Mixing / Production

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

Richard Norris talks about his early break into the music industry, success with The Grid in the 90s, his many collaborations, remixes and unexpected career turns.

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.

New York‑based producer Randall Dunn answers the SOS quickfire questions.

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.

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.

Do the automation features in DAW software make old‑school console automation redundant? We canvass opinions from big‑name mix engineers.

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.

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

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.

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.

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.

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.

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

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.

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