Howard Bargroff

Dubbing Mixer, Re-recording Mixer
London, United Kingdom

Music & Audio Post Mixing in the UK

Howard Bargroff’s relationship with Avid started when he worked on one of the first CS2000 consoles to be installed in the UK at Sarm East, where he first cut his teeth in the music business. After spending several years as a freelance music engineer and then as a Dolby sound consultant, Howard  spent many years in audio post at various facilities as a dubbing and sound re-recording mixer, including De Lane Lea, Pepper Post (Future Post at the time), and Videosonics. Howard has worked on numerous projects including AVP, Sleuth, Law & Order UK, The Wedding Date, Around the World in 80 Days, and is presently a freelance gun for hire in the London area.


Controlling the Pre-mix

I started in the business just as old mag technology was being phased out and replaced with DAW workstations. The biggest change is that track counts for projects seem to be exponentially increasing, leading to the use of intermediate pre-premix controllers such as the Artist Mix to try and make sense of inputs into a main mixing desk. When dubbing, I use the Artist Mix as a pre-premixer, attached to Pro Tools. So it looks after micro mixing within the session, helping make any fine adjustments to individual sounds and elements before they are bussed in some kind of sensible fashion into, probably, an AMS dfc. The unit generally sits in a free space somewhere on the main desk, normally within reach of the central transport controls. When mixing music in Logic it serves as the main mixer.

Professional yet compact

It's pretty rare to have a scaled fader travel that delivers the exact control expected from a HUI based workstation, but every time I’ve mixed anything on the Artist Mix,  the controls responded exactly as I hoped and expected, meaning most results were achieved in one pass. The Artist Mix’s small footprint means that it is easy to sit in a convenient space very close to the main workspace of the mixing desk, plus the visual feedback from the unit is great.

The future of mixing

I can see a time when I am mixing entirely within the box, and a multi-sized single platform system would be a dream. Tools that enable some or all of the work to be freed from the constraints of an expensive dubbing theatre, while still integrating into said theatre, are probably going to be a necessity in the future.