Mixing / Production

With a second album release imminent, Nigel Humberstone talks to the creative driving force behind D-Ream, Peter Cunnah.

Why do so many mainstream record producers regard young mixers with such suspicion, and why do thrusting young remixers regard producers as such boring old farts? Engineer/producer Phil Da Costa thinks the answer lies in the different approaches to making records held by producers and DJ/remixers alike.

Steve Reich's latest composition, City Life, is an eclectic blend of classical music and sampled urban sounds, all played live. A few days after the UK premiere, Paul Tingen talks to the acclaimed avant-garde composer about his inspiration for the piece, and its realisation on stage.

The Orb survived a barrage of legal wrangles, financial upsets and personnel changes to deliver their latest collection of Ambient musical adventures. Mark J. Prendergast gets the word from the group's founder, Alex Paterson.

A relative newcomer to the UK electronic music scene, Andy Pickford is giving the likes of Mark Shreeve, Ian Boddy, and John Dyson a run for their money. Jonathan Miller witnesses the new kid on the block in action at Derby Cathedral.

Having recently completed two new World Music albums, one for Indian electric mandolin player U. Srinivas, the other with legendary Pakistani Qawwali singer Nusrat Fateh Ali Khan, Canadian producer/guitarist Michael Brook never wanted to confront music technology ever again! Paul Tingen explains why...

Michael Errington started his career selling pianos, but now he's living in LA and writing scores for Hollywood movies. Paul White discovers what happened in between...

According to successful freelance engineer and producer Peter Jones, the marriage between the producer and the artist is far too important to be left to chance. Here he argues the case for a more targeted approach that would allow for some interesting cross-fertilisation.

With Portishead's much acclaimed Gold selling debut album, Dummy, riding high in the charts, the West Country finally have an act to make a song and dance about. Jonathan Miller gets the low down on fame, fortune and M16 from co-producer and band member Adrian Utley, a man of many talents.

French musician Hector Zazou's quest for sounds and songs with a difference took him North, to find ethnic drumming from Siberia, joik chanting from Lapland, and the disappearing folk music of the World's northern tribes — which he combined with contributions from himself and world-famous artists, to create a unique musical experience. Paul Tingen gets some Northern Exposure.

Today, back catalogue sales account for much of the revenue generated by record companies. Here, producer Martyn Ware considers what will happen when there is no longer any back catalogue left to exploit...

Fancy owning an instrument which used to belong to keyboard legend Keith Emerson? Gordon Reid gets a sneak preview of part of Keith's collection, now up for sale, and chats to Keith about his spring clearout and his current projects.

Nigel Humberstone gets a rare glimpse inside Mute Records' in-house studio, talks to Mute band Nitzer Ebb and Renegade Soundwave, and interviews the label's elusive and influential founder, Daniel Miller.

Some record producers may object to having their work remixed, yet according to producer Charlie Mallozzi and Marco Sabiu — better known as the Rapino Brothers — remixing is an acceptable alternative way of viewing a track. Here they explain why there will always be room for the remixer...

Ann Dudley first came to fame as one of the shadowy figures behind the seminal Art of Noise. But she refused to be confined by the boundaries of pop, and has since exercised her considerable talents in album arranging and composing for film and TV. Richard Buskin talked to her about her musical history and forthcoming album.

Though Mark Russell's work includes writing for film, TV and commercials, as well as big-name tour arranging and musical backup, he's probably best known currently for his lavish music for Radio One super-hero series, Batman, Superman, and Spiderman. Nick Magnus was invited to Mark's home studio to talk about his gear and working methods.

Despite a long string of hit singles and albums throughout the 1980s, The Human League entered the '90s having fallen from grace with both record label and record-buying public. Now they're back with a vengeance — and a hit single from a new chart album. Nigel Humberstone chats to League main man Phil Oakey.

Producer Stuart Epps began his music business career in 1967 at Dick James Music before going on to work with Gus Dudgeon, Elton John, Jimmy Page, Chris Rea and other top names. He now runs his own commercial studio, situated in the old Mill Studio complex, and is working on a number of projects, including one with Bill Wyman. Here he explains why he preferes 'live' music to almost anything else...

In the '70s there was Eno's ambient music. in the late '80s, there came the Techno sound of Detroit. Over the past two years, there has been talk of 'Ambient Techno'. But what is it? Mark J. Prendergast explains, and speaks to four influential creators of Ambient Techno about how they produce their music.

For over 10 years, Chris and Cosey have been treading their own idiosyncratic musical path, changing with the times but still maintaining their individual and influential style, and continue to find a worldwide audience. Derek Johnson visited them in their personal Studio.

Pete Brown describes himself as an old-fashioned producer who prefers to let his engineers handle the technical side while he concentrates on the music and lyrics. Over the last 30 years he has also been a first-rate musician and songwriter — he wrote many of Cream's original lyrics, including 'Sunshine of Your Love', recently credited with one million plays. Here he talks about production from the perspective of a veteran Jack Of All Trades.