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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. Chapters00:00 - 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 BiogSonarworks 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 BiogEditor 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). https://www.soundonsound.com 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. Chapters00:00 - Introduction00:14 - Cranborne Audio Brick Lane Compressor03:56 - Soundtoys SpaceBlender05:40 - Braingasm Ocula 08:18 - Sub51 And Soundtrax Drop Pad09:16 - Red Panda Radius Ring Modulator10:40 - Source Audio Encounter Delay+Reverb11:45 - Electro-Harmonix Oceans Abyss13:05 - Sound Devices Astral ARX16 Receiver15:23 - Sound Devices Astral HH Transmitter16:31 - Sound Devices Astral TX Transmitter17:17 - RME ADI-2/4 Pro Converter18:34 - Newfangled Audio Articulate Audio ADSR 19:54 - Overloud THU v2 Guitar Amp Simulator20:37 - Grace Design m701 Audio Interface Gear4Music (affiliate link UK/EU only)Red Panda RadiusEHX Oceans Abyss Sweetwater (affiliate link North America only)Cranborne Brick Lane 500 Red Panda RadiusSource Audio EncounterEHX Oceans AbyssSound Devices Astral ARX16Sound Devices Astral HHSound Devices Astral TXRME ADI-2-4 Pro SEGrace Design m701 #cranborneaudio #soundtoys #braingasm #sub51 #soundtrax #redpanda #sourceaudio #electroharmonix #sounddevices #rme #newfangledaudio #overloud #gracedesign Paul White BiogPaul 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 BiogHugh 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. Chapters00:00 - Introduction00:14 - Improving Your Room Acoustics 02:29 - Working On Headphones04:13 - Dampening With A Duvet05:50 - Choosing The Right Speakers06:50 - Mics And Preamps09:02 - Cables And Connectors11:28 - Hardware Vs Plug-ins14:09 - When To Add A Patchbay16:18 - Preparing Music For Streaming18:59 - Bass Drivers And Room Size #IsoAcoustics #AKGC414 #NeumannU87 #AudioTechnica2020 #ShureSM57 #ShureSM58 #Neutrik #Cannon Paul White BiogPaul 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 BiogHugh 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 - Introduction00:30 - Common Vocal Track Issues 01:04 - Example 1: De-essing Sibilance08:57 - Example 2: Taming Resonance With EQ16:13 - Example 3: Reverb Ducking 25:22 - Example 4: Frequency Ducking Track CreditsExample 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 BiogEddie 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. https://eddiebazil.co.uk/ Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Paul White explores the creative potential of using 'found' sounds, demonstrating how items found within your surroundings can be sampled, manipulated and transformed into complete tracks within your DAW using a few simple tools. Chapters00:00 - Introduction00:36 - Software Options01:27 - Methods Used For This Demo01:58 - Creating A String Patch04:49 - A Few More Examples08:03 - Constructing A Unique Percussion Kit11:01 - Layering Sounds With Synth Pads12:13 - Using The Voice Creatively13:00 - A Finished Track Using The Sampled Sounds Paul White BiogPaul 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 and in 2010 he received a BASCA award for his contributions to the music industry. 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/ Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

David Mellor explores how the Yamaha NS-10M monitors became a studio staple and why, decades after being discontinued, engineers are still seeking out second-hand pairs. Chapters00:00 - Introduction00:15 - Why NS-10Ms Became a Studio Staple02:11 - Making Better Mixing Decisions03:49 - A Second Pair of NS-10Ms05:23 - Mixing With Missing Frequencies09:11 - Reflex vs Closed Box Monitors11:35 - Why Pleasant Isn’t Always Better13:29 - Mixes That Translate15:40 - Making Rapid Mixing Decisions18:52 - The Case for Closed-Box Monitors The Phil Ward Article - https://www.soundonsound.com/reviews/yamaha-ns10-story David Mellor BiogDavid Mellor got his start in pro audio through the Tonmeister course at Surrey University studying music, piano performance, acoustics, electronics, electro-acoustics and recording. He went on to work at London's Royal Opera House, with responsibilities including sound design, front-of-house operation, stage monitoring and electronic design satisfying the likes of Luciano Pavarotti, Placido Domingo, Dame Kiri Te Kanawa and Karlheinz Stockhausen. David has also had over 600 works published in the field of production music. Notable uses of his music include the BBC's Horizon, Fahrenheit 911, and the Oprah Winfrey Show. David has been actively involved in Audio Education since 1986, teaching students of City of Westminster College and Westminster University, also returning to guest lecture at Surrey University. From 2001 until recently David has offered courses in audio online with Audio Masterclass.  David now enjoys making YouTube videos for his 84,000 subscribers and releasing music on streaming services and Bandcamp for his dozen or so listeners. YouTube - https://www.youtube.com/@audiomasterclass Spotify - https://open.spotify.com/artist/6OkaDx4vB4O2ssUA5p4M8g Bandcamp - https://davidmellor.bandcamp.com/ Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

In this episode, David Mellor continues his exploration of microphone polar patterns by discussing techniques for capturing stereo recordings. He examines how the choice of polar pattern and microphone placement can be used effectively to achieve a balanced and immersive stereo image. Chapters00:00 - Introduction 01:10 - Defining Mono 03:08 - Binaural Recording 04:24 - Defining Stereo 05:28 - Number Of Mics And Placement 06:58 - Polar Patterns 07:48 - Figure of 8 Demo 09:09 - The Blumlein Pair Configuration 11:05 - Coincident Cross Pair Figure Of 8 With Demonstration 16:53 - Coincident Cross Pair Of Cardioid With Demonstration 21:35 - Mic Spacing - The ORTF Configuration 24:31 - Mic Spacing - Omnidirectional Without Angling 27:28 - Medley Of Configurations 29:38 - Summary David Mellor BiogDavid Mellor got his start in pro audio through the Tonmeister course at Surrey University studying music, piano performance, acoustics, electronics, electro-acoustics and recording. He went on to work at London's Royal Opera House, with responsibilities including sound design, front-of-house operation, stage monitoring and electronic design satisfying the likes of Luciano Pavarotti, Placido Domingo, Dame Kiri Te Kanawa and Karlheinz Stockhausen. David has also had over 600 works published in the field of production music. Notable uses of his music include the BBC's Horizon, Fahrenheit 911, and the Oprah Winfrey Show. David has been actively involved in Audio Education since 1986, teaching students of City of Westminster College and Westminster University, also returning to guest lecture at Surrey University. From 2001 until recently David has offered courses in audio online with Audio Masterclass.  David now enjoys making YouTube videos for his 84,000 subscribers and releasing music on streaming services and Bandcamp for his dozen or so listeners. YouTube - https://www.youtube.com/@audiomasterclass Spotify - https://open.spotify.com/artist/6OkaDx4vB4O2ssUA5p4M8g Bandcamp - https://davidmellor.bandcamp.com/ Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

David Mellor discusses how to create custom effects in a DAW without relying on expensive plug-ins. Here he demonstrates his approach to creating a filter pan effect using an EQ with high-pass and low-pass filters, highlighting how custom effects can help give your music a unique edge. Chapters00:00 - Introduction02:05 - Pan Effect 03:02 - Mono Pan 04:30 - Static Pan 06:21 - Music Track 06:42 - Creative Pan Effect 09:00 - Pan Effect Using A Low-Pass Filter 13:23 - Crossfading Using Filters17:15 - Effecting Individual Instruments  #slatedigital #infinityeq #protools David Mellor BiogDavid Mellor got his start in pro audio through the Tonmeister course at Surrey University studying music, piano performance, acoustics, electronics, electro-acoustics and recording. He went on to work at London's Royal Opera House, with responsibilities including sound design, front-of-house operation, stage monitoring and electronic design satisfying the likes of Luciano Pavarotti, Placido Domingo, Dame Kiri Te Kanawa and Karlheinz Stockhausen. David has also had over 600 works published in the field of production music. Notable uses of his music include the BBC's Horizon, Fahrenheit 911, and the Oprah Winfrey Show. David has been actively involved in Audio Education since 1986, teaching students of City of Westminster College and Westminster University, also returning to guest lecture at Surrey University. From 2001 until recently David has offered courses in audio online with Audio Masterclass.  David now enjoys making YouTube videos for his 84,000 subscribers and releasing music on streaming services and Bandcamp for his dozen or so listeners. YouTube - https://www.youtube.com/@audiomasterclass Spotify - https://open.spotify.com/artist/6OkaDx4vB4O2ssUA5p4M8g Bandcamp - https://davidmellor.bandcamp.com/ Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

In this episode, sound-designer Eddie Bazil looks at ways of enhancing a variety of individual tracks and full mixes using plug-ins that are designed to achieve the retro warmth and cohesion of tapes and valves. Chapters 00:00 - Introduction 01:32 - What Is Harmonic Distortion 02:32 - Advances In Music Production Quality 04:47 - The Introduction Of CD 05:59 - Triodes And Pentodes Vacuum Tubes 06:47 - Analysing Harmonic Content 07:56 - Example 1: TR-808 Sub Bass 10:35 - Example 2: Affecting A Whole Mix* 12:39 - Example 3: Adding Saturation 15:07 - The Benefits Of Tape 17:26 - Example 4: Applying Tape Effects To A Bassline* 20:59 - Example 5: Adding Tape To Beats 23:47 - Example 6: Enhancing A Piano Track 26:56 - Summary * Demonstration track ‘Puppet’ (Examples 2 and 4), written, performed and recorded by John Walden. Vocals sung by Yvonne McKeown. #voxengospan #SummitAudio #T-RackS #Kraftur #Aphex #SSL Eddie Bazil BiogEddie 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. 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 started to develop libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Arturia and Propellerheads. A meeting with Phil Allen, a Capital Radio DJ, resulted in the company Samplecraze, which Eddie has spent 20 years developing as an educational resource. At this time he trained in music production and soon gained a number of 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,  plus was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. His ongoing development of Samplecraze has led to him offering educational workshops and classes, releasing four books via PC Publishing and becoming a contributor and forum moderator for Sound On Sound. Recently he has established The Audio Production Hub for online education and been invited by the Recording Academy to become a Grammy judge.https://eddiebazil.co.uk/ https://samplecraze.com/ Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Paul White delves into the fun world of modelled guitars, amps and cabs, that cannot only make your songwriting and studio sessions more creative and unique, but can also greatly assist with streamlining live performances. Chapters00:00 - Introduction00:12 - Techniques For Modelling Amps And Cabs04:22 - Amplifier Cloning05:49 - Compression To Improve Tonal Quality07:58 - Adding Room Ambience09:41 - Cleaning Up The Sound With EQ10:51 - Guitar Modelling Options13:05 - Why We Have Split Pickups16:24 - Non-Guitar Sounds At Your Fingertips18:12 - Modelled Bass Guitars #BossVG800 #MODOBass2 Paul White BiogPaul 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/

In this episode, Paul White looks at some creative ways that you can manipulate the standard plug-ins found in your DAW, using them alone or in combination with one another, to create some unique sounds, effects and rhythms. Chapters00:00 - Introduction00:08 - Hard Tune Effect01:39 - Processing Speech03:15 - Fast Pitch Processing04:04 - Using Match EQ On Guitars06:07 - Distortion And Reverb07:14 - Adding In Pitch Shift07:41 - Reverb And Distortion 09:07 - Adding More Reverb And Delay10:02 - Using Distortion On Drums11:30 - Using A Rotary Speaker On Drums12:43 - Using An Impulse Response With Convolution Reverb Paul White BiogPaul 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/ 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. Chapters00:00 - Introduction00:24 - Lynx Hilo 202:49 - Blackstar Polar 2 / Polar 403:39 - AEA TRP 3 Preamp 05:40 - Logic Pro 1107:24 - RME Fireface UFX III09:57 - Dreamtonics Vocoflex 11:33 - Hum Audio LAAL Limiter13:43 - FireSonic FireSpacer14:54 - Crookwood VU Meter17:03 - Nektar Panorama CS1217:42 - IK Multimedia Tonex One18:23 - Sound Particles inDelay19:19 - Sonnect SoundWire Interface Paul White BiogPaul 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 BiogHugh 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

For musicians and producers that struggle to finish tracks, Eddie Bazil explains the benefits of creating musical snippets and gives us some examples as to how we can tap into different moods, use sound design techniques to create something unique that becomes a useable addition to our musical catalogues and create pieces that stand the test of time. “Snippets and the creating of, serve to strengthen sound ideas, hone mixing and production skills, help to understand timing and flow, act as a testbed for song structuring ideas and are the playground for testing and mastering all manner of plug-ins”. Chapters00:00 - Introduction00:19 - What Is A Snippet?01:53 - The Benefits Of Creating Snippets04:26 - Planning Your Snippets06:07 - Sound Design06:53 - Example 1: Phased Pad17:33 - Example 2: Happy, Mood-Lifting 22:01 - Example 3: Drama And Tension #SoundtoysPhaseMistress #FabFilterTimeless2 #EventideBlackhole #SteinbergGrooveagent #GforceimpOSCar3 #WavesOvoxVocoder #SteinbergHalionTrip #RobPapenAlbino #Kontakt #NIMaschine2 #AirHybrid3 Eddie Bazil BiogEddie 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. 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 started to develop libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Arturia and Propellerheads. A meeting with Phil Allen, a Capital Radio DJ, resulted in the company Samplecraze, which Eddie has spent 20 years developing as an educational resource. At this time he trained in music production and soon gained a number of 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,  plus was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. His ongoing development of Samplecraze has led to him offering educational workshops and classes, releasing four books via PC Publishing and becoming a contributor and forum moderator for Sound On Sound. Recently he has established The Audio Production Hub for online education and been invited by the Recording Academy to become a Grammy judge.https://eddiebazil.co.uk/ https://samplecraze.com/ Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Paul White and Hugh Robjohns talk us through four essential studio effects that every music producer or mix engineer needs to know for creating an effective mix, placing them in order of importance and giving an insight into how they can be used effectively. Chapters00:00 - Introduction00:21 - Effect 1: Reverb02:11 - Convolution Reverb04:28 - Reverb Controls05:53 - Using Aux Sends08:00 - Effect 2: EQ08:57 - EQ Filters11:44 - The Shelving Filter13:40 - Parametric EQ14:17 - Cutting Vs Boosting15:26 - Effect 3: Delay16:21 - Where To Use Delay17:40 - Effect 4: Compression18:43 - Setting Threshold and Ratio19:51 - Soft-Knee Compression20:33 - Tweaking Presets22:08 - Other Controls26:02 - Parallel Compression30:11 - Creative Modulation Effects30:58 - Using Effects Sparingly Paul White BiogPaul 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 BiogHugh 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

Pro Audio Design Engineer Andy Bereza summarises his impressive career in a chat with Paul Gilby. Andy founded Allen & Heath Mixers before working for TEAC/Tascam, where he conceived the TEAC Portastudio the portable multitrack cassette tape recorder that revolutionised the home recording market in the 1980s. He then co-founded Bandive-Turnkey where he developed a range of budget signal processors and the famous Great British Spring reverb to sell to the rapidly expanding Home Studio Recording market. At the same time, he was a consultant for the Fostex X15 multitrack cassette as well as helping to steer further product designs. Chapters00:00 - Introduction00:34 - Getting Into Electronics01:45 - Building Custom Desks04:09 - Allen & Heath Mixers06:07 - The Minimixer08:54 - The Pink Floyd Desks12:24 - Allen & Heath Mod II Mixer13:20 - Expanding The Company15:23 - Moving To Tascam 16:58 - Constructing The Portastudio 21:57 - Setting Up Bandive / Turnkey24:55 - Creating Products For The Home Studio 29:03 - Fostex Releases in the 80s30:48 - Bandive Seck Mixers32:08 - Expanding Turnkey35:14 - Selling To Harman38:38 - Launching Digital Postcards41:07 - A Brief Career Summary42:13 - Proudest Career Moment Andy Bereza BiogAndy Bereza started his career as a Audio Design Engineer after moving to London in 1967 to study Electronics at Chelsea University. A chance encounter with Siggy Jackson in Tin Pan Alley gave him his first custom commission and many more soon followed, with Andy building mixers for Bill Shepherd (producer of the Bee Gees), Alan Price, Maurice Gibb and also a location recording mixer for the Clockwork Orange movie. In 1970 Andy became the Founder of Allen & Heath, where he initially developed the black range of mixers, then their first mass market product the Minimix. At the same time he creating custom quadraphonic live desks for The Who along with Pink Floyd's Pompeii and Dark Side Of The Moon touring desks. In 1975, Andy joined TEAC America and was employed to introduce Tascam into Europe. Then in 1976 he was contracted directly with TEAC Japan where he developed the iconic Portastudio that changed the face of the home recording industry. In 1977 he became one of the founders of Bandive Ltd and helped to develop further products for the home recording market and created the popular Turnkey By Mail catalogue during the late 1970s to mid 80s. Bandive then opened the Turnkey retail store in central London. Following the sale of Bandive / Turnkey to Harman UK in 1987, he briefly became their Marketing Director, before signing up to become Managing Director of Fostex in 1991. Later in the 90s Andy left the Pro Audio industry and turned his attention to multimedia where he developed interactive product catalogues on CD-ROM. Paul Gilby BiogPaul Gilby is the co-founder, along with his brother Ian, of Sound On Sound magazine in 1985. Having written many product reviews and interviews over the years he now heads up the Digital Media side of the business managing the team that looks after the SOS website as well as the video and podcast productions. Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts