Fun fact: The album credits to Brass Camel (2026) say, “Mixed by Terry Brown at Moron Heights” which happens to be the name of Terry’s new mix studio — making a funny punning reference to the famous site of so many classic Rush albums: Le Studio, Morin-Heights, Quebec.

Daniel Sveinson of Brass Camel (who does electric guitar and vocals) speaks to us about what it was like to have Terry Brown as the mix engineer for the band’s latest album, Brass Camel (2026):

Engineer on Jimi Hendrix’s Axis Bold as Love, producer and mixer of every Rush album in that legendary run from Fly by Night through Signals and possibly the nicest phone manner of anyone I’ve talked with — it was an absolute honour to work with Terry Brown for the mixing of this record.

[Our producer and engineer] Kevin [Comeau] has known Terry for years and introduced us via email at some point during the recording process. We were immediately intrigued about the possibility of having Terry mix the record for us.

Even more so than our love of Rush and the obvious cool-factor of his association with our favourite Rush records, it was the idea of working with someone who had mixed incredible records at a time when there may have been a slightly different philosophy about what the end product should sound like.

Hopefully this approach isn’t self-sabotage, but frankly I don’t give a damn if we’re ‘competitive’ when played alongside, say, The Glorious Sons. Sure, we’d love radio or mover-shaker playlist placement, but given the statistical unlikeliness of ‘making it’ in the industry the biggest motivator I’ve got for making records is to make something I’d want to listen to on my own time.

And I like natural sounding recordings. You still get that with jazz and folk and bluegrass but with rock and prog so much is done in post-production nowadays that it very rarely scratches the auditory itch that, say, Moving Pictures or Feats Don’t Fail Me Now does.

While that modern school of mixing has its place and perks, we felt that despite Ben Kaplan doing an incredible job of giving us a punchy modern-rock mix, our first two albums didn’t necessarily reflect what we sound like when you hear us live.

We wanted to mix the third album in a way where what you’re hear is essentially what we recorded. We wanted to go more natural with this one and Terry’s approach of “let’s mix it — not fix it” sounded like exactly what we were after.

We got started and it was a such a treat to work with him, largely over the phone, to achieve the mix we were after. Terry’s got a great sense of humour and every chat on the phone is a pleasure — he’s got fabulous insight drawn from experience and when he makes a mixing decision he’s always got a good reason for it.

It didn’t take too long to get things sounding just the way we wanted and then it was off for mastering (done by João Carvalho in Toronto).

It is still a trip to read “mixed by Terry Brown” in the liner notes!