Mixing / Production

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.

For Norwegian engineer, producer and record label boss Morten Lindberg, immersive audio begins at source.

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.

Working in immersive audio can be intimidating even for experienced professionals. Caroline Hilton’s team at Universal Music provide the help that mix engineers need to make that transition.

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.

Enigmatic New York producer Morgan Geist began making techno in his ’90s college dorm before a remix turned his life upside down.

Sea Change is the moniker of Norwegian producer and singer Ellen AW Sunde, whose ethereal music borrows from club culture as much as it does from ambient and experimental soundscapes.

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.

Howard Gray gives us a fascinating look behind the scenes of recording and engineering some of the biggest tracks of the '80s.

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.

With an extraordinary track record as producer, songwriter, musician, mixer and remixer, Mike Dean is a one‑man music industry.

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.