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.

https://eddiebazil.co.uk/

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).

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.

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.

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.

Chapters
00:00 - Introduction
00:36 - Software Options
01:27 - Methods Used For This Demo
01:58 - Creating A String Patch
04:49 - A Few More Examples
08:03 - Constructing A Unique Percussion Kit
11:01 - Layering Sounds With Synth Pads
12:13 - Using The Voice Creatively
13:00 - A Finished Track Using The Sampled Sounds

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 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.

Chapters
00:00 - Introduction
00:15 - Why NS-10Ms Became a Studio Staple
02:11 - Making Better Mixing Decisions
03:49 - A Second Pair of NS-10Ms
05:23 - Mixing With Missing Frequencies
09:11 - Reflex vs Closed Box Monitors
11:35 - Why Pleasant Isn’t Always Better
13:29 - Mixes That Translate
15:40 - Making Rapid Mixing Decisions
18:52 - The Case for Closed-Box Monitors

The Phil Ward Article - https://www.soundonsound.com/reviews/yamaha-ns10-story

David Mellor Biog
David 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