Flexibility... A one word definition for engineer/mixer Gary Tole. A Vancouver, Canada native, currently residing in New York, his work is a diverse blend of hit records, films, advertising and television broadcasts -often in the same week. With a client list that includes Bon Jovi, Metallica, Whitney Houston, David Bowie, Nile Rodgers, Eric Clapton, HBO, VH-1, HGTV and The Food Network, Gary Tole has always got his hands full. We checked in with him recently for an update on his latest projects and his Oxford plug-ins connection. Tell us about your current ventures.

I’ve been doing a lot of post-production and records, and mixing a lot of long-format shows and promos for The Food Network. I also mixed three independent films at my home studio, and I’ve been working wit a great band called The O2. They actually have their own show on the Independent Film Channel. It’s been pretty busy.

So which Oxford Plug-ins do you use?

I have the Oxford EQ as well as the Transient Modulator and the Inflator.

Why do you like the EQ?

I use it a lot because of its musicality.. It’s so wide ranging - I can get a nice width with the bell curves, or narrow it and be as clinical as I want. Besides using it on records, I use it quite a bit on post production for film, when I really need to get in there and notch things out. The Oxford EQ is especially great when I have problems with room tones, but then I also use it to add extra ‘oomph’ to the musical underscore.

How did you learn about the EQ?

I had worked on the Oxford console at Sony Studios in New York that’s one of the reasons I got the Oxford plug-ins in the first place. I liked the sound of that console, and it’s really translated over to the plug-in versions.

So when mixing a music only project, how do you tend to use the EQ?

I love to use the EQ on kick drums, either to carve out the bottom end or give it that extra punch that I need. It’s also great to work with on vocals, especially in the upper range. It’s not so much you’re noticing an EQ going on as you’re simply hear the voice opening up.

When opening up the top of a vocal, do you use any of the various EQ Types?

Yes, after getting a basic top end sound that I’m happy with, I’ll make a setting on one Type and then switch through all of them. That’s one thing I really like about the Oxfords, they let me quickly see which Type sounds the best. It gives you a little bit of a different taste by having those options.

What else do you use the EQ on?

I use it on all of the drums, snares, kicks, toms, overheads, etc. I also use it on guitars. It’s especially good on the midrange of heavy guitars. It can help them poke out in a dense mix.

How about the Trans Mod?

I use that a lot on drums. In a mix situation when I want to get a little more snap out of the kit, or calm down a ring, it’s perfect. I love it on snare drums, as it helps me peak it out. It’s cool because you can actually go too far with it, but then you just pull it back and it really sits nice.

How do you use the Inflator?

It’s my go-to plug in when I’m mastering. In the system I use, I either put it across the 2-bus if I have a Master Fader, or on some projects, I’ll place it on the song mix itself. I use it in a way that gets me an extra level out of it, but you really don’t hear any process happening. It just works incredibly well with getting your gain up in a clean way.

When mixing for television, what extra considerations do you have with the audio?

Since I’ve been mixing full-length programs (for The Food Network), I go back and forth and watch them on TV at home when they air. When were mixing we’re hearing unprocessed audio, so the transmitter/limiter is not affecting the mix yet. Were given a delivery spec of no peaks past -10dB, so I follow that rule. But, I’ve got to a point where I know what I hear in the mix room will sound roughly like what I’m hearing on TV with the broadcast limiters affecting it.

Do you EQ any brighter than normal?

Yes and no. I tend to make the mixes just a touch brighter, as my home TV in the bedroom sounds a little different than my home theater. I go by the average viewer listening on the small speaker. But, I need to EQ out the low midrange that gets merky and muddy on those speakers. I’m pulling some frequencies and adding some as well. Remember, production audio comes from everywhere, so there may be five or six different clips that need to run in the same segment. I always try to make it consistent as to what it sounds like on the final mix for broadcast. Then I’ll place the EQ across the whole mix so it sounds united.

Interview and editorial provided by Rich Tozzoli