Mixing / Production

If you’re struggling to get everything in your mixes coming across loud and clear, read on.

Mark Mynett, talks us through prepping for and recording a bass session, including ways to generate multiple layered tracks for use in your final mix.

Nearly two years after its release, Cat Burns’ single ‘Go’ gave Aaron Ahmad his first major mixing hit.

Ever had trouble getting a plain DI’d bass guitar to sound right in a mix? Me too, sometimes! But it’s almost always fixable once you understand the issues.

Nuno Fonseca of Sound Particles talks about their rapid rise in the film and audio industry and how they are using their sound particle plug-in technology to bring exciting new options to sound design and audio recording.

These audio files accompany August's 'Mixing DI Bass Guitar' workshop.

Working on tape with the Red Hot Chili Peppers forced Ryan Hewitt to revisit old‑school mixing skills — and find ways to adapt modern techniques to the analogue domain.

Tony Ni from Soundtoys sits down with Sam Inglis to discuss his mixing workflow and to explain how he uses core Soundtoys plug-ins to achieve his sound.

Geoff Swan gave up a successful studio business to become an assistant engineer — a risk which paid off with Charli XCX’s number one album, Crash.

We show you how to get started in the brave new world of Dolby Atmos, using Logic Pro.

Matt Johnson of Jamiroquai talks us through five of his favourite keyboard processing tips.

Central Cee has taken drill music to the top of the UK album charts, thanks to some very fast work from mix engineer Sean Donoghue.

Taking a chance on immersive music has paid off handsomely for producer Stan Kybert, who has reinvented himself as one of the UK’s busiest Atmos mixers.

Eddie Bazil gives six sound design tips, using various plug-in filters to create unique instrument sounds and to add interest and movement to mixes.

How they recorded the solo on ‘Solace’ from Fuel’s second album, Something Like Human (2000).

With six lead singers, an orchestra and more, ‘We Don’t Talk About Bruno’ from Encanto was always going to be an epic production challenge — and then lockdown happened.

Leading mix engineer Andy Bradfield shares some of the lessons he’s learned in getting to grips with Dolby Atmos.

It was just another session for producer Peter Nappi, but Gayle’s ‘ABCDEFU’ would become one of the most listened‑to tracks of 2022.

We talk to the people who are creating real‑world Atmos content, starting with Canadian super‑producer Greg Wells.

Our tame engineer describes a new approach to mixing that helped him to get the best out of an EP that was recorded remotely during lockdown.

CEDAR Audio has led the world in audio restoration and noise suppression for over three decades. We find out more about their ground-breaking technologies.