SOUND ON SOUND
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Martin Walker considers what to look for when buying a new PC or upgrading an existing one, if you want it to remain up-to-date for as long as possible.
Paul White introduces the concept of VCA and moving-fader mixer automation in the first part of a short series on automated mixers and their applications.
Hums and buzzes in your signal path are not the only cause of noise problems in the studio. The mechanical noise emitted by some equipment can be equally disruptive — but, as Martin Walker explains, you don't have to suffer in (lack of) silence.
In the first part of a new series, Paul White looks at the practicalities of stereo editing. So, if you plan on compiling your stereo mixes into an album master, you'd better read on.
Martin Walker advises manual dexterity, speeds up his internet experience, and finds yet more tweaks for Windows.
I am trying to set up my Yamaha CS1x to operate my Akai S2000 sampler, but I cannot operate the S2000's filter using the...
What do you suggest would be the best set of mics for recording a wind band? The mics available are two unidirectional...
I don't own a computer — I just use the public library's — but I want to 'upgrade' from my cassette 4‑...
We recently upgraded our studio computer to a Pentium II 400MHz machine with 100MHz buss, 64Mb of RAM and a Yamaha 6416 CD...
I recently experienced the pleasure of moving into a flat with enough rooms that I could dedicate a whole room (albeit a...
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Disc 1: Loud Violins
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British company Digisound's affordable modular synth may not have the cachet of a Moog or an ARP, but — as Paul Nagle explains — they were innovative, well designed, and sounded great... Additional material by Dave Robinson.
Rating: ****** 6/6 Stars
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Colin Owen rediscovers the joys of Atari-tight timing on his blue G3 Mac with Emagic's AMT8 interface, featuring their new Active MIDI Transmission.
Jeff Mearns wonders why we still suffer from gear lust, when old, faithful, well-worn studio equipment so often produces the best results...
Gordon Reid reveals some of the limitations of the 'classic' ADSR envelope with reference to a practical synthesis example, and explains some of the different types of envelopes found on 'classic' analogue synths, from AR envelopes right up to highly flexible digitally controlled EGs.
Three years ago Paul Wiffen concluded that Akai had brought the concept of the sampling drum machine up to date with the MPC2000. Now he takes a look at its successor to see how much more you get when you XL.