DAWs

This month, we show you a powerful compression technique available in Logic, as well as describing a workaround which increases the bank range of your Multi Instruments. Also, there are instructions on how to control a large range of Logic's parameters in real time from your MIDI master keyboard's mod wheel.

More invaluable MOTU-related user tips, including effective mix automation and the use of grouped controls, as well as customised Mixing Board layout editing, plus loop editing and crossfading.

This month we focus on the score editor in Cubase VST Score and Cubase VST/32, and offer a handy tip for recovering corrupt Songs.

This month we show you, step by step, how to correct the timing of multitrack drum recordings using the powerful editing capabilities of Logic, as well as showing you how to make the most of your audio storage space.

This month's crop of Cubase tips covers the multitude of options available when exporting audio, plus ways of incorporating external MIDI instruments and effects into your mix.

SOS's resident MOTU expert Robin Bigwood looks at ways of working with audio loops in Digital Performer, and hands out tips on using Propellerhead's Rewire to interface DP with software synths.

This month we look at how to fix vocal tuning and timing, as well as showing how the recent Logic v4.7 upgrade improves working with Emagic's EXS24 virtual sampler.

This month's Cubase Technique introduces more features of the Interactive Phrase Synth, offers some handy hints on merging MIDI Parts, and provides some words of bitter experience on creating your own instruments in Steinberg's LM4 drum machine.

This month Robin Bigwood concludes his look at MOTU's RAM-based recorder POLAR, and explains how to get software instruments working with Digital Performer via FreeMIDI and OMS.

Simon Price concludes his three-part series on Digidesign's flagship recording system with some power-user hints and tips.

The Interactive Phrase Synthesizer is one of those parts of Cubase that most of us know exist, but which few have actually used. We take a look at what it can do, as well as offering some handy tips on setting up loops and introducing the idea of controlling your computer remotely...

Logic and Cubase owners have had their own dedicated SOS columns for several months — so we're now devoting space to another of the world's favourite sequencers, MOTU's Digital Performer. Long-standing DP user Robin Bigwood presents the first of this regular column.

We look at the creative potential of Logic's Touch Tracks feature and the corrective potential of the audio fade-in, as well as showing you what 'solo safe' is and why you need it.

This month, we see how best to comp performances within Logic, and we also show you a neat trick for finding new guitar fingerings.

Simon Price continues his look at Pro Tools, focusing this month on the software and how it can be used in the studio alongside other MIDI + Audio recording and editing applications.

The facilities that Cubase offers for manipulating note legnths may not be amongst its most exciting features, but as this month's Cubase Notes demonstrates, they can prove to be invaluable.

Simon Price begins a three-part series designed to demystify that staple of modern music production, Pro Tools. This month, he looks at the various components that make up Digidesign's systems.

The Studio Module allows PC and Atari users to select configurations and patch names for their synths within Cubase. Paul Nagle guides you through the basics of creating a Studio Module setup.

This month, we look at using folders and screensets, as well as showing the Score window needn't be a no-go area for guitarists.

Continuing his in-depth explaination of the Logical Edit functions of Cubase in Easy Mode, Paul Sellars looks this month at the role of the Processing stage settings, in conjunction with the Filter and Function operation, before moving on to the greater complexities of Expert mode...

Logic's Transform window is often under-used, due to its apparent complexity. John Walden explains all.