SOUND ON SOUND
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Jon Thompson explains how online distribution can work for new music — but only if you get in at the ground floor...
A new interfacing standard is just around the corner which can carry digital audio, MIDI, timecode and hard drive communications down a single cable, in addition to the digital video and multimedia signals which the likes of Sony, Apple and others are already sending down it. Paul Wiffen, long an advocate of high-speed digital interfaces, investigates and finds that he may just have a new religion to evangelise.
The SOS team drop in on another reader's studio.
Martin Newcomb opened his vast collection of rare electronic instruments to the public, but the public stayed at home. Now, therefore, he's changed his plans and built a studio — but some amazing vintage synths still feature prominently. Gordon Reid finds out more from Martin and studio designer Kevin Van Green.
Groove Tubes' latest trio of microphones offer a choice of diaphragm and circuit designs at competitive prices. Paul White examines the sibling rivalry...
Mousse T's radio remix of the song 'Sex Bomb' has sold a million copies across Europe and has once again revived sales of Tom Jones' Reload. Mike Senior talks mixing and remixing with the influential German producer.
Vintage producer/engineer Nigel Bates was one of the original devotees of the PPG Wave digital synthesizer, an instrument that is still a mainstay of his music. These days, he's also enthsiastic in his use of the latest software-based mixing tools. Paul Wiffen finds out more about his fusion of the classic and the cutting-edge. Extra material by Sam Inglis and Matt Bell.
Hugh Robjohns looks at how a music track for film or video is handled at the dubbing stage, and explains much of the jargon associated with this element of a programme's construction.
Confused by word clock? When is it best to normalise a signal? Are optical cables a con? Paul White answers these and other questions we're most often asked about digital audio.
In 1924 George Antheil wrote a piece of music which required 16 synchronised player pianos playing four different parts, along with a bizarre human ensemble. But it took 75 years before Antheil's dream of a gigantic machine-controlled performance was fully realised, using MIDI, by US-based musician and SOS contributor Paul D. Lehrman. In this two-part feature, he explains how this two-year project reached fruition.
Derek Johnson rediscovers an entire family of software from lost developer Hybrid Arts.
We've all lusted after the shiny new gear that appears month after month in the pages of Sound On Sound — but how do you know what will make a real difference to your recordings and what will be an expensive luxury? Paul White picks out the areas where money will be well spent, and the products that will take your sound up a gear.
Vic Lennard gives soume sound advice on hard disk partitioning and also points the way to some useful free music notation software.
In the first part of a new series, Paul White looks at the business of setting up a desktop computer-based studio. The first stage of planning is to determine exactly what you want your system to be capable of.
Auto‑Tune first started out as a TDM plug‑in (reviewed in SOS August '97), but subsequently...
Formats: Mac VST, PC VST, Wavelab, DirectX
Reviewed: PC versions
Steinberg's Mastering Edition...
Cheaper and larger-capacity hard drives are becoming available all the time. Martin Walker takes a look at ways for PC musicians to manage this ever-expanding audio storage space.
Utilities for monitoring CPU usage and file accesses are less than entertaining, but Martin Walker finds them invaluable for finding out what's going on inside his PC...
I have recorded a large number of vocalists with the following mics: AKG C414 B/ULS, Rode NT2, Rode Classic, Shure SM57...