Recording

Ricky Reed has worked with a multitude of artists across a huge range of genres, most recently delivering a string of huge hits for Lizzo.

In part four of his recording series Mark Mynett details how to prepare a vocalist for studio recording and how to select and set up your recording equipment for optimal results.

The legendary Decca recordings of Wagner’s Ring operas were always envisioned as immersive listening experiences. They’ve now been restored as exactly that!

American musician and producer Tyler Bates reveals how he created his favourite recorded sound.

Beyoncé’s chart‑topping album Renaissance showcases a production process that’s all about staying in the moment.

We engage in some audio archaeology to discover how a pioneer of electronic music created one of her most important works.

Mark Mynett, Sound Engineer and Senior Lecturer in Music Technology and Production, talks us through the setup and...

Soul II Soul’s ‘Back To Life’ was a hit record with a sound all of its own.

Four‑time Grammy Award‑winning producer, engineer and mixer Chris Shaw has worked with some of the biggest and most...

Mark Mynett, Sound Engineer and Senior Lecturer in Music Technology and Production, talks us through the setup and recording of live drums.

Mark Mynett, talks us through prepping for and recording a bass session, including ways to generate multiple layered tracks for use in your final mix.

The result of an extraordinary collaboration between Arthur Baker and London band Freeez, ‘IOU’ was a pioneering hit of the electro genre.

Asked to pick a favourite sound from his huge discography, Matt Squire nominates the track ‘On My Teeth’ from Underøath’s 2018 album, Erase Me.

Like any true rock star, Bryan Adams is most at home in the studio!

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?

Mix engineers used to prefer hardware to software because it sounded better. Is that still true? And if not, is there still a reason to use it?