Berkeley, CA (January 5, 2024)―Two-time Grammy-winning Argentine producer, arranger and mixing engineer Nahuel Bronzini, now resident in the San Francisco Bay Area, works across music genres using an array of tools, including Nugen Audio plug-ins.
Nugen’s solutions played a vital role in Bronzini’s recent, co-produced rock single, “I Am Not Terrified,” by Cigarbox Man. Bronzini emphasized the feeling of one of the darkest singles on the rock band’s album by using Nugen’s Stereoplacer, an advanced fine-tune parametric balancing control.
“With Stereoplacer, I placed parts of the spectrum in different places of the stereo field,” he says. “For this song, I manipulated the mids more to the left and the highs more to the right, so it opened the stereo field. Without Stereoplacer, there is more of a typical doubling, with two guitars doing the same thing, double-tracked, but with the plug-in, I could create more separation and even a little bit of motion, too.”
The brand’s Paragon immersive reverb and ISL Limiter were also essential on this project as they provided context and control for Bronzini. “I had a lead vocal that’s kind of above the track and sort of small and in the center,” he explains. “I wanted it up front, but I didn’t want it to jump or get out of context. With these two Nugen solutions, I was able to do that. Limiting with ISL at the end of my chain, I can color everything and provide an upper, mid-range tint that makes the song cut a little deeper, which I really like.”
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In addition to his work on “I Am Not Terrified,” Bronzini has incorporated ISL and even more Nugen solutions into other musical projects, including the brand’s Monofilter and MasterCheck plug-ins. While engineering on Fantastic Negrito’s Grammy-winning Please Don’t Be Dead album, Bronzini says, “ISL was a necessity on this record as it helped me achieve an even transient shape across the song to keep the vocal controlled; and it did that in a really transparent and musical way.”
He continues, “Monofilter is a wonderful tool that brings focus to the low-end. For the Fantastic Negrito record, there were a lot of drum tracks or programmed loops that had a lot of the character and punch in the groove, which came in as a stereo print. In some cases, the low-end was a little problematic when mixed together with the bass and other low-end-heavy elements, like kicks and stomps, so EQ’ing the low-end wasn’t the answer. I needed that low-end, but in a more controlled, focused way.”
