SOUND ON SOUND
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Top producer RedOne has had hits with dozens of artists, but relies on one man to “finish” tracks like Nicki Minaj’s ‘Starships’: engineer Trevor Muzzy.
'Somebody That I Used To Know' is a worldwide hit that breaks every rule in the book. Artist Gotye and mix engineer François Tétaz reveal how they made it.
Benny Blanco has created a string of number one hits without expensive instruments or virtuoso keyboard skills. What exactly is his secret?
Expectations were high for the first Van Halen album in 14 years — and with eight mics on the bass alone, engineer Ross Hogarth was taking no chances!
Lana Del Rey has topped charts worldwide with her signature retro sound — and it all started with a demo that became a viral hit.
Drake’s atmospheric, brooding sound has revitalised hip-hop, selling millions in the process. The man behind that sound is Noah '40' Shebib.
Tony Bennett’s continuing success showcases the value of old-school recording techniques — and the talents of his engineer son Dae.
Paul Simon’s album So Beautiful Or So What is a dazzling return to form — and a return to working with production legend Phil Ramone.
Audio files to accompany the article.
The multitracks for Evanescence’s third album were so big that they required two maxed-out Pro Tools rigs to play back!
Ambition and talent can take you a long way, as Alex Da Kid has discovered on his journey from the football pitch to the recording studio.
Fabian Marasciullo’s mixes for the latest Lil Wayne album were so valuable he had to guard them at gunpoint.
A new Incubus album is always an event, especially when produced by the legendary Brendan O’Brien...
Adele’s second album, 21, has broken sales records all around the globe. Mixer Tom Elmhirst and producer Paul Epworth explain how they created its multi‑platinum lead single, ‘Rolling In The Deep’.
Audio files to accompany the article.
Feeling that something was missing from their latest album, the Beastie Boys decided it needed remixing — by a “crazy Frenchman”...
Alison Krauss persuaded mix specialist Mike Shipley to return to engineering after a 10‑year gap — in a genre he’d never tackled. The result was a creative and commercial triumph.
The Strokes’ comeback single was the product of three years of songwriting, 18 months of recording — and 30 minutes of mixing!
Bruno Mars is the year’s hottest pop star, and one‑third of ace production team the Smeezingtons. Fellow Smeezington Ari Levine reveals how they created his hit album in a modest LA studio.