Mixing film scores for Hans Zimmer—one of Hollywood’s most sought-after film composers—sounds like a dream job, and Alan Meyerson is living that dream. Meyerson has always relied heavily on the Manley Massive Passive EQ to achieve that big, larger-than-life sound that draws us into big films such as Sherlock Holmes, The Dark Night, and Pirates of the Caribbean.

Ken Scott recorded and mixed some of my favorite David Bowie albums and the Beatles’ White Album, so I was a bit nervous about having dinner with this legendary engineer. But he quickly put me at ease with his charm and humor. Scott had his start in the ‘60s working as a tape op at Abbey Road Studios and from there went on to engineer and produce timeless songs, such as "I Am The Walrus," "Rocket Man," "Ziggy Stardust," "Walk on the Wild Side," and many others.

Justin Gerrish is collecting accolades for his work on the indie release of the moment, Contra by Vampire Weekend. Band member Rostam Batmanglij produced and co-mixed the album. Gerrish recorded most of the drums and mixed the record at Avatar Studios in New York City. Indie rock tinged with a world beat influence, Contra is faithful to the exciting sound of Vampire Weekend’s debut album, but maintains a fresh and experimental flavor all its own.

Steve Levine is perhaps best known as the producer behind mega-acts such as Culture Club and the Beach Boys. But these days, he spends much of his time as the Chairman of the UK Music Producer’s Guild, running his Hubris Records label, and producing bands every chance he gets. Levine shared a special technique that he recently used while producing and recording the UK’s Patch William.