Recording

Daniel Moyler is a London‑based mixing and recording engineer who when asked to dissect a favourite sound, focuses on the drum sound from ‘Crowbar’ by Frank Carter and the Rattlesnakes.

Respected British record producer and engineer David Lord chooses XTC’s ‘All You Pretty Girls’ as a favourite sound from the many he’s recorded.

Working with analogue tape wasn’t all good, but it did impose a discipline on recording sessions that was hugely beneficial — and which our DAWs have made optional.

Andy Jackson has worked with Pink Floyd and David Gilmour since 1980, and a favourite among the many great sounds Jackson has recorded is the dry, dense drum sound heard on Pink Floyd’s ‘Marooned Jam’.

Over the years, David Kosten has helped create many weird and wonderful sounds, and selects ‘Seal Jubilee’ by Bat For Lashes as a favourite.

On paid sessions, every engineer has to get the job done. But it’s still important to find the time to learn your tools, discover new techniques — and foster creativity.

Join the Spitfire Audio team and engineer Simon Rhodes on a deep dive into one of the most epic orchestral projects of all time...

Famed English producer and engineer John Leckie gives details about one of his most influential works, the mini‑album 25 O’Clock, a pastiche of ’60s psychedelia.

David Bottrill’s vast credit list includes Peter Gabriel, Smashing Pumpkins and Tool to Muse, Silverchair, Rush and many others. When asked to pick a favourite sound from that catalogue, he chose the drone that underpins ‘Passion’ by Peter Gabriel.

Paul Hardcastle’s iconic ‘19’ owes more than a little to serendipity and the limitations of the Emulator II sampler...

For the Dune movies, Hans Zimmer and his team of extraordinary musicians didn’t just create a score. They created an entire world.

Guts has cemented Olivia Rodrigo’s status as a major star. Her chief songwriting and production partner is Daniel Nigro.

American music producer, songwriter and multi‑instrumentalist Doug Showalter breaks down how he crafted the guitar sound on Harry Styles’ mega‑hit ‘As It Was’ in his Nashville studio.

Eirik ‘Pytten’ Hundvin’s work with Mayhem continues to inspire producers, 30 years on. Two of the genre’s leading lights explain how they are taking black metal forwards.

Mayhem’s De Mysteriis Dom Sathanas album is the cornerstone of Norwegian black metal. We talk to producer Eirik ‘Pytten’ Hundvin about his unique philosophy and the making of this genre‑defining album.

Using more than one mic on a source can expand your sonic horizons — but it can also lead to problems. We explain when multi‑miking is and isn’t a good idea.

Canadian Davey Badiuk is a composer, producer, mixing engineer and remixer, known for his unique ability to modernise organic music.

Record producer/mix engineer Luke Smith details how he got his favourite sound on ‘Spanish Sahara’ from Foals...

Asked to pick a favourite sound to dissect, American mix master Michael Brauer chooses the vocal sound on Elle King’s ‘Ex’s & Oh’s’.

PJ Harvey and her fearless collaborators have navigated three decades and six albums without repeating themselves, and her new album is another masterclass in innovative production.

The technical dimension to vocal production is important, but the human dimension is even more so.