SOUND ON SOUND
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If you’re the musician and the engineer, it’s easy to focus too closely on your own instrument, and not enough on the mix...
'Teenage Kicks' was the punk-pop gem that, with a little help from John Peel, kick-started the Undertones' career.
US mic manufacturers CAD move in on the affordable end of the market with two new large-diaphragm models, one of which offers multi-pattern functionality. Hugh Robjohns evaluates the M177 and M179.
Recording a choir on location presents a number of unique technical and artistic challenges. Hugh Robjohns describes how he approached a recent project.
Mastering engineers are notoriously fussy about EQ, and until now, plug-in manufacturers have struggled to compete with the best hardware designs. Can Algorithmix's Red and Blue change hearts and minds?
In order to get the most out of your audio equipment, you need to be able to line it up correctly. Most PC users, however, may already have all the necessary tools and, as Martin Walker explains, they are easy to use when you know how.
Sometimes it's easy to forget that home studios packed with synths and samplers aren't solely the preserve of the dance fraternity. British soul artist Ola Onabule does all his recording and the managing of his own label from his Brixton home.
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.
Buying a house is a big investment, so it's important to pick the right property, and if you are a recording musician you will probably want it to include a suitable space for a studio. We weigh up the pros and cons of different studio locations within a typical small home, and also look at the kind of work that each space might require to make it usable.
Production pioneers Massive Attack are going through exciting times — they've built an awesome recording studio, moved into surround soundtrack work, and they have a new album on the way. We take a spin around their new workspace.
Pro Tools is virtually an industry standard for music production and post-production, even though its powerful mixing and signal processing capabilities have previously only been fully accessible through a computer screen. The recent introduction of Digidesign's own ProControl addresses that problem. Hugh Robjohns just loves being in control...
Whats best: hardware or software? Analogue or digital? Most studio tools have their strengths, but how best do you combine hardware and software in a modern project studio?
Another 'through the keyhole' glimpse into a reader's studio reveals how it's possible to turn your hobby into a job, with a TV commission to help you on your way.
Considered by some to be a guru of the new dance, mixing driving beats with ecletic found sounds, Cabaret Voltaire's Richard H. Kirk remains an influential voice. Mark J. Prendergast tracks him down.
In an age dominated by software and samples, Jerry Boys has found the perfect niche for his old-school engineering skills: as the first-call specialist in recording world music.
Shaun Hayward & Joe Kenny of Chunc Productions reveal their gear setup and musical motivations.
The final stage of production - turning your mixes into a finished CD - requires some specialised tools. Martin Walker runs through the options and considers how best to set up and use the necessary PC software.
Getting your studio organised doesn't necessarily mean investing in expensive studio furniture or being a DIY whizz. Derek Johnson & Debbie Poyser explain how they made the most of their space, and pass on some hints and tips for a tidier life.
Elizabeth Parker is one of Britain's best-known composers of music for television, and is renowned in the business for her ability to complete projects to the tightest of deadlines. Sam Inglis visits her unique personal studio to find out how she does it...
How can adding randomness to your monitoring improve its accuracy? Acoustic designer Andrew Parry explains how applying Early Sound Scattering (ESS) design principles can help to make studio control rooms of different dimensions sound subjectively similar.