SOUND ON SOUND
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If you liked the look of last year's Minidisc-based digital 4-track machines, but need more tracks, look no further. The Yamaha MD8 manages 8-track recording and palyback, but is still priced at just under a thousand pounds. Martin Walker suddenly finds less need to bounce.
Technics' new flagship keyboard is the company's most sophisticated offering yet — and the first keyboard to provide a full-blown colour LCD screen. But is it really an instrument for today's musician, or has the 'home' keyboard concept had its day? Simon Trask colours in the dots with the KN5000.
If all the ivories do when you tickle them is laugh, you might be interested in an alternative method of getting MIDI information into a sequencer. Martin Walker wails, blows and plucks in the interests of non-keyboard players everywhere.
With his fame and status as a world-class musician and recording artist, Eric Clapton can afford to spend as much time as he thinks necessary honing his next release. Richard Buskin talks to engineer Alan Douglas about the lengthy sessions and changes of heart surrounding the recording of the new Clapton album, Pilgrim.
After nearly 30 years working with computers in the fields of recording and broadcasting, Roger Jackson has realised he is suffering from a problem a lot of SOS readers will sympathise with; his love affair with computers is coming to an end. But breaking up, as someone once remarked, is hard to do...
Tony Taverner's career spans decades and encompasses a huge list of top-drawer credits. Christopher Holder heads to Sensible Studios, where Tony acts as manager, to extract a few pearls of wisdom.
Sound On Sound caught up with M People's Paul Heard, before the band headed off on their European tour. Christopher Holder puts aside his preconceptions to learn about songwriting, production, musicianship and family sedans.
Paul White explores the role of both passive and active DI boxes in recording applications.
The classical and pop music worlds collide in the person of Ryuichi Sakamoto, with even his latest ambitious orchestral work due for remixing by a team of DJs. Paul Tingen explores the attraction of opposites...
It's quite possible to equip a home studio without going anywhere near a computer and software. David Mellor takes the hard line.
Setting up your gear for low noise and minimum distortion needn't be a nightmare. Martin Walker gudes you through the process, and shows you how to stand tall, even without headroom.
The type of microphone you choose for a given task can have a profound effect on the quality of the resulting recording. Paul White sorts out the dynamics from the capacitors.
If you're the proud owner of a new PC, and want to make music, there are plenty of ways to get started, and you may be surprised at just how good the results can be. Martin Walker makes sure your shopping list is short but sweet.
Between the extremes of the broad brushstrokes of subtractive synthesis and the painstaking detail of additive, there have existed many hybrid styles of synthesis combining the speed of the former with the precision of the latter. Paul Wiffen traces the development of this middle ground through its successes and heroic failures.
If you're serious about cutting noise from your studio, you'll have to explore the mysteries of studding and neoprene rubber. Paul White explains that it's not quite as exciting as it sounds...
The S100 offers half the innards of Digitech's Studio Quad, but sells for half the Quad's price. Hugh Robjohns finds out whether it does everything by halves...
Paul White discovers that it's good to talk, especially when you have some help from Digitech.
Martin Walker peers through the Windows version of Emagic's Logic Audio 3.
Paul White previews a new digital conversion technique designed to provide high-resolution sounds without the need for extravagant sampling frequencies.