Industry Talk

When less-than-satisfactory service from a music store begins to border on the distinctly dodgy, Judy Lemon asks: how do they think they can get away with it?

You've got the talent but you haven't got the gear. Sounds familiar? Christopher Holder visits a production team who decided to do something about it, and are reaping the rewards.

Synthetic strings, artificial oboes, machine-made drums... Ian Stewart wants to stop faking it and get real — or go all the way and fake it completely.

Samples taken from other people's records are now big business, but if you're contemplating commercial release of a track featuring a copyright sample, you ignore the legal implications at your peril. Big George Webley investigates.

Alesis' ADAT digital recorder format takes another step forward with the launch of a truly professional high-end machine, the Meridian. Fast Forward's Marcus Ryle is responsible for much of Alesis' software design, making him the ideal person to give Paul White a guided tour.

In the spring of 1987, Mark Cunningham took on the most bizarre project of his musical career: re-recording The Beatles' Sgt Pepper's Lonely Hearts Club Band. Ten years later, as we celebrate the 30th anniversary of the original album, Mark revisits his curious sessions.

"Please read the manual!" runs the time-honoured advice — but what do you do when the information you need just isn't anywhere to be found? Godric Wilkie has a pertinent tale to tell and a plea to make...

Big George Webley looks at how you can add to the worldwide success of the British music industry.

Is the current craze for all things retro preventing music technology from moving forward? David Mellor assesses the value of retro equipment and sees a vision of a thoroughly modern future.

Following Jean-Philippe Rykiel's comments in last month's SOS, it's interesting to hear from another visually-impaired musician. Ian Popperwell invites you to take sides in the hi-tech exclusion game...

Paul Farrer describes the trials and tribulations of writing the soundtrack to the big-screen movie version of Shakespeare's Macbeth.

With so many low-cost recording products coming onto the market every month, you may be tempted to ask what, if anything, is to be gained by buying more expensive models. Paul White attempts to answer.

Ever fancied a job as a beta tester of the latest products? Chris Madden's turning it down thanks.

Carlsbro Retail's installation arm, CTS, has recently set up a brand-new sales facility near Nottingham. Paul White takes a look around.

When one of the Sony development team for the new Sony MDMX4 MiniDisc multitracker flew into the UK recently, along with the member of the product planning department, it was an ideal opportunity to find out more about Sony's plans for the home studio-based musician. Martin Walker listened in.

Alan Fish-Barnes asks " what's in a name?" and concludes: "quite a lot, actually..."

A surprising amount of the music you hear on TV and radio is not specially commissioned but is taken instead from libraries of ready-written themes. Nigel Beaham-Powell explains how the library music system works and gives some pointers on getting into it.

Paul White talks to Symetrix President Dane Butcher about the birth of a new PC hardware range, Lucid, intended up to open up the world of high-quality computer-based digital audio at an affordable price.

Musicologist and composer Big George wonders...

The proliferation of independent record labels in the USA has increased the demand for low-budget records, and sparked the home music studio market, moving it from spare bedroom demo mill to centre stage. Our man in America, Dan Daley, reports.

If you've heard of Paris's IRCAM, you probably imagine it's government-funded research bunker devoted to a kind of avant-garde sonic and musical experimentation that has little relevance to the average hi-tech musician. Over the last few years, though, as Paul Tingen discovers, IRCAM has been coming down to earth, and a new spirit of openness and commercial awareness now shapes its work.