SOUND ON SOUND
Multimedia artist Nick Rothwell isn't very old. But he's old enough to remember a time when we didn't need hallucinogenic drugs to have a visual imagination. What's he on?
If computers belong in the studio, how come we spend half our time Gaffa-taping up the cracks? As a music technology trainer, Paul D.Lehrman is something of a digital evangelist — but one who's suffering a crisis of faith...
An 'Unplugged' session is going to require a very different studio from a techno track bursting with MIDI bells and whistles. Beyond that, choosing a recording studio is down to that elusive spiritual ingredient, 'the vibe'. David Mellor investigates pop psychology...
Music journalist Rikky Rooksby considers the effect technology is having on music, and tries to extract some of the digit from digital.
You might expect Bjork's eclectic repertoire and capricious temperament to make the task of arranging and sequencing her live shows a nightmare. As Paul Tingen discovers, however, for Guy Sigsworth, that's half the fun...
Alesis made their name with their reverbs, but really came of age with the revolutionary ADAT digital multitrack. Paul White talks to the company's founder and President Keith Barr about the impact of ADAT, and the future of technology in music.
In spite of his success producing Saint Etienne, Ian Catt hasn't left his roots behind. Richard Clewes talks to him about his work with the band, his production techniques, and how to place an SM58 in a U-bend for that ultimate 'Armitage Shanks' sound...
The remarkable success of the Drake Music Project is proving that where music technology is concerned, disability is no handicap. Mark J. Prendergast joins the levellers...
For most of us, computers in the studio are part and parcel of the digital revolution. Not from where avant-garde composer Paul Schutze is standing. Paul Tingen discovers a new perspective...
Once the artist, their record company and A&R manager have agreed the balance sheet, there are still artistic questions to be resolved. This month, continuing his look at working as a team, David Mellor explains how producer, arranger, programmer and session musician can live together in perfect harmony...
Regular SOS contributor Mike Collins blows the trumpet for the Apple Macintosh, whilst sounding a note of caution to those musicians considering the Mac as a work platform today...
Continuing our occasional series of reports from long-term users of studio equipment, this month Brian Heywood talks to two producers about their Soundscape digital recording system, and how they used it to put together a hit track.
This duo can take the credit for an amazing range of TV themes and scores, but how did they get into such a fiercely competitive industry in the first place? Paul White learns about the ratings game...
Debbie Poyser and Derek Johnson conclude their conversations with the engineers who service with a smile.
Disaster strikes! Your most essential piece of gear dies on you mysteriously. What should you do? Take it to the professionals, of course. In the first of a two-part feature, Debbie Poyser and Derek Johnson talk to some of the engineers who service with a smile — and find they have some amazing tales to relate from the inspection pit of the music industry.
To the budding pop star, A&R managers hold the power of life and death — and it's not much easier for the producer. David Mellor explains how to win friends and influence people
SOS writer Craig Anderton is all for musical literacy, but sees no benefit in instant gratification.
'I once believed in Jesus, now I can't believe in rock' n' roll." ex-Virgin Prune Gavin Friday may have his cross to bear, but this gadfly of the Irish rock scene isn't one to let the grass grow under his feet...
In his time, Ron Berry has been a synth-player and a freelance designer — but it's as an electronics hobbyist that he cut his teeth. Jonathan Miller meets the man who keeps the DIY ethic alive.
Having resolved the nebulous role of the record producer in Part 1, this month David Mellor addresses the practical matter of pre-production.