These audio files accompany the 'Using Transient Processors' workshop in SOS June 2023 issue, and feature transient processing...
Three‑time Grammy Award‑winner Tom Lord‑Alge has an extensive list of multi‑platinum landmark albums and singles to his credit...
Four‑time Grammy winner Michael Romanowski is one of very few people offering mastering services for immersive music.
Grammy-winning Samuel Dixon picks his favourite sound from the records he’s made, focusing on Australian singer‑songwriter Meg Washington’s track ‘Switches’.
High‑end outboard is an essential part of Prash Mistry’s mixing and mastering setup — as heard on Kali Uchis’ hit album Red Moon In Venus.
Eddie Bazil demystifies Compression and Expansion with a detailed explanation of their uses, which he demonstrates using plug-ins through seven practical examples.
Metro Boomin’s right‑hand man is championing old‑school mixing techniques in the 21st Century.
These audio files accompany the Mix Rescue article in SOS March 2023, featuring the song 'Sunshine' by Jeff Hirata.
American producer, engineer and mixer Ed Stasium nominates the drum sound on Living Colour’s ‘Love Rears Its Ugly Head’ as a particular favourite.
It’s no surprise that SZA’s long‑awaited second album has been a hit. More surprising was the key role of little‑known engineer and producer Rob Bisel.
Ever thought you were nearing the end of your mix, only to realise the track needs a whole lot more impact?
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.
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?
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.
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.
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.
Multi‑platinum mixer and engineer Richard Chycki details how he got Geddy Lee’s bass sound on ‘Caravan’.
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