Mixing / Production

How do I add sub-bass easily to my tracks? I have a nice core ‘bass’ tonal synth but it lacks the low-frequency weight I’m looking for.

I’ve listened to music recorded on tape and the ‘warmth’ seems to be largely due to the soft-saturation characteristics of the tape and other non-linear components in the signal chain. This being the case, won’t a simpler valve emulation or mild overdrive plug-in achieve pretty much the same result?

Once an expensive and futuristic dream, the technology for Internet‑based collaboration is now available and affordable — and more practical than you might think.

Despite recording mainly live, Arcade Fire spent more than a year recording Reflektor. It was up to Korey Richey and Mark Lawson to get the results to tape.

Audio files to accompany the article.

One of our engineers visits a reader's studio to help him bring the best out of his dubstep track.

This month tracks from Jason Derulo, Martin Garrix, Eminem and our Classic Mix: The Beatles' Yesterday from 1965.

When I first looked at the Jake Bugg sessions, I was like, 'Wow, this is really stripped-back.'

Proving that not every pop star is a manufactured creation, John Newman is as at home in the studio as he is on TV.

Even with the simplest of setups, audio recording for film is no easy task — especially when the whole picture has to be shot in a day.

As the nails are being hammered firmly into the coffin of competitive loudness processing, we consider the implications for those who make, mix and master music.

Audio files to accompany the article.

Our engineer figures out how to apply just the right amount of polish to an indie-rock track with a DIY aesthetic.

This month we analyse hits from Storm Queen, The Reflektors and Lorde plus our classic mix 'Roxanne' by the The Police. 

Following on from last month’s article about drum miking, here we’ll discuss the various ways you can mix and process your drum-kit mics.

The Mix Review in Sound On Sound This month we analyse hits from Biffy Clyro, Armin Van Buuren and Duke Dumont, and take a look back at a classic mix, Sinead O’Connor’s version of “Nothing Compares 2 U”, from 1990.

Two massive hit albums in a year was a pretty good return on 20 days' work for Justin Timberlake, producer Timbaland — and engineer Chris Godbey.

We asked some of the world's leading engineers how they approach one of the most common yet complex instruments on stage: the drum kit.

Tracks that I mix in my home studio tend to sound really bad in my car, but when I correct the mixes so they sound good in the car, they sound awful over my monitors — so what's going wrong?

Electronic drum kits are not silent, so what can you do to tame their thumps and rumbles?

Producer Phil Ramone was legendary for getting great vocal sounds. Here's how he did it — and how you can do the same.