Kevin Churko: Mastering the Mix with Sonnox Plug-ins
From Shania Twain to Ozzy Osbourne, Kevin Churko has carved out a stellar career as an engineer, mixer, and producer, working with some of the biggest names in the industry.
With a Juno Award under his belt and credits spanning Shania Twain, The Corrs, Modern Science, Five Finger Death Punch, Ringo Starr, and Ozzy Osbourne, Churko knows how to operate at the highest level. We caught up with him to discuss his journey, his hybrid mixing approach, and his go-to Sonnox Oxford plug-ins.
A Journey from Switzerland to Vegas
Churko’s journey took a pivotal turn in 2000 when he moved to Switzerland to work with legendary producer Mutt Lange. “I went to Switzerland for a gig with Mutt Lang. I engineered and programmed for him for 3 or 4 years,” Churko recalls.
This collaboration honed his skills and shaped his approach to mixing. Eventually, he settled in Las Vegas, where he built a home studio that serves as the creative hub for his projects.
Connecting with Ozzy Osbourne
Churko’s connection with Ozzy Osbourne began through a mutual acquaintance. “My friend David Frangioni designed Ozzy’s first studio. I went over there one day, and we just talked a lot. Eventually, when Ozzy and Zakk Wylde were ready to do things for real, they didn’t want to call in a big-name producer. They knew my credits and liked what they’d heard, so they brought me in as an engineer,” he explains. This collaboration led to Churko working on Ozzy’s Black Rain album in 2006, splitting time between Ozzy’s home studio and his own, mixing in-the-box with Pro Tools to keep the process streamlined.
Discovering Sonnox Plug-ins: The Oxford EQ and Beyond
Churko has been using Sonnox plug-ins since their inception, with the Oxford EQ becoming his go-to tool. “I’ve been using the Sony/Sonnox EQ ever since it came out. It’s always my go-to plug-in for an uncolored, subtle EQ. It’s on almost every vocal channel and acoustic track I ever mix,” he says. “On Ozzy’s new album, I’ve started exploring more of the Oxford plug-ins and I’m finding that I appreciate tools that just focus on their core function—keeping it simple.”
A New Favorite: The Oxford Inflator
One of Churko’s favorite discoveries has been the Oxford Inflator. “It’s one of those plug-ins you don’t entirely understand how it works, but it just makes things sound great,” he enthuses. Churko incorporates Inflator into his mix workflow, often placing it on the master bus. “My master chain usually includes the Inflator. I also have the Sonnox EQ before it for any needed tweaks, followed by compression and then into Inflator.”
Building the Mix as You Go
Churko follows a philosophy of mixing while tracking, a habit formed during his time with Mutt Lange. “Mutt always wants to hear how things will sound in the end, because every sound is dependent on the last. I build my mixes as I go, including master chain compression, bus compression, and limiting. With today’s mastering practices squishing mixes so much, you need to know what shape the mix will be in once it’s mastered.”
Using Inflator on Drums and Beyond
Churko uses the Inflator extensively on his drum bus. “When I mix through Inflator, I can slam the drums and achieve better compression and limiting than if I only used it on the master fader. My drums are already solid and limited before they even reach the master bus. It’s become a constant in my mix, whether I’m working on country or metal.”
Vocal Processing with SuprEsser
Churko finds the Sonnox SuprEsser invaluable for vocal work, particularly its Wet/Dry function. “A lot of times I’ll have two vocal channels with the same program, one heavily compressed and the other light. Sometimes I even put two SuprEssers on a single vocal channel—one targeting the ‘esses’ and the other addressing a 3k dip.”
A lot of times I’ll have two vocal channels with the same program, one heavily compressed and the other lightKevin Churko on SuprEsser's Wet/Dry Function
For Ozzy’s vocals, Churko used SuprEsser to manage the prominent 3k frequencies without compromising the overall vocal sound. “Ozzy has a lot of 3k in his voice, but not constantly. SuprEsser lets me dip those peaks with a narrow band between 2 and 4 kHz, saving me from automating EQ throughout the track.”
Handling Guitars with the Oxford EQ
Churko’s approach to guitar processing is straightforward. “For guitars, it’s all about the Sonnox EQ. I try to get as much right at the source as possible, whether I’m working with Zakk Wylde or Gus G. My methodology is to do as little as I can to screw it up,” he says. “Every time I reach for the EQ, it’s because I want something transparent that won’t interfere with the original sound. It’s very musical, and it allows me to enhance the top end without it sounding artificial.”
Looking Ahead: Mixing with a Simplified Approach
Churko continues to push his hybrid approach, blending the simplicity of in-the-box mixing with the depth of analog techniques learned over years of experience. Whether he’s shaping the sound for rock legends or emerging artists, Sonnox plug-ins remain at the core of his toolkit, providing the flexibility and precision needed to deliver mixes that stand out.