For a producer of techno and electro, Dave Clarke has an idiosyncratic workflow.
Dave Clarke: I record in Logic and then I choose which output it’s going to go to. And then the output goes straight to different compressors based on what program it is. If it’s drums, it will go to a Distressor. If it’s Dave Grohl washing his hair, that will go through an API 2500 to get that Foo Fighters sound. If I’m doing various different high percussion then that would go through a Fatso. If I am doing bass lines I would go through a Roll 755. Same with the Avalon 747. So I ship it out to various different compressors, and the majority of my compressors now actually have a setting that I very rarely change, because it is my sound. It’s a sound I expect from these compressors, maybe it’s a waste, but I think a lot of people work like that, probably because the compressor in big studios is way, way behind and no one can really be bothered to turn their ears to hear the difference.

Angus Davidson is an internationally respected front of house engineer (Crowded House, Supertramp). His pursuit of hi-fidelity live sound has taken him to KV2 Audio, where he’s now director of technical support for Nth America & APAC. In this long-form interview he makes his provocative case for analogue audio in live sound and point source speaker design.

A legendary producer responsible for much of Australia’s soundtrack of the ’80s and ’90s.

As a young muso, Jay Watson, shared a house with members of Tame Impala and POND. He’s been an integral part of that crew ever since. GUM is his solo project. Jay talks to us about his studio approach and his love of ‘all things that make noise’.

Joe Solo rose to fame as the producer who brought the world Macy Gray. His production credits grace tens of millions of albums. He’s also passionate about mentoring young artists via his work on joesolo.com Here he talks about the finer points of producing vocals.