Tony Maserati: Mixing Hits with Sonnox Plug-ins
Grammy-winning engineer and mixer Tony Maserati has an impressive resume, having worked with some of the biggest names in music including Jason Mraz, Mariah Carey, The Black Eyed Peas, and Lady Gaga. As co-founder of Mirrorball Entertainment in LA, alongside Stefan Skarbeck, Tony and his team have contributed significantly to chart-topping projects like Beyoncé’s album, which set records as the fastest-selling release on iTunes. Tony recently shared insights on his work with Sonnox plug-ins and his approach to vocal production and mixing.
The Mirrorball Team
Tony's setup at Mirrorball is a collaborative environment. “We have a loose group of engineers called Outfit 27—about five or six guys who started as my assistants and now engineer independently. When a suitable project comes along, they join me, and we collaborate technically,” he explains. Mirrorball also has a publishing arm with ten writers and a distribution deal with the Orchard, fostering a dynamic ecosystem of talent.
Tony emphasizes the importance of teamwork, particularly on the Beyoncé project. “My seconds earned engineering credits on most of the songs because they did the work. They were essential to mixing the record, and we wouldn’t have completed it without them. I consider it an honor to have these guys around me,” he adds.
Using Sonnox Plug-ins on Beyoncé’s Album
For Beyoncé’s album, Tony’s primary tool was the Oxford EQ. “It’s my go-to EQ, which I use quite often on vocals because it’s so vital in the mix. I appreciate how it maps out on my D-Command controller, allowing me to instantiate many instances without heavily burdening the processor,” he says. The Oxford EQ’s versatility and sound quality make it a staple in Tony’s mixing process.
It’s my go-to EQ, which I use quite often on vocals because it’s so vital in the mixTony on Oxford EQ
Tony also made extensive use of the Oxford Reverb. “It sounds so good that I’ll sometimes put it directly on a track and use the Wet/Dry control to blend it in, which I rarely do with other reverbs. The engineering behind it is top-notch, and it sounds great,” he explains.
Another favorite of Tony’s is the Inflator. “I like the tone and functionality of it. I use it often as an alternative to a typical maximizer because it adds a nice tonal quality,” Tony notes. Whether it’s vocals, guitars, or overall mix enhancement, the Inflator has become a key element of his sound.
Current Projects and Use of Sonnox Plug-ins
Beyond Beyoncé, Tony has been busy with other projects, including a full album for Santana. “On Santana’s album, I used the Oxford EQ on every song, along with the Inflator and Reverb. Carlos tracks with multiple microphones on his guitar, and I used the Inflator on two of the four or six mics. It adds a nice tonal quality without making it harsh,” Tony says.
Tony recently worked on singles for Robin Thicke and Sky Ferreira, both featuring similar Sonnox plug-in setups. “I’ve been using Sonnox for quite a long time, and they’re go-to plug-ins for me,” he adds.
Vocal Production Techniques
When it comes to vocal production, Tony prioritizes the vocal as the most important element in the mix. “The vocal has to be compelling, maintain the listener’s attention, and exemplify the song’s main emotional idea,” he states. Whether it’s using doubles and harmonies to build a song’s arc or carefully adjusting reverb to match the vocal’s performance, Tony tailors his approach to fit the song’s needs.
“On Jason Mraz’s ‘I Won’t Give Up,’ we used doubles and harmonies later in the song to help build a compelling arc. It’s all about the journey,” Tony explains. His approach to reverb is also nuanced, often riding reverb levels to make the vocal and the space it occupies grow throughout the song.
Engaging Sonnox Plug-ins for Vocals
Tony relies on Sonnox plug-ins to deliver standout vocal sounds. “I use the Oxford Reverb not just for its great sound, but because the built-in EQ allows me to shape the reverb to fit the song’s emotion. For precise adjustments, I turn to the Oxford EQ, whose five bands provide amazing accuracy,” he says. The automatable A/B function also allows Tony to tailor EQ settings to different song sections, enhancing the dynamic flow of a track.
Ultimately, whether using outboard gear or Sonnox plug-ins, Tony’s focus remains on capturing and enhancing the emotion of the vocal performance. “The key to a great vocal is emotion, and all I do is try to enhance that,” he concludes.
Interview and editorial provided by Rich Tozzoli