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Metropolis Studio’s Paul Norris Shares Immersive Mixing Insights

Audio engineer Paul Norris has been using Nugen Audio’s Halo Upmix, Focus and Paragon plug-ins for various Immersive Audio efforts.

Metropolis Studio’s Paul Norris
Metropolis Studio’s Paul Norris

London, UK (June 22, 2022)―When Metropolis Studio, one of the largest commercial studios in London, recently added Dolby Atmos mixing to its roster of services, chief audio engineer Paul Norris also added Nugen Audio’s Halo Upmix, Focus and Paragon plug-ins to the facility’s toolbox.

“Atmos is quickly becoming an industry standard, so we knew we needed to jump in,” Norris says, who overseeing music technology activities at Metropolis. At the facility, he has worked with such A-list names as Gorillaz, Ed Sheeran, Lewis Capaldi, Mystery Jets and Rhianna, with whom he won a Grammy for recording the album Unapologetic.

Norris uses Nugen Audio’s Halo Upmix software regularly as he finds it beneficial when working with stereo stems. “Depending on how many stems you’re given, Halo Upmix is especially useful when the effects stems come separately,” he explains. “Halo allows me to upmix the effects to make them sound immersive, which is great. I also love to use it on individual stems, like drums and percussion. Depending on what’s going on, Halo Upmix can be used to make those stems a bit more immersive.”

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Norris also keeps Nugen’s Paragon reverb software in heavy rotation for when he has a vocal stem with reverbs built into it. “Being able to then send that stem to Paragon to turn off the front channels and only use the rears and height, has been so helpful,” he says. “It allows me to have a reverb spread and give the sound a bit of space, depending on how you’re using it on vocals. I also found it useful for putting the drums ‘in’ a room.”

Additionally, Norris utilizes Nugen’s Focus bundle of stereo manipulation plug-ins, particularly Monofilter, when he’s working on stereo mixes. “Monofilter is super valuable for when I receive a lot of bass recordings in stereo that need the sub to be in the middle to give it a solid bass, but still keep things intact,” he explains. “I’ve been using it often on percussion tracks. I think it’s great on that sort of thing, to get a little bit of extra whip. Even though the plug-in is technically doing something sort of unnatural, it still produces something very true sounding.”

Among the other Focus plug-ins in Norris’ toolbox is Stereoizer, which he utilizes frequently. “I use it a lot on percussion because I think it is a great way to get a little bit of extra whip on the sound,” he says. “I also incorporate it a lot on synthesized stems.”