Conversations with Michael Gonzales

Today we’d like to introduce you to Michael Gonzales.

Hi Michael, so excited to have you with us today. What can you tell us about your story?
My journey in live sound began unexpectedly during my junior year of high school at Alta Loma High School. When a band was asked to leave a school dance mid-event, I stepped in, loading my record collection and stereo system into a pickup truck and returning within an hour to save the night. That experience became my first gig as a mobile DJ and sound provider—and the spark that launched my career.
Throughout high school, I DJ’d backyard parties, school dances, and special events, often working alongside live bands. Those early experiences gave me my first exposure to mixing on real consoles, sometimes before I was officially old enough to rent the equipment I was using.
While attending Cal Poly Pomona, my work expanded to large fraternity and sorority parties, weddings, and concerts. During this time, I met Kevin Lyman, then president of the campus Ski Club, and began handling sound for his events. Through those shows, I connected with signed acts, including the band The Unforgiven, and at just 19 years old, I became their sound mixer. Touring with them throughout the West Coast introduced me to major venues across Los Angeles, Hollywood, and the San Fernando Valley and allowed me to build relationships that continue to shape my career today.
In 1989, I secured a long-term house position at Chuck Landis’ Country Club, mixing multiple bands several nights a week. The venue hosted a wide range of events—from local and national acts to boxing matches and televised specials—making it an exceptional training ground. It was there that I crossed paths with Schubert Systems Group, a local sound vendor that would later become a pivotal part of my professional life.
Although my initial interview didn’t lead to a sound company role, I was hired on the spot at their rehearsal facility. Working nights and weekends, I supported touring artists during rehearsals and gradually developed a strong reputation as a monitor engineer. That skill led to tour offers with national acts and marked my transition into full-time touring.
While monitor mixing offered stability, my true passion was front-of-house mixing. After taking on a variety of industry roles—including tour management, production management, accounting, and system crew chief—I fully committed to FOH engineering. In 1995, I left the largest stadium tour of its time (The Eagles – Hell Freezes Over) to work with one of hip-hop’s most respected groups, Cypress Hill.
From 1995 through 2025, I mixed Cypress Hill on stages around the world. They are not only my favorite artists to work with, but also some of the most genuine people I’ve ever known. Although I had opportunities to work with many other artists, I chose to dedicate my focus and loyalty to them.
Since 2024, I have been mixing for Nas, supporting performances celebrating the 30th anniversary of Illmatic. These productions range from full-band and orchestral performances to high-impact hip-hop shows alongside DJ Green Lantern and master drummer Haze Amaze.
In addition to touring, I am a partner and General Manager at Schubert Systems Group in North Hollywood. We are a major professional audio provider specializing in touring sound packages and permanent installations. In my role, I oversee daily operations, procurement, hiring, proposals, consulting, and long-term client relationships.
One of the greatest rewards of my career has been the opportunity to work alongside my 24-year-old son. Watching him grow into a talented and well-respected audio engineer—and sharing the road as both coworkers and father and son—has been the most meaningful and fulfilling chapter of my professional life.

I’m sure it wasn’t obstacle-free, but would you say the journey has been fairly smooth so far?
I would say for the most part I was rather lucky as a mix engineer. One of the biggest challenges for mixers and engineers is the constant learning curve of new equipment. During my career, we saw the introduction of digital mixing console and that changed our workflow forever.

Thanks for sharing that. So, maybe next you can tell us a bit more about your work?
Being a front-of-house mixer for artist has always been a very technically creative position. I feel like I am in the band and my instrument is the mixing console. My job is to make sure everyone in the audience hears and enjoys a great show, regardless of where they are in the venue. I feel like mixing is a very therapeutic experience for people. I want to bring emotion, color and depth to my mix. I want to people to walk away feeling like they had a very unique experience and connection with the artist on stage. There is a correct volume for the concert and I feel I understand exactly what it needs to be at any given moment.

List of client-
Nas
Basement
Cypress Hill
Trey Song
Steel Pulse
Snoop Dogg
The Psycho Realm
Powerflow
The Offspring
Brant Bjork
Lizz Wright
Bonnie Raitt
Gnarls Barkley
Sugar Ray
Jackson Browne
Linda Ronstadt
John Legend
James Ingram
Rihanna
Sum 41
Downset
LA Guns
John Sykes
Megadeath
Faster Pussycat
Brand New Heavies
DJ Shadow
Eminem
The Eagles
Gladys Knight
John Sykes
Luis Miguel
Micheal McDonald
Boz Scaggs
Robert Plant
SX-10
Soul Asylum
Neville Brothers
Crowded House
Little Feet
Charlis Sexton
The Unforgiven

Any big plans?
Our goal is to continue delivering high-quality service and products to artists at every stage of their careers. You never know who your next client will be—or which artist may become the next breakout success.
We aim to expand our footprint nationally, and potentially internationally, even as competition with large global sound companies becomes increasingly challenging. What sets us apart is something those large companies often cannot offer: a consistently high level of personalized service for every artist, regardless of size, status, or popularity.

Contact Info:

• Website: https://schubertsystems.com