With fader controllers, you often have a choice of buying something dedicated to one software package, or selecting a generic unit that gives versatility at the cost of tight integration. Digidesign's Command 8 aims to offer the best of both worlds.
Combining Focusrite's cutting-edge preamplification and A-D conversion with Sintefex's pioneering convolution technology, the Liquid Channel can mimic the most celebrated mic preamps and compressors ever designed. Could this be the only voice channel you'll ever need?
In the second part of our coverage of Korg's new collection of software instruments, we turn our attention to the virtual MS20, and the MS20-shaped hardware controller. Just how well do these renditions compare to the original?
Three years ago, Mark Of The Unicorn were the first manufacturer to bring out a working Firewire interface. Now, they've replaced the 828 with a MkII version offering high sample-rate recording, more flexible clocking, MIDI I/O and better metering — and, what's more, they've cut the price.
Over the last 10 years, Sibelius Software have built a reputation for providing what most musicians consider to be the leading scorewriting software. Now, in version 3, they have teamed up with Native Instruments to provide enhanced playback facilities — but does this upgrade live up to the high standards set by previous releases?
Buying your hardware and software from the same manufacturer is usually a good bet for hassle-free recording. Steinberg's latest package bundles their Cubase SL 2 sequencer with a four-in, four-out USB interface.
Producers: Duran Duran, Alex Sadkin, Ian Little • Engineers: Phil Thornalley, Pete Schwier
When Duran Duran began work on their third album in 1983, they were already one of the biggest bands in the world — and with eight months of studio time and half a million pounds spent, huge expectations surrounded Seven And The Ragged Tiger...
The Key Editor is a seemingly straightforward MIDI editor, yet under its surface lie a number of features that can really speed up your editing tasks. We explain, as well as reporting on the new version 2.2 Cubase update.
The launch of Mac OS 10.4, codenamed Tiger, is just around the corner, but in the meantime there's the 1.1 update of GarageBand to be going on with. We reveal the improvements, as well as investigate MIDI configuration problems in OS X.
Thanks to the Internet and the generosity of talented programmers all over the world, it's possible to assemble a PC music software suite for no money at all. We round up some of the best download sites and freebie programs.
Get the most from your computer's CPU by learning how to put your effects plug-ins where they really count. Plus, find out how to increase your mixing power by incorporating hardware effects units into your software mixdown.
Arif Mardin has engineered and produced an incredible array of classic records from artists such as Aretha Franklin, Dusty Springfield, Diana Ross, the Bee Gees and Barbra Streisand — yet the runaway success of his recent work with Norah Jones threatens to overshadow even these achievements.
In 1996, the Fugees came like a breath of fresh air into a world of hip-hop that was becoming stale around the edges. Now Wyclef Jean is a star in his own right, and has deployed his production talents for artists ranging from urban legends like Funkmaster Flex and Cypress Hill to Whitney Houston, Michael Jackson and even Tom Jones.
I've been told that I should use an analogue compressor or voice channel with compression as a front end when recording digitally, as this will reduce the dynamic range of the input signal and make better use of the A-D converter's available bit depth. Is this true?
My PC uses an Abit KR7A-133 motherboard running an Athlon Thoroughbred XP 2400 processor with 1GB of RAM. My motherboard manual says PCI 4 shares an IRQ with the two USB ports, and that PCI 1 shares with the AGP. My Audiophile currently has an IRQ to itself and so I'm not touching it. However, I need the TC Powercore to not share an IRQ. If anyone can explain what to do, I'd really appreciate it.
A friend of mine has a couple of old stereo tape reels which he'd like to transfer to CD. I've seen stereo reel-to-reel tape machines for sale and I'm considering investing in one, probably a Studer or a Revox, not only to help out my friend, but also because I'm interested in experimenting with tape loops and tape saturation effects. Are old machines by these manufacturers reliable?
The music industry's down, but your passion for audio is still high. Fortunately, there are alternatives to working in the studio that can feed your fervency and still make you a living — perhaps even a better one.