Nashville Music Producer.
Record Production & Mixing.

Rick Seibold is a Nashville music producer, songwriter, and sync specialist. The work happens in Nashville, Tennessee: records produced from the first idea through a finished master, mixes that hold up on a phone and under picture, and songs written to be sung and to be placed. Two Dove Awards, more than 750 sync placements across 40-plus countries, and over a billion global streams are the public record of that career.

It is the same desk behind the Mighty Maverick Music catalog, more than 1,000 sync-ready tracks. Artists come for a single. Writers come for a co-write. Music supervisors and editors come for a song that is already cleared. Production, a mix, a song, or a track for television, film, or a brand all start the same way: the contact page on this site.

Record production here runs from concept to master. The song comes first. Arrangement, tracking, and the calls that make a chorus feel finished all sit inside that one job. When the record needs live players, those are Nashville session musicians. When it needs programming, that stays part of the same production. The master that leaves is the one that can go to streaming and, if the song fits a picture, to a supervisor without being rebuilt.

Mixing is its own pass, and it has to translate. A chorus that feels large in the room still has to read on a laptop speaker, in a car, and underneath dialogue. Broadcast-ready means the vocal sits where an editor can use it, the low end stays controlled when a network turns the track down, and the master does not fall apart between streaming and television.

Songwriting and co-writing cover songs for artists and songs written against a brief. A co-write is built around a hook and a lyric that can carry a scene, a spot, or a single. Rick also records as Seibold, the artist name on many of the releases in this catalog, and he writes with the artists and writers already named on those records. The session is for a song you can finish.

Sync-ready production is for records made with picture in mind from the start. They are pre-cleared, mixed, and ready to pitch when a scene is locked. The placements listed on this site, across television, film, sports, and advertising, are where that kind of record has already aired. Sync-ready does not mean a lower standard of song. It means the paperwork and the mix are done before someone asks.

The catalog is not one lane. Releases published on this site include pop, rock, R&B and soul, hip-hop, singer-songwriter, holiday, worship, and contemporary Christian, plus music written for sports and ads. Pop, sync, and contemporary Christian are the genres named with the site credits. A worship record and a sports cue can come from the same Nashville record producer when the song is the right one for the job.

The blog is the sample. Each post names the song and the artist, and, when the track aired, the show or the campaign. That is a better guide than a genre list: you can hear what the productions actually sound like, and you can see where they have already been used.

Artists looking for music producers in Nashville can start here. The productions, the co-writes, and the session players are based in Nashville, Tennessee. This page does not list a street address. A session or a question starts through the contact form, or by email at rick@rickseibold.com.

The placements travel. Music from this catalog has been heard in more than 40 countries, on the networks and in the campaigns named on the home page and the advertising reel. The producer is still in Nashville, and a question about a session goes through that same contact form.

These names are already published on this site. They are not a new claim. Rick's music has been featured on Grey's Anatomy, the Super Bowl, ESPN, Netflix, Hulu, ABC, NBC, CBS, the FIFA World Cup, and Love Island. Brand campaigns include Google, Reebok, Ford, AT&T, and Peloton. The advertising page keeps the longer reel, with the song and the project named together.

A credit means a song he wrote, produced, or both was used in that spot or episode. It does not mean he scored the entire show. If you need the longer list, it is on the advertising page. If you need a song for a new picture, write through the contact page and say what the scene is.

You write first. The contact form, or an email to rick@rickseibold.com, is how a session gets booked. Say whether you need production, a mix, a co-write, or a track for sync, and include the song or the picture if you already have it. Coaching is a separate booking, on the coaching page. This page is for the record.

Then the song. A co-write starts with the hook and the lyric. A record that is already written starts from the demo. Either way, the production serves that song. Tracking comes next: arrangement, Nashville session players when the song wants them, and the same care on a programmed track. That is the concept-to-master stretch. The record gets made.

The mix is the last creative pass. Streaming and broadcast are both in the room. The vocal, the low end, and the chorus have to work on a small speaker and under picture. Delivery is a finished master. For sync, the track is cleared and ready to pitch. If you are licensing a song that already exists, the home page links to the Mighty Maverick catalog. A specific clearance still comes through the contact page.