Mixing / Production

Back in SOS July 2011, Mike Shipley said this about the producer Mutt Lange: “With Mutt, we always have programmable equalisers where we can EQ every word..."

Hit‑Boy’s freewheeling production style has made him one of the hottest producers in the USA.

We’ve never had so much choice when it comes to the tools we use to make music — but it’s important that you can choose quickly, and with confidence.

Where better to reinvent the hits of Swedish pop titans Roxette in Dolby Atmos than Stockholm’s legendary Atlantis Studios?

Growing up in the western Mexican city of Guadalajara, Eduardo De La Paz didn’t have many opportunities to learn the craft of recording and production. He has since made his own name as a formidable mixer, and in the process founded a studio.

Quite a few engineers who work with bands like driving their drum submix into fairly heavy compression, but whenever I try doing this it seems like I end up losing the low‑end weight from my kick drum...

Can plug‑ins ever match the sound of outboard and an analogue console? Our unique comparison recreates a 48‑channel hardware mix using software alone.

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

When the opportunity came to work with his childhood heroes Judas Priest, Andy Sneap didn’t just engineer and produce — he also mixed, mastered, and became the band’s touring guitarist.

Casisdead’s Famous Last Words may be one of the best British rap albums ever made — but actually making it was an epic challenge!

These audio files available accompany the Mix Rescue article in SOS May 2024 featuring the song ‘The Winds Of Gypsy Moor’ by the Ferryboat Men.

If there’s one thing that engineers and producers need above all, it’s a good mentor and role model — and they don’t come much better than MPG Icon Alan Moulder.

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.

This cross‑platform pattern‑based music production environment puts the fun back into music making.

Hard work and a love of sampling have made FNZ the hottest production duo around.

The foundation of a good, engaging mix is a strong arrangement. But how far can you go to improve things at the mixing stage?

Alan Moulder, 2024 recipient of the Icon Of The Year Award from the Music Producers Guild, talks to Kevin Paul about his early years at Trident Studios and finding his specialist areas.

Sam Boydell talks us through selecting an orchestral sound library, creating a simple string motif and incorporating more realism into the finished piece.

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 do I make my ears more sensitive to inconsistencies in the vocal frequency spectrum?