When a whole composition can be pieced together in a matter of minutes using tempo-sync’ed samples and a bunch of exciting effects and drum loops, it makes learning to play an instrument seem like a endless trudge...
Oasis’s 1996 gig at Knebworth marked the end of an era for point–source PA. We asked the people who made it happen what has changed since.
In the making of Alabama Shakes’ Sound & Color, producer Blake Mills and engineer Shawn Everett had almost unheard–of licence to experiment — and took full advantage.
Guitar synthesizers have been around since the mid-1970s but have never really captured the imaginations of the majority of guitar players.
Recording and producing your own music is always a challenge — especially if, like Faith No More, your previous albums have been done by the best in the business!
Hailed as the first British acid house single, A Guy Called Gerald’s sublime ‘Voodoo Ray’ has since become a classic in its own right.
The tyranny of distance is real, and many musicians want to overcome it.
After last month’s Leader column outlining the difference between products we’re asked to buy and products we actually need, I realised I’d missed out the really big one.
This month tracks from Kendrick Lamar, Roseanne Cash, Rihanna, Kanye West & Paul McCartney, Chick Corea and our Classic Mix - Miles Davis, 'So What'.
Kendrick Lamar’s To Pimp A Butterfly is one of the most ambitious hip-hop albums of recent years. Derek Ali was Lamar’s right-hand man during its making.
Award-winning engineer Jake Jackson deconstructs his mix of a brooding musical cue by Sheridan Tongue for the BBC’s long-running crime drama.
Matt Houghton recollects the good old days.
This month tracks from Jack White, Angelique Kidjo, Paramore and our Classic Mix: I Heard It Through The Grapevine.
Reggae fan Daniel Boyle painstakingly researched the equipment Lee ‘Scratch’ Perry used in his groundbreaking Black Ark studio — then made an album with the dub legend himself.
Working with super–producer Jacquire King was a dream come true for James Bay. In a unique interview, King explains how he oversaw the recording of Bay’s hit debut album.
When it comes to new audio gear, I tend to split products into ‘things they try to sell us’ and ‘things we really need'.
Producer JR Rotem is no stranger to success but, until 'Centuries', it was confined to pop and urban genres. We find out how the song was constructed and walk through the session files.
The world is full of questions, ranging from the really big ones, such as ‘Is life really just software running on a computer made of meat?