SOUND ON SOUND
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Ann Dudley first came to fame as one of the shadowy figures behind the seminal Art of Noise. But she refused to be confined by the boundaries of pop, and has since exercised her considerable talents in album arranging and composing for film and TV. Richard Buskin talked to her about her musical history and forthcoming album.
We've had the analogue synth revival; now it's the turn of the analogue sequencer! Gordon Reid checks out Analogue Systems' brand-new 16-step analogue sequencer and explains just why you might want such an apparently obsolete device.
Alesis, once the champions of budget effects, drum machines, and more recently the ADAT digital recording system, have now diversified into mixing consoles, amplifiers, and studio monitors, with every sign that the list will continue to grow. Paul White spoke to Alesis' Frank Kelly about some of the new directions the company is taking.
Paul White discusses the role of the software 'plug-in' with Gilad Keren, co-founder of Waves.
Though Mark Russell's work includes writing for film, TV and commercials, as well as big-name tour arranging and musical backup, he's probably best known currently for his lavish music for Radio One super-hero series, Batman, Superman, and Spiderman. Nick Magnus was invited to Mark's home studio to talk about his gear and working methods.
Despite a long string of hit singles and albums throughout the 1980s, The Human League entered the '90s having fallen from grace with both record label and record-buying public. Now they're back with a vengeance — and a hit single from a new chart album. Nigel Humberstone chats to League main man Phil Oakey.
Producer Stuart Epps began his music business career in 1967 at Dick James Music before going on to work with Gus Dudgeon, Elton John, Jimmy Page, Chris Rea and other top names. He now runs his own commercial studio, situated in the old Mill Studio complex, and is working on a number of projects, including one with Bill Wyman. Here he explains why he preferes 'live' music to almost anything else...
Is MIDI about to be superceded? Martin Russ investigates proposals for a new standard for interfacing and controlling electronic musical instruments.
After a couple of weeks spent trying to decipher the inner mysteries of QuickTime 2.0, Martin Russ devotes this month's Apple Notes to revealing the results...
When Paul Johnson decided he'd like to teach a Music Technology course at the college where he works, there was one small problem: he had to build the studio himself during the summer holidays, on a shoestring budget with help from just two students. Impossible? Let's find out...
This month, Simon Millward explains how you can use Logical Edit to hype your hi-hats and pep up your Quadraverb+ patches.
Digital delay tends to be taken very much for granted, but the majority of today's studio effects would be impossible without it. Paul White describes how to set up your own DDL effects from scratch.
Paul Overaa advises on how to improve your sequencer's notation facilities, gives some more tracker tips, and rounds up some current Amiga news...
Nothing beats the feel of a superb live performance captured on tape... but exactly how do you go about it? SOS's Demo Doctor and live recording veteran John Harris considers what you need to get that classic gig onto multitrack tape.
Timing delays, stolen notes, lack of sampler memory... having trouble playing back your sample files over MIDI? But all these problems can be things of the past. All it needs is a little care and planning — as Wilf Smarties explains.
Brian Heywood brings you the latest PC news, and offers a handy tip to net surfers who may be getting lost...
You might think that the layout of your studio is determined purely by where your monitors go and where you sit, but as Paul White explains, there are few areas where you have to exercise a bit of care. • Part 1 • Part 3 • Part 4 • Part 5
Need to upgrade your ST's memory? Vic Lennard looks to RAM the point home...
After having discovered what makes an American music publisher sit up and take notice of a demo, David Bibbey turns his attention to the likes and dislikes of the home-grown variety — Dominic Walker of BMG.