Ross Hogarth (Van Halen, R.E.M., Jewel, Roger Waters)

Ross Hogarth is a multi-Grammy, multi-Platinum, Pensado Award-winning producer and mixer whose oeuvre runs from classic rock to heavy metal. He’s worked with iconic acts such as Van Halen, REM, Jewel, The Black Crowes, Motley Crue, John Mellencamp, Roger Waters, and Melissa Etheridge. His credits include Slow Down, Keb' Mo's Grammy-winning Best Contemporary Blues Album and Love is My Religion, Ziggy Marley’s Grammy-winning reggae record.

Tell us about your current studio setup.

My studio, the BoogieMotel, is based in Pro Tools HDX. It’s a true hybrid system: no desk anymore, only faders. But lots of tubes, transformers, and analog gear, along with basically every plugin available.

My mix buss hasn’t changed for quite a while. It’s DA/AD Dangerous converters - the AES out to the Dangerous DA - then to a pair of passive transformers to smooth out the digital - either Malotki or UTC - then to a Dangerous BAX EQ to knock down 12-18 Hz and 70K, then to a Dramastic Obsidion SSL style buss compressor or an API 2500 or Neve 33609, then to an old school NTI EQ, then to a pair of matched Pultec mastering EQs for more tube and iron, back to the Dangerous A/D.

It’s an all-analog mix buss. I don’t use any digital ‘limiting.’

I am not a fan of trying to be a mastering engineer. The doctor doesn’t operate on himself, and the famous actress or model doesn’t do their own makeup. So I don’t master my own mixes. I am old-school and like hiring mastering engineers.

Some of my very favorite analog gear that I use are all the Retro Instruments tube gear, including 2 Sta Levels, the 176, the Revolver, and the 2A3 EQs.

I have six modded Altecs that are basically Abbey Road EMI RS124’s, original 1176’s, LA3’s, an LA 2a an LA2, Chandler EMI stereo, Chandler RS 124, Highland Dynamics BG2, Overstayer gear, many API EQs, Neve 33609, API 2500, Channels of Neve 1084 EQ, Compex, four Distressors, Acme, Eventide H300, AMS DMX, AMS RMX, as well as two digital Bricasti reverbs to just to name just some of the gear I have.

I love my monitor environment. I listen through a Crane Song Avocet. I find the Avocet to be a brilliant playback knob. My main monitors haven’t changed in two decades. I listen to Hot House 165’s powered by two monoblock class D amps built by Dusty Vawter at Channel Islands audio.

A Bryston 4B powers my Quested H108 passive monitors. Five years ago, I started to use my newest monitors, which I love - the KII3 powered system. These are so brilliant and go from earth to light and very evenly. I love having a setup I can rely on.

I believe this is crucial for any engineer. To know your setup.

When needed, I also have some small guys, like the IK ILouds, which are great for small playback.

Go-to plugins are too extensive to mention, but I use them all. Since the beginning, I have been a contributing endorsee of UA, have two UA Quad cards in my computer, and use many UA plugins.

I have been a contributing endorsee to Waves for years and McDSP and Slate Digital.

Over the last couple of years, I helped in the design and release of the IK Sunset Sound Studio Reverb.

I use many Sound Toys, FabFilter, Kazrog True Iron, Plugin Alliance, Uhe Satin, Neural DarkGlass, Pulsar … just too many to mention, all of them as needed.

Having mixed and produced so many songs over the past few years, how do you stay fresh and excited about making music every day?

I believe self-care and ear care are crucial. If we listen too long and too loud, we lose perspective and the detail needed for great mixes.

I believe being engaged in the lives of the people who matter to me keeps me fresh. I like to bring my life experience to the work I do.

I love the outdoors, surfing, bike riding, hiking, working out, and connecting with my friends. I am not a bar or club goer in general, and I don’t go out to many venues, especially since covid.

I don’t spend a great deal of time listening to all sorts of music unless I am turned on to it by friends or my kids.

My 24-year-old son Brady is my DJ in general. He has excellent taste and knows what I might like or listen to. He recommends all the coolest new music to me.

Otherwise, I’d end up just listening to all the classic blues, rock, jazz, soul, and classical music I’ve been listening to my whole life.

How do you typically approach a mix?

I generally approach a song by trying to get a basic balance up quickly to identify the DNA of the song.

What’s important? Where is the DNA?

Depending on the style of the song, it’s going to show itself to me relatively quickly. I also come from a visual art background, so I like to visualize the end result.

Panning of instruments is crucial. Placement AND panning are vital, so I will spend a great deal of time working out the panning and placement.

Then I usually focus on the foundation and build the foundation. It’s like building a house. Make sure the foundation is solid, the framing is square before you add the cabinets and finish work, and get the nuances and details in.

In general, I am not the quickest mixer and take lots of breaks. I find keeping my focus is essential.

Finding the right compression is always crucial if it is a vocal-focused song. This is why I have so many different types of compressors. I have so many analog compressors, mainly for the vocals and what’s needed after the vocals.

I have found that nothing can beat a real analog compressor on a vocal.

Everything is important in a mix. Attention to detail is important, but the mix will often fall flat if I don’t have a compelling vocal sound.

Of course, the kick and bass are foundational. But in the end, I find that in most pop, rock, and blues, the vocal, snare, and solos have to pop. I go back to the question: what is the DNA of the song?

If I feel strongly about a potential edit I hear, I may mention it depending on my relationship with the artist or producer. But in general, they aren’t hiring me to come in and arrange or change the song.

What I do, though, is use the mute button very frequently since people are recording way too much information these days. I find with unlimited track count; people just get carried away with too much.

Using a color wheel analogy, if you blend too many colors, you get the color brown, and what is brown the color of?

I will leave this discussion at this point.