Recording

The three albums Mike Thorne produced for Wire showed that there was much, much more to punk than met the eye.

Elfman recently released his latest solo album, Big Mess, and chose a track from the album as his favourite sonic achievement.

New York‑based engineer and producer Andrew Maury, when asked to pick a favourite sound that he’s worked on, nominates the drum mix he created for Lewis Del Mar's ‘Loud(y)’.

Landquist reveals how he got his favourite sound on A‑ha’s ‘Lifelines’, the 2002 title track to the Norwegian synth‑popsters’ seventh studio album.

When asked to pick a favourite sound that he’s worked on, English producer and mixing engineer Tim Palmer nominates the radio speaker guitar intro from Pearl Jam's ‘Black’.

We show you how to get great results from self‑recording singers.

Japan keyboard player Richard Barbieri tells the story of their most haunting hit.

English producer and mixer Chris Sheldon, when asked to pick a favourite sound that he’s worked on, nominates the drum sound he got with rock band Oceansize.

In the first episode of a new column, we asked Steve Albini to choose a favourite sound from his huge back catalogue and explain how it was created.

Across 17 years and eight albums, Field Music have become one of Britain’s best-loved guitar bands. They’ve also evolved a...

‘Walk Like An Egyptian’ was a huge hit for the Bangles, but it all started with a demo mix‑up and some very unusual percussion.

Binaural recordings are an easy and effective way to capture immersive audio.

For anyone with an interest in recording classical performances of any form — whether they’re an amateur, a professional or an academic — this is absolutely essential reading.