Recording

Canadian producer / engineer Garth ‘GGGarth’ Richardson has worked with some of music’s biggest acts, and from his vast discography he discusses how he created an iconic bass tone.

Engineer and Producer Louis Austin talks about his early days in the industry, where he developed his recording skills working with Queen, Fleetwood Mac, Sweet and Judas Priest.

Having worked as a vocal coach for a decade, producer and engineer Gili Portal trained at the Abbey Road Institute before landing her current full‑time role at London’s RAK Studios.

Can I somehow record individual tracks into my DAW using the UA Volt 1, or should I mix on the Tascam?

At just 26, Katie May has already worked with some of the biggest names in the industry. She trained at Real World Studios in Wiltshire, UK, where she is still based.

Grammy Award-winning producer Matt Lawrence gives us a fun insight into his early years in the industry as an assistant producer, and offers a valuable selection of tips and ideas for launching a successful studio career today.

As CEO of Universal Audio, Bill Putnam Jr has pioneered some of the most important innovations of the last 35 years. In conversation with SOS's Sam Inglis, he traces the Universal Audio story back to its founding by his father Bill Putnam Sr in 1958.

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.

Mix Engineer Caesar Edmunds talks to Kevin Paul about his route into the industry via formal education at LIPA, before gaining work experience with Alan Moulder at Battery Studios.

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.

An engineering residency at Spotify’s Noteable Studio helped Abraham realise her passion and talent for vocal production. Nick Cave and Warren Ellis, Elton John, Little Mix rank amongst her credits.

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.

I want to install permanent ceiling mics that capture the reverb of the room so I can add natural reverb to my mix. Is there any microphone that rejects direct sound?

Paul White and Hugh Robjohns discuss the basics of a good home studio setup, including choosing the right equipment and setting up your space correctly to achieve the best recording and mixing results.  

As well as playing with some of the biggest names in the field, Andy La Rocque has turned his Sonic Train Studios into a metal Mecca.

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’.

Paul White and Hugh Robjohns discuss the best practices for avoiding and eliminating electrical noise interference in your home studio.

Jason Singh is a sound artist, producer and performer. His creative output is an exploration of the natural world, voice and a wide range of music technologies, including the MIDI Sprout interface.

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.