Mixing / Production

It's 70 years since the idea of digital audio sampling was first patented - so it's high time we laid to rest the myths and false perceptions that surround it.

Here are links to the audio files from September 2007's MIX RESCUE article, for those readers who buy the magazine from the newsagent and don't wish to type in all the long URLs.

I have a few tracks that I'd like to put on-line, but I'm having trouble getting the bass to sit forward enough in the mix...

This month we deal with thorny phase-cancellation problems, overhaul musical arrangements and get creative with effects, as we rise to the Mix Rescue challenge.

Chart-topping indie-rockers Athlete could have had their pick of the worlds producers and engineers to work on their third album. Instead, they chose to build a studio and do things their own way.

Producer and engineer Mark Endert not only mixed the lead single from Maroon 5s second album: he also co-produced it and programmed many of the parts.

In an age dominated by software and samples, Jerry Boys has found the perfect niche for his old-school engineering skills: as the first-call specialist in recording world music.

Businesses are using music in ever more sophisticated ways to promote their products and reinforce their identities. Tena Clarks DMI Music leads the field in finding original ways to integrate music into marketing campaigns.

For her second album, Back To Black, Amy Winehouse and producer Mark Ronson crafted a heavily retro sound. Mix engineer Tom Elmhirst describes how he massaged their '60s soul vibe to create a radio-friendly hit in 'Rehab'.

Following last months workshop on dub mixing, we talk to living legend Mad Professor, a world-class exponent of this music genre.

This month we sort out timing issues for a band called Exhibit-1, replace missing snare beats, as well as improving the rest of the mix.

To avoid newsstand buyers of the magazine from having to key in long URLs by hand, here are the links to the various MP3 files that accompany the AUGUST 2007 instalment of Mix Rescue.

Second-hand tape recorders are cheap and can provide uniquely warm, organic delay effects. Best of all, its a piece of cake to integrate them into a digital mixing setup. We tell you how...

There are lots of reasons to teach yourself the art of dub mixing. It's fun, it's creative, it puts your engineering skills centre stage — and it might even make you some money!

Megastar Justin Timberlake shot back into the charts last year with 'Sexyback', a hugely successful — and highly unusual — collaboration with hot-shot producer Timbaland. Jimmy Douglass was behind the desk.

We made things a little harder by tackling this month's Mix Rescue before a student audience.

Creating the score for Pirates Of The Caribbean: At World's End required an incredible amount of music technology, and demonstrated why 64-bit computing offers new levels of realism for orchestral sample libraries.

To avoid newsstand buyers of the magazine from having to key in long URLs by hand, here are the links to the various MP3 files that accompany the JULY 2007 instalment of Mix Rescue.

Doctor Who's 2005 revival saw the TV programme and its incidental music triumphantly reinvented. Gone are the Radiophonic textures of old, replaced by a confident orchestral score that stands comparison with Hollywood's best. Composer Murray Gold talks technical at his home studio.

This month, we invited guest mix-rescuer Luke Fletcher to create an authentic '60s feel.

To avoid newsstand buyers of the magazine from having to key in long URLs by hand, here are the links to the various MP3 files that accompany the JUNE 2007 instalment of Mix Rescue.