Recording

I’ll soon record a sludge‑metal band and I need some advice. Any techniques for making the guitars sound sufficiently wide in the mix?

In the first of this two-part series, David Mellor gives us an introduction to mic polar patterns.

A valuable test for recording engineers, David Mellor gives examples of different mic types to emphasise the importance of knowing your mic collection in detail.

Catherine Marks talks to Kevin Paul about her traditional route into the industry as an assistant to Flood and Alan Moulder, plus her tips for how to approach a mix and get the best out of a track.

I want to record some vinyl into my DAW, could a turntable simply be plugged into any audio interface and the EQ applied after amplification?

Kevin Paul talks to Record Producer and Mixer Danton Supple, who gives a fascinating insight into learning his trade at Sarm and Westside Studios during the 1980s and how he approaches the different roles of Recording Engineer, Producer and Mix Engineer.

Kevin Paul chats to producer engineer Gareth Jones about his impressive career at Mute Records and Hansa Studios in Berlin, working with bands such as Depeche Mode, Nick Cave & the Bad Seeds, Erasure and Goldfrapp.

In the final part of this series, Rob Toulson focuses on mic techniques for recording drums and talks us through the issue of frequency cancellation in a multiple mic setup, details how to choose the recording sweet spot in a room and explains the various stereo mic options that are available including the famous Glyn Johns technique.

Today’s pop music has Cirkut’s hands all over it.

Rob Toulson explains how to optimise the drum sound for recording by experimenting with drum head, damping system, tuning and drum shell combinations.

In celebration of Delia Derbyshire Day 2023 and the 60th Anniversary of the Doctor Who theme, Caro C discusses the Delia Derbyshire archives and the importance of her contributions to the development of electronic music.

In Part 1, we look at the key principles of drum acoustics and discuss some scientific aspects of drums with respect to making music and creative recording projects.

Recently I had to record a Japanese taiko drum ensemble, but I got a fair bit of distortion even though my recording levels never reached 0dBFS. Why was I getting this distortion/compression?

Songwriting today is about collaboration, capturing moments of inspiration and polishing them ’til they shine. Blake Slatkin is a master of the art.

These gadgets might not be the most glamorous devices, but at some point in your recording adventures you’ll probably find you need each and every one.

Britain’s most high‑profile rapper has made his most ambitious album yet — with a little help from his friends.

Gilla Band’s new album is one of the least normal things you’ll hear this year...

Ricky Reed has worked with a multitude of artists across a huge range of genres, most recently delivering a string of huge hits for Lizzo.

Like any true rock star, Bryan Adams is most at home in the studio!

Mix engineers used to prefer hardware to software because it sounded better. Is that still true? And if not, is there still a reason to use it?

I’m seeing a lot of conflicting advice about using compression while recording. Some swear by it while others say it’s completely unnecessary with 24‑bit recording and modern converters. Where do you stand on this?