SOUND ON SOUND
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Paul White evaluates Rode's reincarnated Tube Classic microphone to see whether technical progress has compromised the sound or improved it.
One of the most exciting developments in sound processing technology this year was the announcement from Sony of a dedicated reverb unit which applied ambience 'sampled' from real acoustic spaces. Now the theory is reality. Hugh Robjohns gets his hands on the DRE S777.
Does Tascam's new digital recording console have what it takes to lure buyers away from the more established names? Paul White finds out.
Waldorf's flagship keyboard synth has been available for months — but until very recently, it was so unfinished that it was scarecely reviewable. Since April, Gordon Reid has stuck with it, painstakingly noting the improvements that have come with each system software upgrade, until finally, with the synth standing at OS version 1.13, enough features are working to justify a full SOS review.
Jamiroquai's recent album Synkronized was the first to be recorded in front man Jay Kay's impressive private studio. One of his album's high points, and a hit single, was 'Supersonic'. Bill Bruce talks to its producer Al Stone about how the track was recorded.
Gibson are best known for their good old-fashioned guitar technology, but they're also behind an immovative new standard for connecting digital audio devices — which, if it takes off, will revolutionise the way we connect gear together. Dave Shapton finds out more...
A hugely successful new album marks The Red Hot Chili Peppers' returns to form — and incredibly, it's nearly all in mono. Engineer Jim Scott talks to Paul Tingen about the recording process and the group's refreshingly direct approach to production and mixing.
Most jobbing producers would regard jetting off to exotic locations to spend a year with one of the most famous artists in the world as a fantasy. For programmer and producer Kipper, however, the dream became reality — thanks to Sting. Tom Flint caught up with Kipper in his Surrey home studio.
Paul White talks to designers Greg Mackie, Peter Watts and Bob Tudor about the new Mackie HDR24/96 hard disk recorder, and the company's plans for the future.
Another reader invites us into their home/project studio.
It's all very well having the virtual equivalent of Abbey Road in your computer, says Miles Glen, but when are you going to learn to use it all?
Mike Simmons concludes his serious on designing and cosntructing a web site by answering some of the mant reader queries received in response to earlier instalments.
These days, any decent synth or sampler offers plausable orchestral sounds — but there's much more to creating believable arrangements for orchestra than realistic samples. Keyboardist/composer Dave Stewart offers some guidance, passes on some advice from pros, and explains how orchestral samples were used to create an arrangement for the latest Geri Halliwell single.
Martin Russ puts the new iMacs in context, and delves further into his new G3.
Mac VST, PC DirectX, Premiere, Audiosuite
Reviewed: PC DirectX version
If you want a...
PC DirectX only
Restoration‑NR (latest version 1.1.1) is another denoising DirectX plug...
Fancy multi-port MIDI operation for your Atari? Derek Johnson looks at a three-way interface that can expand the musical horizons of Atari users and rounds up some more ST news.
This month Martin Walker discusses processor overclocking, as well as bringing you up to date will the latest PC news.
Martin Walker considers the possible impact of the Millennium bug on PC musicians.
The facility to construct sophiticated arrangements of virtual faders, knobs and buttons, and use them to control studio equipment via MIDI, is one of Cubase's most powerful features — but also one of its most under-used. Paul Sellars explains how to make Mixermaps work for you.