SOUND ON SOUND
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Paul White concludes his series with an exhortation to unleash your creativity...
If you're burning CDs at home, you'll obtain the best quality if your audio data is at its highest possible average signal level. Most people yawn at this and reach for the normalisation button on their audio editor, but, as Craig Anderton explains, unless you're careful, you could be doing your material a disservice...
Modern PC soundcards can deliver excellent audio performance, but are sometimes held back by the computer itself. Martin Walker shows you how to squeeze out the last drop of performance.
Using a sampler without some sort of hard drive is just not an option these days, which means that some understanding of SCSI is necessary. Devoted Akai samplist Paul Farrer explains some of the pitfalls that can befall the unwary user of SCSI'd up samplers, and examines some of the other cross-platform issues that can complicate sampling.
Sonic Foundry's Sound Forge program is renowned for offering more options and features than most users can absorb without a full-time study course! Customer Service Represetative Sean Lee offers some insider hints and tips to help you work more efficiently.
Chris Carter offers insight into motivation and stress in the studio and some possible solutions.
Last month Paul White covered gates and compressors; this month it's up to enhancers to justify their existence...
Tyneside-based DACS have been building high-quality equipment for people on a one-off basis for years, but now they've launched a range of equipment that anyone can buy. Hugh Robjohns explains why he'd rather buy British.
As PC musicians expand into the world of MIDI outside their computer casing, they'll find a few more MIDI outputs never go amiss. Martin Walker enters a parallel dimension.
Enu have conjured up a combination of sampler and sample playback unit which makes the capabilities of their E4X sampler available at a significantly less-than-E4X price. Simon Trask looks for the sleight of hand...
With Sound Studio Gold, Evolution refuse to let budget sequencing mean budget features. Martin Walker examines a grown-up package at a baby price.
Paul White studio tests a compressor whose main claim to fame is that you can't hear it working. Is transparency merely an attribute of the Emperor's new clothes, or is this unit something rather special?
Low‑cost patchbays are pretty much commodity items nowadays, and ever since P...
I don't know about your studio, but the back of my MIDI rack looks like the rat's nest from hell, and a lot of that is down to...
Commercial physical modelling synths first appeared in 1994, but until now, nobody has produced one that offers truly multitimbral operation together with decent polyphonic performance. Korg's new Z1 does — and for well under £2,000. In this, the first UK review of the finished instrument, Goron Reid laughs wildly and plays lots fo chords — because he can.
Paul White plumbs new depths with KRK's recently introduced active sub-bass package, designed to turn their nearfield monitors into full-range systems.
Microtech Gefell's first multi-pattern mic is graced with the kind of looks which could assure it classic status — as long as its sound lives up to its stunning appearance. Paul White lends an ear.
High-quality equalisers have the magical property of allowing you to tweak tonal content, while themselves remaining practically invisible to the ear. Hugh Robjohns checks out a contender from an American company new to the UK market.
If you want to get on with recording, rather than arguing about who needs what foldback, why not let the musicians mix their own? Martin Walker finds he's all mixed up...
If you're tempted to try out the whole Spectrum of bass sounds, Peavey have updated and old favourite, and Nick Rowland has the lowdown...