Located in the heart of the San Diego district of the same name, Gaslamp offers remote mixing services to artists and producers. Central to its operation are studio acoustics designed by Jochen Veith of JV.Acoustics, a collection of vintage analogue outboard and modern digital equipment, plug-in processing, PMC main monitors and an SSL AWS 948 mixing console.

‘The AWS allows me to have a hybrid workflow,’ says Chief Engineer Kellogg Boynton, a Grammy-nominated engineer whose credits include Eric Clapton, Taylor Swift and Warren Haynes.

Converting an industrial building has given Holland a new three-room live music venue in Leiden. Originally a blanket factory, the premises were later taken over by the Nobel Brothers, who traded rags, tatters and ‘old metals’.

Abandoned in 1987, it was later repurposed several times before assuming in its current guise following a new infrastructure created by EHA Architects.

Key to its appeal are the Martin Audio/Powersoft sound systems installed in each rom.

The move to upgrade a 15-year-old sound system has resulted in Düsseldorf’s Nachtresidenz equipping its main room with a five-point speaker system from Funktion-One.

With it, Nachtresidenz aims to be the first club and event venue in the world to be fitted with a surround system that ‘takes guests on a journey into a new and unique world of music perception’.

Having been shaping the sound of Italian hip-hop, rock and rap artist Caparezza for the past 13 years, sound engineer Antonio Porcelli believes he has a winning bass combination in Powersoft’s M-Force subwoofer driver and the M-Sub enclosure developed by Audio Labs System’s Mario Di Cola.

‘A single M­Force was enough to make the combined effort of the other subs look ridiculous,’ he says, recalling a demo he attended while mixing Caparezza’s album Museica in California.

Having made her fans wait 35 years for the opportunity to see her play live, a lot was expected of Kate Bush’s Before the Dawn concerts at London’s Hammersmith Apollo. They did not disappoint, winning high praise from reviewers and fans alike.

While the initial focus fell – inevitably – on the visual aspects of the concerts, the sound was an equally important consideration. Along with sound designer and FOH mixing engineer Greg Walsh, the production team included Stephen Taylor, who was responsible for Kate’s vocal processing, and monitor engineer Ian Newton.