President and co-founder of Arturia, Frédéric Brun, talks to Sam Inglis about the company's eventful history, taking in highlights such as the innovative MiniBrute, the epic PolyBrute and the company's first stage keyboard, the new AstroLab.

Chapters
00:00 - Introduction
01:52 - Storm & The Early Days Of Software Synthesis
02:53 - Emulating Classic Analogue Synths
07:23 - How To Approach An Emulation
08:24 - IRCAM And Physical Modelling
10:56 - Expanding Into Hardware
13:43 - The MiniBrute: Arturia's First Analogue Synth
18:16 - Synths For iPad & iOS
20:03 - The MatrixBrute
24:26 - The Importance Of User Feedback
26:48 - Development Time
28:53 - Moving Into Different Market Sectors
30:36 - Pigments: An Original Soft Synth
31:37 - The PolyBrute Morphing Analogue Polysynth
33:32 - AstroLab: Arturia's Stage Keyboard

Arturia Biog
Based in the French city of Grenoble, Arturia have built on their roots as pioneering developers of virtual instruments to become one of the world's leading manufacturers of analogue, digital and software synthesizers, controller keyboards and audio interfaces.

Launched in 1999 by college friends Frédéric Brun and Gilles Pommereuil, the company initially started out by developing software that could accurately emulate retro analogue synths. In 2003 they started to work with some of the major manufacturers, turning out virtual versions of classic Moog, Roland, Yamaha and Sequential Circuits synths.

In 2012 they launched their first analogue synth, the MiniBrute, later followed by the MicroBrute, MatrixBrute and PolyBrute.

Celebrating their 25th anniversary this year, the company continues to grow and their product line now includes a wide range of soft synths, apps, controllers, audio interfaces and hardware synths.

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).

Alan Moulder, 2024 recipient of the Icon Of The Year Award from the Music Producers Guild, talks to Kevin Paul about his early years at Trident Studios and finding his specialist areas, plus tips on how aspiring producers and engineers can get started in the industry today.

Chapters
00:00 - Introduction
00:30 - Starting Out In Indie Rock
02:28 - The Route Into Trident Studios
04:50 - Going Freelance With Dave Stewart
06:48 - Learning To Mix On An SSL Desk
09:03 - Developing The Studio With Flood
09:42 - Hiring Studio Assistants
13:14 - Structured Working Methods
14:27 - Actively Promoting Studio Assistants
16:48 - Deciding How To Handle A Mix
19:21 - MIDI Mapping With Battery
20:38 - Adding Intensity To The Mix
23:49 - Favourite Pieces Of Kit
25:43 - What's On The MixBus
26:08 - Method For Creating Stems
28:13 - Things To Avoid
30:31 - Making Use Of The Reference Mix

Alan Moulder Biog
Alan Moulder is a leading global Mixer/Producer and Engineer. Working mainly in the UK and USA since the 1980’s, Grammy award winning Alan Moulder has been at the helm of some of rock music’s most iconic records.

His production, engineering and mixing credits include Nine Inch Nails, The Killers, The Smashing Pumpkins, Foo Fighters, Then Crooked Vultures, My Bloody Valentine, The Jesus and Mary Chain, Arctic Monkeys, Led Zeppelin, Death Cab For Cutie, Ride, Queens of the Stone Age, Frank Carter and the Rattlesnakes, Suede, Interpol, Iggy Pop, Simple Minds, Ozzy Osbourne and Wet Leg. Alan also received the prestigious ‘Icon of the Year’ award at the recent MPG Awards 2024.

https://www.alanmoulder.com/

Kevin Paul Biog
Kevin Paul started his career as a DJ but quickly found his passion was sound engineering. His first audio job was at Soho Studios in 1991, moving to Konk Studios six months later, where he worked alongside successful producers and engineers such as Bob Clearmountain, Adam Mosley, Pascal Gabriel and Gil Norton, as well as bands such as The Kinks, Galliano, Terrorvision, UFO and Elastica.
 
After working on archiving the Depeche Mode back catalogue in 1994, he was offered an engineering role at Mute Records’ in-house studio, which eventually lead to a position as Head Engineer, which gave him access to the entire Mute Records roster. Highlights include mixing Goldfrapp’s “Felt Mountain”, David Bowie’s “Hours” and Nick Cave’s “No More Shall We Part”. He also worked in 5:1, mixing Moby’s “Hotel”, Goldfrapp’s “Black Cherry“ and more for DVD.

In 2004 Kevin went freelance and re-mixed the entire Depeche Mode and Nick Cave and the Bad Seeds back catalogues for SACD/DVD. Since 2008, Kevin Paul has been in charge of mixing and remixing performances at the iTunes Festivals in the UK and Germany. He has mixed over 100 artists to date, including Adele, Ed Sheeran, Alicia Keys, Nick Cave & The Bad Seeds, The XX, Calvin Harris, Foo Fighters, Jack White, Linkin Park, Florence & The Machine, Deadmau5, David Guetta, Jessie J., Norah Jones, Oasis, Mumford & Sons, N.E.R.D., Lykke Li, James Blunt, KT Tunstall, Hot Chip, Paul Weller and many more.

He continues to record, engineer, produce and mix many projects in music and film, runs the mixing and surround mixing modules for the Masters Degree course at UK’s Westminster University and divides his time between London and Berlin. Recent works include the International selling new album by Nick Cave & The Bad Seeds and mixing the latest album of Denmark’s “Dúné” with the first single premiering at the Danish Music Awards, plus the latest iTunes Music Festival.

http://www.kevin-paul.com/

Producer and Engineer Tim Bran talks us through his early career at Island Records, being invited to tour as a session musician, recording London Grammar and setting up his own collaborative tech and studio projects.

Chapters
00:00 - Introduction

01:22 - The Early Days At Island Records

04:58 - Musical Taste

06:33 - Informative Years In The Bunker

08:10 - Being Invited To Tour

10:40 - Rez Rocket Surfer - A Virtual Band

15:47 - Developing Artist Management Skills

21:17 - Being Diplomatic In A Team

24:20 - Taking Chances And Being Creative
26:10 - Working With Roy Kerr And London Grammar

31:42 - Collaborative Projects And Learning New Techniques
38:07 - Being Respectful Of Other Talent In The Room
41:07 - Mixing During The Recording Process
45:17 - Dealing With Demo Love
47:14 - Favourite Hardware And Software
52:54 - Avoiding Dither And Delay

Tim Bran Biog
Tim Bran began his production career in his own studio in Guernsey where he grew up. He then worked in the legendary Fallout Shelter Studios at Island Records in London where he collaborated with artists such as Julian Cope, Mica Paris, Omar and ex-Big Audio Dynamite band Screaming Target (with whom he formed an alliance and created the seminal dub/ambient band Dreadzone later on). He toured for ten years then decided he needed to be in his home from home- the studio - so gave up touring and dedicated himself to production and writing.

He co-produced London Grammar’s debut album If You Wait with his production partner Roy Kerr as MyRiot and has worked with artists such as Birdy, Paul McCartney, Rae Morris, La Roux, KT Tunstall, Halsey, The Verve, Imelda May and Primal Scream. Recently his work includes Haevn, Abby Sage, Axel Flovent and Wild Rivers.

Today, Tim Bran continues to make waves in the music scene, working with both established and up-and-coming artists. With each project, he brings a fresh perspective and a dedication to pushing musical boundaries, ensuring that his influence on the industry remains as vibrant as ever.

http://www.echobeachmanagement.com/artist/tim-bran/

Kevin Paul Biog
Kevin Paul started his career as a DJ but quickly found his passion was sound engineering. His first audio job was at Soho Studios in 1991, moving to Konk Studios six months later, where he worked alongside successful producers and engineers such as Bob Clearmountain, Adam Mosley, Pascal Gabriel and Gil Norton, as well as bands such as The Kinks, Galliano, Terrorvision, UFO and Elastica.
 
After working on archiving the Depeche Mode back catalogue in 1994, he was offered an engineering role at Mute Records’ in-house studio, which eventually lead to a position as Head Engineer, which gave him access to the entire Mute Records roster. Highlights include mixing Goldfrapp’s “Felt Mountain”, David Bowie’s “Hours” and Nick Cave’s “No More Shall We Part”. He also worked in 5:1, mixing Moby’s “Hotel”, Goldfrapp’s “Black Cherry“ and more for DVD.

In 2004 Kevin went freelance and re-mixed the entire Depeche Mode and Nick Cave and the Bad Seeds back catalogues for SACD/DVD. Since 2008, Kevin Paul has been in charge of mixing and remixing performances at the iTunes Festivals in the UK and Germany. He has mixed over 100 artists to date, including Adele, Ed Sheeran, Alicia Keys, Nick Cave & The Bad Seeds, The XX, Calvin Harris, Foo Fighters, Jack White, Linkin Park, Florence & The Machine, Deadmau5, David Guetta, Jessie J., Norah Jones, Oasis, Mumford & Sons, N.E.R.D., Lykke Li, James Blunt, KT Tunstall, Hot Chip, Paul Weller and many more.

He continues to record, engineer, produce and mix many projects in music and film, runs the mixing and surround mixing modules for the Masters Degree course at UK’s Westminster University and divides his time between London and Berlin. Recent works include the International selling new album by Nick Cave & The Bad Seeds and mixing the latest album of Denmark’s “Dúné” with the first single premiering at the Danish Music Awards, plus the latest iTunes Music Festival.

http://www.kevin-paul.com/

Guy Massey talks about his training at Abbey Road, how this gave him the confidence and experience to become freelance and how he enjoys blending new technology with traditional recording spaces.

Chapters
00:00 - Introduction
00:28 - Getting Into The Industry
03:51 - Learning At Abbey Road
05:12 - Studio Etiquette
06:58 - Being Sensitive To Artist Needs
10:44 - Blending Modern Technology And Traditional Spaces
14:08 - Learning To Be A Good Engineer
16:40 - Working With Constrained Budgets
18:00 - The Curiosity Of Experimentation
19:07 - Confidence In Your Abilities
23:26 - What Makes A Good Producer
27:40 - Fixing Self-Produced Tracks
29:03 - Time Taken To Do A Mix
33:13 - Recommended Practices
35:30 - Preparing For A Session

Guy Massey Biog
Hailing from Merseyside, Guy’s love of music started at an early age, fuelled by his grandparents musical heritage and siblings record collections. He played guitar in various bands in and around New Brighton and Liverpool during the 80’s and 90’s, falling in love with Indie guitar music. His love of playing was soon superseded by the actual recording of the bands he was in and his time at The University Of Manchester studying Geology happened to coincide with the vibrant Madchester scene, re-igniting his love of music.

A move to Guildford to do a Diploma in Recording at The University of Surrey resulted in a placement at Abbey Road Studios in 1995, where he remained for 10 years, working with many great artists, engineers and producers. This experience gave him the confidence to go freelance in 2005 and set up his own room in North London in 2010.

Recent credits include the Kylie Minogue albums Tension including the song Padam Padam (which earned him a Grammy), Turin Brakes, the Score for Los Frikis, Lady Blackbird for Black Acid Soul, Rita Ora and The Divine Comedy.

https://www.guymmassey.co.uk/

Kevin Paul Biog
Kevin Paul started his career as a DJ but quickly found his passion was sound engineering. His first audio job was at Soho Studios in 1991, moving to Konk Studios six months later, where he worked alongside successful producers and engineers such as Bob Clearmountain, Adam Mosley, Pascal Gabriel and Gil Norton, as well as bands such as The Kinks, Galliano, Terrorvision, UFO and Elastica.
 
After working on archiving the Depeche Mode back catalogue in 1994, he was offered an engineering role at Mute Records’ in-house studio, which eventually lead to a position as Head Engineer, which gave him access to the entire Mute Records roster. Highlights include mixing Goldfrapp’s “Felt Mountain”, David Bowie’s “Hours” and Nick Cave’s “No More Shall We Part”. He also worked in 5:1, mixing Moby’s “Hotel”, Goldfrapp’s “Black Cherry“ and more for DVD.

In 2004 Kevin went freelance and re-mixed the entire Depeche Mode and Nick Cave and the Bad Seeds back catalogues for SACD/DVD. Since 2008, Kevin Paul has been in charge of mixing and remixing performances at the iTunes Festivals in the UK and Germany. He has mixed over 100 artists to date, including Adele, Ed Sheeran, Alicia Keys, Nick Cave & The Bad Seeds, The XX, Calvin Harris, Foo Fighters, Jack White, Linkin Park, Florence & The Machine, Deadmau5, David Guetta, Jessie J., Norah Jones, Oasis, Mumford & Sons, N.E.R.D., Lykke Li, James Blunt, KT Tunstall, Hot Chip, Paul Weller and many more.

He continues to record, engineer, produce and mix many projects in music and film, runs the mixing and surround mixing modules for the Masters Degree course at UK’s Westminster University and divides his time between London and Berlin. Recent works include the International selling new album by Nick Cave & The Bad Seeds and mixing the latest album of Denmark’s “Dúné” with the first single premiering at the Danish Music Awards, plus the latest iTunes Music Festival.

http://www.kevin-paul.com/

Catherine Marks talks to Kevin Paul about her traditional route into the industry as an assistant to Flood and Alan Moulder, plus her tips for how to approach a mix and get the best out of a track.

Chapters
00:00 - Introduction
00:29 - Getting Started In The Industry
04:22 - Working With Flood
08:50 - The Modern Studio Career Path
12:43 - Developing People Skills
16:21 - Working With Alan Moulder
18:57 - The Mixing Assistant Role
22:26 - Working With Poor Recordings
23:42 - Finding The Vibe Of A Track
29:00 - Mixing Hardware And Software
30:33 - Duration Of A Mix
31:44 - Getting Feedback From The Artist
33:16 - Checking The Mix
34:13 - Performance Over Quantisation
36:37 - Things To Avoid

Catherine Marks Biog
Catherine Marks is an internationally renowned Producer and Mix Engineer, with over 17 years in the industry. Catherine won MPG Breakthrough Producer of the Year in 2016, MPG Producer of the Year in 2018, Heavy Music Awards Producer of the Year in 2020 and, in 2023, Catherine was named Producer of the Year at the MBW A&R Awards.

Catherine produced and mixed Wolf Alice’s GRAMMY nominated ‘Moaning Lisa Smile’, mixed GRAMMY award-winning album ‘MASSEDUCTION’ by St. Vincent, and has produced/mixed six Top 10 UK Albums, including ‘therecord’ with supergroup boygenius in 2023, which achieved UK #1 album status and was nominated for 7 GRAMMYs.

Cementing herself as a global leader in production, Catherine’s credits include: Wolf Alice, Foals, Manchester Orchestra, boygenius, The Killers, St.Vincent, Oscar Lang, The Wombats, Palace, The Mysterines, Frank Turner, Frank Carter and The Rattlesnakes, Alanis Morissette and The Amazons.

https://www.catherinejmarks.com/

Kevin Paul Biog
Kevin Paul started his career as a DJ but quickly found his passion was sound engineering. His first audio job was at Soho Studios in 1991, moving to Konk Studios six months later, where he worked alongside successful producers and engineers such as Bob Clearmountain, Adam Mosley, Pascal Gabriel and Gil Norton, as well as bands such as The Kinks, Galliano, Terrorvision, UFO and Elastica.
 
After working on archiving the Depeche Mode back catalogue in 1994, he was offered an engineering role at Mute Records’ in-house studio, which eventually lead to a position as Head Engineer, which gave him access to the entire Mute Records roster. Highlights include mixing Goldfrapp’s “Felt Mountain”, David Bowie’s “Hours” and Nick Cave’s “No More Shall We Part”. He also worked in 5:1, mixing Moby’s “Hotel”, Goldfrapp’s “Black Cherry“ and more for DVD.

In 2004 Kevin went freelance and re-mixed the entire Depeche Mode and Nick Cave and the Bad Seeds back catalogues for SACD/DVD. Since 2008, Kevin Paul has been in charge of mixing and remixing performances at the iTunes Festivals in the UK and Germany. He has mixed over 100 artists to date, including Adele, Ed Sheeran, Alicia Keys, Nick Cave & The Bad Seeds, The XX, Calvin Harris, Foo Fighters, Jack White, Linkin Park, Florence & The Machine, Deadmau5, David Guetta, Jessie J., Norah Jones, Oasis, Mumford & Sons, N.E.R.D., Lykke Li, James Blunt, KT Tunstall, Hot Chip, Paul Weller and many more.

He continues to record, engineer, produce and mix many projects in music and film, runs the mixing and surround mixing modules for the Masters Degree course at UK’s Westminster University and divides his time between London and Berlin. Recent works include the International selling new album by Nick Cave & The Bad Seeds and mixing the latest album of Denmark’s “Dúné” with the first single premiering at the Danish Music Awards, plus the latest iTunes Music Festival.

http://www.kevin-paul.com/

In this episode Kevin Paul talks to Record Producer and Mixer, Danton Supple who gives a fascinating insight into learning his trade at Sarm and Westside Studios during the 1980s and how he approaches the different roles of Recording Engineer, Producer and Mix Engineer.

Chapters
00:00 - Introduction
01:04 - Getting Started In The Business
07:47 - Technical Training
09:17 - Working in Different Countries
10:49 - The Move To Westside Studios
13:25 - The Art Of Engineering
19:06 - Working Alongside A Producer
23:10 - The Role Of A Producer
24:50 - Pre-Production Meetings And Rehearsals
33:20 - Visualising The Whole Project
34:59 - Working With Coldplay
37:07 - Preparing For The Mix
40:10 - The Process Of Mixing
43:13 - Preferred Monitors
44:16 - Getting A Mix To Work
45:28 - What's On The Mixbus
49:30 - How Long To Spend On A Mix
58:28 - Favourite Plug-ins
01:01:12 - Structuring A Recording Session
01:02:36 - Breaking Up Mixing Sessions

Danton Supple Biog
Danton is a London based Record Producer and Mixer with almost 40 years experience in studios and studio production with a diverse and successful range of artists as engineer, mixer and producer including work on 3 Grammy Winning and 5 Grammy Nominated projects.

Having trained as a recording engineer at the legendary Sarm Studios under producers Trevor Horn, Steve Lipson and Julian Mendelsohn he moved to Westside Studios to work with Clive Langer and Alan Winstanley. Going freelance in 1994 he worked with producers Phil Spector, Steve Lillywhite, Gil Norton, Mike Hedges, Steve Osborne, Flood, Ken Nelson, Paul Oakenfold, Brian Eno, Hugh Jones, Chris Hughes, Mark Saunders and Ian Stanley.

He moved into production and mixing soon after with projects including Amy MacDonald, Soulsavers, Coldplay, Ian Brown, Morrissey, Oceansize, Starsailor, Lucie Silvas, The Devlins, Kylie Minogue, Patti Smith, Electric Soft Parade and The Doves. Recent projects include Alabama 3, Skinny Living, The Horn, Autoheart, Canadian band Around Joshua, Glowie, Deco, Oh Baby and Waiting For Smith.

Danton is now based at RAK Studios (https://rakstudios.co.uk), St Johns Wood, London
@dantonsupple
https://www.dantonsupple.com/

Kevin Paul Biog
Kevin Paul started his career as a DJ but quickly found his passion was sound engineering. His first audio job was at Soho Studios in 1991, moving to Konk Studios six months later, where he worked alongside successful producers and engineers such as Bob Clearmountain, Adam Mosley, Pascal Gabriel and Gil Norton, as well as bands such as The Kinks, Galliano, Terrorvision, UFO and Elastica.
 
 After working on archiving the Depeche Mode back catalogue in 1994, he was offered an engineering role at Mute Records’ in-house studio, which eventually lead to a position as Head Engineer, which gave him access to the entire Mute Records roster. Highlights include mixing Goldfrapp’s “Felt Mountain”, David Bowie’s “Hours” and Nick Cave’s “No More Shall We Part”. He also worked in 5:1, mixing Moby’s “Hotel”, Goldfrapp’s “Black Cherry“ and more for DVD.

In 2004 Kevin went freelance and re-mixed the entire Depeche Mode and Nick Cave and the Bad Seeds back catalogues for SACD/DVD. Since 2008, Kevin Paul has been in charge of mixing and remixing performances at the iTunes Festivals in the UK and Germany. He has mixed over 100 artists to date, including Adele, Ed Sheeran, Alicia Keys, Nick Cave & The Bad Seeds, The XX, Calvin Harris, Foo Fighters, Jack White, Linkin Park, Florence & The Machine, Deadmau5, David Guetta, Jessie J., Norah Jones, Oasis, Mumford & Sons, N.E.R.D., Lykke Li, James Blunt, KT Tunstall, Hot Chip, Paul Weller and many more.

He continues to record, engineer, produce and mix many projects in music and film, runs the mixing and surround mixing modules for the Masters Degree course at UK’s Westminster University and divides his time between London and Berlin. Recent works include the International selling new album by Nick Cave & The Bad Seeds and mixing the latest album of Denmark’s “Dúné” with the first single premiering at the Danish Music Awards, plus the latest iTunes Music Festival.

http://www.kevin-paul.com/

Roland Lamb talks to Nick Rothwell about the inspiration behind the ROLI Seaboard, the challenges faced when creating a new type of instrument and the three product ranges from ROLI, the Seaboard, Block System and LUMI.
See the Show Notes for further details.

Chapters
00:00 - Introduction
00:40 - The Origins Of ROLI
07:41 - Part Of The Keyboard Family
12:26 - Challenges Of Constructing The Seaboard
17:34 - The First Products Launched
18:12 - From Integrated Sounds To Controllers And Soft Synths
22:59 - Standardising MIDI Polyphonic Expression
25:32 - The ROLI Block System
28:33 - LUMI for Education And Performance
30:30 - Improving Playability With The Seaboard Rise 2
33:08 - The Next Generation Of Blocks

Roland Lamb Biog
Roland Lamb, CEO of Luminary ROLI and inventor of the Seaboard, is a trailblazer in music technology. The Seaboard, blending a keyboard's familiarity with advanced digital capabilities, redefined musical expressiveness. Lamb's leadership at ROLI focuses on innovating music creation tools, merging artistry with technology. His groundbreaking work, recognized through various awards, continues to influence the music industry, shaping new ways musicians interact with instruments and expanding the horizons of musical expression.
https://roli.com/

Nick Rothwell Biog
Nick Rothwell is a composer, performer, software architect, coder and visual artist. He has built media performance systems for projects with Ballett Frankfurt and Vienna Volksoper, composed sound scores for Aydın Teker (Istanbul / Kapadokya), AWA Dance, Luz&Mannion Dance (Flamenco) and Undercurrent Theatre, programmed physical media sculptures with Simeon Nelson and Rob Godman, live coded in Mexico and in Berlin with sitar player Shama Rahman, collaborated with the body>data>space collective in Prague, Paris and Dresden, written software for Studio Wayne McGregor, the Pina Bausch Foundation and Nesta's FutureFest, and developed algorithmic visuals for large-scale outdoor projections in Poland, Estonia, Cambridge Music Festival and Lumiere (London / Durham).
https://cassiel.com/

In the first part of the brand new Kevin Paul MixBus Series, Kevin chats to producer engineer Gareth Jones about his impressive career at Mute Records and Hansa Studios in Berlin, working with bands such as Depeche Mode, Nick Cave & the Bad Seeds, Erasure and Goldfrapp.

Chapters
00:00 - Introduction
01:16 - The Studio
02:14 - Getting Started As A Mix Engineer
05:19 - Innovative Recording Techniques
08:01 - Keeping Clients Happy
10:24 - Mute Records and Depeche Mode
16:12 - Recording Andy Bell
18:01 - Mixing In The Box
23:13 - Current Analogue Kit
24:20 - Recording The Leisure Society
25:59 - Working With Rough Mixes
27:50 - Listening To Music And Working In 96kHz
32:34 - Music Industry Education
38:00 - Workflow
41:18 - Favourite Studio Gear
42:36 - Things To Avoid

Gareth Jones Biog
British Music Producer, Mixer and Engineer Gareth Jones has been a pioneer in the use of digital equipment, combining digital tools with analogue recording techniques and synths since the 80’s. Jones has produced five albums for electro-pop pioneers Depeche Mode and six albums for synth-pop superstars Erasure as well as multiple titles for Wire, Einsturzende Neubauten, Diamanda Galás and more.

Trained at the BBC, Jones launched his career during the New Wave era, mixing early singles for Madness and John Foxx. Moving to Berlin in 1983, he worked at the legendary Hansa Studios for 10 years recording and mixing Depeche Mode, Nick Cave & the Bad Seeds, Wim Wenders soundtracks and more. More recently Jones has remixed tracks for Erasure and Goldfrapp among others.

His production room is now located at Strongroom Studio in London. A Logic Pro guru, Modular Synth geek, Ableton Live enthusiast,  and a JAMES assessor, Jones was a frequent lecturer for the Red Bull Music Academy and has appeared at Moog Fest. His own musical projects include ElectroGenetic, Nous Alpha, Spiritual Friendship, Sunroof and QUINQUIS

http://www.garethjones.com/

Kevin Paul Biog
Kevin Paul started his career as a DJ but quickly found his passion was sound engineering. His first audio job was at Soho Studios in 1991, moving to Konk Studios six months later, where he worked alongside successful producers and engineers such as Bob Clearmountain, Adam Mosley, Pascal Gabriel and Gil Norton, as well as bands such as The Kinks, Galliano, Terrorvision, UFO and Elastica.
 
 After working on archiving the Depeche Mode back catalogue in 1994, he was offered an engineering role at Mute Records’ in-house studio, which eventually lead to a position as Head Engineer, which gave him access to the entire Mute Records roster. Highlights include mixing Goldfrapp’s “Felt Mountain”, David Bowie’s “Hours” and Nick Cave’s “No More Shall We Part”. He also worked in 5:1, mixing Moby’s “Hotel”, Goldfrapp’s “Black Cherry“ and more for DVD.

In 2004 Kevin went freelance and re-mixed the entire Depeche Mode and Nick Cave and the Bad Seeds back catalogues for SACD/DVD. Since 2008, Kevin Paul has been in charge of mixing and remixing performances at the iTunes Festivals in the UK and Germany. He has mixed over 100 artists to date, including Adele, Ed Sheeran, Alicia Keys, Nick Cave & The Bad Seeds, The XX, Calvin Harris, Foo Fighters, Jack White, Linkin Park, Florence & The Machine, Deadmau5, David Guetta, Jessie J., Norah Jones, Oasis, Mumford & Sons, N.E.R.D., Lykke Li, James Blunt, KT Tunstall, Hot Chip, Paul Weller and many more.

He continues to record, engineer, produce and mix many projects in music and film, runs the mixing and surround mixing modules for the Masters Degree course at UK’s Westminster University and divides his time between London and Berlin. Recent works include the International selling new album by Nick Cave & The Bad Seeds and mixing the latest album of Denmark’s “Dúné” with the first single premiering at the Danish Music Awards, plus the latest iTunes Music Festival.

http://www.kevin-paul.com/

Xylo Aria talks to Caro C about her personal journey as a music artist and how it gave her the incentive to create Music Production for Women (MPW), providing online music industry training for female musicians across the globe and the opportunity to interact in forums and at events.

Chapters
00:00 - Introduction
02:20 - The Inspiration Behind MPW
06:47 - Getting Set Up
13:15 - The Courses On Offer
16:16 - Building The Team
21:56 - The Joys And The Challenges
30:48 - Future Plans
33:25 - How To Get Involved

Xylo Aria Biog
Xylo Aria is an artist, producer and the founder of online learning platform, Music Production for Women (MPW). Through MPW, she is determined to break down barriers women face when approaching music tech by creating a supportive and safe learning space. Since launch in 2019, MPW has taught in excess of 7,000 women from over 120 countries, partnered with global brands and earned Xylo a Top 50 East London Innovator of 2020 award, a finalist place in the 2022 Australian Business xCellence Awards and a place on the SheSaidSo Top 100 Alt Power list. In addition to her work with MPW, Xylo produces music which ties in her Indian Carnatic roots with contemporary downtempo moods.
https://www.xyloaria.com/
https://musicproductionforwomen.com/

Caro C Biog
Caro C is an artist, engineer and teacher specialising in electronic music. Her self-produced fourth album 'Electric Mountain' is out now. Described as a "one-woman electronic avalanche" (BBC), Caro started making music thanks to being laid up whilst living in a double decker bus and listening to the likes of Warp Records in the late 1990's. This 'sonic enchantress' (BBC Radio 3) has now played in most of the cultural hotspots of her current hometown of Manchester, UK. Caro is also the instigator and project manager of electronic music charity Delia Derbyshire Day.

URL: http://carocsound.com/

Twitter: @carocsound
Inst: @carocsound

FB: https://www.facebook.com/carocsound/

In celebration of the 75th anniversary of the Audio Engineering Society, President Bruce Olson talks to Hugh Robjohns about their history, their role in developing standards across the industry and entrance requirements for new members.

Chapters
00:00 - Introduction
00:27 - A Brief History
01:33 - Who The Society Is For
02:46 - Entrance Requirements
04:16 - Bruce Olson Background
07:54 - Developing Standards
11:15 - Membership Benefits
15:16 - Attending Conferences
18:37 - Job And Training Opportunities
20:26 - A Fast-Moving Industry
21:48 - The Future Of Audio
24:13 - Encouraging Diversity
26:30 - AES Membership

Bruce Olson Biog
Bruce C. Olson is the founding member of Olson Sound Design LLC, a consulting firm specializing in acoustical and technical systems design for music and  theatre facilities.

As the President of the Audio Engineering Society, Chairman  of the AES Standards Committee, and having served as the Chairman of AES SC-05-05, Vice-Chairman of AES TC-EMC, AES Governor, President of his local ASA chapter, Chairman of his local AES chapter, Bruce is actively involved in the latest technology in audio and acoustics. As the Founder and President of AFMG Services North America LLC, his invaluable knowledge and over 20 years of involvement with AFMG make him the number-one expert for AFMG programs on the American continent.

Mr. Olson continues as an active musician and is a member of the Bend In The River Big Band. He is a member of AES, ASA, IEEE, SMPTE, Syn-Aud-Con, and has been an invited speaker for sessions, workshops, and seminars for the AES, AIA, ASA, InfoComm, NAMM, NSCA, Syn-Aud-Con, and USITT.

https://aes2.org/
http://olsonsound.com/

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! 

Doug Rogers is President of EastWest, the Soundsonline website and owner of EastWest Studios. Here he chats to Sam Inglis about what it takes to develop their award winning sample library releases and how you can access everything via their subscription service, ComposerCloud+.

00:00 - Introduction
00:35 - The Beginnings Of ComposerCloud+
05:19 - The Scale Of Production
08:24 - Benefits Of Subscription Services
10:48 - Individual Sounds On Demand
13:24 - Developing OPUS
18:08 - The Orchestrator Tool
20:40 - The Development Of MIDI
23:59 - AI And The Musician
28:00 - Anyone Can Make Music
31:36 - Working With Top Engineers
36:46 - Outro

Doug Rogers Biog

Music producer and EastWest founder Doug Rogers is the recipient of many industry awards, including "Recording Engineer of the Year". The Art of Digital Music named him one of "56 Visionary Artists and Insiders".

In 1988 he founded EastWest, a sampled instruments library who have to date received over 120 international industry awards. The early releases were co-produced with Bob Clearmountain and in 1991, Rogers released the first collection to include MIDI driven drum loops. The first multi-velocity sampled piano collection, Ultimate Piano Collection, was released in 1995, followed by GigaSampler in 1997, a collaboration with Nemesys that pioneered the use of streaming from hard drives.

In 2003 he co-produced with Nick Phoenix the first surround sound virtual orchestra, Symphonic Orchestra, engineered by 11-time Grammy nominated classical recording engineer Keith Johnson, and recorded in a state of the art concert hall and followed that release with Symphonic Choirs. This and its predecessor, Voices of the Apocalypse, were the first music software products to enable users to type in words for the choirs to sing. This was followed in 2007 with EastWest/Quantum Leap Pianos, that was also produced in surround sound.

In 2005 Rogers established a software development division for EastWest and released the first 64-bit virtual instruments that became the new standard. More recent releases have featured top engineers and co-producers, including Shawn Murphy for the Hollywood Orchestra series, David Fridmann for The Dark Side and Fab Four with Beatle's engineer Ken Scott.

https://www.soundsonline.com/