After a very busy 2013 that includes 6 Grammy nominations (Five for Daft Punk's "Random Access Memories" and one for Herb Alpert's "Steppin' Out"), Mick Guzauski, the eight-time, Grammy-winning, mix engineer who puts the “Mick in mix” (say it out loud, you’ll get it), recently took the time to speak with RSPE Audio Solutions.
No other industry has embraced the purchase of new equipment
as a necessary part of doing and improving business more than the pro audio
industry. For a while, it was a point of intense pain for studio owners who
would purchase a 6-figure, large-format console to attract clients, only to have
something hit the market a year later for a fraction of the cost, smaller in
size, and offering more features while creating the necessary client-attracting
buzz (aka Pro Tools). On the plus side, it’s nice to know that when the need
arises, you can spend a lot less these days and get much more bang for the buck.
Such is the case with the Avid S6 and veteran, multi-platinum mixer, Mick
Guzauski, whose recent relocation to Los Angeles meant saying goodbye to his trusty
Sony OSX-R3 Oxford console and hello to a new Avid S6 M40 modular
RSPE Audio Solutions of Los Angeles had the pleasure of helping the
-winning mixer-engineer configure his Avid S6 model M40. After spending only a few minutes with the new Avid S6, Mick knew he had a hit on his hands—and considering the fact that he’s sat at some very prestigious consoles over the years, we wanted to know just what it was about the Avid S6 M40 that made him say, “I want one. I want it now!” Below is an excerpt from an interview with Mick Guzauski and RSPE staff writer, Barry Rivman.
What was it about the Avid S6 that made you say, “I gotta’ get me one of these?”
the controls were all in very logical places. A big thing for me was the
color-changing OLEDs; it was so easy at a glance to tell what the function of
any knob or switch was. Also, the comprehensive control over the system from
the center-section touch screen and focus fader; and that it could be
configured any way you want—you could have a lot of faders and fewer knobs, or
knobs on every channel. You could have a high density of controls near the
center and then just faders off to the sides—it can be configured any way you’d
like it. Also, the metering was great
because you could see the waveforms scroll on the meter bridge aside from the
normal metering. And in the future, they were showing me that EQ curves could
be up there as well. There’s also gain reduction metering next to the faders
following what Pro Tools 11 is doing . . . and that’s just with the 15-20
minutes I had with it.
mentioned the configurability of the S6; do you have a plan in mind or are you
just going to load it up with faders and knobs?
first I’m not going to load it up. I’m thinking 24 faders with the M40 frame,
and either eight or 16 of them having a full complement of knobs.
you set it up for specific functions, for example, a certain section dedicated
to sub-master busses etc.?
usually mix with layouts—I use the (Avid) Artist controllers now—where in every
layout I have my master fader, lead vocal fader, and faders I always need, that
I put in the same place in every layout and let everything else move. The S6
doesn’t have layouts yet—I’m sure it will in a later software revision, so I
think I would probably use that the same way.
in other words you’d custom-configure the hardware to match your working
You’ve sat at some very prestigious consoles; you have a Sony Oxford, and more
recently mixed Daft Punk’s new record,
Random Access Memories
, on a Neve 88R. Do you feel you’ll get equal or better
results with the Avid S6?
think so, yeah. Well, we’re talking two different animals there between the 88R
and the Avid. You could compare the Avid S6 more to the Oxford, in that the
Avid is controlling Pro Tools DSP and they’re both fully automated digital
consoles. Yeah, I think I could definitely get as good results or better,
because we have higher sampling rates now.
had to ask; I assumed you wouldn’t take a step backward in results.
: No . . . Still, I think there’s a place for
analog consoles . . . I mean there is a difference, and it’s great to record to
an analog console, or at least external preamps. There’s definitely a place for
the 88R and things like that—but I think the S6 is going be a great digital
console because it’s so well integrated with Pro Tools.
Since you’ve used the Sony Oxford console—I’m
a huge fan of the Sonnox plug-ins— . . .
So am I . . .
: . .
. the question that came to mind was whether you felt that the combination of
the Avid S6 and Sonnox plug-ins would give you familiar ground to work from?
Yeah. I use the Sonnox plug-ins, especially the EQ plug-in a lot, and I would
definitely continue using it. It sounds very much like the Oxford. It’s
probably my favorite digital EQ. It has a nicer, smoother top-end air than any
other EQ I’ve heard in the digital domain.
about Avid conversion—how do feel that’s sounding these days?
think it’s great! I just got a new 16x16 (Avid HD I/O)—very nice, smooth
converters. I’m using some now feeding a Manley Massive Passive and Manley
Vari-Mu to have some nice tubes and transformers on the stereo bus and get a
little coloration; it’s very sweet, very smooth—the converters sound great.
Click to see Mick's first impression
of the Avid S6 Control Surface.
For more information about the
incredible Avid S6 Modular Console/Control Surface, contact RSPE Audio
Solutions. Also, if you’re interested in finding out more about the gear that
Mick Guzauski uses and his approach to mixing, check back with RSPE Audio
Solutions for the full interview.
Photo and Video courtesy of Avid.
To learn more about the Avid S6 control surface, visit our microsite dedicated to Avid's S6!