Recording

Grammy‑nominated producer and musician Hunter Lea currently produces and engineers out of Uptone Recorders in Tacoma, whose vintage equipment was used to produce his nominated favourite sound: the swelling oceanic tones on the 2024 track ‘Real Shoring’.

Having proved his worth on Tate McRae’s second album, producer and songwriter Grant Boutin played a pivotal role in the third.

Led by vocalist, guitarist and keyboardist Jürgen Engler, Die Krupps’ blending of electronica with heavy guitars went on to influence numerous other bands, including Depeche Mode and Rammstein.

Metalcore presents unique production challenges — and few are better placed to meet them than genre veteran Jordan Fish.

David Mellor continues his exploration of microphone polar patterns by discussing techniques for capturing stereo recordings.

Stefan Boman is the house mix engineer at Atlantis Studios in Stockholm, Sweden. Asked to choose a favourite sound from a session he’s worked on, he nominates ‘No Song Unheard’ by the Hellacopters.

FKA Twigs has worked with many big‑name producers, but it was experimental electronic artist Koreless who guided the making of her new hit album Eusexua.

The new album by Noah Lennox, aka Panda Bear, features familiar collaborators pulling in a very different musical direction.

Well known as guitarist with glam art‑rock pioneers Roxy Music, Phil Manzanera has also etched out parallel careers as solo artist, session musician and producer.

Working with Kacey Musgraves catapulted Ian Fitchuk from respected producer to one of Nashville’s busiest songwriters.

Steve Hackett rose to fame as guitarist with prog‑rock legends Genesis, but his sonic calling card is a guitar tone he created in 1979 on his album Spectral Mornings.

Virtuoso pianist Rogét Chahayed has found a unique niche as a classically trained hip‑hop producer.

Are buzzes, hums and hisses ruining your guitar recordings? Here’s how to keep the noise to a minimum.

If time is tight for a full‑band session, you won’t be able to perfect all aspects of a drum recording. But if you prioritise, you can still ensure you get decent results every time.

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.

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.

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.

Working with analogue tape wasn’t all good, but it did impose a discipline on recording sessions that was hugely beneficial — and which our DAWs have made optional.

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’.

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

On paid sessions, every engineer has to get the job done. But it’s still important to find the time to learn your tools, discover new techniques — and foster creativity.