SOUND ON SOUND
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Polo G could have worked with any superstar mix engineer on the planet. Instead, he chose relative unknown Todd Hurtt to mix his hit album Hall Of Fame.
Hip-hop collective Brockhampton abandoned their home studios for Abbey Road — and left with a number one album.
The success of Kesha’s ‘Praying’ justified the lengths that Jon Castelli went to to get the perfect mix — eventually!
Behind every virtual band, there are real producers and engineers. In the case of Gorillaz, they were Anthony Khan and Stephen Sedgwick.
The unique sound world created by Future and engineer Seth Firkins has brought the Atlanta rapper record-breaking success.
Beyoncé’s right-hand man DJ Swivel has reinvented himself as a mix engineer — and his work with the Chainsmokers produced 2016’s biggest track.
What do you get if you cross Frank Sinatra and Queen? Producer Jake Sinclair and mixer Claudius Mittendorfer helped Panic! At The Disco’s Brendon Urie find out...
In their conquest of the pop charts, Pentatonix’s only weapons were the human voice — and the skills of mix engineer Ed Boyer.
Engineer, mixer and producer Carlo Montagnese likens his work with the Weeknd to painting — and he’s not afraid to use plenty of colour!
Working on Muse’s hit album Drones gave Tommaso Colliva and Rich Costey unique insight into the extraordinary methods of hitmaking producer ‘Mutt’ Lange.
A unique and inspired choice of collaborators helped Björk blend powerful emotion with restless experimentation.
For Jack White, analogue recording is not about looking back to the past, but choosing the ideal medium for his art.
The success of Disney's Frozen underlines the importance of music in film, whether it be as songs or soundtracks.
Ken Andrews won a blind shoot-out against some of the biggest names in the mixing world. His prize: the plum job of mixing Paramore’s acclaimed comeback album.
Would you hire a mixer who doesn’t believe in panning? The Lumineers did — and were rewarded with a hit album.
Their latest album saw Aerosmith return to their roots, with Jack Douglas in the producer’s chair. But it wasn’t all retro...
Where there's a newly independent republic struggling to establish itself on the world stage, there's an opportunity...
What would happen if composers were paid to pitch their ideas? It might just be the end of Western civilisation...
The only way to make money as a media composer is from publishing — but greedy production companies are targeting our back end with a vengeance.
