Nick Messitte

Nick Messitte

Learn contributor

Nick Messitte is an award-winning engineer, composer, sound designer, and educator. His credits span a variety of genres and disciplines, from indie rock to post-production sound design. He’s mixed and mastered records for Peach Face, Adjective Animal, Soul Cannon, Super City, Micah E. Wood, Not Charles, Pete Mancini, Leland Sundries, and others. A veteran engineer in the podcast space, Nick has worked on shows and segments for NPR, WHYY, WBURR, OZY Media, ABC, Voyage Media, Criminal Content, and more. If you’d like to connect with Nick about a project or have any questions about the craft of engineering, you can reach him here.

Good on Everything: Using Vinyl on Multiple Genres

Good on Everything: Using Vinyl on Multiple Genres

I’ll never forget  Vinyl —my first iZotope plug-in, when I was but a wee engineer. It was perfect for sound design, because the vinyl sound...

8 Common Mistakes in Mid/Side Mixing

8 Common Mistakes in Mid/Side Mixing

Once upon a time, people spoke of Mid/Side mixing in hushed tones—this was a process left largely to mastering engineers, who had specialized gear...

3 Ways to Warp Vocals with VocalSynth 2

3 Ways to Warp Vocals with VocalSynth 2

If you’re anything like me, you find  VocalSynth 2  deceptively intimidating: the GUI looks perfectly easy to grasp, but once you get going, you find...

3 Tips to Learn Neoverb in 10 Minutes

3 Tips to Learn Neoverb in 10 Minutes

Recently, iZotope joined forces with Exponential Audio, and the partnership has produced industry-first reverb innovations. Dialogue Match made use of...

5 Tips for Using Reverb in Pop

5 Tips for Using Reverb in Pop

Recently, iZotope released a reverb plug-in called Neoverb. To celebrate, we’re offering some tutorials to help you use reverb in a variety of...

6 Ways to Use Reverb in Post Production Sound Design

6 Ways to Use Reverb in Post Production Sound Design

Post-production sound design is a magical, yet invisible process: when it’s done right, no one really notices you’ve done anything at all. But anyone who...

Reinventing Restoration with RX 8: Wow, Flutter, Guitar De-noise, and Spectral Recovery

Reinventing Restoration with RX 8: Wow, Flutter, Guitar De-noise, and Spectral Recovery

RX is here, and with it of course come several new modules. Spectral Recovery, Guitar De-noise, and Wow & Flutter are all new tools. In this...

3 Tips for Fixing VoIP Audio in the Mix

3 Tips for Fixing VoIP Audio in the Mix

VoIP—for years, the bane of engineers who work on podcasts and in broadcasting. Voice over Internet Protocol, or “VoIP” for short, is the...

5 Tips to Add Movement to Your Mix with Stutter Edit 2

5 Tips to Add Movement to Your Mix with Stutter Edit 2

Rejoice ye fans of glitchy goodness: iZotope released an update to Stutter Edit, the comprehensive sound-design powerhouse! But with its namesake...

8 Tips for Designing Synth Patches with Stutter Edit 2

8 Tips for Designing Synth Patches with Stutter Edit 2

Stutter Edit 2  excels both in mixing and in sound design. In this article, we’re going to focus more on the latter—specifically when it...

Inside the Decibel and Why It Matters

Inside the Decibel and Why It Matters

So much of what we do is quantified in decibels—e.g. “Bring up that vocal a dB or so.” If we notch out a frequency, we talk about that...

10 Tips for Mixing Short Films

10 Tips for Mixing Short Films

Mixing a short film can be daunting for the novice engineer. Consider this article your step-by-step guide, and refer to it whenever you need to figure out...