SOUND ON SOUND
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Paul White tests AKG's new budget studio valve mic to see whether it's really possible to build a quality tube capacitor mic for under £1000.
Anyone in any doubt as to the popularity of Depeche Mode should see this man's studio. Alan Wilder, formerly the programming powerhouse of the group, and now striking out on his own, has poured the profits of his years with the Mode into this astonishing home setup. Here he talks about the studio, his new album, and his days with Depeche.
Emu's latest sampler release is a new budget module to replace the ESI32. But with recent price drops from Akai and Yamaha's return to the sampling fold, have the company done enough to fend off the competition?
Can an expensive valve microphone preamp like this one really make that much diference to the quality of your recordings?
Sometimes it's easy to forget that home studios packed with synths and samplers aren't solely the preserve of the dance fraternity. British soul artist Ola Onabule does all his recording and the managing of his own label from his Brixton home.
A job helping to provide the sounds and recording the music for an animated Christmas special has SOS contributor Paul Ward hastily upgrading his studio and exploring the deepest recesses of his synth collection, in search of sleigh bells and singing reindeer patches...
When it comes to computer audio editing, the user interface is extremely important. Having physical controls to grab hold of has already give Ensoniq a lot of advance publicity for their Paris hard disk recording system.
The world of multi-effects might be generally interdisciplinary, but Derek Johnson finds that there'll always be room for a specialist.
Paul White finds a few ways around the restricted breath-control facilities of the Yamaha VL70m.
Why are CD recorders like buses? Paul White investigates.
If you own a VS880, you can already record, edit and produce a stereo mix of your masterworks, all with out leaving the 880's tape-like hard disk recording environment, but now Roland have added the ability to make a CD master in the same way. Paul Nagle goes for the burn.
If you want to recreate the sound of a particular hall or studio live room, why not capture its essence and then use this to treat your music? Sonic Foundry's new software makes it all possible. Martin Walker samples the results.
Considering that the Wavestation first emerged in 1990, it's aged remarkably gracefully and, relative to some of its...
For some years, Sambell Engineering (who manufacture the Atacama range) have provided a 'bespoke' service, making one‑...
Following my feature on MIDI controllers in the June '97 issue of SOS, distributors BCK sent me a sample of their VP3...
We all know there are lots of compact mixers on the market — but then lots of people need a compact mixer, and SoundTech's 16-channel Quantum Mix is priced for mass appeal. Mike Crofts looks before he leaps.
Viscount were there from the very beginning of the budget effects revolution, and with the EFX100 they hope to give the cash-starved masses a further option. Christopher Holder finds out whether the EFX100 holds its own in the bustling budget marketplace.
There are still plenty of people who just won't have a computer in the studio, but nevertheless need some way of saving MIDI data. Nicholas Rowland checks out the successor to the venerable MDF2.
Did you spot the rather unlikely recording setup in a recent sci-fi blockbuster? Paul Farrer did...