Mixing / Production

The pandemic gave Taylor Swift a chance to explore new musical paths, with two lockdown albums co‑written and produced by the National’s Aaron Dessner.

From sketches to final mixes, engineer Jonathan Low spent 2020 overseeing Taylor Swift’s hit lockdown albums folklore and evermore.

In our quickfire survey, we find out more about the recipient of the 2019 MPG Breakthrough Engineer of the Year award.

As if being in charge of the largest studio group in the world wasn’t enough, Miloco director Pete Hofmann also found time to mix the latest album from the UK’s biggest dance‑pop group, Steps.

I’m trying to understand the panning being used in a particular song in which the verse has a guitar that appears to be almost completely right‑panned. However, in the chorus the guitar comes in on the left too...

In this episode, Mathieu Gendreau shares 6 advanced top tips to help you mix drums like a pro.

SOS Technical Editor Hugh Robjohns chats to Mirek Stiles about the Spatial Audio Forum and how everyone can get involved in creating 3D audio environments using basic recording equipment.

In this show Paul White guides you through seven reverb treatments, from simple to complex, and demonstrates how combining reverb with other commonly available plug-ins can produce creative textures and ambience in your music.

Olivier and Johannes go behind the scenes on the techniques that they used to create their latest collaborative album featuring the use of VoIP technology to process sound.

While it’s obviously a great idea to seek tips, tricks and guidance when you’re learning how to mix, and to consider how you might apply that advice, you also have to be careful that in the process of applying it you don’t lose sight of the big picture.

Few artists straddle the line between classical and electronic music with as much success as Anna Meredith. We talk to her about the creation of her recent Mercury‑nominated album.

Bruce Springsteen’s latest album was an international hit last year, but the console it was mixed on was made a quarter of a century ago. Mixing legend Bob Clearmountain was at the controls.

LCR (Left-Centre-Right) panning isn’t so much a technique as a mindset that can lead you to more satisfying mixes.

When rapper Machine Gun Kelly enlisted the help of producer and Blink‑182 drummer Travis Barker on his latest album, a shift to pop‑punk seemed inevitable. Who better to mix it than punk/hip‑hop crossover engineer Adam Hawkins...

In our new monthly feature, we track down the new producers who are making waves and find out what makes them tick.

Dean James Barratt is a sought-after Mix Engineer based out of The Dairy Studios in London. Dean talks to Sam Inglis about his personal road to becoming a freelance Mix Engineer, what defines that role, tips on making it, and what keeps clients coming back for more.

Mat Gendreau shares his 5 top tips for using parallel processing techniques on voice, bass and drums.

We speak to Disclosure’s tech guru Guy Lawrence about their journey from bedroom production to working with top‑flight stars in some of the biggest studios in the world.

There’s more to great‑sounding reverb than loading and tweaking your favourite plug‑in.

The lead single from Pop Smoke’s posthumous debut album was stitched together from two demos in different keys. Mix engineer Jess Jackson turned it into a piece of pop magic.