{{widget type="uaudio_theme/Widget_TextLeft" content="When Universal Audio last spoke to Mick Guzauski in 2013, he was fresh off mixing Daft Punk's wildly successful, Random Access Memories. The landmark record was just one highlight of Guzauski's multi-Platinum resume that spans over three decades, and includes titles from Prince and Barbara Streisand to Pharrell and Eric Clapton — and that’s just scratching the surface. Guzauski's mixing prowess has not only made him a legend in a fickle, hyper results-based industry, it’s garnered him over a dozen Grammys.Here, Guzauski talks about what he feels is important for young mix engineers to keep in mind as they learn the craft, as well as a few tips on his favorite UAD plug-ins."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="1. When you first started in audio, you mixed live sound. Did this inform your later career as a mixer?" content="Oh yeah, quite a bit. I did a lot of orchestral sound, and trying to translate all of those instruments through a big PA system taught me a lot about balance and how things really sound."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="2. How does one sharpen their skills to better recognize the blending of timbres?" content="One way to really understand mixing is to be involved from the beginning of a project — not just the mixing part. Start out doing entire projects from beginning to end — from moving mics around and tracking, on through the final mix.You will be a much better mixer if you know how and why things are recorded a certain way. Go into the room and listen to how the drums and guitars really sound. Don't just stay behind the glass."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="3. You recently tracked and mixed a song for Big Data here at the Universal Audio's Studio 610. Can you describe that process?" content="Sure, that was a three-day session to write and track the song “New Body.” Big Data flew out to record at UA a few days in advance. At the time, he basically just had a vocal hook, and some backing tracks that he had composed in Ableton Live. He flew in a group of really talented musicians and a singer, Lizy Ryan. So he was writing parts as we went, and I tracked it using three Apollo 8ps into Pro Tools. These days, I mostly just mix. So it was fun for me to basically come in at the early stages, and track and mix the entire song, end to end."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}

“What I do is not about one specific thing, whether it's an instrument or piece of studio gear. It's about how all of it fits together.”

{{widget type="uaudio_theme/Widget_TextLeft" subheading="4. So let’s talk plug-ins on that session. What UAD plug-ins did you use, and how did you choose them?" content="__encoded__: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"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="5. Can you describe how you would utilize two very different compressors, say an LA-2A versus an 1176?" content="__encoded__: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"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="__encoded__:Ni4gVGhlIExBLTJBIGFuZCAxMTc2IGFyZSB2ZXJ5ICJjb2xvcmZ1bCIgY29tcHJlc3NvcnMuIFdoYXQgaWYgeW91IHdhbnQgc29tZXRoaW5nIG1vcmUgdHJhbnNwYXJlbnQ/" content="__encoded__: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"}}

“When I want to keep a vocal steady in a dense mix, I reach for the 1176 plug-in.”

{{widget type="uaudio_theme/Widget_TextLeft" subheading="7. Do you ever put plug-ins on the mix bus?" content="__encoded__:SSBhbHdheXMgcHV0IHRoZSA8YSBocmVmPSIvdWFkLXBsdWdpbnMvZXF1YWxpemVycy9tYW5sZXktbWFzc2l2ZS1wYXNzaXZlLmh0bWwiPk1hbmxleTxzdXA+wq48L3N1cD4gTWFzc2l2ZSBQYXNzaXZlIEVRPC9hPiBwbHVnLWluIG9uIHRoZSBtaXggYnVzLiBJdCBoYXMgYSB2ZXJ5IOKAnGFpcnnigJ0gYW5kIGRlZmluZWQgdG9wIGVuZCB3aGVuIGJvb3N0aW5nIHdpdGggYSAxNksgc2hlbGYgb24gdG9wLiBJdOKAmXMgdGhlIG9ubHkgcGx1Zy1pbiB0aGF0IEkga25vdyBvZiB0aGF0IGV4aGliaXRzIHRoaXMgY2hhcmFjdGVyaXN0aWMu"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="8. At what point do you insert the Massive Passive on the mix bus, and how do you dial it in?" content="I insert it once I have the basic balance and tone of the mix. I usually tweak it a few times along the way until the mix is finished. I sometimes use a fairly broad 4.7K boost too give a mix a nice presence. I sometimes cut a bit at 180 or 270Hz — that really cleans up the mud. I also sometimes shelve up a bit at 47Hz for some low-end power. The high pass filter also works well to eliminate sub sonics."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="9. Your mixes have such a great sense of space. How do you pick your reverbs?" content="__encoded__: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"}}

“You will be a much better mixer if you know how and why things are recorded a certain way.”

{{widget type="uaudio_theme/Widget_TextLeft" subheading="10. Any sage advice for those looking to get into music mixing?" content="Try and make your mixes something that you, yourself enjoy listening to. Also, it helps to be open minded. Every project is different, so don’t try and twist a mix into something that it doesn’t want to be."}}