Mixing / Production

When an unknown act such as Sam Smith hits the big time, there's often an experienced producer behind the scenes — like Steve Fitzmaurice...

From humble beginnings, Joey Sturgis has become a leading producer in the highly technical metalcore scene.

We examine the production of some recent hits to help you brush up on your listening skills.

This month we're listening to Coldplay, Sam Smith, Paolo Nutini and our Classic Mix is Elvis Presley 'Hound Dog' from 1956.

You have the skills and the gear, but how should you tackle your first sound-for-picture projects?

Engineer and producer Dani Castelar accompanied Paolo Nutini through three years and 11 studios to make his acclaimed new album Caustic Love.

Despite having mastered sample manipulation and digital editing, Metronomy's Joseph Mount felt there was something missing — so he went cold turkey on computers...

Thirteen acts playing two sets each, in an historic venue, with minimal changeover time? It's all in a day's work for our intrepid live‑sound engineer.

This month one of our engineers aims to augment the natural beauty of a baroque‑music duo playing in a church.

The dazzling world of South Korean pop music confuses many Westerners — but Denmark's Thomas Troelsen has become one of its leading producers and songwriters.

Front-of-house engineer David Williams talks to SOS about why mixing with a DSP audio interface is worthwhile, despite the dangers of using a laptop on stage.

The Horrors take studio experimentation to new extremes, even designing and making a lot of their own equipment.

As producer, engineer and mixer, Andy Wallace has done more than anyone to define the sound of modern rock and metal.

This month Pharrell Williams Happy, DJ Snake Turn Down For What, John Legend's All Of Me and the Classic Mix - Dire Straits Money For Nothing.   

Audio files to accompany the article.

Part 2: Learning to capture the behaviour of controls will take your custom Nebula creations to another level.

It's live, Jim — but not as we know it. We look at how the rise of affordable, portable gear has enabled a new approach to music-video making.

Producer and engineer John Congleton has worked on anything and everything — the more unfamiliar, the better!

With thumbprint data security and track counts in the thousands, the scoring process for sci‑fi movie Divergent was close to science fiction itself!

Audio files to accompany the article.