Recording

Working with a producer and an ambitious timescale, our engineer planned ahead for the best chances of a good result.

Central to Atlanta’s white-hot rap scene is producer Zaytoven, who brings a West Coast flavour to trap.

His quest to capture the spirit of Avebury led former Radiophonic Workshop composer Steve Marshall to develop some unique experimental recording techniques.

When you’re recording a Morrissey album, you need to be ready for anything...

Karl Marx predicted that history would repeat itself as farce — but he never saw a role for expert pop parody!

By turning your hotel room into a project studio, you can deliver broadcast-quality VO tracks when you travel.

Keeping the BBC’s flagship classical music show at the top of its game requires serious engineering skill — and the ability to cope with the unexpected!

Soulful electronic artist/producer SOHN shows us how he layers up, edits and processes his own vocals, and uses Auto-Tune in an unconventional way to create ear-catching textural and percussive elements.

How much preparation is required before a recording session, and when should it all begin? We asked some top producers to share their wisdom.

Creating alien worlds, bringing droids to life and giving Star Wars more realism. We talk sound design and foley with the team behind the critically-acclaimed Rogue One.

Not many dance acts start life as string quartets — but Clean Bandit’s fusion of classical and electronic music has powered them to worldwide success.

Watch engineer/producer extraordinaire Eric Valentine as he crafts a shimmering surf guitar sound, in the vein of Smash Mouth or Third Eye Blind, that employs three amps and judicial use of modulation effects.

We sat down with songwriter/producer Jake Gosling ahead of his masterclass at ACM in Guildford, UK, to talk about creating better arrangements, getting the best out of performers, and the advantages of having a simple recording setup. 

Maximising A Minimal Arrangement: Our engineer tackles the recording of some stripped-down electric-guitar and vocal arrangements.

LA-based producer Eric Valentine (Queens Of The Stone Age, Slash) recreates the guitar sound from QOTSA's unique 2002 album, Songs for the Deaf. We look at every link in the chain from tuning and guitar choice through to amp settings, pedals, mic selection and post-processing.

The challenge of creating a glass-themed sound world for her third album led Agnes Obel to explore some little-used instruments and techniques.

Like their debut, Bastille’s Wild World was recorded in a South London basement — but this time around, the band were global superstars.