SOUND ON SOUND
The Chemical Brothers bring more gear on stage than most of us have in our studios. Matt Cox is the man who has to make sure it all works come showtime!
John Forbes talks to SOS about how he became musical director for Ne-Yo, creating live arrangements for one of the world’s top R&B artists using recorded parts.
Are modern orchestral sample libraries really good enough to power an entire 90‑minute film score? Mark Russell found out the hard way...
This hands‑free take on the long‑established E-bow concept offers a promising new palette of sounds for the recording guitarist.
How do you create a hit album that stands with the synthpop greats, yet at the same time sounds thoroughly modern? In Hurts' case, with a great deal of time and effort...
Former SOS member and ex-editor of Guitar Buyer magazine David Greeves shares his thoughts on striving for record perfection.
Does anyone use hi-fi separates for monitoring? I never read about it in SOS. Aren't monitors and hi-fi components...
I am looking for one big bluegrass microphone! I would like to purchase a high-quality one for recording my band. Can you give me some brand names to investigate and where I can order one?
Like a number of pop shields on the market today, the Stedman Proscreen 101 uses metal grille, as opposed to nylon mesh, to remove those annoying plosive sounds...
As well as doing regular stints at Camden's Barfly and other London venues, Jonathan Lucas engineers for a successful gigging band, whom he also records in the studio. We find out how it all came together.