SOUND ON SOUND
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Big George talks to the man responsible for the final creative stage in the production of many of the most successful records of the last decade.
Sam Inglis meets a man who has realised that he has to make sacrifices for his music.
As we enter the 21st century, the amazingly long-lived Atari ST has been around for 15 years. Derek Johnson goes international to find the best sources of Atari info and highlights some cost-effective CD-playing and video-editing software.
Those of you who have been keeping abreast of developments in computer-based music are likely to be only too aware of the problems posed by the Windows and MacOS operating systems. You may also know that an alternative exists — but it is worth making the change? Dave Shapton introduces BeOS.
This month Martin Walker examines the changes in the latest Cubase VST v3.71 update, and finds you yet more musical freeware!
In Play, American dance producer Moby made one of the albums of 1999, which owed its critical recognition in no small part to the hit single 'Why Does My Heart Feel So Bad?'. Tom Flint talks to Moby to find out how the track was made.
Paul White concludes his short series on mixer automation with a step-by-step guide to setting up and running an automated mix.
It's all very well grumbling about some musical aspect of your PC's performance, but unless you know the cause of the problem you may have little idea what needs to be done to improve matters. Martin Walker points you in the right direction.
There are some recording jobs that simply can't be handles in the average bedroom studio. Paul White answers questions about recording a rock or pop band on location.
After last month's overview of the equipment and processes involved in compiling an album master from mixes, Paul White gets down to the business of sorting out wanted audio from unwanted...
If you are short of space, the prospect of fitting a 40-input dual-channel mixer into a 10U rackmounting case will certainly be attractive. Martin Walker follows some leads.
Laptop computers have tended to be difficult to use for music, one of the main problems being their limited or non-existant audio I/O. Vo Fletcher tries out a product which eliminates this shortcoming.
As computer power grows, so an ever-increasing range of studio equipment is becoming available in emulated form, and the latest software instrument to appear is a percussion sampler/sequencer from US company Bitheadz. Nicholas Rowland tests it out.
Paul White tries desktop masterifng using the new all-in-one PC or Mac package from IK Multimedia.
Mike Senior wonders to what extent our creative decisions are really free and how much they're dictated by the studio gear we know and trust.
Finding it difficult to compile your audio files and regions for CD-burning in exactly the way you want them? Paul White tries Adaptec's Jam, and discovers there's nothing sticky about it at all.
Downloading samples and other resources from the Internet can be a valuable alternative to buying expensive sample CDs and CD-ROMs. Paul Sellars unearths some of the best sites.
Martin Russ brings post-Christmas good cheer and looks at some second-hand sale bargains. Finally, there's news of free Mac shareware form SOS...
What is the situation with defragmenting audio drives? I don't generally use long streams of audio for multitrack...