Mixing / Production

Ricky Damian is a Grammy Award-winning Engineer/Producer who’s worked with artists such as Mark Ronson, Lady Gaga, Sam Smith, Adele, Dua Lipa, Yebba, Jorja Smith and Sampha.

Daniel Moyler is a freelance mix engineer who was awarded Engineer Of The Year at the MPG 2020 Awards and won a 2021 Grammy for his engineering work on Dua Lipa's album Future Nostalgia.

Sam Inglis talks to Francine Perry, artist, producer and mix engineer, about her career so far and being nominated in the Rising Star category for her work with Beth Orton, Erasure and HAAi while based at Mute Studio.

Cecil (Adam) Bartlett is a London-based producer who talks to Sam Inglis about his career so far and being nominated in this year's Breakthrough Producer Of The Year category for his work on Here Is Everything by The Big Moon.

Will Purton is a London-based recording engineer, mixer and producer nominated in the Rising Star category for the 2023 Music Producers Guild Awards.

Manon Grandjean is a freelance mix engineer who has previously won three Music Producers Guild Awards. This year she's been nominated again for Mix Engineer Of The Year 2023, this time for her work with artists Flo, Fyfe & Iskra Strings and Milk & Bone.

Mikko Gordon is a Grammy nominated mixing engineer and record producer based in London. This year he's nominated by the Music Producers Guild for Recording Engineer Of The Year and Album Of The Year along with Nigel Godrich for The Smile: A Light for Attracting Attention.

Catherine Anne Davies, also known as The Anchoress, is a songwriter, multi-instrumentalist and producer. Sam Inglis talks to her about being nominated for Self Producing Artist in the Music Producers Guild Awards 2023.

Nuno Fonseca of Sound Particles talks about their rapid rise in the film and audio industry and how they are using their sound particle plug-in technology to bring exciting new options to sound design and audio recording.

CEDAR Audio has led the world in audio restoration and noise suppression for over three decades. We find out more about their ground-breaking technologies.

David Gould, Director of Audio Content Solutions at Dolby Labs, talks to Hugh Robjohns about immersive audio and how Dolby Atmos works.

We conclude our in-depth guide to the world of library music with an essential cut-out-and-keep explanation of the key words and phrases you’ll hear.

Composers need publishers. But are they there to help us, or help themselves?

Like any way to make a living, library music has its pitfalls. We help you look out for some of the biggest!

There’s a lot of money to be made writing music for movie trailers — so you have to be good. Have you got what it takes?

A trailer can make or break a blockbuster movie, and the choice of music can make or break a trailer. Chances are that music will be library music...

Success in the library music world is partly about who you know — so get out there and get to know people!

How can you ensure that your library music hits the spot? What better way to find out than to ask the people who buy it!

Successful library music writers are efficient, productive and reliable as well as musical — all skills you can develop too.

We saw last month that library music can provide composers with a good income. This month, we explain how that income is generated.

Production music is rarely glamorous, but it can be very lucrative. In the first of a major new series, we explain how to get your foot in the door.