SOUND ON SOUND
Bob Dylan’s album of Sinatra covers is an unlikely triumph. So good, in fact, that it didn’t need mixing!
A unique and inspired choice of collaborators helped Björk blend powerful emotion with restless experimentation.
Producer and engineer Rob Kirwan oversaw Hozier’s commercial breakthrough — by concentrating on the least commercial aspects of his music.
For her second album, Back To Black, Amy Winehouse and producer Mark Ronson crafted a heavily retro sound. Mix engineer Tom Elmhirst describes how he massaged their '60s soul vibe to create a radio-friendly hit in 'Rehab'.
Producer and engineer Mark Endert not only mixed the lead single from Maroon 5s second album: he also co-produced it and programmed many of the parts.
When they hired Joe Chiccarelli to record their latest album, the White Stripes set him a stiff challenge: to create a modern, punchy, heavily edited sound, without leaning on modern digital tools.
In search of reality, Leonard Cohen convinced his producer Patrick Leonard to abandon his hang-ups about using sampled instruments.
OneRepublic's route to the top has been tortuous, and their massive hit 'Stop & Stare' was actually recorded more than three years ago. Engineer and mixer Joe Zook recalls the sessions.
Jack Johnson is living proof that you don't need Auto-Tune, Beat Detective or a million overdubs to record a hit album. In fact, as engineer Robert Carranza explains, he didn't even need mains electricity...
Aided by its memorable video and starring role in an iPod ad, Feist's '1234' has been a refreshingly different worldwide hit. Renaud Letang was behind the (vintage) desk during the recording and mixing sessions.
