SOUND ON SOUND
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Much of today's Mac music recording and processing software realistically requires a G3 processor to give optimum real-time performance; but this doesn't mean you need to consign older Macs to the scrapheap. As Bob Dormon explains, there is now an alternative to trading in your old Performa for a costly new machine.
Portable digital multitrackers are getting even more sophisticated — and ever more affordable. Hugh Robjohns checks out Yamaha's latest MiniDisk 4-track.
The SU700, Yamaha's entry into the 'groove sampler' stakes, is derived from their A3000 studio sampler and inherits some of its sibling's most impressive features — including adventurous effects and imaginative sample-manipulation facilities — while adding quite a few tricks of its own. Derek Johnson and Debbie Poyser go loopy.
ISDN is a term that you will have certainly have come across in the pages of SOS over the last few years, but perhaps without really knowing what it does and how it works. Hugh Robjohns explains the relevance of this international digital telecommunications network to the modern musician.
By the time you read this, he could be clutching his first Oscar for his soundtrack for the historic blockbuster Elizabeth. David Hirschfelder discourses with Richard Buskin about the art, science and pyschology of scoring for the moving image.
A recent court ruling could be the biggest threat to music composers since the great cull of 1673. Big George breaks the bad news...
Do you want to engineer top acts in top studios? Are you prepared to devote your entire life to music recording? In this new series, David Mellor explains how you can become a professional music recording engineer.
Robert Louis Medina explores the sordid world of naked Dutch flesh — and bemoans the gulf between the quality of Roland products and that of Roland manuals.
Paul Joyner recording in his Basement Room at home.
Every week, BBC1's new Saturday night show Get Your Act Together takes an aspiring singer or group and attempts to transform their musc, image and performace, to turn them into true professionals — in two days. Among the eminent record producers chosen to work their magic on these acts is Steve Levine, who talks to Sam Inglis about the unique challenges involved.
The small and not-so-small time delays between a signal entering and then emerging from a computer soundcard can turn hard disk recording into a frustrating experience. Martin Walker leads us through the twists and turns of latency.
Newsgroups are one of the most valuable, yet one of the most neglected features of the internet — indeed, many people don't even know of their existence. Kevin Perry explains how to access them and what benefits they offer for musicians.
Tired of those sampled string sounds? Hugh Robjohns outlines a number of techniques and tips for recording real live string soloists and string sections.
Collaboration between hardware and software developers isn't common in the world of PC music — but this month Martin Walker reports on several attempts to bridge the divide.
If you're still under the impression that the Celeron is a type of vegetable, now's the time to find out more. Martin Walker plugs in some new processors.
Less than £60 buys an Atari sample editor that's up there with new Mac and PC audio tools in terms of sound-manipulation potential. Derek Johnson puts his samples through the Squash It! mangle.
Just as the Universal Serial Buss arrives, the FireWire juggernaut sounds its horn and releases the air-brakes. Martin Russ boldly attempts to fight off the worst of the bad puns.
We've all experienced the burst of creativity that getting hold of a new sound can bring about — but not being able to afford new synths and sound modules is also a familiar feeling.
In Part 1, we saw how manufacturers realised that putting DSP effects on synths made for great sales. Subsequently, they twigged that it was also a good idea to let us take them off again (selectively), and route and adjust them ourselves.
You've got a digital desk and a high-resolution computer workstation, but how do you input 24-bit source material? Hugh Robjohns checks out MusicNet's answer.