SOUND ON SOUND
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Paul White shines the spotlight on worrying proposed changes to the UK's live music licensing laws...
We provide some tips for making your masters sound as loud as commercial tracks, without sacrificing too much sonic quality along the way.
We look at how Windows' multi-user accounts can be used as a potential alternative to setting up different versions of Windows on multiple partitions.
As hard drive sizes rise into the hundreds of Gigabytes, it's crucial to consider the benefits that partitioning can bring.
How can I create the fat bass sound I hear on commercial productions? What are the differences between S/PDIF and AES-EBU? Are there any problems powering UK electrical equipment with Vancouver voltages? Can you recommend some omni mics for chamber recording? How can I build a suitable enclosure to reduce the noise of my computer? Is it possible to create a fake stereo track from a mono source? How can I make my MIDI controller's knobs work? How can I mix a track on a multitimbral synth?
SOS reader Declan Flynn has been pursuing a career in the industry for a long time, since he became fascinated with electronic music as a teenager and bought his first synth and drum machine.
Recording a band is tough enough in the studio, but working on location adds another whole level of complexity. So here's how to overcome the inevitable setup gremlins and fix some of the most common problems at the mixdown stage.
PMI's second Grandioso library takes a thorough approach to capturing every nuance of a Bösendorfer Imperial 290 concert grand piano.
5***** We check out the mighty Fender Rhodes 73 Stage Piano, brought to you in a new 3GB sampled version by the Danish company Scarbee.
The latest in Roland's line of MC-series workstations is their best (and most expensive) yet, incorporating synthesis, sequencing, real-time control, and sampling. But in an increasingly software-driven world, can a Groovebox still cut it?
All of the main MIDI + Audio sequencers now have a bewildering array of compression and limiting plug-ins built in, but many home musicians are unclear about what all those controls and options do. And with so many varieties of each plug-in available, which one should you choose for the job in hand?
We are used to the idea of using fader boxes and other MIDI controllers to manipulate our music software, but now Serato want to get us using our turntables to scratch digital audio. Can it possibly work?
These two small-diaphragm mics from Shure provide solid all-round performance with an extended low-end response.
Music software companies have warned us about the effects of piracy since the dawn of history; but are we now starting to see the results as smaller companies become absorbed into larger corporations?
We take a practical look at the pros and cons of coincident and spaced stereo miking techniques.
The shape of the music-technology market changed dramatically in 2002, with the two largest German music software companies gaining new ownership from American corporations. Have Steinberg reached the summit with Pinnacle?
Twenty years after Steve Levine first produced Culture Club, he reveals how he has been using a new generation of digital tools to restore those original recordings.
The most reliable way of preventing ground loops is to use an audio transformer to isolate the two problematic pieces of equipment from each other, and that's exactly the approach used in the Ebtech devices reviewed here.
Two surprisingly affordable units from a premium name in high-end valve processing.
Recording in a converted attic, Tom Fox was having serious problems with his acoustics while recording drums, so the SOS team drove over to Yorkshire to sort things out.