Mixing / Production

Silver Apples jammed with Jimi Hendrix, counted John Lennon as a fan, and produced extraordinary electronic music — with nothing but a drum kit and a pile of electrical junk.

The SOS team are confronted by a confusion of speakers this month, and opt for a cost-effective DIY approach to sorting out Tony Rigg's studio acoustics.

Eminem's Recovery has been one of the biggest hit albums of the year, spawning two number one singles — all recorded and mixed by Eminem's long-term engineer, Mike Strange.

Though often overlooked by beginners, colour adjustments can do a lot for footage, from fixing incorrect camera settings to adding some Hollywood sheen.

Vocal booths arent always the right solution to problems with live-room acoustics, but if you do need to build one, it can be done with some DIY skills and a lot of elbow-grease...

When is a reverb not a reverb? When it's a filter, of course! There's more to convolution than meets the ear, and creative processing of impulse responses can yield extraordinary results.

These audio files accompany the Creative Convolution: New Sounds From Impulse Responses article.

New to the world of video production and unsure what gear to buy? Our guide to the five best options in three categories will get you started.

These audio files accompany the Programming Realistic Drum Parts article.

Today's multi-gigabyte drum libraries include some fantastic sounds and groove presets — but they haven't taken all of the work out of creating a great drum part.

Legendary Black Sabbath frontman Ozzy Osbourne is still rocking in his sixties. The musical powerhouse behind his latest hit album Scream is producer, engineer, songwriter and instrumentalist Kevin Churko.

Learning how to extract MIDI data from Kontakt will allow our scripts to respond to different user actions in different ways, and even to control entire Kontakt Multis at once.

Nashville heavy-hitter Paul Worley was so impressed by Lady Antebellum that he gave up his high-profile job at Warner Bros to produce them. With Clarke Schleicher at the desk, the gamble paid off in style.

In SOUND ON SOUND September 2010s printed magazine (and digital editions), we introduced some innovative methods of recording and processing impulse responses. But if you know how to use a program like MATLAB, you can even generate them from scratch.

No matter how brilliant your music is, TV and film producers will never license it if they cant find it...

Singer-songwriter Joe Murphy has been crafting tunes for a few years, but had hit a wall when it came to fine-tuning the arrangement and mix of ‘Casting Shadows’. This month, we embellish some repetitive drums by adding percussion, and get busy with the send effects.

These audio files accompany the Mix Rescue article.

Do you have any pointers on making a great sub‑bass synth sound to underpin bass lines? It seems to be one of those things...

I'm curious to know how common the use of re-amping is amongst producers, engineers and composers. There are so many...

Pioneers of everything from circuit-bending to multimedia art, Devo have always belonged to the future.

Building on last months introduction to the basics of scripting in Native Instruments Kontakt soft sampler, we explain how to make your scripted functions adjustable via a simple user interface.