SOUND ON SOUND
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Despite the onslaught of the computer sequencer, hardware sequencers are still alive and well and producing music in many a studio. Jon Cotton, a long-time user of Roland's MC50/500 series, passes on some hard-earned hints and tips for getting the most out of your microcomposer.
Sequencers are great for mechanical grooves — but that's only half the story. As Craig Anderton explains, MIDI sequencers offer tremendous expressive capabilities to those who take advantage of controller editing, logical edit, randomisation, and other common features.
Paul White digs out his patch leads and powers up Allen & Heath's new general purpose, 4-bus console.
Having addressed your studio mains wiring, you can now turn your attention to the connections between your equipment. Paul White explains the undoubted benefits of a patchbay system.
Richard Rothman doesn't own a studio, can't play an instrument and keeps as far away from computers as he can. Nevertheless, he has been involved in the production and promotion of some very successful independent record releases. How is it done?
Drawmer's new dual-channel tube equaliser combines traditional parametric EQ with Drawmer's own high and low-pass filters to create a highly flexible, classic-sounding EQ. Paul White takes it into the studio.
The Proteus series of sound modules have gained a reputation for being all things to all musicians — but they've never had on-board effects. The newest addition to the family takes care of that. Nigel Humberstone checks it out.
Have Roland finally come up with a more affordable MIDI guitar for the masses? Paul White obviously thinks so.
What can Sony's new effects processor offer that its competitors don't already have? Paul White took the new Sony HR-MP5 into his studio to find out.
Soundcraft's new mixer attempts to combine budget pricing with a level of performance capable of doing justice to the new breed of digital multitrack machines. Paul White finds out how well it succeeds.
Steinberg's Time Bandit is a Mac software package for processing Sound Designer II files off-line, using sophisticated time stretch and pitch shift algorithms. Long-time Sound Designer II user Paul White couldn't wait to get it home...
This inexpensive program lets you add the advantages of pattern-based drum programming to your setup, without abanoning your full-blown sequencer. Brian Heywood gives it a battering...
This month, Paul White checks out the 4th edition of Aspen Pitman's (Groove Tubes) popular Tube Amp Book.
This month, Derek Johnson investigates the GT Pro MIDI studio workstation stand from Cambridge Innovation Systems.
For around the same cost of the equivalent individual pedals, you could buy this intergrated, programmable effects pedal system, which includes an amp simulator for direct recording. Paul White checks it out.
Based on the popular 9030, the Zoom 9050S offers combinations of up to eight simultaneous effects from a repertoire of 55 effect types. Paul White investigates the need for speed.
Chris Rea and engineer Stuart Epps talk to Mark Cunningham about the making of Espresso Logic, life at The Mill studios and their approach to recording Rea's work.
Jane Siberry's unique-sounding music has attracted collaboration from musicians such as Brian Eno and fellow Canadian Michael Brook. But she's still in control, as Mark J. Prendergast discovers...
John Dyson is one of the UK's most popular electronic music composers, yet he works with recording equipment that is more state of the ark than state of the art, and his northern pragmatism won't let him give up his day job. Paul White met him at his home studio.