SOUND ON SOUND
Daniel Moyler is a London‑based mixing and recording engineer who when asked to dissect a favourite sound, focuses on the drum sound from ‘Crowbar’ by Frank Carter and the Rattlesnakes.
Respected British record producer and engineer David Lord chooses XTC’s ‘All You Pretty Girls’ as a favourite sound from the many he’s recorded.
English‑born producer and mix engineer Warne Livesey has worked with a wide array of musical artists from Australian band Midnight Oil to Scottish pop‑rockers Deacon Blue to blue‑eyed soulster Paul Young.
Andy Jackson has worked with Pink Floyd and David Gilmour since 1980, and a favourite among the many great sounds Jackson has recorded is the dry, dense drum sound heard on Pink Floyd’s ‘Marooned Jam’.
Over the years, David Kosten has helped create many weird and wonderful sounds, and selects ‘Seal Jubilee’ by Bat For Lashes as a favourite.
Famed English producer and engineer John Leckie gives details about one of his most influential works, the mini‑album 25 O’Clock, a pastiche of ’60s psychedelia.
David Bottrill’s vast credit list includes Peter Gabriel, Smashing Pumpkins and Tool to Muse, Silverchair, Rush and many others. When asked to pick a favourite sound from that catalogue, he chose the drone that underpins ‘Passion’ by Peter Gabriel.
American music producer, songwriter and multi‑instrumentalist Doug Showalter breaks down how he crafted the guitar sound on Harry Styles’ mega‑hit ‘As It Was’ in his Nashville studio.
From his Sheffield recording studio Yellow Arch, producer, musician, arranger and programmer Colin Elliot has worked with an illustrious list of musical artists.
Howard Jones burst onto the scene in the early 1980s with a collection of era‑defining synth‑pop hits such as ‘What Is Love’, ‘No One Is To Blame’ and ‘Things Can Only Get Better’. Asked to select a favourite sound, he circles back to the first of these.