SOUND ON SOUND
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John Carpenter is not only a cult movie-maker, but also a pioneering electronic composer. John, his son Cody and collaborators Alan Howarth and Daniel Davies explain how it’s all possible.
We explore some useful functionality in Ableton Live’s often-overlooked Arrangement page.
Tighten up your timing without sounding robotic, using Logic’s quantisation features.
Designed in collaboration with SpaceHardware, the Quadnic packs four digital oscillators into an impressively compact 12hp...
For many, an analogue synthesizer is defined by its low-pass filter. There have been numerous notable examples of this,...
Mutable Instruments’ Rings introduces the idea of virtual strings to generate its own flavour of polyphony.
Unlike the majority of noiseless single-coil designs, Quet Coil utilises side-by-side coils, rather than the commonly favoured stacked-coil configuration.
How can we expect people to value music when we don’t keep track of who owns it?
Sometimes a make-or-break opportunity can make you and break you...
The Southern Wild: our engineer reminds us that you don’t have to cram every mic signal into your mix just because it’s available.
Can a tiny box like this really deliver the classic vari-mu sound for so little money?
I Wish is a granular synthesis plug-in that uses incoming MIDI notes to play very short loops of audio.
Waves took on the challenge of modelling four modified EMT 140 plates used at Abbey Road Studios on countless classic recordings. Did they succeed?
B-Scanner replicates the vibrato and offers far more scope to create effects outside the range of Hammond’s original ‘scanner’ chorus/vibrato circuit.
Emulating the setup of gates and room mics on the vocal treatment Tony Visconti used for the David Bowie track ‘Heroes’, Eventide's plug-in is more than a one-trick pony...
I was listening to Conor Maynard’s YouTube cover of Shawn Mendes’ ‘Stitches’ and wondered if you could provide any insight into what he used to get that huge, rich vocal tone.
Pioneer might not be the first name you’d associate with studio monitoring — but their new 'dual-coincident' creation is quite remarkable.
I’ve read so many people saying that a 9V power supply for guitar pedals means they can’t give you enough headroom, and the same for the 500-series 32V (±16V) supply. But surely there’s a way designers can ‘step up’ the voltage inside a device?
Positive Grid’s latest plug-ins let you craft your own boutique compressor designs without ever touching a soldering iron.
In the second part of our guide to Pro Tools’ cloud collaboration features, we learn how to exchange tracks with other musicians.