I'm a Brooklyn, NY based mixer and tracking engineer. I hold a degree in music from the University of Michigan, was previously on staff at Brooklyn Recording. I spend most of my free time pursuing that perfect pour-over cup and building bicycles. I used to like working on aircooled VW's, but I can't fit one in my apartment anymore.
The vast majority of the work I do is remote mixing for songwriters. Throughout my career, I've made a point of trying to make records that sound big, organic and inviting in whatever capacity that means to the project. I've got a well-tuned room that I trust and a solid rig that can crank out good mixes very quickly. If what you do is sincere and compelling, I'm in.
You can hear examples of my work here: http://www.nicknagurkamusic.com/engineeringmix-reel
So how do we do this? It's pretty simple, actually.
You render continuous .wav files in your session, taking care to clearly label each track.
Load them into a folder and send them to me as a disk image or .zip via Dropbox or FTP or your choice.
You can alternately choose to send me a Pro Tools 10 or Logic 9 session if you like.
If you're wondering whether you should leave on any plugins, just give me a call and we'll talk it through. It would be pretty silly for us to try and work through getting a sound you've already created!
I price out mixes on a flat-rate system. This keeps the focus on quality, not the clock. A mix can take anywhere from a few hours to a couple full days. In the scope of a whole project, I find that it evens out.
If you've got a project rolling through but don't think you can afford hiring a mixer, give me a ring anyways. More often than not, we can work something out!
Tell me about your project and how I can help, through the 'Contact' button above.
ReviewsEndorse Nick Nagurka
Interview with Nick Nagurka
Q: What do you like most about your job?
A: I love the "Aha!" moment. Whether it's the little victories along the way, or listening to playback and having that indescribable feeling of intense emotional gratification. I love those rare moments where I feel purely like a music lover.
Q: What's the biggest misconception about what you do?
A: We, as engineers, can do a lot to how you sound, but ultimately we're not miracle-workers. Well, maybe we are. Anyways - mixing is an important process, and if you want truly great sounding mixes, you have to bring great sounding tracks and production to the table.
Q: What advice do you have for a customer looking to hire a provider like you?
A: You have to hire someone you can establish trust with.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: A pair of ProAc's, Bryston 4B, a good D/A, Mac Pro and an internet connection. Lay it on me!
Q: What was your career path? How long have you been doing this?
A: When I was 16 I got my first Tascam 488 cassette recorder, and that was pretty much the beginning of the end for me. I became immersed in recording myself and my friends, trying to push the limits of what I could do with that minimal rig. I ended up studying music composition, production and sound engineering at the University of Michigan and started freelance engineering during my junior year. After school, I continued to work in and around Ann Arbor and Detroit, trying to make as many records and mix as many shows as I could. When I was 23, I was afforded the opportunity to move to Brooklyn, NY. After a year of freelancing in NYC, I joined up as an assistant engineer at Brooklyn Recording, where I worked on over 40 records in house, mixing on the side as much as my schedule allowed. As of the middle of 2015, I've moved to full-time freelance work and have been lucky enough to be making a living working for myself.
Q: What do you bring to a song?
A: Every time I hear a song, I think where it wants to go. Both from a musical point of view and from a production standpoint. I'm hearing a sort of sonic imprint of where I think it needs to be, how I want it to hit me. I'm always trying to be conscious of the emotional impact that my choices make and trying to highlight that - whether the emotion comes from a lyrical place, a musical place or from the sonic environment.