Mixing / Production

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

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.

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.

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.

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

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

I need to align some analogue gear to work with digital audio embedded in a video broadcast... what dBFS should my digital PPM read at the end of the chain?

With your lead vocal performance comped and tuned, and its timing tightened, is there anything else to do before you start mixing?

David Gould, Director of Audio Content Solutions at Dolby Labs, talks to Hugh Robjohns about immersive audio and how Dolby Atmos works.

When you’re polishing a nine‑piece vocal band like TWICE to K‑pop perfection, organisation is essential!

Vocoders are not just for vocals. In this episode, Eddie Bazil talks about the various vocoder plug-in options and demonstrates six creative techniques.

Having crafted some of the biggest hits in pop, Adam King Feeney, aka Frank Dukes, built an ambitious sample library to help others do the same.

Having cut her teeth as a studio engineer with a litany of global names, classically trained producer Yang Tan takes our quick-fire challenge.

Last month, we showed how to comp a great vocal performance. Now we look at how you can use editing tools to improve both timing and tuning.

Hip‑hop and metal share more in common than you might think, as mixer Ari Morris confirmed when he worked on MoneyBagg Yo’s hit album, A Gangsta’s Pain.

British guitar band The Lathums achieved the rare feat of topping the charts with their debut album. Mix engineer Caesar Edmunds was at the controls.

One of Ireland’s busiest producers, John Murphy applies his love of studio experimentation to noise‑rock and traditional folk alike.

To transform multiple takes into truly great vocal tracks, you might need to look further than your DAW’s built‑in comping tools.

Producer Fred Gibson (aka Fred again..) studied under Brian Eno and has worked with some of the biggest artists in the world. And his favourite microphone is the one built into his iPhone.