Jason Goldstein: Crafting Iconic Mixes with Sonnox Plug-ins
From Beyoncé to The Roots, mix engineer Jason Goldstein has transitioned to a fully in-the-box workflow, thanks in large part to Sonnox’s Oxford plug-ins.
Known for his work across the R&B and hip-hop spectrum, Goldstein’s credits include Beyoncé’s Grammy-winning album B-Day, The Roots' Grammy-nominated Game Theory, Kelly Rowland, Kirk Franklin, Jill Scott, and Samantha Jade. “Sonnox plug-ins make up at least half the plug-ins on every mix I've done for over a year,” Goldstein notes. His reliance on these tools has allowed him to achieve dynamic, polished mixes that stand out in today’s music landscape.
Transitioning to In-the-Box Mixing
Goldstein’s move to mixing fully in-the-box was driven by the flexibility and precision of Sonnox plug-ins. “I used Sonnox plug-ins a lot on Beyoncé’s and The Roots’ albums, and really on every album since,” he says. “The Oxford EQ is my total go-to EQ, and the Inflator goes on the stereo bus of every single mix. I also use the TransMod and the Oxford Dynamics plug-ins all the time.”
Precision and Musicality with Oxford EQ
Goldstein’s mixes often feature complex vocal arrangements, and the Oxford EQ is key to managing them. “I tend to do records with tons of vocals, and I use the Oxford EQ on 99 percent of them,” he explains. “I used the EQ all over Beyoncé's lead and background vocals, as well as on acoustic guitars and strings. The transparency of this EQ is crucial—I can be surgical and specific, but it remains smooth and musical.”
I tend to do records with tons of vocals, and I use the Oxford EQ on 99 percent of them
Goldstein prefers the wider bell settings on the Oxford EQ, leaning towards curves 2 or 3 for a more natural sound. “A lot of other plug-in EQs allow you to get too narrow, which results in phase shift. The Oxford EQ’s wider cue and smoother bell keep everything sounding musical and balanced.”
Enhancing Dynamics with the Oxford Inflator
Goldstein swears by the Oxford Inflator for adding dynamics and perceived loudness without sacrificing the integrity of the mix. “I used the Inflator on every mix on Beyoncé’s album, and on every mix I’ve done since. It’s great for enhancing the midrange, which often gets lost in the music I work on.”
He typically sets the Inflator’s input at zero or -1, with the effect at 100% and the curve in the -20 to -30 range. “My mixes are all about dynamics. When I push the Inflator too high, I lose some of that. Keeping it in the -20 range gives me the presence, warmth, and apparent loudness I need without compromising the dynamics I’ve worked hard to create.”
Bass Management with Oxford Dynamics
Given his frequent work with bass-heavy R&B and hip-hop tracks, Goldstein relies on the Oxford Dynamics plug-in, particularly its compressor. “A lot of records I do have bass that you can’t hear but can feel. The Oxford compressor moves it into the audible range so it sounds better on smaller speakers. I often use the ‘Sony Bass EQ’ preset, which comes with preset attack and release settings and has the warmth function maxed out.”
Building Loudness with the Transient Modulator
Goldstein’s signature mixing style involves creating “apparent loudness,” often using the TransMod plug-in. “I use TransMod on drums a lot. By adding more attack to a kick drum, it punches through the mix without needing to be turned up. This helps create space in the mix, allowing the drums to punch without stepping on the bass or vice versa.”
He applies TransMod to kicks, snares, and loops, enhancing their dynamics without affecting the rest of the track. “For loops in hip-hop records, I use TransMod to accentuate the attacks, making them more dynamic and prominent.”
Exploring New Genres with Sonnox Plug-ins
Goldstein recently expanded beyond hip-hop and R&B, mixing an album for singer-songwriter Elizabeth Wills. “For this folky project, I used the Oxford Limiter on drums to tame the individual tracks. The ‘fatten’ setting did exactly that—it filled out the record and gave the drums the presence they needed.”
Looking Ahead: Mixing for The Roots and New Projects
Goldstein’s upcoming projects include mixing the next album for The Roots and working on a new hip-hop-oriented children’s program created by The Trackmasters. “I’m going to be in charge of music production, overseeing the recording and mixing of all the music for the show,” he says. “I plan to hire a team that will mix entirely in-the-box, using my mix templates.”
Sonnox Plug-ins: A Cornerstone of Goldstein’s Workflow
For Goldstein, Sonnox plug-ins are not just tools but essential components of his mixing strategy. “They sound great, are intuitive to use, and help me achieve the polished, dynamic mixes my clients expect,” he concludes. As Goldstein continues to push the boundaries of in-the-box mixing, his reliance on Sonnox’s range of plug-ins underscores their value in crafting chart-topping records.