SOUND ON SOUND
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In mixing a live recording of a jazz concert, our engineer had to overcome some unusual spill-related challenges.
Despite paying a studio to record and mix their album, Tommy Allen’s band weren’t keen on the result. Could our engineer do any better?
Our engineer works the mix to get a pop-funk track competing sonically with the likes of Jamiroquai.
Our engineer demonstrates that there’s no point showing off your production chops if they don’t serve the song!
Classic rock: even well-recorded drums can require plenty of work to make them fit the track.
Sometimes it’s better to revisit musical decisions than to persevere with a troublesome mix — even if that means recording new parts.
The Southern Wild: our engineer reminds us that you don’t have to cram every mic signal into your mix just because it’s available.
This month’s band, the Broken Heartbreakers, threw down the gauntlet for our engineer — could he improve what was already a decent mix?
Sometimes you can’t quite capture an instrument as you’d hoped, but when it comes to the mix there are a few tricks that will help get you out of a hole.
The Woodleys: our engineer treats a modern band to a vintage sound.
We go back to basics and turn up the heat on an indie-rock production.
Bob Dylan’s album of Sinatra covers is an unlikely triumph. So good, in fact, that it didn’t need mixing!
Nerve 9: we show you how to add depth and body to a basic mix.
Paul Weller's latest album was brimming over with musical creativity. The challenge for mixer Jan Kybert was to forge a coherent album from a mass of ideas.
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.
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.
Steve Greenwell knew he wanted a live feel for Joss Stone’s second album of soul covers, but finding the right mix was more of a challenge.
Jeff Bhasker doesn’t usually mix his own productions or work with indie-rock bands. With Fun, he did both — and created a worldwide hit.