SOS presents an ongoing collection of informative articles where each month a music producer and/or sound engineer reveals how their favourite recorded instrument or sound treatment was created, miked up, programmed and captured for posterity.

How I Got That Sound: Robert Orton
English producer and four‑time Grammy Award‑winning mixer Robert Orton, aka The Hitmixer, has worked with million‑selling artists including Lady Gaga, Enrique Iglesias, Backstreet Boys, Sting, Lana Del Rey and Robin Thicke.

How I Got That Sound: Garth Richardson
Canadian producer / engineer Garth ‘GGGarth’ Richardson has worked with some of music’s biggest acts, and from his vast discography he discusses how he created an iconic bass tone.

How I Got That Sound: Torsten Kinsella
Since forming in 2002, Irish instrumental outfit God Is An Astronaut have developed a unique sound that incorporates ambient electronica, post‑rock guitars, cinematic soundscapes and captivating melodies.

How I Got That Sound: Daniel Moyler
Daniel Moyler is a London‑based mixing and recording engineer who when asked to dissect a favourite sound, focuses on the drum sound from ‘Crowbar’ by Frank Carter and the Rattlesnakes.

How I Got That Sound: David Lord
Respected British record producer and engineer David Lord chooses XTC’s ‘All You Pretty Girls’ as a favourite sound from the many he’s recorded.

How I Got That Sound: Warne Livesey
English‑born producer and mix engineer Warne Livesey has worked with a wide array of musical artists from Australian band Midnight Oil to Scottish pop‑rockers Deacon Blue to blue‑eyed soulster Paul Young.

How I Got That Sound: Pink Floyd ‘Marooned Jam’
Andy Jackson has worked with Pink Floyd and David Gilmour since 1980, and a favourite among the many great sounds Jackson has recorded is the dry, dense drum sound heard on Pink Floyd’s ‘Marooned Jam’.

How I Got That Sound: David Kosten
Over the years, David Kosten has helped create many weird and wonderful sounds, and selects ‘Seal Jubilee’ by Bat For Lashes as a favourite.

How I Got That Sound: John Leckie
Famed English producer and engineer John Leckie gives details about one of his most influential works, the mini‑album 25 O’Clock, a pastiche of ’60s psychedelia.

How I Got That Sound: David Bottrill
David Bottrill’s vast credit list includes Peter Gabriel, Smashing Pumpkins and Tool to Muse, Silverchair, Rush and many others. When asked to pick a favourite sound from that catalogue, he chose the drone that underpins ‘Passion’ by Peter Gabriel.

How I Got That Sound: Doug Showalter
American music producer, songwriter and multi‑instrumentalist Doug Showalter breaks down how he crafted the guitar sound on Harry Styles’ mega‑hit ‘As It Was’ in his Nashville studio.

How I Got That Sound: Colin Elliot
From his Sheffield recording studio Yellow Arch, producer, musician, arranger and programmer Colin Elliot has worked with an illustrious list of musical artists.

How I Got That Sound: Howard Jones
Howard Jones burst onto the scene in the early 1980s with a collection of era‑defining synth‑pop hits such as ‘What Is Love’, ‘No One Is To Blame’ and ‘Things Can Only Get Better’. Asked to select a favourite sound, he circles back to the first of these.

How I Got That Sound: Davey Badiuk
Canadian Davey Badiuk is a composer, producer, mixing engineer and remixer, known for his unique ability to modernise organic music.

How I Got That Sound: Luke Smith
Record producer/mix engineer Luke Smith details how he got his favourite sound on ‘Spanish Sahara’ from Foals...

How I Got That Sound: Michael Brauer
Asked to pick a favourite sound to dissect, American mix master Michael Brauer chooses the vocal sound on Elle King’s ‘Ex’s & Oh’s’.

How I Got That Sound: Stephen Street
Stephen Street has worked with the Smiths, Blur, the Cranberries, the Pretenders, Babyshambles and Kaiser Chiefs, and here he details his favourite sound from Blur's 'Song 2'.

How I Got That Sound: George Seara
Canadian mixer and recording engineer George Seara chooses the vocal on ‘Treat You Better’, by Shawn Mendes, as a favourite sound from his catalogue.

How I Got That Sound: Tom Lord-Alge
Three‑time Grammy Award‑winner Tom Lord‑Alge has an extensive list of multi‑platinum landmark albums and singles to his credit...

How I Got That Sound: Samuel Dixon
Grammy-winning Samuel Dixon picks his favourite sound from the records he’s made, focusing on Australian singer‑songwriter Meg Washington’s track ‘Switches’.

How I Got That Sound: Leo Abrahams
Asked to choose a favourite sound to dissect, Leo nominated the track ‘Harm Organ’ from his 2021 solo album, Scene Memory 2.

How I Got That Sound: Ed Stasium
American producer, engineer and mixer Ed Stasium nominates the drum sound on Living Colour’s ‘Love Rears Its Ugly Head’ as a particular favourite.

How I Got That Sound: Bob Clearmountain
American record producer, engineer and mixer Bob Clearmountain unpacks Neil Finn’s vocal from the Crowded House track ‘I Feel Possessed’.

How I Got That Sound: John Feldman
Producer and mix engineer John Feldman details how he got his favourite vocal sound on the Used’s 2002 debut single.

How I Got That Sound: Andy Wright
London‑based record producer, programmer and session musician Andy Wright chooses the drum sound from ‘Dirty Mind’, on Jeff Beck’s 2000 album You Had It Coming.

How I Got That Sound: Richard Chycki
Multi‑platinum mixer and engineer Richard Chycki details how he got Geddy Lee’s bass sound on ‘Caravan’.

How I Got That Sound: Tyler Bates
American musician and producer Tyler Bates reveals how he created his favourite recorded sound.

How I Got That Sound: Chris Shaw
Four‑time Grammy Award‑winning producer, engineer and mixer Chris Shaw has worked with some of the biggest and most...

How I Got That Sound: Matt Squire
Asked to pick a favourite sound from his huge discography, Matt Squire nominates the track ‘On My Teeth’ from Underøath’s 2018 album, Erase Me.

How I Got That Sound: Alan Parsons
Asked to pick a favourite from the innumerable sounds he’s committed to tape, Alan nominates the unique keyboard sound on ‘The Eagle Will Rise Again’, from the third APP album Pyramid.

How I Got That Sound: Stabbing Westward
Asked to pick a favourite sound from the band’s influential catalogue, Walter Flakus dives into the track ‘Drugstore’, from 1998 album Darkest Days.

How I Got That Sound: Poo Bear
Poo Bear, the American two‑time Grammy Award‑nominated songwriter, producer and principal collaborator of pop megastar Justin Bieber, chooses his own favourite vocal on a track from Bieber’s Changes album.

How I Got That Sound: Carl Bell & Ben Grosse
How they recorded the solo on ‘Solace’ from Fuel’s second album, Something Like Human (2000).

How I Got That Sound: Thorsten Quaeschning
Asked to nominate his favourite sounds he’s created on record, the Tangerine Dream leader picks a track composed for the soundtrack of the video game Grand Theft Auto V in 2013.

How I Got That Sound: Howard Benson
Grammy Award‑winning American producer Howard Benson discusses how he achieved the drum sound on POD’s 2001 hit ‘Youth Of The Nation’.

How I Got That Sound: Tom Syrowski
Recalling his favourite sound, LA‑based producer and mixing engineer Tom Syrowski chose the vocal on Incubus’ 2011 track, ‘In The Company Of Wolves’.

How I Got That Sound: Danny Elfman
Elfman recently released his latest solo album, Big Mess, and chose a track from the album as his favourite sonic achievement.

How I Got That Sound: Andrew Maury
New York‑based engineer and producer Andrew Maury, when asked to pick a favourite sound that he’s worked on, nominates the drum mix he created for Lewis Del Mar's ‘Loud(y)’.

How I Got That Sound: Martin Landquist
Landquist reveals how he got his favourite sound on A‑ha’s ‘Lifelines’, the 2002 title track to the Norwegian synth‑popsters’ seventh studio album.

How I Got That Sound: Tim Palmer
When asked to pick a favourite sound that he’s worked on, English producer and mixing engineer Tim Palmer nominates the radio speaker guitar intro from Pearl Jam's ‘Black’.

How I Got That Sound: Chris Sheldon
English producer and mixer Chris Sheldon, when asked to pick a favourite sound that he’s worked on, nominates the drum sound he got with rock band Oceansize.

How I Got That Sound: Steve Albini
In the first episode of a new column, we asked Steve Albini to choose a favourite sound from his huge back catalogue and explain how it was created.