Mixing / Production

Matt Johnson of Jamiroquai talks us through five of his favourite keyboard processing tips.

Central Cee has taken drill music to the top of the UK album charts, thanks to some very fast work from mix engineer Sean Donoghue.

Taking a chance on immersive music has paid off handsomely for producer Stan Kybert, who has reinvented himself as one of the UK’s busiest Atmos mixers.

Enigmatic New York producer Morgan Geist began making techno in his ’90s college dorm before a remix turned his life upside down.

Sea Change is the moniker of Norwegian producer and singer Ellen AW Sunde, whose ethereal music borrows from club culture as much as it does from ambient and experimental soundscapes.

Eddie Bazil gives six sound design tips, using various plug-in filters to create unique instrument sounds and to add interest and movement to mixes.

Howard Gray gives us a fascinating look behind the scenes of recording and engineering some of the biggest tracks of the '80s.

How they recorded the solo on ‘Solace’ from Fuel’s second album, Something Like Human (2000).

With six lead singers, an orchestra and more, ‘We Don’t Talk About Bruno’ from Encanto was always going to be an epic production challenge — and then lockdown happened.

With an extraordinary track record as producer, songwriter, musician, mixer and remixer, Mike Dean is a one‑man music industry.

Leading mix engineer Andy Bradfield shares some of the lessons he’s learned in getting to grips with Dolby Atmos.

It was just another session for producer Peter Nappi, but Gayle’s ‘ABCDEFU’ would become one of the most listened‑to tracks of 2022.

We talk to the people who are creating real‑world Atmos content, starting with Canadian super‑producer Greg Wells.

Our tame engineer describes a new approach to mixing that helped him to get the best out of an EP that was recorded remotely during lockdown.

CEDAR Audio has led the world in audio restoration and noise suppression for over three decades. We find out more about their ground-breaking technologies.

David Gould, Director of Audio Content Solutions at Dolby Labs, talks to Hugh Robjohns about immersive audio and how Dolby Atmos works.

I need to align some analogue gear to work with digital audio embedded in a video broadcast... what dBFS should my digital PPM read at the end of the chain?

With your lead vocal performance comped and tuned, and its timing tightened, is there anything else to do before you start mixing?

When you’re polishing a nine‑piece vocal band like TWICE to K‑pop perfection, organisation is essential!

Vocoders are not just for vocals. In this episode, Eddie Bazil talks about the various vocoder plug-in options and demonstrates six creative techniques.

Having crafted some of the biggest hits in pop, Adam King Feeney, aka Frank Dukes, built an ambitious sample library to help others do the same.