Mixing / Production

Behind every virtual band, there are real producers and engineers. In the case of Gorillaz, they were Anthony Khan and Stephen Sedgwick.

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

By stepping back and taking stock, our engineer manages to rescue his own mix of guitars, bass and hurdy-gurdy for an Alt/Folk band!

Our major new series explains how to harness the power of today’s virtual orchestral instruments.

This month: Louis Tomlinson & Steve Aoki, Stormzy, Sturgill Simpson, Sarah Jarosz and our Classic Mix is Toni Braxton ‘Un-break My Heart’ (1996).

A list of all SOS articles that hold associated media files for July 2017 audio examples.

Soulful electronic artist/producer SOHN shows us how he layers up, edits and processes his own vocals, and uses Auto-Tune in an unconventional way to create ear-catching textural and percussive elements.

The resurgence of film musicals continues, with Disney’s Beauty And The Beast the most successful yet. Hollywood veteran Frank Wolf oversaw the complex recording and mixing process.

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

This month: Ariana Grande, Tim McGraw, Zara Larsson, Kelsea Ballerini and our Classic Mix is Gloria Gaynor ‘I Will Survive’ (1978).

We catch up with Erez and Duvdev, the performer/producers behind Infected Mushroom and plug-in company Polyverse. Here, they show us some of the tools and techniques used to create the constantly morphing track 'Flamingo'.

The unique sound world created by Future and engineer Seth Firkins has brought the Atlanta rapper record-breaking success.

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.

Disappointed with the commercial mix of his band’s track, Barnabas Koch sought the help of our tame engineer...

How much preparation is required before a recording session, and when should it all begin? We asked some top producers to share their wisdom.

I think I understand what crosstalk is, but I don‘t know how it sounds. I can’t find a proper explanation of how mixes sound with and without it. Also, is crosstalk in plug-ins something to look out for, or is it a myth?

This month: Starley • Flume • Gnash • La La Land (Original Motion Picture Soundtrack) • Classic Mix: Domenico Modugno ‘Nel Blu Dipinto Di Blu (Volare)’

This month: Hamilton (Original Broadway Cast Recording) • Ed Sheeran • Sean Paul featuring Dua Lipa • Jax Jones featuring Raye • Clean Bandit featuring Sean Paul & Anne-Marie • Classic Mix: Mungo Jerry ‘In The Summertime’ (1970)