Studio Pro Profile: Mike Kuz, Head Mixing Engineer — SweetSounds, NYC

Meet Mike Kuz, who’s been Head Mixing Engineer for the New York City studio SweetSounds since Spring of this year.

With recent collaborations including Slaughterhouse, Walé, OnCue, Common, Smoke DZA, Slim Dollas, the I.S.A. and more, Kuz’ star as a producer and mixer is on the rise. What’s been guiding his career trajectory? See exactly how Mike’s moved up in our first Studio Pro Profile.

Mike Kuz embraces the mixer and producer within before SweetSounds’ Neve 5088.

Beginnings: Kuz kicked off his career as an intern at Stadiumred Studios in Harlem, and benefited from some expert influences right off the bat.

“I was lucky to learn from some really awesome guys there: Just Blaze, Ariel Borujow, Omen, Andy Wright, and many more — it was an incredible staff, and they were all forthcoming. No one was selfish about sharing their knowledge, everyone wanted to see me get better. That gave me the ability to go from an intern to a pretty seasoned producer and mix engineer.”

Moving Up: Mobility throughout the city helped Kuz to make the right connections at SweetSounds downtown.

“I had been going to SweetSounds on and off for a little bit over a year. I got the sense early on that they wanted me to be around more, but I was tied up in a lot of other things at first.”

“I enjoyed spending time there, though, and when the window of opportunity opened up I began speaking to the studio’s owner, Dinesh Boaz. Now here we are, I’m Head Mixing Engineer, but I’ll be involved in production as well – I could have a hand on anything that goes through here.”

The Right Environment: Kuz was attracted to the 16-channel Neve 5088 console and Legacy Focus SE main monitors in the “Crosby” room, and the SPL MixDream in the Broadway B room, among other atmospheric and technical attractions.

“They had two really awesome rooms. They have lots of great gear and monitoring, plus both rooms are well-treated and vibey. They’re enjoyable to be in – you can work with a clear head. It’s a great location and a relaxing place to be.”

“When it comes to the 5088: first and foremost, it’s a Neve. I can get excited by just a little Neve lunchbox, but an entire console? Plus, we have 1073’s – those are great to have your hands on for tracking drums and vocals.”

Here’s the room Kuz helms: SweetSounds’ “Crosby” suite.

Personal Style: First things first, Kuz gets his ducks in a row when he sits down to mix.

“I think it’s a game of prioritization and discretion — that’s very prominent in the lessons that I was fortunate enough to learn. I like to pick things that should be featured, let it all shine relative to its proper position, and make sure it fits in with the quality level of what’s standard today.”

“What’s special is when I’m crossing genres, and infusing habits or tendencies I’ve learned from one style to another – like taking something you’ve heard on a rap record and putting it on a rock record, for example. Or doing something jazzy in a hip-hop or choir track.”

“I’m most credited in rap, but like everybody else, I like to dip into as much as I can. It’s like taking a breath of fresh air when you can do something outside of your normal zone. Some of my most enjoyable sessions have been choir or orchestral projects. It’s always exciting to do new stuff.”

Team Player: The personnel at SweetSounds factored in to Kuz’ decision to join forces with the facility.

“It’s a small group of guys, and everybody is very like-minded as far as the direction we all want the studio to move in. We’re all a part of it, but the same time management is pretty hands-off too. It’s a good mix of a corporately efficient atmosphere, along with the mom-and-pop elements that give a place character and differentiate it.”

Mike Kuz — straight on.

Going Pro: Talking with Kuz makes it clear – he believes that professionalism has an important place in audio.

“It means treating everyone equally. I’ve had the privilege to work with some really huge names. Whether it’s a major-label artist or someone who’s on the come-up, I work with the same sense of urgency and efficiency. Everyone comes to a state-of-the-art studio for the same reason, so you have to be sure to provide the service that they’re coming to get.”

“All the same things that I’ve learned mixing a track for Slaughterhouse or Wale, I’ll apply to a young artist’s first recording. That’s what makes people smile, and shows that a platinum sound is within reach. I enjoy making it real for them.””

• David Weiss

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