Artist Interviews

Multi-grammy winning mastering engineers Bob Katz, Emily Lazar, and Peter Doell discuss their work process, go-to UAD plug-ins, and approaches to lending final-touch magic to projects.

Beyond the gorgeous dance-pop veneer of Passion Pit’s latest album, Kindred, is a complex, deeply layered world of overlapping synth textures and nuanced beat architecture. Frontman Michael Angelakos breaks down the group’s creative process and how Apollo and UAD plug-ins act as a main ingredient.

Eskmo (AKA Brendan Angelides) is a Los Angeles-based multi-genre composer. Here, learn how Angelides used UAD plug-ins on the track “The Light of One Thousand Furnaces.”

Engineer/producer Michael Ilbert has mixed records by the Cardigans, the Hives, Supergrass, and In Flames, but it's his work on Taylor Swift's Red and 1989 that have garnered him multiple Grammy nominations. Here, Ilbert discusses what UAD Powered Plug-Ins bring to his A-list international hit parade.

Legendary AC/DC engineer Tony Platt has tracked and mixed some of the most legendary albums ever recorded. In this interview, Platt talks Marshalls, mics, and the development of the Marshall Plexi Super Lead 1959 plug-in.

As the founder and chief mastering engineer of The Lodge in New York City, Lazar has played a key role in crafting some of the biggest albums of the 2000s. Here, she details her role as a mastering engineer and how UAD plug-ins help her realize her sonic ideals.

In the world of dance music, few have amassed as stellar a resume as Armin van Buuren. Here, he details how UAD plug-ins help him to entrance audiences.

Recorded and mixed at the Cold War Kids’ studio in San Pedro, California, Lars Stalfors (The Mars Volta, Marnie Stern) breaks down how he and Dann Gallucci (TV On The Radio, Tim Curran) used UAD Powered Plug-Ins on the track “First” from the Cold War Kids’ album, Hold My Home.