Step behind the scenes with Thai Long Ly, Postmodern Jukebox's head sound engineer, in this exclusive interview and video feature. Discover the secrets to delivering timeless mixes, from working with legends such as Robbie Williams to utilizing Antelope Audio for ultimate sonic clarity—all while getting an insider’s look at PMJ’s magic.
Can you tell us more about your initial interest in sound engineering? Was there a specific moment or influence that directed you toward this career?
From the moment I picked up a bass at age 12, I knew I wanted to play music for a living. Playing music became my obsession, but producing and engineering didn’t come into the picture until years later. It all started when I was writing songs with my close friend Caren Lyn Manuel. We needed a way to capture ideas quickly, and since we were broke and couldn’t afford studio time, I had to figure it out myself. I bribed a buddy with beers and pizza to teach me how to use this little mixer I’d just bought, and that was it—I was off and running.
Eventually, I met Erik Zobler through bassist Christian McBride. Erik, who was George Duke’s engineer, quickly became a close friend and mentor. The amount I learned from him is immeasurable. He taught me how to listen—not just hear—and how to behave in a studio setting, which is just as important as the technical stuff. Erik also lent me a spare Pro Tools rig and some high-end gear when I couldn’t afford my own. He even took the time to show me how to use it all. Around that same time, I was getting incredible mentorship in production and songwriting from film composer Gary Chang and recording artist Eleanor Academia. These mentors gave me the confidence to pursue this as a full-time career. Their collective encouragement and generosity made me believe that if I worked hard enough, I could make it in this industry.
You've worked with legends such as Robbie Williams, George Duke, and Al McKay, to name a few. Can you share a story that highlights the challenges and rewards of working with such iconic artists?
Oh, man… I have so many stories, but here’s one about Al McKay from Earth, Wind & Fire. I met Al when he played a solo for a band I was in at 21. Years later, I saw him in a parking lot and gave him a demo of the material I was currently working on. That led to him playing guitar on the project, performing with us, and eventually, together co-writing an entire record.
We worked out of Al’s home studio and had a routine where I’d show up almost every weekday around noon. But here’s the thing: Al is not exactly a morning person. I’d ring the bell, and his massive golden retrievers would go ballistic, barking all over the house. I’d wait outside—sometimes 30 minutes, sometimes an hour—until he finally came to the door. After the tenth time this happened, he gave me a key to his house. From then on, I’d ring the bell, wait for the barking to calm down, and then let myself in. I’d yell down the hall, “Yo, Al, wake up! I’m heading to the studio!” Sometimes he’d show up in 10 minutes, sometimes it’d take two hours, but he’d always have his pet bird, Birdie, perched on his shoulder.Birdie would often disrupt takes by pecking at Al’s guitar strings or trying to take his pick, and Al would stop playing to tend to him. With constant dog and bird interruptions, we barely got anything done for nearly two years!
Al taught me so much. As a producer, he showed me what “feel” is—the kind of groove that’s impossible to fake. As a songwriter, he emphasized the importance of melody and messaging. As an engineer, he drilled into me the need to be quick and ready for the magic moment. And as a human being, he taught me patience and humility. His belief in me made me believe in myself. He’s one of the biggest reasons I’m where I am today.
Many people probably don’t know this, but you are the head sound engineer of one of the biggest YouTube channels - Postmodern Jukebox. How do you maintain the high-quality retro-modern sound they are known for, especially given their diverse range of music styles? What is your approach to capturing the unique retro feel of a specific era?
My approach is simple: capture and deliver every note clearly and concisely. If it was meant when performed, it should be heard. While EQing and processing are open to debate, clarity, feel, and audibility are my consistent aims.
With Postmodern Jukebox, I have considerable freedom in delivering the final mix. Scott Bradlee, PMJ’s arranger and founder, has the final say but trusts my judgment. He’ll have his mix notes, but they’re usually quite minimal and we’ve developed a level of trust and proficiency over the years. It’s a great situation, and I’m very proud of what we’ve built so far.
I could write a full essay on my nuanced approach to mic placements and engineering, but honestly, I just tweak everything until it feels right!
Postmodern Jukebox has a distinct sound that's been consistently recorded and mixed using Antelope Audio gear. Can you tell us about your setup in the Nashville studio and how Antelope Audio plays a role in achieving that signature sound?
I’ve been using the Orion Studio 32+ Gen 3 for years, and I love its transparency and musicality. When we built the new PMJ studio in Nashville, upgrading to a second Antelope unit was a no-brainer. Jazz, in particular, demands capturing every nuance and subtlety, and Antelope gear excels at that. The clarity it provides helps me nail mic positions, gain staging, and compression settings, which all lead to better mixes.
At home, I’ve recently added the Gen 4 to my mix rig, and pairing it with my Gen 3 has elevated my sound to levels I didn’t think were possible. The detail and dynamics are incredible, and I’m confident that what I’m hearing is true to the source. Of course, the downside is that now I’m spending even more time chasing perfection, which has seriously cut into my golf game. But hey, it’s worth it!
You’ve shared with us that you’ve been using Antelope gear for many years now. Could you tell us about your history with our brand? What drew you to Antelope Audio, and how did this influence your workflow?
I was introduced to Antelope through the 10M and Trinity at Bell Sound in Hollywood and was amazed by the improved width, dynamics, and spatial cues. I had used Aardvark boxes before and was always pleased with their performance.
During the Covid-19 lockdowns, I needed a high-quality home system and portable rig. I turned to Antelope, starting with the Discrete 4 Synergy Core, then moving to the Discrete 8, and finally the Orion Studio Synergy Core for my location rig. This setup allowed me to record Robbie Williams on his doorstep during lockdowns. I also added an Orion 32+ Gen 3 to my home mix rig, which significantly improved my sound quality.
Antelope gear impacts my workflow by enabling me to hear every detail, allowing for quicker decisions on tones, compression, EQ, and addressing phase anomalies and masking issues. Interestingly, before Antelope conversion, I could proudly smash through 3 mixes a day and feel like they were solid. Listening to those horrible mixes now reveals that was false bravado and that I wasn’t even close to being done. I wasn’t hearing all the information. These days, I need at least 1 solid day of mixing per track and oftentimes, more. I guess all this to say, owning Antelope Audio products has put a serious damper on my time for golf!
The music industry is continually evolving. How do you stay updated with the latest technology and trends, and how do you decide which ones to integrate into your workflow?
I generally only add items either out of necessity or out of boredom. Necessity is “Ooh… I could use a new EQ… let’s start shopping and see what’s out there”. Which is closely related to boredom’s “ooh… I’m bored… I could really use a new EQ… let’s start shopping and….” LoL.
In any situation, I typically don’t follow trends, at least not consciously, and only acquire things if I really need them. Over the years, I’ve built a carefully selected collection of hardware and I see everything I use as a tool, with only the truly useful ones remaining.
The Atmos format is gaining popularity worldwide, and many old records are now being remastered to meet this standard. What are your thoughts on immersive audio, and are you interested in transitioning to it at some point?
I’ve been mixing in standard 5.1 for years but honestly, I’ve only been asked to deliver in Atmos exactly once. Exactly once, in my mind, doesn’t offset the initial cost of scaling up a viable system. Maybe I need to get out more to meet these Atmos-needy clients, but as it stands, my world is currently devoid of such people. I’ve listened to some demos with PMC and my buddy Vance (Powell) played me a bunch of stuff at his spot, which all sounded quite incredible. But until the demand starts begging me to spit-shine the ol’ debit card, I’ll be watching intently from the sidelines. I know with my Orions and their flexibility, if and when the day comes to scale up from 5.1 to 7.1.4 or more, I’ll be ready at the swipe of a card.
What advice would you offer to young sound engineers trying to make their mark in the industry today?
Leave your ego aside!
Take any and every gig until you are in a position to start choosing. No job is beneath you, and each session is a learning opportunity. Work across all genres because you never know which gig will lead to future opportunities. Always serve the moment and the emotion of the song, as your job is to support the artist’s vision. Understand how and why your tools work; knowledge is your currency. Always be professional and aware of your surroundings—party after the session, not during. Ensure artists have a good mix in their headphones, as a better artist performance makes your job easier. Maintain a positive attitude, contribute to creativity, and avoid diminishing it. Artists want to work with people who have great attitudes and energy. Find joy in everything you do and have fun, even during challenging times. Remember, there’s no such thing as failure, only outcomes. Stay calm, control the chaos, and enjoy the process!
Socials:
Thai Long Ly IMDB – https://www.imdb.com/name/nm1904930/
Instagram – https://www.instagram.com/tl2bass/?hl=en
Watch the exclusive behind-the-scenes video of Thai Long Ly revealing the magic behind Postmodern Jukebox’s sound on our YouTube channel.
