SOUND ON SOUND
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Nicholas Rowland is star-struck by Roland's frankly fabulous new hand percussion controller.
Since UK garage emerged from the underground last year, record companies have been scrambling to sign up the stars of the latest Big Thing. Foremost among these is Mark Hill, who, as well as being one half of Artful Dodger, has also produced Craig David's hit single and debut album Born To Do It.
As PCs grow more powerful, native-processing systems appear to offer very impressive features. Nevertheless, as Martin Walker explains, there is still a strong case for using dedicated audio hardware, as evidenced by Soundscape's powerful R.Ed system.
After looking at the development of and theory behind mLAN, Paul Wiffen continues his series on the new FireWire-based music and audio protocol with a practical look at the effect it will have on the gear in our studios and how we connect it together.
Ken Nelson favours the old school of recording, based around clean signal paths, live playing and analogue tape — but that hasn't stopped him working with some of the hottest new bands in Britain. Among them are Coldplay, whose debut Parachutes album crashed straight into the charts at number 1. Sam Inglis finds out how it was recorded.
This month, Dave Shapton suggests that emerging compression techniques may actually improve our audio and multimedia experiences.
Paul Sellars challenges the idea that MIDI + Audio sequencing has had a negative effect upon musical proficiency.
In the final instalment of this series, Paul White looks at computers, as well as offering some advice on planning a system that allows for future expansion.
Morcheeba's last album Big Calm was a commercial and artistic breakthrough, and expectations were running high for their new album, Fragments Of Freedom. The first single from the album, 'Rome Wasn't Built In A Day', was an intriguing taster. Producer Pete Norris told Tom Flint how it was written and recorded.
Soundcard and computer technology has advanced to the stage where even modestly specified PC systems can make recordings of incredible clarity — and DSP algorithms now allow us to add in the warmth that is characteristic of analogue recordings. Martin Walker explores the options.
The Atari goes back to the future with the help of the Electron SidStation, and Derek Johnson finds out why it's hip to be square...
Paul White offers a few levels for soundcard-based music systems.
West-country company Analogue Systems have been in the vanguard of modern modular synth construction for several years now, most notably with their RS Integrator system. Using Integrator modules, they've produces their first freely configurable keyboard modular. Paul Nagle sees if the spirit of patchable modular keyboards is alive, well, and living in Cornwall...
Paul White explores how you can give your mixes more stereo depth and width — not only using the more commonly recognised methods, but also with a few lesser-known tricks of the trade...
When it comes to MIDI files on the 'net you have two options: either trawl through the myriad of illegal pirate sites or deal with a professional. Paul Farrer separates the pros from the cons.
This month Martin Walker seeks out the suppliers of products aimed at reducing noise from your PC.
Proofing music with MP3 and SoundJam MP Plus is on the agenda for Vic Lennard this month...
Paul White concludes this short series by considering a more sophisticated desktop studio incorprating an external digital mixer.
Monitor speakers affect nearly all the descisions we make when recording and mixing — yet most of us know very little about how they are designed, and why they sound the way they do. In the first of a new series, Phil Ward explains what goes into the design of typical passive nearfields, and the effects they can have on what we record.
I read with interest Paul White's FAQ in last month's SOS about digital audio. One of the questions was whether...