Baby Brown Calls on Nugen

Las Vegas, NV (April 14, 2025)―Whether working on hip-hop productions or film soundtracks, Emmy-winning and Grammy-nominated music producer and composer Baby Brown often calls on plug-ins from Nugen Audio.

At the top of Brown’s go-to list of solutions, and often used in conjunction with one another, are the Nugen Audio Halo Upmix and Paragon true convolution reverb, which offer enhanced flexibility and control to his workflow. “Halo Upmix is probably one of my top-five most used plug-ins for Atmos mixes; I really love it and Paragon, too,” he says.

“Whatever sound I’m going for determines what reverb I use for immersive mixes, and Paragon is almost always a given. If I have a reverb, I typically also use Halo Upmix in the beginning to sculpt it into whatever part of the room I’d like, and I’m able to do that directly in whatever track it’s on. There is a certain kind of magic about the way Halo Upmix sounds. It’s very subtle and doesn’t artifact like many other upmixing solutions.”

Seen on the Scene: NAB 2025

Nugen Audio MasterCheck is another staple for Brown, who has worked with the likes of Eminem and Xzibit, and completed a soundtrack for the Keanu Reeves show Brawn on Disney+ last year. “I use MasterCheck on every single one of my projects,” he says. “It is an incredibly awesome piece of software, especially in this day and age, where staying compliant in terms of loudness and distortion levels is extremely important. After I bounce a mix, I always run it through the MasterCheck plug-in to ensure I stay within code. Additionally, I think the presets are extremely convenient and useful.”

Some of Brown’s other favorites for compliance include Nugen’s Monofilter bass management, LM-Correct automatic compliance and VisLM 2 loudness meter plug-ins. “I love Monofilter so much because of the graphical representation that shows what you’re doing to the signal,” he explains. “I use it a lot for clean-up. For instance, I might get a mix that is already committed to a two-track, and it might be very spatial or too wide. With Monofilter, I can pull the sides in and redistribute the energy in the track. I also use LM-Correct to read my true peak on whatever I’ve been given and figure out roughly how loud it is. In addition, VisLM always sits on my 5.1 while mixing, to balance and ensure I’m hitting those specifications.”