SOUND ON SOUND
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Few people can truly be said to be multi-talented, but jazz and soul legend Marcus Miller is undoubtedly one of them. Paul Tingen talks to him about his approach to making and recording music, and looks inside his Camel Island studio.
A few years ago, dedicated drum machines seemed in danger of extinction — but now they seem to be undergoing something of a renaissance. Derek Johnson gets hands-on with the latest addition to Boss's Dr. Rhythm range.
The way you use effects and processors can make or break a mix. Paul White offers 20 useful tips to help you get it right first time.
Up to 30 percent of SOS readers are planning to buy a CD recorder this year, so clearly many of you have designs on making your own album. Paul White talks you through the process of compiling an audio album on CD-R using a stand-alone CD recorder fed from a DAT source.
Computers have always been important in the hi-tech studio for sequencing and, latterly, recording audio. They can, however, be equally useful for publicising and distributing your music, if you're connected to the Internet. Mike Simmons explains the basics of setting up a web site from a musician's perspective.
Algorithmic music generators can produce unique and unexpected results, and now Atari users can try out a well-programmed example, Charming Chaos from Electronic Cow, for just £15. Derek Johnson explains a little Chaos theory...
Downloadable music is on the move in more ways than one, with new developments in portable players and online delivery streaming onto the scene. But what do all these changes mean for musicians? Simon Trask assesses the situation.
Sampled drums may be quicker and cheaper than the real thing, but there is something special about a real drummer hitting real drums. Hugh Robjohns passes on a few ideas and tips on capturing the best possible kit sound.
What is the best Mac setup for music? Martin Russ tries to give a straight answer.
Most people expect that a digital input or output will simply provide a bit-for-bit copy of the original signal. After all, bits are bits, aren't they? Martin Walker sheds some light on the various things that can go wrong.
If you need to operate your sequencer from a distance, there are many ways to stay in control. Martin Walker explores a variety of low-cost and purpose-built options.
Looking into the future is never easy, especially where Operating Systems are concerned. Martin Walker ponders the possibilities.
There are now quite a few MIDI Control surfaces on the market, yet the knob-laden Drehbank, which offers interesting possibilities for interconnection between vintage CV synths and modern MIDI gear, is sure to excite much interest. Paul Nagle turns on and tunes in.
dsTEC's eye-catching new analogue mono is bad — but in a good way. Chris Carter reaps the wages of Syn.
Hugh Robjohns tries out a stylish new microphone from US manufacturers Earthworks.
Emagic's new baby is a bargain cross-platform hardware and software bundle which includes a useful new CD-mastering package for Mac users. Paul White finds out whether they've delivered the goods.
Paul White tests a couple of simple digital audio processors that also allow you to make unlimited copies from your own SCMS-protected DAT tapes.
In Part 1 we explained how the tones of most real instruments can be reduced to patterns of harmonics, which can be generated using sine, saw, square or pulse waveforms. This month, we consider the sonic raw materials needed to imitate unpitched percussion.
Korg's Trinity workstation has, like their earlier instruments, become virtually an industry standard — but far from resting on their laurels, the company have upped the ante still further with the new Triton. Derek Johnson and Debbie Poyser provide an exclusive hands-on review.
The theremin is one of the oldest electric instruments around, and its distinctive sound is instantly recognisable. However, real ones are hard to find, and even harder to play. Sam Inglis tries to work out a way of cheating.