Recording

Christina Aguilera's debut single was a worldwide smash hit last year, thanks in no small measure to the distinctive work of producer and co‑writer David Frank. Mike Senior finds out how he did it.

From his early days as a pioneer of British synth-pop, Martyn Ware has forged a career on the cutting edge of electronic music. And he is still innovating today — in 3D.

Sound On Sound's September 1999 SAE/Quantegy competition offered the fantastic prize of an all-expenses-paid recording session in a New York studio with a top producer. Tom Flint talked to the lucky winners to find out how they put their winning demo together — and found out how producer Nicky Graham transformed it into a potential chart smash.

I've been playing in bands ever since I saw George Harrison and the boys in 1963 (I'm still a Beatle‑freak!) Now,...

In the first part of a new series, Paul White looks at the practicalities of stereo editing. So, if you plan on compiling your stereo mixes into an album master, you'd better read on.

A hugely successful new album marks The Red Hot Chili Peppers' returns to form — and incredibly, it's nearly all in mono. Engineer Jim Scott talks to Paul Tingen about the recording process and the group's refreshingly direct approach to production and mixing.

Most jobbing producers would regard jetting off to exotic locations to spend a year with one of the most famous artists in the world as a fantasy. For programmer and producer Kipper, however, the dream became reality — thanks to Sting. Tom Flint caught up with Kipper in his Surrey home studio.

With their first Top 10 chart placing and massive radio play, Travis' recent single marked a commercial breakthrough for the band. Sue Sillitoe talks to producer Mike Hedges.

Do you want your bass end to sound bigger, fatter, louder and meaner? Paul White explores some of the options.

Why is it that some perfectly well-recorded songs sound like demos, while others sound like top commercial tracks? Paul White investigates the mystery of the 'produced' sound.

Last month, Hugh Robjohns described the planning and setting up he undertook in preparation for recording the choir of Cheltenham College. This month, he turns his attention to the recording itself — and the problems of moving between two venues in one day.

Gareth Cousins talks to Hugh Robjohns about the craft of recording music for film, and his work on the recent British blockbuster Notting Hill.

Recording a choir on location presents a number of unique technical and artistic challenges. Hugh Robjohns describes how he approached a recent project.

The release of a new album by ex-Genesis guitarist Steve Hackett is usually a cause for celebration amongst his substantial body of fans. Paul Ward talks to him about the making of his latest, Darktown, and wonders whether it might find him an even wider audience....

Paul White examines how a simple computer-based studio can be hooked up with a mixer to provide zero-latency monitoring during recording.

After many years of planning, Rick Wakeman has succeeded in putting on a show that is a worthy successor to follow his theatrical '70s son et lumière extravaganzas — Return To The Centre Of The Earth. Paul Ward was present as production of the album of the story neared completion at CTS Studios in London.

Blanket coverage in the music press and wall-to-wall radio play have made Gay Dad the hottest new band in the UK. Matt Bell talks to singer Cliff Jones and producer Mark Frith about the recording of their second hit single, 'Joy'.

Few people can truly be said to be multi-talented, but jazz and soul legend Marcus Miller is undoubtedly one of them. Paul Tingen talks to him about his approach to making and recording music, and looks inside his Camel Island studio.

Up to 30 percent of SOS readers are planning to buy a CD recorder this year, so clearly many of you have designs on making your own album. Paul White talks you through the process of compiling an audio album on CD-R using a stand-alone CD recorder fed from a DAT source.

Sampled drums may be quicker and cheaper than the real thing, but there is something special about a real drummer hitting real drums. Hugh Robjohns passes on a few ideas and tips on capturing the best possible kit sound.

You don't necessarily need a multitrack recorder or audio sequencer to make a master-quality recording. Paul White explains how good results can be produced using stereo recording techniques married with MIDI sequencing.