Mixing / Production

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)

Creating alien worlds, bringing droids to life and giving Star Wars more realism. We talk sound design and foley with the team behind the critically-acclaimed Rogue One.

Achieving a naturalistic sound on a Hollywood film set isn’t easy — but was central to director Damien Chazelle’s vision for La La Land.

Thoughtfully prepared DAW templates can leave you with more time for the creative and musical side of mixing.

Not many dance acts start life as string quartets — but Clean Bandit’s fusion of classical and electronic music has powered them to worldwide success.

Recorded, mixed and co-produced by Greg Fidelman, Metallica’s Hardwired... To Self-Destruct has proved an unexpected career high point.

Having set out to capture a live-band feel when tracking, our engineer is tasked with steering the mix in a more polished pop direction.