James Baker: Crafting Live Soundscapes with Sonnox Plug-ins
From the studio to the stage, freelance FOH/Monitor engineer James Baker has built a career mixing for top artists like Hybrid, Peter DiStefano of Porno for Pyros, and Cheryl Cole.
Known for his readiness to embrace the latest technology, Baker relies heavily on Avid consoles and the power of plug-ins to deliver stellar live mixes. Fresh off mixing monitors for Cheryl Cole’s A Million Lights Tour, Baker shared insights into his journey and his extensive use of Sonnox Oxford plug-ins in a live environment.
Getting Started: A Path from Guitarist to Audio Engineer
Baker’s entry into the world of audio engineering began with a passion for playing guitar, although he quickly realized his true talent lay in shaping sound rather than performing. “I knew I was never going to be an amazing guitarist, but I understood how things should sound,” he says. Leaving school at 16, he immersed himself in audio magazines and textbooks, eventually studying Music Technology at college in Huddersfield, England.
Starting out mixing in studios, Baker also worked at a music shop, where he was able to acquire his own equipment. It wasn’t until 1995, when he embarked on his first tour with a metal band, that Baker found his calling in live mixing. “Live mixing felt a lot more fun, and I decided to make it my career.”
Navigating FOH and Monitor Duties
Baker’s versatility allows him to work both FOH and monitor positions, though he predominantly handles monitors on larger tours. “I prefer Avid consoles because of their sound quality and the way they mimic the feel of analog desks,” he explains. “They’re laid out intuitively, with nothing hidden in menus, and they integrate seamlessly with Pro Tools for recording and plug-in use.”
Sonnox Plug-ins on Cheryl Cole’s Tour
For Cheryl Cole’s tour, Baker turned to his trusted Sonnox plug-ins, including the Oxford Dynamics, EQ, and Reverb. “I use the Oxford EQ a lot because it sounds smooth and feels great. The Dynamics plug-in helps control levels and adds warmth, while the Oxford Reverb is the best I’ve heard—it was the only reverb I used on this tour,” he notes.
I use the Oxford EQ a lot because it sounds smooth and feels great
Baker utilized four distinct reverbs for different elements of the mix: one for the onstage sidefills for dancers not on in-ears, and one each for Cheryl and her male and female background singers who were on in-ears. “Cheryl likes a short reverb or none at all for some songs, so I managed that using snapshots on the console,” he explains. For Cheryl, he used the Medium Room 3 preset, adjusting the early reflection size to its minimum. For the male backing singer, Baker chose the Large Vocal setting with slightly adjusted width and a short early reflection. “The female backing singer preferred Small Room 3, but I increased the Reverb Time for her.”
Maximizing Oxford Reverb’s Flexibility
Baker highlights the versatility of the Oxford Reverb, particularly its built-in EQ. “I would fully shelf everything below 80Hz since in-ears don’t pick that up anyway, and I’d scoop a bit at 400-500 Hz to reduce the nasal sound. For one of the backing singers, who had a softer voice, I used the reverb’s EQ to add some top end and bring her out in the mix.”
He also took advantage of the reverb’s early reflection and pre-delay settings, which he adjusted to ensure in-ear monitors were comfortable. “The ability to position early reflections either front or back is a great feature. It’s all about making in-ears sound good, and getting the pre-delay right is crucial.”
Using Oxford Dynamics for Control and Warmth
On Cheryl Cole’s tour, Baker used the Oxford Dynamics plug-in extensively. “For Cheryl, I applied mild compression, using the Classic Setting for the backing singers where only threshold and ratio needed adjusting—no worries about attack and release. For Cheryl’s outputs, I used the Warmth feature, setting it to about 20 percent, which sounded fantastic.”
Baker also utilized Dynamics on backing tracks, many of which featured loops with varying levels. “I engaged the Warmth function on these tracks and used the True Peak Limiter to control anything that stepped out of line.”
Why Sonnox Plug-ins Shine in Live Sound
For Baker, Sonnox plug-ins are indispensable in a live setting. “They sound incredibly real, musical, and fluid, with just the right controls for what I need. In a live environment, speed is essential—I don’t have time to overthink. These plug-ins are my ‘go-to rack of stuff’ and should be in every sound engineer’s toolkit.”
Embracing the Latest Technology
Baker’s commitment to staying at the forefront of technology has been a defining aspect of his career. “Whether I’m working FOH or monitors, I’m always looking for ways to improve the sound and workflow. Avid consoles and Sonnox plug-ins offer the perfect combination of quality, flexibility, and speed.”