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May 2004 Magazine Contents

Reviews

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    BIAS Peak 4

    Stereo Editor: Mac OS X

    With the move to version 4, BIAS's aptly-named Peak editing package leaves Mac OS9 behind, but offers a wealth of new features: built-in CD burning, a new user interface, Audio Units support, and processing tools including a real-time convolving reverb.

    Reviews
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    Boss BR1600CD

    16-track Digital Multitracker

    Boss\'s range of digital multitrackers is designed to allow musicians to make recordings with a minimum of technical knowledge. The BR1600 is the most sophisticated yet, providing 16-track recording along with amp modelling, vocal harmony generation, and built-in drum machine and loop sequencer.

    Reviews
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    Emagic Logic Pro & Express

    Recording Software For Mac OS 9/OS X

    The big news for Logic users is not the new features in Logic Pro and Express, but the new (and extremely competitive) pricing. So which of the two is the bundle for you?

    Reviews
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    Eventide Reverb 2016

    Digital Reverb Processor

    Eventide's classic SP2016 reverb unit has been recreated and enhanced by the original designer. But how does the sound match up to high-spec multi-effects units of today?

    Reviews
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    Gmedia ImpOSCar

    Virtual Instrument Plug-in: Mac & PC

    Gmedia continue their quest to render the best of the world's keyboards in software form. But will it give OSCar fans a case of the grouches?

    Reviews
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    Korg Triton Extreme

    Synth Workstation

    Korg have redefined the workstation synth many times, and each time it has become harder to see how they could better their previous achievements. The Triton Extreme is a bold new colour, but does the rest of it measure up?

    Reviews
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    Kurzweil K2661

    Synth Workstation

    Kurzweil's high-quality K-series workstations have always commanded a premium price tag in the UK, but it's been a while since the range's underlying technology has been updated. Is their latest offering still competitive in 2004?

    Reviews
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    Latest Sample CDs

    Sample Libraries

    This month: Amazing Thailand **** • LA Riot V ***** • WEP ***** • White Grand ****.

    Reviews
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    M-Audio Firewire Audiophile

    Firewire Audio & MIDI Interface

    Until recently, the benefits of the high-bandwidth IEEE 1394 interface were available only to musicians on a relatively generous budget, but now M Audio are making Firewire peripherals available at new low prices to PC and Mac users.

    Reviews
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    Mackie HR626

    Active Studio Monitors

    Mackie continue to expand their range of studio monitors by combining an innovative D'Appolito design with their existing passive radiator technology.

    Reviews
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    Presonus Eureka

    Recording Channel

    This smart new unit offers EQ and compression, plus a transformer-coupled Class-A preamp and an unusual Saturation control.

    Reviews
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    Preview: Korg Legacy Collection

    Virtual Instrument Suite/Hardware Controller

    Korg's Legacy Collection recreates some of their best-loved keyboards in software form. It wasn't finished as we went to press at the end of March, but we managed to grab this sneak preview as the final touches were being applied... (Full in-depth hands-on Review next month.)

    Reviews
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    Rode NT2000 & NT1A

    Capacitor Microphones

    These two new large-diaphragm mics from Rode improve on their previous technology, offering a classy sound with exceptionally low noise.

    Reviews
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    Tascam 2488

    24-track Digital Portastudio

    Tascam's new Digital Portastudio is the most affordable 24-track workstation on the market. In our exclusive hands-on review, we find out how easy it is to use, and whether its recording quality is as impressive as its track count.

    Reviews
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    Waves IR1

    Convolution Reverb Plug-In: Mac & PC

    If you want reverb 'sampled' from real spaces, there are now quite a few options available. But Waves have managed to come up with something a little special — a convolving reverb that offers detailed control over the sound.

    Reviews

Techniques

Sound Advice

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    Q. Are there different types of MP3?

    I have downloaded various MP3s from the Internet. I also buy vinyl, which I record into Steinberg Wavelab and convert to MP3. The Wavelab MP3s sound different to the downloaded ones and are generally quieter. Are there different MP3 types and how can they differ sonically?

    Sound Advice
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    Q. How should I set my compressor for recording rock guitar?

    Can you give me some compressor tips to make heavy guitars sound more full and even? For example, I want single-note melodies to sound as full as chords or power chords. Also I want to give palm-muted power chords more pump or bite. I'm using the built-in dynamic processors on a Yamaha 03D mixer.

    Sound Advice
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    Q. Should I build a vocal booth?

    I've recently upgraded my recording system. Unfortunately the improvements in the signal chain have highlighted more and more the sound of the room I'm in. The other night I tried singing under a couple of futons with really good results. With a touch of reverb the vocal sits in the mix much better and the fans on the computer are no longer heard. Alas, I can't play the guitar under there, so I was thinking of building a small booth, say 3 x 5 x 7 feet, and hanging the futons on the walls to create a deader environment in which to track. Some degree of soundproofing is a bonus, but my main aim is a more neutral acoustic to take and treat with effects. Will I just be swapping one duff sound for another?

    Sound Advice
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    Q. What can I do to improve my stereo recording setup?

    I record brass bands regularly using a stereo mic setup (X/Y or spaced pair). The people I record for are always happy with the results, but I feel I can do better. The sound still doesn't come close enough to a commercial brass band recording. Which mic placement should give the best results?

    Sound Advice
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    Q. What should I look for in a PC laptop?

    I'm considering moving over from my current Mac setup to a PC laptop for mobile recording, using Nuendo 2 and either an RME Cardbus interface or one of MOTU's Firewire systems. Can you point me in the right direction? Is a Centrino laptop the only sensible choice for this kind of application?

    Sound Advice
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    Q. Where should I put my monitors?

    How much distance should there be between my monitors and should they face straight forward or be angled toward the listener? Also, as my monitors will be placed against a wall, should some acoustic foam be placed directly behind or between them?

    Sound Advice

People

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    Business End

    Readers' Recordings

    More constructive comments from MPG (Music Producers Guild) members on SOS readers' submitted recordings.

    People
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    Crosstalk

    Your Correspondence

    We respond to another batch of reader emails and letters.

    People
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    Educate Your Ears

    Leader

    If you've never heard top-quality recording gear with your own ears, what reference do you have when assessing mid-price and budget gear?

    People
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    Emulating Brian May's Guitar Amp Sound

    TC Electronic's Stefan Moeller

    For many years, German designer Stefan Moeller has been on a quest to perfectly emulate Brian May's guitar amp sound. Now, with TC's new TC Thirty plug-in for Powercore, he believes he's cracked it...

    People
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    Graham Fellows (aka John Shuttleworth)

    Making Engineering Funny

    Comic actor, has been recording and editing his own radio series for years — and now he's putting his engineering skills centre stage.

    People
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    Hardware design paradigms: why use them?

    Sounding Off

    When studios are increasingly dominated by software, why are we still hanging on to hardware design paradigms?

    People
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    Matmos

    The Art Of Cut & Paste

    With an emphasis on cut-and-paste sound collages and bizarre field recordings, San Franciscan duo Matmos have created some unique and often disturbing electronic music.

    People
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    Todd Rundgren

    Recording Liars

    As a musician, engineer, producer and multimedia artist, Todd Rundgren has been a pioneering figure in rock music since the late 1960s. His first album of new material for 10 years was, like many of its groundbreaking predecessors, almost entirely played, produced and recorded by Rundgren alone.

    People
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