Project Description

(Janet Jackson, Manhattan Transfer, Sting, Usher)

“High fidelity still lives. Just depends on who’s settin’ the standard and who’s spinnin’ the knobs.”

Gary Lux is one of Hollywood’s premier music mixers, with literally thousands of projects to his credit. He is an accomplished 5.1 surround mixer and has worked on many soundtracks for film and television. Mr. Lux holds a sterling reputation within the industry for musical excellence and for accomplishing high volume projects, on time, and within budget, all while maintaining the integrity of musicianship and quality that the industry requires. With Gary Lux, high output and time pressure does not lead to a sacrifice of standard. As a result, his services are continually in high demand.

Until forming his own successful independent recording company in 1988, Gary Lux was the head music mixer for Universal Studios. He has two Emmy Award nominations for his work with The Jacksons, and Frank Sinatra. Albums include: Rob Thomas “Something To Be”, Janet Jackson “From Janet To Damita Jo”, Usher “8701”, Ben Harper and The Blind Boys of Alabama “Live At The Apollo”, Sting “Brand New Day”, Norah Jones “Live In New Orleans”, Keith Urban “Still Alive”, and Rod Stewart “Live In Times Square”.

To Lux, his most gratifying contribution to the music industry is the many engineering careers he has played a pivotal role in helping to launch. Until forming his own successful independent recording company in 1988, he was the head music-scoring mixer for Universal Studios. He has two Emmy Award nominations for his work with The Jacksons, and Frank Sinatra.
Gary recorded the 2020 Golden Globes cues at Sphere Studios and allowed us to bring five Vanguard V4 FET Condensers to the session. After testing against a renowned German FET microphone, Gary chose the V4s as the mics for trumpet, trombone, and saxophone.

“In show music the trumpets are generally the lead instruments, so they need to have a certain sparkle. these players are blowing their brains out and the mics need to handle all that SPL without folding…and not hurt me. I used the V4s on saxes as well, in fact all the brass and woodwinds were on V4s. I think they sound terrific. They’re open and have great presence…after the first take, I knew these were the deal.”

We’re very proud to have Gary Lux in the Vanguard family. You can learn more about Gary on his website.