Mixing / Production

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.

If you’re struggling to get everything in your mixes coming across loud and clear, read on.

Can a legendary engineer create immersive audio mixes without giving up his beloved SSL console? Of course he can!

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.

Tony Ni from Soundtoys sits down with Sam Inglis to discuss his mixing workflow and to explain how he uses core Soundtoys plug-ins to achieve his sound.

Working on tape with the Red Hot Chili Peppers forced Ryan Hewitt to revisit old‑school mixing skills — and find ways to adapt modern techniques to the analogue domain.

Matt Johnson of Jamiroquai talks us through five of his favourite keyboard processing tips.

Geoff Swan gave up a successful studio business to become an assistant engineer — a risk which paid off with Charli XCX’s number one album, Crash.

We show you how to get started in the brave new world of Dolby Atmos, using Logic Pro.

Eddie Bazil gives six sound design tips, using various plug-in filters to create unique instrument sounds and to add interest and movement to mixes.

Central Cee has taken drill music to the top of the UK album charts, thanks to some very fast work from mix engineer Sean Donoghue.

Taking a chance on immersive music has paid off handsomely for producer Stan Kybert, who has reinvented himself as one of the UK’s busiest Atmos mixers.

How they recorded the solo on ‘Solace’ from Fuel’s second album, Something Like Human (2000).

With six lead singers, an orchestra and more, ‘We Don’t Talk About Bruno’ from Encanto was always going to be an epic production challenge — and then lockdown happened.