions of dollars in sales.

CAREER-DEFINING SINGLES: English singer/songwriter David Gray's breakthrough smash, "Babylon", from his biggest selling album, the #1 UK release White Ladder; Kid Rock's Grammy-nominated single "Bawitdaba" single from the 11 million selling Devil Without A Cause; Lisa Loeb's career-defining, #1 single,"Stay"; Extreme's massive #1 single, "More Than Words", from their biggest selling album Pornograffiti and the smash power pop single, "You Wanted More" by Tonic (and the American Pie soundtrack), and the quirky-crazy “Everybody Have Fun Tonight” by the British duo Wang Chung..

Brian became Vice President of A&R/Staff Producer for RCA/NY in 1994 where he continued to mix and produce several hit records while shaping the careers of such acts as Everclear, The Verve Pipe, Eve 6 and The Calling, to name a few. He ascended to SVP at RCA two years later under Bob Jamieson and served the company in that role until February of 2004.

In July 2004, Brian joined Columbia Records and started his own independent record label, Bandha Records. The very next year, Brian launched his recording studio, Cookie Jar Recording. His experience as a musician, producer, and senior executive provided him with the tools to fuel the success of all three of these ventures. In January 2008, Brian joined Walt Disney Records as VP/Head of A&R.

In his first year at Disney, Brian had the idea for an adult label and immediately started work on the imprint "Disney Pearl". He Executive Produced and/or A&R'd the majority of the releases on that imprint, including Brian Wilson Reimagine's Gershwin set and the jazz retrospective Everybody Wants to Be A Cat: Disney Jazz, Vol. 1 featuring artists such as Esperanza Spalding and the legendary Dave Brubeck. Brian's chief responsibilities included overseeing his entire roster as well as mixing for and Executive Producing the Disney family of entertainers: Miley Cyrus, Selena Gomez, Demi Lovato, Jonas Brothers, Bridgit Mendler and Billy Ray Cyrus.

Additionally, Brian was Executive Producer for companion soundtrack pieces to some of Disney's most successful properties, such as "Almost Alice" from Tim Burton's motion picture Alice in Wonderland. Today, Brian is back to his first love: producing and mixing music for both the best of indie and established artists.


Brian Malouf's Website

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Brian Malouf's Page

Product Reviews


    It’s also one of those boxes that improves the sound of the instrument by just instantiating it. The transients, with just a little drive and high-end eq, were immediately beautiful - still snappy, without getting overs on every snare hit.

  • Knif Audio Soma

    Whether you’re using the unit as a rich, high quality software mastering EQ, or as a sweet sounding EQ while you’re still mixing, this unit gives you options and abilities not found in any other passive EQ circuit I’ve seen. Fun stuff.

  • Lindell Audio SBC

    The real test for me with any API circuit is how it behaves with transients, and in particular, Kick and Snare drums. With any new version of a classic piece, especially a piece that has already been built as plugin by established companies, is aside from a faithful sound, are there nuances that make it unique, and more usable than what came before.

    From the ground up this unit is designed to give the user this ideal experience whereby it is at once familiar and yet somehow special. Here the added features make this the Must-Have version of this compressor.

    Better than the original, BY A LOT.

  • Brainworx bx_rooMS

    After just a few button presses after instantiating the reverb, I was able to get a more realistic room sound than I've ever been able to get before. In the past when I've wanted to get a really authentic, quality room sound, I usually had to use a combination of reverb and delay units to get it, and had to play around a lot with the early reflections. But this thing sounded really beautiful to me in just a few seconds.

  • elysia karacter

    In a marketplace that seems saturated with saturation plugins that help the digital soundscapes we work in feel warm and 'analog-y,' this plugin has a place – a really unique and great place, and I would highly recommend trying it out!