Mix Regional News: New York City

Publish date:
Updated on

Rock musician Jesse Malin (left) and singer-songwriter Alejandro Escovedo at Flux.


Scheduled to open in early 2015, Flux Studios will be expanding its studios to a fourth room. “The room will include the top-quality gear Flux clients are accustomed to like Dangerous, Focal and UAD, to name a few,” says studio manager Daniel Sanint. “It will be a high-end production/mixing room built from the ground up, called the Inspiration Room, with an amazing collection of vintage electronic instruments, excellent acoustics and a vocal booth. It will have tielines to all the other rooms at Flux.”

Additionally, other Flux rooms received a variety of upgrades. The Dangerous Room expanded its 1974 Neve 53 Series from 24 to 34 preamps, plus the addition of two rare Neve 3114 limiters (2254-style comp/limiter). It also received an additional four cores of UAD processing to bring it up to an eight core, with the entire selection of UAD plug-ins as well as a Waves Horizon Bundle.

The Revolution Room has been upgraded to a permanent all-Focal monitoring 5.1 setup with a D-Command, as well as eight cores of UAD processing and their entire plug-ins collection.

The Fabulous Room hosts a new HDX system and received an upgrade to include the Waves Horizon Bundle, as well as a fully restored Yamaha CS-80 synthesizer and the new Dangerous compressor. 

Some recent Flux clients include alt-pop group Wakey Wakey!, who worked on its Salvation album with Fab Dupont (who produced and engineered the album) in the Dangerous Room; singer-songwriter Carly Rae Jepsen, who worked on forthcoming material in the Fabulous Room, with Dupont producing and Caleb Shrieve engineering; rock musician Jesse Malin worked with engineer/mixer/co-producer Brian Thorn in the Dangerous Room; jazz singer worked on music for It’s Christmas on Mack Avenue, with Dupont producing and engineering in the Dangerous and Fabulous rooms; and French-pop/jazz/Latin band Banda Magda worked on Yerakina in the Dangerous Room, with Magda Giannikou, Michael League and Dupont producing and Dupont, Mike La Tona and Ira Senak engineering.

Image placeholder title

DAMEHT performing at Live@MetroSonic. Photo: Clay Patrick McBride


MetroSonic has officially launched its live music webcast, called Live@MetroSonic, streamed directly from its showroom in HD via YouTube. Produced by MetroSonic and directed by chief engineer Pete Mignola, the live broadcast features a host, a headlining musical artist supported by a DJ set, additional band performances, interviews, music video reviews and more, all in front of a live audience. Recent shows have featured emerging local acts, including EMEFE, 81Neutronz, Smoota and the neo-punk rock band DAMEHT.

Meanwhile, internationally acclaimed DJ, producer and Fools Gold co-founder A-Trak met with MPC extraordinaire/producer AraabMuzik to build songs for an upcoming project. A-Trak was also joined by singer-songwriter Andrew Wyatt to work on A-Trak’s November release of the new single “Push.” And Ambient electronic duo Grassmass and composer/engineer Eyal Marcovici stepped into the studio to record a three-hour jam session.


With a desire to serve clients on both sides of the American-Canadian border, mastering engineer Adrian Carr recently opened his mastering studio in Plattsburgh, upstate New York. “It all started in April 2013 when a friend of mine in Plattsburgh, who has been very supportive, offered me a great 700-square-foot space that needed renovation,” Carr says. “This was ideal for me because I could build the space the way I needed it to be.”

The studio had its opening party on October 21, 2014. “The nice thing about building a new studio is that I got to ask questions about design and equipment, which is now optimizing my process and workflow,” Carr says.

On the software side, Carr uses soundBlade as the platform for mastering, and iZotope RX in premastering to handle the issues that crop up with home studio recordings. On the hardware side, Carr uses Metric Halo, which he says “makes one of the most flexible interfaces on the market. I can design my own unique signal path that can be dependent on the needs of the project.”

He also uses Weiss Gambit boxes, and has a 5.1 surround sound setup in his mastering room, so he can easily switch over to handle surround-sound mastering for DVD/Blu-ray. “Because of the high RMS level that most mix engineers are using, analog gear is less used in my studio today,” he says. “Maybe that will change with new broadcast and streaming standards that are being introduced for loudness.

Image placeholder title

Adrian Carr

“I’m also using the latest technology,” Carr continues. “And the price of technology is decreasing, as well as becoming more compact. Gone are the days when I needed racks of analog gear to do mastering. The most important assets are my ears and my experience.”

During the past year, Carr has worked on two albums that have received Grammy Entry Nomination for Best New Age Album: Paincelle, by Margaret Maria and Robert Guerrier, and Carr’s own solo album, 11.