Mixing / Production

It’s no surprise that SZA’s long‑awaited second album has been a hit. More surprising was the key role of little‑known engineer and producer Rob Bisel.

American record producer, engineer and mixer Bob Clearmountain unpacks Neil Finn’s vocal from the Crowded House track ‘I Feel Possessed’.

Adding a horn section to your productions can bring everything from mellow melancholy to verve and excitement.

The buzz around immersive visual media is creating plenty of new opportunities for those who record spoken word for a living. But how do these new jobs differ from traditional ones?

When you’ve learned your craft from Manny Marroquin, you can mix on almost any system — as Jeremie Inhaber proved with Meghan Trainor’s ‘Made You Look’.

Just how do professional engineers tackle the earliest stages of their mixes, and can the rest of us learn anything from their approach?

Britain’s most high‑profile rapper has made his most ambitious album yet — with a little help from his friends.

With hit albums for Dave, Wizkid and now Stormzy, Brazilian‑American mixer Leandro Hidalgo is at the top of his game.

London‑based record producer, programmer and session musician Andy Wright chooses the drum sound from ‘Dirty Mind’, on Jeff Beck’s 2000 album You Had It Coming.

Mark Mynett, sound engineer and senior lecturer at Huddersfield University, gives us an in-depth look at how to process and mix the various elements of a song recorded using live instruments.

We’re often advised to check mixes on a car stereo. But how useful is the fabled ‘car test’ in reality?

To find himself as an artist, Charlie Puth swapped high‑profile co‑writers for fan reaction on TikTok. It seems to have worked...

Gilla Band’s new album is one of the least normal things you’ll hear this year...

Learn to stop worrying and love your mixes with our 10‑point checklist!

A good real‑time analyser can draw attention to what our ears miss, and with multi‑channel formats that second opinion can be invaluable.

The ultimate one‑man band, Brazilian artist Ricardo Bacelar uses layers of drums, percussion, guitars and keyboards to build up dense immersive mixes.

Want a hit that transcends genres? Hire a mix engineer who does the same — as Steve Lacy did with Neal Pogue.

I’ve played with ‘out of phase’ parallel compression (where the compressed signal path is polarity inverted)  — but, honestly, I didn’t really understand what I was doing...

Multi‑platinum mixer and engineer Richard Chycki details how he got Geddy Lee’s bass sound on ‘Caravan’.