SOUND ON SOUND
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When I started my musical career in 1968, playing live was all there was. My first band Uriel lived for the moment when...
Tired of running back and forth between the control room and live room? Meet your new robotic assistant...
The annual Music Producers Guild Awards took place at The Tower Hill Hotel in London, with a total of 15 categories presented.
Can Dreamtonics really deliver a session singer in software?
Want a hit that transcends genres? Hire a mix engineer who does the same — as Steve Lacy did with Neal Pogue.
Elbow reacted against lockdown and their own tried and tested methods by hiring Brighton’s Theatre Royal as an improvised studio space.
Does the latest iteration of NI’s Komplete music production suite provide all the tools you need?
The ultimate one‑man band, Brazilian artist Ricardo Bacelar uses layers of drums, percussion, guitars and keyboards to build up dense immersive mixes.
Nearly two years after its release, Cat Burns’ single ‘Go’ gave Aaron Ahmad his first major mixing hit.
Geoff Swan gave up a successful studio business to become an assistant engineer — a risk which paid off with Charli XCX’s number one album, Crash.
We put the desert island questions to this Tel Aviv-based dynamic, hip‑hop‑infused pop duo.
Film composer, theatre composer, TV composer, ballet composer... Why be one when you can be them all?
German sampling experts NI have just announced a major update to their flagship software bundle Komplete, along with a new version of Guitar Rig Pro.
When you’re polishing a nine‑piece vocal band like TWICE to K‑pop perfection, organisation is essential!
The result of an extraordinary collaboration between Arthur Baker and London band Freeez, ‘IOU’ was a pioneering hit of the electro genre.
A good engineer can make bands sound better than they are. In this video, Sound On Sound's Editor In Chief Sam Inglis explains how to turn musical lead into gold...
Working on tape with the Red Hot Chili Peppers forced Ryan Hewitt to revisit old‑school mixing skills — and find ways to adapt modern techniques to the analogue domain.
Extreme close miking can be an aesthetic choice or an uncomfortable necessity. Either way, it’s important to know how to get it right.