Erin Tonkon: Carving a Unique Path in Audio with Sonnox Plug-ins
Erin Tonkon’s journey from teenage musician to working alongside legendary producer Tony Visconti has been fueled by a relentless passion for music and a willingness to break the rules.
Hand-picked by Visconti to work on David Bowie’s Blackstar, Tonkon has built a formidable reputation as a producer, mixer, and engineer. Her story is one of dedication and creativity, as she navigates the evolving music landscape from her base in New York City.
From Velvet Underground to Mixing Boards
Tonkon’s obsession with music began at age 12 when she discovered the Velvet Underground. “My whole life changed,” she recalls. “From there, I got into Bowie, Iggy Pop, Tom Waits, and The Clash.” Growing up in Southern California, she was immersed in the local music scene, frequenting venues like Ché Café in San Diego, where she played guitar and connected with other musicians. “I thought I wanted to be a rock star, but when I recorded myself for a project at my high school’s studio, I fell in love with the technical side of music. That’s when I knew I wanted to be an engineer, not a musician.”
Tonkon’s passion led her to the Clive Davis Institute at NYU, where she developed a valuable mentorship with Tony Visconti. Under his guidance, she honed her skills and traveled the world, working on projects with artists like Esperanza Spalding, Daphne Guinness, and, of course, David Bowie.
Forging Her Own Path in a Changing Industry
Tonkon is acutely aware of the changes in the music industry, particularly the shift away from big-budget studio recordings. “I’ve had to figure out how to work with little or no budget,” she says. “I’m focused on building my business strategy so I can be affordable to talented musicians who may not have a major label backing. It’s important to me to work with artists who have something to say.”
Learning from a Legend: Working with Tony Visconti
As Visconti’s right-hand woman, Tonkon’s role varies daily. “Tony works constantly and loves what he does, whether it's arranging, mixing, or recording. No two days are alike. Tony is one of the great arrangers in rock history, so what I’ve learned from him goes beyond the technical skills taught in school.”
Visconti’s approach to breaking the rules has deeply influenced Tonkon’s methods. “Tony taught me to use my ears and not be confined by conventions. He often uses gear in unconventional ways to achieve spectacular results. This has completely opened my perspective as an engineer and mixer.”
Creative Uses of Sonnox Plug-ins
Introduced to Sonnox plug-ins by Visconti during the Blackstar sessions, Tonkon has since integrated them into her own workflow. “Tony swore by the Sonnox 5-band EQ, saying it was superior to anything else, and I’ve been using it ever since. I love experimenting and finding unexpected uses for these tools—it’s my art form.”
One standout moment for Tonkon was using the Sonnox DeBuzzer in an unconventional way. “I hit the difference button, and it made this trippy alien noise. I’m all about using things in ways they’re not intended to be used, and Sonnox plug-ins allow me to be creative.”
Favorite Sonnox Plug-ins: From TransMod to Limiter v2
Tonkon relies on several Sonnox plug-ins to shape her sound. “I love the TransMod, especially for making electronic drums punchier without adding harsh digital distortion. The overdrive fader on the TransMod balances punch and grit perfectly.”
She also praises the Sonnox Limiter v2: “It’s awesome on a master. I’m not someone who relies on the master bus for the overall sound of the mix—I need to like what I hear first, then add glue and loudness. The Limiter v2 enhances perceived loudness without unwanted surprises, and the enhance curve is perfectly tuned. Plus, the Recon Meter ensures consistency across different D/A converters.”
Solving Mix Challenges with Sonnox Plug-ins
Tonkon shared how the SuprEsser saved a recent mix: “I was working with electric guitar stems that were overly distorted, making the harmonic content inaudible. Traditional EQ and compression weren’t working, and I was worried I’d have to ask the band to re-record. Then I used the SuprEsser to precisely monitor and control the harmonic balance. It was a time saver, allowing me to find the right tone without sacrificing the aggressive sound.”
I used the SuprEsser to precisely monitor and control the harmonic balance
She also used the Sonnox Envolution to rescue a Moog synthesizer track with heavy fuzz. “Certain notes were disappearing due to distortion, but by shaping the envelope of the attack, I could make those notes consistent. The Envolution allowed me to easily find and shape the transients, preserving the essential harmonic information.”
Admiring Sonnox Plug-ins for Precision and Efficiency
“Sonnox plug-ins are great professional tools—I get exactly what I want without anything extra,” Tonkon says. “I appreciate the layout and options like advanced and easy views. There’s no fluff or unnecessary graphics; everything is clear, efficient, and doesn’t hog CPU. It’s about getting the work done quickly and effectively.”
Working with David Bowie on Blackstar
Reflecting on her experience working with Bowie, Tonkon describes it as “incredible.” “I was there from the very beginning to the end—from ideas to demos to recording, mixing, and mastering. I even delivered the test pressings to David’s house.”
She admired Bowie’s relentless pursuit of new sounds: “He never wanted to do anything self-referential. He was always exploring, always willing to try something different. He was brilliant and constantly curious, embracing new ideas from everyone, regardless of age, gender, or experience level. It was a masterclass in getting ego out of the way and focusing on the bigger picture.”
Advice for Aspiring Female Audio Engineers
For Tonkon, hands-on experience is crucial. “You can learn a lot online and with affordable equipment, but nothing beats getting in there and doing it. I had to work harder than the boys, but that made me better.”
Tonkon emphasizes the importance of embracing her identity as a woman in the industry. “I used to get angry when people assumed I was someone’s girlfriend or the secretary. Now, I let my work speak for itself. Being a woman is often a huge asset in the studio, and my traditional female attributes make me who I am.”