The buzz around immersive visual media is creating plenty of new opportunities for those who record spoken word for a living. But how do these new jobs differ from traditional ones?
American record producer, engineer and mixer Bob Clearmountain unpacks Neil Finn’s vocal from the Crowded House track ‘I Feel Possessed’.
When you’ve learned your craft from Manny Marroquin, you can mix on almost any system — as Jeremie Inhaber proved with Meghan Trainor’s ‘Made You Look’.
Adding a horn section to your productions can bring everything from mellow melancholy to verve and excitement.
With hit albums for Dave, Wizkid and now Stormzy, Brazilian‑American mixer Leandro Hidalgo is at the top of his game.
London‑based record producer, programmer and session musician Andy Wright chooses the drum sound from ‘Dirty Mind’, on Jeff Beck’s 2000 album You Had It Coming.
Want a hit that transcends genres? Hire a mix engineer who does the same — as Steve Lacy did with Neal Pogue.
The ultimate one‑man band, Brazilian artist Ricardo Bacelar uses layers of drums, percussion, guitars and keyboards to build up dense immersive mixes.
Mark Mynett, sound engineer and senior lecturer at Huddersfield University, gives us an in-depth look at how to process and mix the various elements of a song recorded using live instruments.
Multi‑platinum mixer and engineer Richard Chycki details how he got Geddy Lee’s bass sound on ‘Caravan’.
Timofey Reznikov made a name for himself recreating tracks by famous producers. Now, he mixes their tracks!
Immersive audio is a massive opportunity — if you’re equipped to take it. Here’s what you’ll need to do to make your studio Atmos‑ready.
For Jason ‘Cheese’ Goldberg, working with YoungBoy means working anywhere and working fast — without compromising quality.
Beyoncé’s chart‑topping album Renaissance showcases a production process that’s all about staying in the moment.
Mark Mynett, talks us through prepping for and recording a bass session, including ways to generate multiple layered tracks for use in your final mix.
The ear‑catching tempo changes of LF System’s hit ‘Afraid To Feel’ provided a unique challenge for mix engineer Scott Rosser.
Can a legendary engineer create immersive audio mixes without giving up his beloved SSL console? Of course he can!
If you’re struggling to get everything in your mixes coming across loud and clear, read on.
These audio files accompany August's 'Mixing DI Bass Guitar' workshop.
Nearly two years after its release, Cat Burns’ single ‘Go’ gave Aaron Ahmad his first major mixing hit.
Ever had trouble getting a plain DI’d bass guitar to sound right in a mix? Me too, sometimes! But it’s almost always fixable once you understand the issues.
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