The recording studio has been described as an extension of the artist’s creative arsenal for decades, for example, Brian Eno’s concept of using the studio as a ompositional tool (cited in Cox, Warner: 2005). Eno’s revelation suggests that the studio is similar to a musical instrument and therefore possesses compositional properties. If this is true, then performance practices should also extend to the capabilities of the recording studio. Mixing as a performance involves a creative practice where the recording studio is the mixer’s instrument; during this process, audio technology is manipulated by the mixer in a performance-like process to create desired artistic outcomes. However, mixing involves both sonic refinement and mix as a performance processes, and it is hard to imagine a mixing scenario where thesedo not co-exist. This paper is intended to address perceptions of creative agency that surround modern technology’s influence on mixing, and in particular the mix as a performance process.