Underpinning the biggest spectacle of 2012 London Olympic Games was probably the largest multitrack recording ever made. Just how do you mix a thousand-track project?
Steve Greenwell knew he wanted a live feel for Joss Stone’s second album of soul covers, but finding the right mix was more of a challenge.
Jeff Bhasker doesn’t usually mix his own productions or work with indie-rock bands. With Fun, he did both — and created a worldwide hit.
All it took to make a star of Carly Rae Jepsen was one memorable song — and, in Dave Ogilvie, a mix engineer who understood how to make it stand out.
Top producer RedOne has had hits with dozens of artists, but relies on one man to “finish” tracks like Nicki Minaj’s ‘Starships’: engineer Trevor Muzzy.
'Somebody That I Used To Know' is a worldwide hit that breaks every rule in the book. Artist Gotye and mix engineer François Tétaz reveal how they made it.
Paul Weller's latest album was brimming over with musical creativity. The challenge for mixer Jan Kybert was to forge a coherent album from a mass of ideas.
Expectations were high for the first Van Halen album in 14 years — and with eight mics on the bass alone, engineer Ross Hogarth was taking no chances!
Lana Del Rey has topped charts worldwide with her signature retro sound — and it all started with a demo that became a viral hit.
Tony Bennett’s continuing success showcases the value of old-school recording techniques — and the talents of his engineer son Dae.
Audio files to accompany the article.
The multitracks for Evanescence’s third album were so big that they required two maxed-out Pro Tools rigs to play back!
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