David Baron: Mixing Magic with Sonnox Plug-ins

From Bat for Lashes to Lenny Kravitz, David Baron is the go-to multi-instrumentalist, producer, and mix engineer when artists need that extra bit of magic. 

Closeup of David Baron outdoors on a hill by a lake

With a career spanning over two decades, Baron’s impressive portfolio includes working with artists like Bat for Lashes, Lenny Kravitz, Peter Murphy, and Megan Trainor. Beyond his prowess in the studio, Baron is also a composer, deeply rooted in music through his father, Aaron Baron, a renowned recording engineer in legendary NYC studios of the '60s. “I learned how to mix from my dad, who made hundreds of records, including the Allman Brothers' At Fillmore East and BB King's Live In Cook County Jail,” Baron reflects. “His philosophy was that when you're recording live, you’re always mixing, and it should never sound bad in the room.”

With a unique approach that blends classical sensibilities with a modern touch, David's methodology is a refreshing deviation from the norm. We caught up with him in his breathtaking Manhattan studio—a former 1860 concert hall with a 32-foot arched ceiling—to discuss his journey, his process, and his use of Sonnox plug-ins.

Your Approach to Mixing and Recording

“My approach is very vibe-centric,” Baron shares. “Coming from the classical side, I focus on the arrangement and the vibe rather than following strict rules. For me, it’s about what's practical and quick. The artist is right there, and they want results fast, which is why digital plug-ins are amazing.” Baron emphasizes the importance of efficiency: “I template everything. I find what works at the start of a session, and I stick with it. My chain is simple, with go-to EQs and compressors set up on each channel.”

Working with Bat for Lashes: A Case Study

David recalls his collaboration with Natasha Khan of Bat for Lashes on her album The Bride. “Natasha wanted to finish the album in Woodstock, and after doing a test track (‘In God's House’), things clicked. We had two weeks before the mastering session, so we dove in,” he explains. “One of the standout moments was with the song ‘Close Encounters’. Initially attached to the original arrangement, Natasha decided it wasn’t working. We recut it from scratch, transforming it into something dark and beautiful.” This hands-on, collaborative approach—like playing string parts live with Natasha—is something Baron values highly. “It’s a super fun way to work with artists, and it helps regain momentum.”

Maximizing Sonnox Plug-ins

Baron has been a long-time user of Sonnox plug-ins, especially the Inflator. “I use it on stems to add fullness without cranking up the volume,” he explains. “It’s great for making a mix feel louder and fuller without slapping a limiter across the whole thing.” 

I use it on stems to add fullness without cranking up the volume David Baron on Oxford Inflator

For EQ needs, Baron frequently turns to the Sonnox DSP EQ: “The EQs on the Neve tend to be broad, so I use the Sonnox DSP EQ for precision. It’s my go-to because it doesn’t sound digital, especially on boosts, unlike many other plug-ins that cause phase shifts.”

Problem Solving with Sonnox

When working on experimental soundscapes for an installation with artist Gregory Colbert, Baron relied on Sonnox plug-ins to tackle issues with field recordings and noise. “I was dealing with bearded seals’ sounds, and my usual declicker was creating too many artifacts,” he recounts. “Switching to the Sonnox Declicker made a significant difference. It’s now my favorite, along with their Denoiser.”

Creative Uses of Sonnox Reverb

Baron also highlights the creative potential of the Sonnox Reverb: “I used it on a choir for Gregory's project. The Cathedral setting is vibey and takes the sound to new places.” He frequently uses this reverb on small string sections, citing its unique atmosphere as a major draw.

David Baron's debut album, Cycles, promises to be a cinematic experience, blending his signature mix of classical influence and modern innovation. Set for release on Here & Now Recordings in March 2017, it’s an exciting next step for this multi-talented producer.

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