Recording

Asked to pick a favourite from the innumerable sounds he’s committed to tape, Alan nominates the unique keyboard sound on ‘The Eagle Will Rise Again’, from the third APP album Pyramid.

I’m seeing a lot of conflicting advice about using compression while recording. Some swear by it while others say it’s completely unnecessary with 24‑bit recording and modern converters. Where do you stand on this?

The Chainsmokers’ new album shows off some serious production and songwriting skills.

Asked to pick a favourite sound from the band’s influential catalogue, Walter Flakus dives into the track ‘Drugstore’, from 1998 album Darkest Days.

Poo Bear, the American two‑time Grammy Award‑nominated songwriter, producer and principal collaborator of pop megastar Justin Bieber, chooses his own favourite vocal on a track from Bieber’s Changes album.

One of the world’s leading engineers specialising in rock music, Mike Plotnikoff is renowned for his guitar sounds. The secret? Find the right amp and keep it simple.

Howard Gray gives us a fascinating look behind the scenes of recording and engineering some of the biggest tracks of the '80s.

Elbow reacted against lockdown and their own tried and tested methods by hiring Brighton’s Theatre Royal as an improvised studio space.

Asked to nominate his favourite sounds he’s created on record, the Tangerine Dream leader picks a track composed for the soundtrack of the video game Grand Theft Auto V in 2013.

Grammy Award‑winning American producer Howard Benson discusses how he achieved the drum sound on POD’s 2001 hit ‘Youth Of The Nation’.

For their latest album, Crawler, Idles guitarist Mark Bowen adopted the role of producer for the first time.

Recalling his favourite sound, LA‑based producer and mixing engineer Tom Syrowski chose the vocal on Incubus’ 2011 track, ‘In The Company Of Wolves’.

It's more than 20 years since the BBC closed their legendary Radiophonic Workshop, but its spirit lives on in the Radiophonic Room at Manchester's Eve Studios.

It's 10 years since Focusrite launched their best-selling Scarlett range of audio interfaces, now into its third generation. CEO Tim Carroll and Will Hoult, Head Of Product at Focusrite and Novation talk to Sam Inglis about what's behind the success of the Scarletts.

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.

If I open a 16‑bit, 96kHz audio file, resample it to 48kHz, and then export it again, still at 16 bits, do I need to apply dither?

Newcastle‑based singer and producer Beth Jeans Houghton, aka Du Blonde, enters the quick-fire questions round...

Producer Fred Gibson (aka Fred again..) studied under Brian Eno and has worked with some of the biggest artists in the world. And his favourite microphone is the one built into his iPhone.

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)’.