SOUND ON SOUND
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The debut single from Liverpool's Frankie Goes To Hollywood was the result of adventurous production and enjoyed massive chart success - as well as creating a great deal of controversy.
Producer and engineer Elliot Mazer is well known for his ongoing work with Neil Young, and was there at the birth of digital recording. Like Young, however, he's never been happy with the way it sounded — until now.
David Gilmour's chart-topping solo album was recorded on his own Astoria houseboat, a floating slice of studio heaven. Engineer Andy Jackson describes the making of the album.
The audio sequencing facilities we have at our disposal these days make it easier than ever before to produce world-class vocal recordings by taking the best parts from a series of takes and producing a composite from them. Here's how to do the job in Sonar 4.
For his second solo album, Steely Dan's Walter Becker made the unexpected decision to apply his band's high production values and jazzy sophistication to the world of reggae...
Shaun Hayward & Joe Kenny of Chunc Productions reveal their gear setup and musical motivations.
Over the last 10 years, Sibelius Software have built a reputation for providing what most musicians consider to be the leading scorewriting software. Now, in version 3, they have teamed up with Native Instruments to provide enhanced playback facilities — but does this upgrade live up to the high standards set by previous releases?
The Foo Fighters could have gone to any studio on the planet to record their eagerly awaited album Wasting Light. They chose their frontman Dave Grohl’s garage...
Rob Jackson's latest project is a band called The Low Country, with a sparse, American sound that calls to mind the likes of Lucinda Williams and Low.
Tightening timing, sustaining snares and silencing sibilance are among the tasks tackled in this month's remix...
Blur's latest album has taken the band 18 months to make, commuting between London, Devon and Morocco. Somehow, producer Ben Hillier also found the time to produce new records by Elbow and Tom McRae...
More constructive comments from MPG (Music Producers Guild) members on SOS readers' submitted recordings.
Over the last decade, Mouse On Mars have become one of the leading names in European electronic music. Their experimental approach brings together analogue and digital, lo-fi and hi-fi, real instruments and samples to create an organic-sounding whole.
Sue Sillitoe meets the producers of Robbie Williams' 1998 number one hit to find out how it was put together. Additional material by Matt Bell.
In our quest for the ultimate electric guitar sound, SOS tested favourite recording techniques from over 40 top-flight producers and engineers. Hear for yourself the results that amazed us.
For their fifth album, The END, Black Eyed Peas main man will.i.am took the band — and their long-serving mixer Dylan Dresdow — in a new direction, with stunning success.
EastWest/Quantum Leap launch their new 64-bit 'Play' sample engine with two sound libraries spanning nearly 50 years of rock.
Despite his best efforts, Stephen Duffy's solo work never quite made him a superstar — but it did get him one of the best co-writing gigs around.
Not only are these applications easier to use than commercial packages that can be confusingly feature heavy, they're also extremely easy on the wallet...