SOUND ON SOUND
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The latest addition to Korg’s cut-price Volca range takes a hands-on approach to sampling.
When you're working with bass drums, it pays to use a mic dedicated to the task. Here's our selection of current models, with links to the SOS review where available.
Acoustic Energy look to strengthen their foothold in the studio monitoring market with this impressive nearfield system.
Paul White welcomes the development of tape emulation plug-ins.
A new strings library sees a major European symphonic sampling project move one step closer to completion.
Mixing a band like Goldfrapp is challenging enough — but when you add an orchestra, a 50–piece choir and a notoriously tricky venue, things really start to get interesting.
Think your own music is good? Listen to these tracks from SOS readers and see if you agree with the good Doctor's prognosis...
Whatever you look for in an equaliser, you'll find it in DMG Audio's astonishingly comprehensive Equilibrium.
The sound designer may use many of the same basic skills and tools as the recording musician, but the role requires you to think rather differently...
Nashville is fast becoming the US's capital of music, but it risks losing its identity in the process.
The ‘Ricky’ bass sound graces many a classic track. Have Scarbee nailed its distinctive qualities?
Some pieces of bad advice just won't die, no matter how unhelpful they are. Here's why you shouldn't believe everything you read on the Internet...
There's much more to this mixer than meets the eye, thanks to some cleverly incorporated digital technology.
Akai break from tradition with their new all–analogue lupine groove–maker.
With the tape always running in their Cologne studio, Can built up a huge archive of unreleased material. Much of it was brilliant, but all of it was chaotic...
From their gear choices to their recording techniques, everything about Wild Beasts' approach to production is unconventional.
• Chase & Status 'Blind Faith' • Jessie J 'Price Tag' • David Guetta 'Who's That Chick'
David Kosten is one of the UK’s most sonically adventurous producers, but insists that the song is king — no matter how twisted the recording.
