Shadybrook Studio

A&R / Producer / Engineer

"Dark Overlord"

Dee Kaph

(Jaymz Bethell)

Over the course of twenty or so years, Jaymz has amassed a portfolio of somewhere around 400 tracks encompassing everything from progressive trance to triphop to industrial to indie folk to hiphop to ambient to rock and roll to classical and everything in between under various monikers, contracted to various artists and for a variety of labels.
The Production Room
The studio itself is a professionally equipped, cozy space with separate entrance connected to my private home, a tastefully modernized log cabin in the country just outside of Kamloops, BC.
Think NPR "Tiny Desk Concerts" except it's all custom built wood and stone, packed with books and gear.


From The Dark Overlord...

I bring an eclectic mix of engineering, production, composition and performance experience in the studio to any artist's project. As a songwriter and composer myself, I understand your process and work with artists in tandem to coax out your best performances.

If you are facing challenges turning that tune in your head into waves in the air, I have a strong track record of manifesting tickled imaginings into realities. Check out some of my work below.


With Love,

Dee Kaph

Shadybrook Studios

Recording, Engineering & Production


Every recording project is different, but there are essentially three ways we can do this:

  1. Basic day rate.
  2. Project retreat.
  3. Production.
  4. On-site/remote location (coming Nov. 2017)



Option 1: Day Rate/Session Recording


Most suitable to locals looking to cut a demo.

If you're in the Kamloops area and can arrive at the studio each day of recording on time ready to lay down some tracks, then the basic rate at this time is $325/day (10hrs) or $200/half day (5hrs), including time for set up, tracking, monitoring, some basic production work, mixdown.. plus a couple of breaks along the way to eat and chat (for those longer sessions).

This will get you a day's worth of unfettered access to a senior producer/engineer with 20+ years experience in the music industry, a professional recording rig, and any/all of the mics and instruments we might have on hand at the time (it's always changing).

Artists are expected to organize and bring their own performers and primary instruments (except piano) along with any accessories they feel they need to make the sound they are going after - guitars, pedals, percussion bits, etcetera. Also, bring a thumb drive. I will provide you with  stereo mixdown .WAV and .MP3 files as well as the individual instrument tracks ("stems") to be sent along to your producer of choice.

Mastering is NOT included, neither are session players.




Option 2: Project Retreat


Shadybrook offers a unique recording experience for artists that simply can't be found in any other commercial studio.

It is a getaway, a country BNB and recording studio and a production suite and a family home all wrapped up into one.

Making a record is not about "playing music", but of capturing performances and feelings and moods. After many years of working with many talented artists I've dialed in my technique, which is based on the simple recognition that the best performances are not captured "on the clock" but rather in fleeting moments, unexpectedly. Great songs are not made by rolling in and picking up a guitar but by hanging out and jamming, and that does not happen when you're checking the time to see how much it's going to cost.

It takes time to warm up, and to unwind. And, it takes time to build the kind of relationship between the engineer and the performer, the producer and the songwriter, that make songs which make listeners stop and take notice.

I am only interested in making those great records.

When an artist comes to make a record at Shadybrook, they become a part of the family - me and my three kids, the golden retriever (Lily), two cats (Smoky & Bandit)... plus you. We get up in the morning and send the kids off to school and then have some coffee and eat breakfast, read the news, chat about whatever strikes your fancy (I have a degree in Philosophy so it can get interesting), and when we're ready we move into the studio and spend the day going through your songs and capturing those perfect moments as they happen.

We cook and eat together, listen to records have some drinks and play badminton in the back yard together.

Later on we listen to the recordings and work on the production as late into the night as we can stand - the kids have grown up in a recording studio so they aren't bothered and there's no neighbors to complain no matter how loud we get on a Tuesday night at 2am.

It's an immersive experience that nets beautiful results.

A creek winds its way through the back yard past the bee hives and an outdoor stage is nestled into the trees where the legendary Shadybrook Sessions take place. Artists stay in the furnished 300sqft guest room on a king size bed, with a fridge and living area complimenting the artist suite.

Whether you come with your own band or you need extra help to flesh out your creative vision, I have the resources to make it a reality, whether by drawing upon my network of professional session players or by contributing as a blend of performer and composer myself.

Each project is considered and negotiated differently based upon the scope of its needs.





If you've already captured the audio in high quality, have the individual tracks and are looking to have your song professionally produced with "all the bells & whistles" or "remixed", then you can add a "Produced by Dee Kaph" sound to your track and byline to your liner notes for around $300/song + 4% of sales.

A few things:

  • Stems need to be provided as individual instrument tracks in .WAV format in at least  44.1/16.
  • Besides being "CD Quality", it needs to have been professionally recorded - no clipping, no signals lingering around just above the noise floor, dogs barking in the background, etc. If it sounds like it was recorded on your iPhone using garage band then it'll sound like a more complete garage band recording when I'm done. My policy is to not put my name to something I feel like I have to apologize for.
  • The performances need to be tight - if I've got to spend 5 hours cleaning up 16 different drum tracks just to keep the mix from flying off into left field before I can even start my actual job then I'll likely turn down the project. A little touch up here and there is normal, but going through and fixing every 1/16th is going to make me a grumpy bear.


For any of these options, payment is due 50% down at the time of booking and the remainder upon delivery of the finished product.


Mastering is not included.



If what you're looking for doesn't fit into any of the above categories, drop me a line and we can discuss a package tailored to suit your needs.



Here are a few of my favorites from over the years to give you a little bit of an idea of the variety of things I've worked on:


The Winter Folk "You Drive Me Crazy"  (2017)

 | Adult Swing Pop

My personal favorite to come out of all the sessions with Kyle Cavanagh (so far!) - it's hooky, fun, cheeky, with an upbeat motown vibe that just kind of happened, and another one of the songs we did together that really could have been released decades ago and still have resonated with audiences.




The Winter Folk "Church Bells"  (2017)

 | Indie Atmospheric Folk

When Kyle Cavanagh approached me with this track, I immediately heard the big empty spaces the protagonist had left behind. We decided that the song needed to be like a conversation of Dear John letters and through the help of the band brought together this spacious, heatbreaking folk tale.



The Winter Folk "If I Knew"  (2017)
 | Blues

A minimal, spacious acoustic piece. I didn't want to over-produce this one, to maintain that coffee shop vibe. Did a fair bit of dynamic reverb on it however, opening up the guitar in key points to fill out the space.



The Winter Folk "No Way In Hell"  (2017)

 | Contemporary Classic Rock

As this one blossomed it became evident that we'd somehow managed to record an unknown anthem from 1974 in the year 2017. I went back and spent a lot of time EQ'ing the tracks to match the equipment and techniques being used in that era, and the result is a beautiful ballad with a timeless quality you just can't fake.




Russ Dreger - "Shooting Shack"  (2015)

 | Bluegrass / Folk / Canadiana



This is a classic example of how I work with songwriters - Russ is a retired school teacher (and my neighbor) who first approached me saying that he'd written a few songs that he liked to sing and play as a soloist ukulele singer/songwriter, and wanted to have them recorded and developed.

He came by the studio, I mic'd him up and he jammed out his compositions.

Since he didn't know how to play the songs without singing, it was done in a single live take using two separate mics with very little isolation.

Then I sent him on his way and went to work. I contributed the acoustic guitar, banjo, bass, drums/percussion, backing vocals and sound effects and produced it into the finished product in the second frame.


Nohtimo - "I Get Drunk (Dee Kaph's "Get Higher" mix)"  (2013)

 | Indie Electro Dance Rock

Expedition Recordings contacted me needing a remix for one of their artists. I was provided with the stems for their guitar, drums and vocals and pulled together this electro dance rock re-production which has since been extensively re-released on various compilations.



Future Not Earth - "Leather Sleeves"  (2014)

 | Orchestral Electro Dubstep

Saltspring Island native, at-the-time Montreal transplant, musical mad scientist, and old friend Dylan Davies gave me a glimpse of what he was working on with his band in my favorite Quebec city.

I was naturally entranced with it, so he slung me the vocals stems and a couple of the synth sounds they'd used in the original recording, and I pulled the orchestra out of a hat and built it into this genre-blurring remix.


Talk To The Mountain - "It Just Happened All At Once"  (2017)

 | Anthemic Indie Folk Rock

Actually, it happened over the course of a weekend. Percussion in this track include a piece of paper being slapped on a knee, a liquor bottle cork being snapped closed, and a large can full of pennies for a shaker.

I basically walked around the studio bonking things looking for interesting sounds and then dubbing them in - it makes for a spacious mix.

Every instrument in this track was performed by myself, with the exception of the brass, which was contributed by Mr. Graham Howe.

Build, build, build... anthem.


Daley - "Time Travel (Wormhole Mix)" (2013)

 | Progressive Downtempo R&B / Electronica

It's so rare that a vocalist can truly nail a falsetto, so it was a real pleasure working with the talented Daley's emotive, vulnerable vocals on this one.

Presented with only the acapella recording, I built a song around the lyrics without ever hearing the original version that built in intensity and desperation.


Placebo "Placebo" (2001)

 | Progressive EDM Rock

Funny story about this one... back around 2001 I was given the guitars, vocals, and a stock "music make you lose control" .WAVs and was asked to produce a "remix."

Shortly thereafter the group disbanded unceremoniously and this mixdown sat on my hard drive for 16 years until I found it while skulking around in my old projects directory.

I don't even know the name of the band. It was never released and to this day, right here is the only place you can hear it. But I quite like it, even if I was working at the time with a very humble studio, so I'm including it as example of what I can do with very primitive resources.



Shadybrook - "Trailer For Horror Game" (2016)

 | Cinematic / Sync

The request was to produce the sync background to be used in a trailer for a horror game. "It needs to start out cute and blur into disturbing".

You can also listen to some of Dee Kaph's original compositions at all your favorite online services, including Spotify.