SOUND ON SOUND
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Paul White meets the head of TC Works to preview the company's new PowerCore card, a DSP engine designed to relieve host-based MIDI + audio sequencers of some of the strain of running processor-intensive plug-ins.
Paul White further explores the secrets of successful compression, and explains how to use advanced techniques for mastering your mixes.
Martin Walker explains how to clear out all the drivers, utilities and Registry entries associated with an old, discussed soundcard, leaving you with a clean machine in which to install your new, upgraded hardware.
Continuing his in-depth explaination of the Logical Edit functions of Cubase in Easy Mode, Paul Sellars looks this month at the role of the Processing stage settings, in conjunction with the Filter and Function operation, before moving on to the greater complexities of Expert mode...
The application of both traditional principles and some innovative electronic design work affords this dual-channel preamp impressive performance. Hugh Robjohns likes what he hears.
The idea of a virtually silent, compact and portable PC recording workstation has obvious attractions, and it is possible to build such a system around a laptop PC. Martin Walker explains the options available and how to avoid some of the many potential pitfalls.
Dave Shapton explores part of the MPTEG4 specification: Structured Audio, which allows music to be streamed with absolotely no loss of quality at extremely low data-rates. Is this the way that all media will be encoded in the future?
A Swedish soft synth is on the way, a New Zealand developer plans to introduce the Atari to the wonders of Ethernet, and US company Dr T's finest hour becomes shareware. Derek Johnson goes global.
Having explained some of the audio and MIDI interfacing problems facing owners of new-style Macs, Paul Wiffen looks at practicalities, testing one USB MIDI and one USB MIDI + Audio interface to see what pitfalls await the unwary...
Logic's Transform window is often under-used, due to its apparent complexity. John Walden explains all.
Modern digital effects units always include emulations of analogue effects such as tape delay and flanging — but none of them ever seem quite like the real thing. Paul White explains how these vintage effects worked, and offers insight into how our modern attempts could be made more accurate.
Whenever we hear or read song lyrics, we are hearing the voice of a person, whether that voice be the songwriter's own, exploring his or her own emotions and feelings, or someone else's. The second part of Sam Inglis' series explains how you can write for different voices to put across different messages.
Vic Lennard signs-off as SOS Apple Notes columnist with a look at VM.
Paul White tests AVI's updated 'Red Spot' version of their Bigga-Tron monitors and finds out if this offers a worthwhile improvement.
Big George focuses on how to hit your intended target... right between the eyes.
The growth of the Internet and email-based communications should have made it easier to contact the people who could help you to further your musical career — but, of course, it's not that simple. Robin Morley offers advice on how to use message boards, email and newsgroups to develop useful contacts...
I'm really excited about buying a synth as this will be my first (I have portable keyboards). I'm looking for techno...
I recently purchased a Stagg microphone and a Joemeek VC3Q recording channel and initial trial uses have really impressed...
I have a Mac Powerbook running Pro Tools 5.0.1 Free, which is great for editing (I import waveforms from a CD,...
I am thinking about spending some cash on a new setup for a home studio, as I'm getting a bit frustrated with the...