Stay ConnectedWelcome to the Sound On Sound Recording and Mixing podcast channel where you’ll find shows packed with Hints & Tips about getting the most out of the recording, mixing and mastering process.
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Copyright: © Copyright 2024 Sound On Sound Ltd
Marcus Leadley talks to Suzie Cross about his new book, Field Recording: A Practical Guide, exploring the techniques, equipment and creative approaches to capturing sound in the field. From microphones and denoising to electromagnetic and underwater recording, Marcus shares practical insights from more than 40 years of experience.
Chapters
00:00 - Introduction
00:47 - Reasons For Writing The Book
03:04 - A Background In Field Recording
05:36 - Commonly Used Microphones
07:05 - Discovering Hidden Sounds
08:38 - Different Microphone Use Cases
13:04 - Digital Denoising Tools
14:25 - Using The Sounds In Compositions
16:03 - Making Creative Decisions While Recording
19:25 - Electromagnetic Detectors
25:04 - Underwater Recording With Hydrophones
29:18 - Managing Unpredictability
30:52 - Allowing For The Unexpected
32:36 - Analogue Pitch Shift And Time Stretch
36:19 - Contact Microphones
40:27 - Where To Hear Marcus' Work
Marcus Leadley Biog
Marcus Leadley is a field recordist, sound artist, composer, curator and academic specialising in field recording, soundscape composition and environmental sound. He is Head of the Electronic Music Studios at Goldsmiths, University of London, where he teaches experimental sound and Sonic Arts. His research interests include phonography, soundscape composition, acoustic ecology and ecoacoustics, and his artistic practice includes field recordings, soundscape compositions, installations and collaborative projects.
Marcus has been creating work based on field recordings since 1997 and also teaches field recording and soundscape composition through online courses and practical field trips. Before moving into academia, he worked as an engineer, producer and music technology journalist, managed commercial studios in Australia and edited Guitar & Bass magazine. He holds an MMus in Studio-Based Composition and a PhD in Sonic Arts.
https://www.marcusleadley.com/
https://www.crowood.com/book/field-recording/
https://www.facebook.com/marcus.leadley
Suzie Cross Biog
Suzie Cross is an award-winning creative producer and multidisciplinary artist whose work explores connections between people, places and the natural world. Her practice spans sonic art, eco-acoustics, immersive installations, film, projection, poetry and electroacoustic composition. Her film Newland: New Vision for a Wilder Future, made with Dave Lynch, won Best Climate Film at the 2021 Research in Film Awards and led to an invitation to speak at COP26.
A Clore Fellow, Suzie was awarded the Cultural Leadership Fellowship for Global Environmental Impact in 2018. She is Artistic Director of the Land Lines research project at the University of Leeds, Sound Artist in Residence at Manchester’s Mayfield development, and helps run SynthFest UK for Sound On Sound. She is also a member of the Frozen Music Collective, exploring neurodiversity and the relationship between the human brain and technology.
https://suziecross.wordpress.com/
https://www.instagram.com/suzieloves432/
https://x.com/TheSuzieCross
Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts
Lincoln Grounds joins Julian Rodgers to discuss guerrilla recording techniques, exploring how a focus on authentic performances, unconventional spaces and adaptability can matter more than technology and complex setups when creating compelling recordings.
Chapters
00:00 - Introduction
01:09 - Definition Of Guerilla Recording
05:59 - Not Over-Indulging In Tech
11:14 - Getting A Good Performance Quickly
16:18 - Recording Bands In Their Own Element
19:50 - Working With Spill
30:18 - Headphones And Clicks Where Needed
33:10 - Post Production Techniques
#BozDigital #ProTools #FabFilter #NoiseWorks #iZotope #Waves
Lincoln Grounds Biog
Lincoln Grounds is a composer, producer, recording engineer and owner of Maverick Music. His work spans production music for TV, film and advertising, alongside live performance and recording projects with artists including Sister Sledge, Cockney Rebel and Kid Creole. He has worked in a wide variety of recording environments, from improvised setups to world-renowned studios including Abbey Road and Blackbird Studio in Nashville.
https://x.com/lincolngrounds
Julian Rodgers Biog
Julian Rodgers is a freelance writer and audio engineer with a background in live sound. After many years working in education introducing new users to Pro Tools, he now lives by the sea in West Cornwall, where he plays keyboards in a couple of bands. He also plays bass and guitar equally badly, and remains an enthusiastic collector of microphones and opinions about all things audio.
https://www.linkedin.com/in/julian-rodgers-04621926
Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts
Eddie Bazil explores a range of advanced effects techniques, using practical audio examples to demonstrate how creative combinations of delays, reverbs, harmonisers, flangers and phasers can add depth, movement and texture to your productions.
Chapters
00:00 - Introduction
02:43 - Example 1: Multi-Tap Delay
05:43 - Example 2: Granular Resynthesis
08:10 - Example 3: Wrapping Reverbs
12:21 - Example 4: Adding Frequencies With A Harmoniser
16:10 - Example 5: Flangers For 3D Motion
20:43 - Example 6: Flanger, Phaser and Reverb
#EventideUltraTap #SoundtoysCrystallizer #IKMultimediaCSRPlateReverb #AcusticaAudioRICE #EventideH949Harmonizer #BlueCatFlanger #InitialAudio808Studio2 #SoundtoysPhaseMistress #GForceM-tronProIV #EventideBlackhole
Eddie Bazil Biog
Eddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands, including Art Of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra, and many more. By his 20s, he was working as a sound designer for Akai, Roland, Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie began developing libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Rob Papen, Arturia, and Propellerheads.
During this time, he trained in music production. He soon gained several prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer, and was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. This led to him offering educational workshops and classes, and becoming a contributing creator and Forum moderator for Sound On Sound.
Recently, he was invited by the Recording Academy to become a professional member, approved educator, and mentor for their member base. Eddie now concentrates on providing private sound design and mixing/production tuition, and creating content for Sound On Sound magazine.
Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts
In this episode, Eddie Bazil breaks down the different types of EQ, explains their most common uses in mixing and production, and demonstrates how they shape and enhance sound with practical audio examples.
Chapters
00:00 - Introduction
00:48 - What EQ Is And Different Types
01:33 - Active And Passive
02:45 - Linear Phase And Minimum Phase
03:46 - High-Pass and Low-Pass Filters
04:36 - Example 1: Using Synth Filters
06:47 - Common Functions Of EQ
07:27 - Example 2: Shaping A Kick Drum
10:31 - Example 3: Rebalancing An Acoustic Guitar
13:48 - Selecting The Right EQ Shape
15:55 - Managing Redundant Frequencies
18:15 - Example 4: Rebalancing A Mix
#PultecEQP-1 #XferSerum #BozDigitalTransgressor2 #EventideSplitEQ #SonibleEntropyEQ+ #SSLNativeXSaturator #SSLValveComp #TokyoDawnTDRArbiter
Track Credits
Example 2: from 'Puppet' by John Walden.
Example 3: from James Perret.
Example 4: from 'Another Way' by forester. Written, performed and produced by René Schneeberger.
https://foresterdnb.bandcamp.com/music
https://open.spotify.com/intl-de/artist/2BtzZiEDaReXLveskYtYkm
https://soundcloud.com/foresterdnb
https://cambridge-mt.com/
Eddie Bazil Biog
Eddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands, including Art Of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra, and many more. By his 20s, he was working as a sound designer for Akai, Roland, Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie began developing libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Rob Papen, Arturia, and Propellerheads.
During this time, he trained in music production. He soon gained several prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer, and was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. This led to him offering educational workshops and classes, and becoming a contributing creator and Forum moderator for Sound On Sound.
Recently, he was invited by the Recording Academy to become a professional member, approved educator, and mentor for their member base. Eddie now concentrates on providing private sound design and mixing/production tuition, and creating content for Sound On Sound magazine.
Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts
Professional producers Chevy One and Gareth Young talk to Julian Rodgers about the advantages of a hybrid hardware and digital studio setup and how combining the two can streamline workflow and speed up modern music production.
Chapters
00:00 - Introduction
01:07 - Hardware In A Modern Hybrid Studio
03:47 - What Does Hybrid Currently Mean
07:31 - Benefits Of Having A Console
08:43 - Using Control Surfaces
14:54 - Matching Tools To Tasks
23:24 - On The Way In And The Way Out
31:46 - Recallable And Software-Integrated Hardware
37:16 - Hardware Vs Software Workflow
#LA2A #Console1 #Audient #SSL
Chevy One Biog
Award-winning producer and composer Chevy has built a two-decade career across records, global brands and music technology. Operating a modern hybrid studio, he balances analogue commitment with digital flexibility. Recent work includes IKEA’s latest National Swedish campaign and product leadership at All Our Minds.
https://www.linkedin.com/in/joseluismontoro
https://audiocentralstudio.co.uk
Gareth Young Biog
Gareth is the owner of Cube recording studios a residential studio in Cornwall where he has worked with clients such as The XX, Tom Misch and Sam Ryder. Gareth has recently co-written and produced Tom Meighan's top twenty debut solo album, ‘The Reckoning ‘ and as a writer/producer he has co-written and produced hits for the Sugababes, Appleton, Dannii Minogue, Ronan Keating and All Saints to name a few.
http://garethyoung.com
https://www.facebook.com/cuberecordingcornwall
https://x.com/cuberecording
https://www.instagram.com/cube_recording
Julian Rodgers Biog
Julian Rodgers is a freelance writer and audio engineer with a background in live sound. After many years working in education introducing new users to Pro Tools, he now lives by the sea in West Cornwall, where he plays keyboards in a couple of bands. He also plays bass and guitar equally badly, and remains an enthusiastic collector of microphones and opinions about all things audio.
https://www.linkedin.com/in/julian-rodgers-04621926
Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts
Eddie Bazil demonstrates creative uses of advanced automation as a musical tool in the DAW, showing how automation can add movement, expression and musical detail. The episode covers shaping arpeggiated parts, using MIDI CC for dynamic control, modulating vocal tracks and applying MIDI note expression to enhance performance.
Chapters
00:00 - Introduction
01:49 - Setting Up Automation Lanes
02:30 - Example 1: Adding ARP Movement
04:51 - Example 2: Using MIDI CC For Velocity
07:41 - Example 3: Modulating A Vocal Track
14:52 - Example 4: MIDI Note Expression In A DAW
#gforce #imposcar3 #cubase #deviousmachines #infiltrator2 #cableguys #shaperbox #ovoxvocoder #eventide #blackhole
See Also:
https://www.soundonsound.com/techniques/using-phaser-effects-podcast
Eddie Bazil Biog
Eddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands, including Art Of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra, and many more. By his 20s, he was working as a sound designer for Akai, Roland, Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie began developing libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Rob Papen, Arturia, and Propellerheads.
During this time, he trained in music production. He soon gained several prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer, and was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. This led to him offering educational workshops and classes, and becoming a contributing creator and Forum moderator for Sound On Sound.
Recently, he was invited by the Recording Academy to become a professional member, approved educator, and mentor for their member base. Eddie now concentrates on providing private sound design and mixing/production tuition, and creating content for Sound On Sound magazine.
Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts
Helmuts Bems, Co-Founder and CEO of Sonarworks, joins Sam Inglis to discuss the findings of their recent AI survey. The conversation explores differing industry perspectives on generative versus assistive AI and provides insight into the extent to which professional musicians are already adopting these emerging technologies.
Chapters
00:00 - Introduction
00:33 - A Data-Driven Audio Company
04:56 - Assistive Vs Generative AI
07:36 - New Categories Of Tools
08:27 - Early Adoption Of AI Tools
12:50 - Negative Or Neutral Tensions
18:37 - Tackling Ethical Issues
21:25 - Where Music Production Is Heading
26:33 - The Impact Across Industries And Musical Genres
33:05 - Changes In Music Consumption
37:08 - How Technology Has Shaped Music
42:41 - AI As A Huge Industry Disruption
For more insights and data read the related article: www.soundonsound.com/music-business/ai-music-tech-2026
Full Report (PDF): https://blog-uploads.nyc3.digitaloceanspaces.com/2026/01/ai-music-production-skills-report-2026-sonarworks.pdf
Sonarworks Blog (Short Version): www.sonarworks.com/blog/research/future-music-production-human-producer-survey-2026
Sonarworks Biog
Sonarworks is an award-winning audio technology company specialising in sound calibration and audio personalisation. Founded in 2012 and headquartered in Riga, Latvia, the company develops patented calibration and AI-driven technologies that enable consistent, reference-grade audio across a wide range of listening environments and professional workflows. Sonarworks’ solutions are trusted by more than 300,000 studios worldwide and are widely used by audio engineers, producers and content creators.
In addition to its professional studio tools, Sonarworks has expanded into consumer audio through its SoundID personalisation technology, which adapts sound to individual hearing profiles and preferences. The company licenses its technology to global audio and consumer electronics partners and continues to be recognised internationally for its innovation in precision audio and sound optimisation.
https://www.sonarworks.com/blog/research
Helmuts Bems (Co-founder, CEO) Biog
Helmuts Bems is Co-Founder and Chief Executive Officer of Sonarworks, a leading audio technology company based in Riga, Latvia. He co-founded the company in 2012 and has overseen its strategic growth into a global innovator in sound calibration and personalised audio solutions, securing multiple financing rounds and international partnerships to expand its technologies across professional and consumer markets. Bems holds a Bachelor’s degree in Economics and Business Administration from the Stockholm School of Economics in Riga. Under his leadership, Sonarworks has been recognised for advancing precision audio technologies used by engineers and studios worldwide and has achieved notable industry accolades and commercial milestones. Driven by complex challenges, Bems combines strategic planning and team leadership with a commitment to advancing deep-tech innovation, and maintains personal interests in endurance sports and outdoor pursuits.
Sam Inglis Biog
Editor In Chief Sam Inglis has been with Sound On Sound for more than 20 years. He is a recording engineer, producer, songwriter and folk musician who studies the traditional songs of England and Scotland, and the author of Neil Young's Harvest (Bloomsbury, 2003) and Teach Yourself Songwriting (Hodder, 2006).
Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts
Paul White and Hugh Robjohns pick their software and hardware highlights from the gear they've reviewed in the last 12 months.
Chapters
00:00 - Introduction
00:14 - Cranborne Audio Brick Lane Compressor
03:56 - Soundtoys SpaceBlender
05:40 - Braingasm Ocula
08:18 - Sub51 And Soundtrax Drop Pad
09:16 - Red Panda Radius Ring Modulator
10:40 - Source Audio Encounter Delay+Reverb
11:45 - Electro-Harmonix Oceans Abyss
13:05 - Sound Devices Astral ARX16 Receiver
15:23 - Sound Devices Astral HH Transmitter
16:31 - Sound Devices Astral TX Transmitter
17:17 - RME ADI-2/4 Pro Converter
18:34 - Newfangled Audio Articulate Audio ADSR
19:54 - Overloud THU v2 Guitar Amp Simulator
20:37 - Grace Design m701 Audio Interface
Gear4Music (affiliate link UK/EU only)
Red Panda Radius
EHX Oceans Abyss
Sweetwater (affiliate link North America only)
Cranborne Brick Lane 500
Red Panda Radius
Source Audio Encounter
EHX Oceans Abyss
Sound Devices Astral ARX16
Sound Devices Astral HH
Sound Devices Astral TX
RME ADI-2-4 Pro SE
Grace Design m701
#cranborneaudio #soundtoys #braingasm #sub51 #soundtrax #redpanda #sourceaudio #electroharmonix #sounddevices #rme #newfangledaudio #overloud #gracedesign
Paul White Biog
Paul White initially trained in electronics at The Royal Radar Establishment in Malvern then went on to work with Malvern Instruments, a company specialising in laser analysis equipment, before moving into technical writing.
He joined the Sound On Sound team in 1991 where he became Editor In Chief, a position he held for many years before recently becoming Executive Editor. Paul has written more than 20 recording and music technology textbooks, the latest being The Producer’s Manual.
Having established his own multitrack home studio in the 1980s he’s worked with many notable names including Bert Jansch and Gordon Giltrap. He’s played in various bands over the years and currently collaborates with Malvern musician Mark Soden, under the name of Cydonia Collective. Paul still performs live claiming that as he has suffered for his music he doesn’t see why everyone else shouldn’t too!
http://www.cydoniacollective.co.uk/
Hugh Robjohns Biog
Hugh Robjohns has been Sound On Sound´s Technical Editor since 1997. Prior to that he worked in a variety of (mostly) sound-related roles in BBC Television, ending up as a Sound Operations Lecturer at the BBC´s technical training centre. He continues to provide audio consultancy and bespoke broadcast audio training services all over the world, lectures at professional and public conventions, and occasionally records and masters acoustic and classical music too!
Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts
In this episode, Paul White and Hugh Robjohns address some of the most frequently-asked questions about home studio recording and production. They share practical, experience-based advice to help you get the best results from your setup, whatever your budget or space.
Chapters
00:00 - Introduction
00:14 - Improving Your Room Acoustics
02:29 - Working On Headphones
04:13 - Dampening With A Duvet
05:50 - Choosing The Right Speakers
06:50 - Mics And Preamps
09:02 - Cables And Connectors
11:28 - Hardware Vs Plug-ins
14:09 - When To Add A Patchbay
16:18 - Preparing Music For Streaming
18:59 - Bass Drivers And Room Size
#IsoAcoustics #AKGC414 #NeumannU87 #AudioTechnica2020 #ShureSM57 #ShureSM58 #Neutrik #Cannon
Paul White Biog
Paul White initially trained in electronics at The Royal Radar Establishment in Malvern then went on to work with Malvern Instruments, a company specialising in laser analysis equipment, before moving into technical writing.
He joined the Sound On Sound team in 1991 where he became Editor In Chief, a position he held for many years before recently becoming Executive Editor. Paul has written more than 20 recording and music technology textbooks, the latest being The Producer’s Manual.
Having established his own multitrack home studio in the 1980s he’s worked with many notable names including Bert Jansch and Gordon Giltrap. He’s played in various bands over the years and currently collaborates with Malvern musician Mark Soden, under the name of Cydonia Collective. Paul still performs live claiming that as he has suffered for his music he doesn’t see why everyone else shouldn’t too!
http://www.cydoniacollective.co.uk/
Hugh Robjohns Biog
Hugh Robjohns has been Sound On Sound´s Technical Editor since 1997. Prior to that he worked in a variety of (mostly) sound-related roles in BBC Television, ending up as a Sound Operations Lecturer at the BBC´s technical training centre. He continues to provide audio consultancy and bespoke broadcast audio training services all over the world, lectures at professional and public conventions, and occasionally records and masters acoustic and classical music too!
Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts
Eddie Bazil explores advanced vocal processing techniques to achieve a clean, professional vocal track. He demonstrates how to control sibilance, tame resonances and apply quick corrective steps that enhance vocal clarity and ensure the performance sits perfectly in the track.
Chapters
00:00 - Introduction
00:30 - Common Vocal Track Issues
01:04 - Example 1: De-essing Sibilance
08:57 - Example 2: Taming Resonance With EQ
16:13 - Example 3: Reverb Ducking
25:22 - Example 4: Frequency Ducking
Track Credits
Example 1 - written and performed by David Plummer and Becky Bremner - https://www.smokinggoats.co.uk
Examples 2, 3 and 4 - ‘Puppet’ written, performed and recorded by John Walden, vocals by Yvonne McKeown
#SSLVocalStrip #FabFilterProDS #FabFilterProQ3 #FabFilterMBC #FabFilterProC #UnfilteredAudioTails #TokyoDawnNovaGE
Eddie Bazil Biog
Eddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands, including Art Of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra, and many more. By his 20s, he was working as a sound designer for Akai, Roland, Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie began developing libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Rob Papen, Arturia, and Propellerheads.
During this time, he trained in music production. He soon gained several prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer, and was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. This led to him offering educational workshops and classes, and becoming a contributing creator and Forum moderator for Sound On Sound.
Recently, he was invited by the Recording Academy to become a professional member, approved educator, and mentor for their member base. Eddie now concentrates on providing private sound design and mixing/production tuition, and creating content for Sound On Sound magazine.
Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts
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