SOUND ON SOUND
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In a world brimming over with multi-effects units, will TC Electronic's new FireworX cause sparks to fly amongst the competition? Hugh Robjohns lights the blue touch-paper...
Paul White lends an ear to TLA's latest parametric EQ, the 5013, an attractively-priced valve/solid state design that keeps up the tradition of delivering quality without the cost.
Once upon a time, all synths were like this — discrete analogue sound-generating and sound processing modules, connected in any configuration the synthesist cared to dream up. If you like that idea, Analogue Systems are providing a new alternative to expensive antique systems. Chris Carter does the time warp again...
One day we all might drive a compact hatchback. Until then, Mac musicians should rally support for their beloved computer. Kenny Campbell sounds the call...
Recording Architecture's renowned Black Box modular acoustic treatment system is now available in a range of packages specifically aimed at the project studio. Dave Lockwood talks to consultant acoustician, Nick Whitaker and architect Roger D'Arcy about the company's latest venture in this sector of the market.
English electronic duo Mono are virtually unknown in the UK, but are in big demand in the USA, thanks to their single 'Life In Mono' being used as the main theme to the film of Great Expectations. US-based English writer Sam Molineaux talks technical to Mono's musical mainstay Martin Vergo, and provides the perfect perspective on the disparity between their British and Stateside success so far.
Acclaimed producer Mike Hedges has filled his studio with equipment that is almost as antique as the ancient French chateau that houses it. Paul Tingen catches up with a man who's far from manic but quite ready to preach the virtues of analogue.
Rob Playford is not only the man who, as Goldie's producer, helped mould one of the most original drum & bass talents into a household name and chart success; he's also boss of one of the hippest drum & bass labels on the planet, and a sought-after remixer. Christopher Holder asks 'how does he do that?'.
Last month Big George looked at what demos actually are. This month he tells you how to prepare for recording one and avoid wasting lots of time, tape, and money.
Paul White discovers that it is possible for a compact monitor to deliver a sound that is both accurate and tonally well-balanced.
Updating software ought to be a simpler matter, but often things don't go according to plan. Martin Walker catalogues a selection of problem areas.
Hugh Robjohns continues his look at the techniques and technology of digital audio. This month — quantising and oversampling.
Many PC owners still seem to have trouble trying MIDI and audio together, and timing remains the main problem area. Martin Walker attempts to pull all the strands together.
Setting up MIDI gear for the best audio quality is a very similar process to setting up your mixer, and you can often reduce noise levels significantly. Martin Walker provides some quick and easy ways to minimise hiss and hum from MIDI gear.
A dedicated American music professor currently provides one of the very few serious scoring programs for the ST as $20 shareware. Derek Johnson checks it out, and also discovers a neat utility that could make life easier for Akai sampler users...
Paul White delivers a crash course in instant mixing.
Mastering is the final link in your sonic chain. David Mellor helps you make sure it's not the weak one...
Many mic preamps are marketed on the strength of the sound they claim to impart to your recordings, but the Event EMP1 is designed to sit as unobtrusively in your signal path as possible, amplifying quietly to itself. Hugh Robjohns investigates...
Having whetted his appetite for MacOS-based software synthsis last issue, this month Martin Russ takes a closer look...
Paul White clocks on for a shift in Focusrite's Tone Factory, the first of the company's new low-cost Platinum range of processors, and discovers the anarchic side of Focusrite.