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Cubase Signal Routing
While Cubase's graphical environment makes the application easy to use, it's not always clear exactly where signals are being routed. This month, we open the virtual bonnet and take a look at signal routing in the VST 2.3 audio engine used in both Cubase SX and Nuendo 2
Digital Microphones: A New Approach?
When is a digital mic really a digital mic? Cutting Edge looks at the hybrid digital/analogue technology we already have and suggests a radical new approach.
Demo Doctor
Another batch of lucky SOS readers' demos wait nervously for the Doctor's prognosis. What is the verdict? Listen while you read on...
Harbal
Harbal enables you to shape the EQ of your mastered mixes to match any reference track, and by compensating for the loudness changes involved in doing so, it provides a truly neutral means of comparing the original and the treated master.
John Frye: Recording Outkast
Groundbreaking Southern rap duo Outkast head into 2004 with a fistful of Grammy nominations and a chart-topping double LP to their name. Their principal engineer and studio manager John Frye pulls back the curtain on one of the year's best records.
Korg ESX1
Rackmount studio samplers may be pretty much a relic of the past, at least in terms of manufacturers producing new examples, but it's not quite all software and computer RAM yet — not if instruments such as this new one from Korg are anything to go by.
Korg Microkontrol
MIDI controller keyboards were a minority interest a few years ago, but as more studio duties have been taken on by computers, the popularity of controllers has soared. Korg's Microkontrol adds some new tricks to the well-established concept...
The Point Of 5.1
Surround sceptic Paul White finally sees the point of 5.1...
Lexicon Omega
It's been nearly four years since Lexicon last produced an audio interface. Does their new USB-based Omega system have what it takes to challenge the likes of Digidesign, Edirol and M-Audio?
On-stage Monitoring
Learn how to choose and use on-stage speaker or headphone monitoring systems. After all, if you can't hear what you're doing, then your live performances are going to suffer.
Logic: Working To Picture
We show you how best to set up Logic for working to picture.
M-Audio Firewire 410
M-Audio have broken a price barrier with their Firewire 410, which is easily the most affordable Firewire recording interface on the market.
M-Audio Luna
This affordable large-diaphragm cardioid mic benefits from an open sound with a hint of transformer warmth.
Using Hardware Effects With Your PC Software Studio
Do you use a software studio with plug-in effects but crave the effects quality that your favourite hardware processor used to provide? Well, you can have the best of both worlds... as this article explains.
Page File: The Great Controversy
We return to the great Page File controversy of 2003... as well as keeping you stocked with the usual cocktail of PC news and tips.
Sampling MOTU's Mach Five
MOTU finally have their own soft sampler, Mach Five, which is ideal for use with DP, but doesn't always work exactly as you might expect. Read on for the primer...
Plug-in Folder
Brief appraisals of another selection of software Plug-ins from Disco DSP, Cutter Music, Kjaerhus Audio and PSP.
Tempo-shifted Vocals In Pro Tools
All Pro Tools systems now come with a bundle of extra software: Reason Adapted, Live Digidesign Edition, Amplitube LE, Sampletank SE and T-Racks EQ. Here we use Live's powerful time-warping features to run tempo-shifted vocals alongside a remix.
Q. Why do my recordings sound harsh now that I've switched to digital?
Recently, I bought a digital recorder and have been re-recording some of my old compositions from scratch in digital but, to my great disappointment, I am finding that my mixes are sounding harsh and cluttered. I thought digital recording would give me more clarity in the mix because of its higher fidelity. Where am I going wrong and what can I do about it?