Making Of

There were a lot of great moments at the 67th Annual GRAMMY Awards. One thing you may have missed amongst all of the excitement; Peter Gabriel's album i/o took home two of the most coveted awards (for audio nerds, at least): Best Engineered Album (Non-Classical) and Best Immersive Audio Album.  Continue reading →

Nearly 60 years ago, in January 1967, the release of The Doors’ first album marked a major inflection point between rock ‘n roll and psychedelia. Recorded at the legendary Sunset Sound Recorders with producer Paul Rothchild and engineer Bruce Botnick, the album more or less captures The Doors’ live sound with the polish of a professional studio. But on top of that solid foundation is a layer of psychedelic mystique thanks to Morrison’s sultry vocals and darkly poetic lyrics, extended instrumental sections by the band, a few unusual song structures, and a generous helping of reverb.  Continue reading →

Four decades ago this month, U2 released an album that marked a turning point for their sound as well as their creative approach. Compared to the band's first three post-punk-leaning records (Boy, October, and War), The Unforgettable Fire shakes things up in almost every way.  Continue reading →

Released in the summer of 1979, Joy Division’s Unknown Pleasures was the result of both madness and illness, of pain and catharsis. Recorded in just two days, Unknown Pleasures is widely considered as marking the end of the raucous era of British punk, and the ushering in of the era of post-punk. Employing experimental sound design techniques that would be considered far-flung even by today’s standards, producer Martin Hannett’s icy, liminal production style combined with the raw adolescent energy of Curtis, Sumner, Hook, and Morris catapulted the coarse and unfledged punk band into textural rock icons, at the forefront of a new genre they didn’t even know they created. Continue reading to learn more about the making of Joy Division's landmark album, Unknown Pleasures, including what it was like working in the studio, how the band crafted their signature sound, and the lasting impact it had on the world. Continue reading →

50 years ago, Stevie Wonder was smack in the middle of his most critically acclaimed series of albums. Starting with 1972’s Music of My Mind and ending with Songs in the Key of Life in 1976, this “classic period”—as it has come to be known—produced many of Stevie’s biggest hits, including “Superstition,” “Higher Ground,” “Isn’t She Lovely,” “Sir Duke,” and...

In the age of NASA’s Artemis lunar missions, there’s a lot less mystery surrounding the dark side of the Moon. But Pink Floyd’s 1973 masterwork endures, continuing to inspire generations of musicians, producers, and engineers 50+ years after its debut. Continue reading →

This November marks the 25th anniversary of Shania Twain’s Come On Over–the multiple GRAMMY Award-winning album that broke records and catapulted Twain to global superstardom. With hits like Man! I Feel Like A Woman!, You’re Still The One, and That Don’t Impress Me Much, to name a few, the album has sold more than 40 million copies worldwide and remains a fixture in pop culture even today. Continue reading →

Jon Gilbert’s entry into the world of recording came by way of a Tascam 414 Portastudio. The Los Angeles-based producer, mixer and engineer cut his teeth making affordable demos for local bands on the classic 4-track cassette recorder. There was just something about the simplicity that kept Jon coming back. “The beauty of the 4-track was the dead simple workflow and the ‘all in one’ nature that helped defeat decision fatigue,” says Jon. Continue reading →

With over two decades of production and engineering experience, Danny Reisch has cemented himself as an institution in the Austin, Texas recording community. The engineer has spent time working on records with Wye Oak, Heartless Bastards and White Denim, in addition to running live sessions for Daytrotter with the likes of HAIM,  Mac Demarco and Gary Clark Jr. One of Danny's latest endeavors has been handling mixing duties for the score to The Green Knight. We recently sat down for a chat with the Dallas native to talk about his work on the film, his thoughts on mixing an album compared to soundtracks and the gear at his studio, Good Danny's. Continue reading →

Germantown, Tennessee native Julien Baker grew up worshiping at the altar of bands like My Chemical Romance and Underoath. While Julien's brand of indie rock is more sparse than these iconic emo gods, her lyrics follow a similar intimate, confessional-style approach. For Julien’s latest record Little Oblivions, the singer/songwriter once again enlisted the help of her longtime collaborator and engineer, Calvin Lauber. We sat down with Calvin to talk about Julien’s newest work, the process behind making the record and some of the production choices made along the journey. Continue reading →