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.
We show you how to get great results from self‑recording singers.
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’.
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.
Japan keyboard player Richard Barbieri tells the story of their most haunting hit.
Across 17 years and eight albums, Field Music have become one of Britain’s best-loved guitar bands. They’ve also evolved a...
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.
‘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.
Darude’s 1999 dance hit has taken on an extensive and often surprising life of its own.
With the right guidance, iZotope's RX can remove problem sounds that would otherwise ruin a mix.
We show how iZotope's popular restoration package can deliver cleaner audio for your music projects.
In this episode, Mike Senior demonstrates several ways spill can actually improve the sound of your productions.
The title track of Steely Dan's Aja is legendary for many reasons, including the spectacular work of Steve Gadd. Who, it turns out, almost didn't make the cut in the album's planned 'rotating list of drummers'...
Grammy Award-winning engineer and producer Dom Morley chats with Sam Inglis about the art and craft of recording and mixing vocals.
Distortion can be a surprisingly useful mix effect, if you know what you're doing. Mike Senior reveals several common applications, and explains how to get the best results in practice.
In this exclusive SOS Video Feature, we talk to jungle producer Pete Cannon about how and why he’s still using Akais, Ataris and Amigas.
Time-alignment can help solve problems in multi-mic recordings — but it can also introduce new problems!
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