Compared to the centuries-old practice of singing and writing music, musical engineering is an artform still in its infancy. Recording technology has advanced at a breakneck speed over the last century, evolving from the crackly recordings of the 1920s to today’s hyper-realistic, surround sound mixes. As one of the pioneers of immersive 5.1 (surround sound) mixing, award-winning engineer and producer Chuck Ainlay is building the foundation for the future of audio. Ainlay spoke with American Songwriter ahead of his appearance in “Studio Confidential,” a discussion series hosted by the Sheen Center in New York City.
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Even if you don’t know Ainlay by name, you’ve likely heard his work. His impressive portfolio includes his extensive work with Mark Knopfler and his band, Dire Straits, James Taaiylor, Bob Seger, Peter Frampton, Sheryl Crow, Lionel Richie, Jewel, and Vince Gill. (He’s as big a fan of Gill as we are, calling him a “modern day folk legend like Hank, Woodie, Dylan, or Cash” whose music “reaches to your soul” and “[takes] you on a journey.”)
In addition to working with these artists as they wrote and released their albums in real time, Ainlay has gone back and revamped several pre-immersive-tech albums with modern-day mixes, transporting the listener from a seat in the crowd to right on stage.
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Prior to immersive mixing, the best mix an engineer could hope to achieve was one that made the listener feel as if they were in the room with the band, watching them on a left-to-right scale. (Imagine looking at a band performing on stage through a rectangle.) Some musicians are more to the left, others more to the right, and some are straight down the middle. With immersive mixing, these albums are opened up with surround sound technology, adding 3D depth that makes the music sound like it’s coming from above, below, behind, and in front of you.
Speaking to American Songwriter, Ainlay explained that both pre-immersive technology and modern mixing techniques have advantages and disadvantages. Digital peak limiters have helped increase musical dynamics post-1990s, but there’s something inimitable about transformers and tubes of analog equipment. Another point in modern-day tech’s favor: the unlimited track potential of digital means that engineers can use more ambient mic’ing to create that “you’re standing in the middle of the band while they’re performing” kind of sound.
While remixing the 25th anniversary edition of Peter Frampton’s Frampton Comes Alive, Ainlay used analog equipment for his initial mixes before transferring those stems to a new immersive mix. “Sounds amazing!” Ainlay said. Other notable remixes under his belt include the 20th anniversary of Dire Straits’ Brothers In Arms and several George Strait albums, including Ocean Front Property, Troubadour, Cowboys and Dreamers, and Pure Country.
Ainlay is sharing his industry intel as a panel member of “Studio Confidential,” an intimate discussion series hosted by the Sheen Center in New York City. The series, which features seven award-winning producers and engineers in total, opens on Saturday, February 14, 2026. Tickets are available online now.
Photo by Beth Gwinn/WireImage
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