Practical Drum Kit Miking: Part 1
Drum kit miking is a black art as far as many project studio owners are concerned. Yet, as Benedict Grant explains in the first of this two‑part series, there's no need to let the kit beat you...
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Drum kit miking is a black art as far as many project studio owners are concerned. Yet, as Benedict Grant explains in the first of this two‑part series, there's no need to let the kit beat you...
This month, Martin Walker has some chips and a little sauce, as well as investigating some mysteriously disappearing features in Cubase — Cakewalk Home Studio; Cubase VST.
This month, Derek Johnson checks out a couple of new software versions, and finds that Electronic Cow's Sound Chip Synth is moovin' on up...
In the first part of this new series, David Mellor gives his personal slant on creating a studio that will stay with you as your recording skills and budget improve.
Taking a compact DAT machine out and about can gain you some unique recordings, but can also present you with some unique problems.
Storing large PC-based hard disk recording projects can become tricky, especially when you need to make regular backups too. Martin Walker looks at the options available.
There's no gain without pain. Martin Russ experiences the joys and agonies of a new computer — the Apple Power Mac 7300.
At the January NAMM show in 1987, Roland launched their D50, which mixed synthesis and sampled sounds in one package, a compbination which has remained popular to the current day. Paul Wiffen examines how S&S evolved into the most widespread form of sound generation on the market.
Paul White explains why a great reverb doesn't always make a mix sound better.
Why is no-one giving Mac sequencers away for nothing? Martin Russ dives into the sobering world of shareware and freeware.
The mathematical principles that produce beautiful images such as Mandelbrot sets can also generate intriguing music. Derek Johnson looks at a program that could make you go Atari fractal... Fractal Music.
Upgrading is becoming a regular task for many PC owners. Martin Walker gets stuck in once again, looking at hard drives, memory expansions, and faster processors.
Associating sounds with MIDI datafiles is not difficult, but does require some initial setting up. If your sequences never seem to sound the same as they did last time, Martin Walker may have the answers.
Big George looks at arranging for strings, brass and horns.
Paul White concludes his series with an exhortation to unleash your creativity...
If you're burning CDs at home, you'll obtain the best quality if your audio data is at its highest possible average signal level. Most people yawn at this and reach for the normalisation button on their audio editor, but, as Craig Anderton explains, unless you're careful, you could be doing your material a disservice...
Modern PC soundcards can deliver excellent audio performance, but are sometimes held back by the computer itself. Martin Walker shows you how to squeeze out the last drop of performance.
Using a sampler without some sort of hard drive is just not an option these days, which means that some understanding of SCSI is necessary. Devoted Akai samplist Paul Farrer explains some of the pitfalls that can befall the unwary user of SCSI'd up samplers, and examines some of the other cross-platform issues that can complicate sampling.
Sonic Foundry's Sound Forge program is renowned for offering more options and features than most users can absorb without a full-time study course! Customer Service Represetative Sean Lee offers some insider hints and tips to help you work more efficiently.
Chris Carter offers insight into motivation and stress in the studio and some possible solutions.