SOUND ON SOUND
To find the exact phrase, put the words in quotes or join them together with a plus sign e.g. live+recording or "live recording".
To find, say, all live recording articles that mention Avid, enter: live+recording +avid - and use sidebar filters to narrow down searches further.
A producer recently came over to my home studio (some synths, PC with Soundblaster Live! Platinum soundcard) and helped me...
What software should I buy to create my own Akai‑format CDs? I use both a Mac G4 and a PC. I've built quite an...
Pro Tools is about to get Rocket Network compatibility, facilitating long-distance collaboration between Digi users. Also this month, we continue our series of inter-application transfer tutorials with a look at how to move Digital Performer tracks into Pro Tools.
The Blue Tube preamp accepts both mic and instrument inputs, and lets you add as much tube warmth as you like using real valve circuitry.
Big George writes an open letter to Tessa Jowell, the Government minister responsible for music.
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.
The Soundbeam's ability to translate physical movements into MIDI messages, in a sophisticated and customisable way, makes it unique among alternative MIDI control systems.
EMES have developed the first studio monitor to use a patented new single-point stereo speaker technology. Hugh Robjohns tests the Owl System and compares it with the conventional Violett HR on which it is based.
A new wave of dedicated DSP cards is helping computer musicians boost their plug-in power. The latest to appear is Universal Audio's UAD1, which offers recreations of vintage compressors as well as a high-quality reverb.
Having explained last month the reasons why analogue synthesis of guitar sounds should be well-nigh impossible, Gordon Reid puts the theory to the test...
Hugh Robjohns continues SOS's series on surround sound with a detailed look at Dolby Pro Logic, the widely used surround system originally developed for use in the cinema, and considers how you might adapt your home recording setup to allow mixing in this format.
Paul White tests the solid-state counterpart to Rode's recent NTK valve mic.
Software samplers are not new, but until now they have only existed as stand-alone applications or sequencer-specific plug-ins. Paul Sellars investigates Steinberg's HALion, which offers close integration with Cubase VST, but can also be used as a VST-format plug-in from other sequencers.
In the second instalment of this two-part retro, Gordon Reid recalls FM's finest hour, and describes the heyday of what was perhaps the most successful family of synthesizers ever developed.
The latest in Korg's series of dance-friendly Electribe groove workstations is sample- rather than synthesis-based, but serves up the same beguiling blend of hands-on user interface and cutting-edge sounds and effects as its predecessors. Nicholas Rowland takes it for a spin...
As a musician, you may well have heard of Dolby A, B and C - but Dolby E? Dave Shapton introduces the format and speculates about its possible implications for music recording.