SOUND ON SOUND
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Delay, originally called echo, is one of the oldest artificial effects, yet it can still be one of the most impressive — if used with care. Paul White explains the potential problems and how to avoid them.
Just when most of us have finally optimised Windows 95 for hard disk recording, Microsoft release the Beta version of Windows 98. Martin Walker sticks his head in the sand.
This tasty new system finds simultaneous 16-track recording a piece of cake, and throws CD burning and a host of other features into the pot too. Janet Harniman-Cook pulls up a chair and tucks in...
Pro Tools has made a leap to 24-bit, but does the increased theoretical quality really translate to a better sound, and it is worth the extra money? Mike Collins finds out.
This good-looking unit hides more than just reverb beneath its shiny exterior. Derek Johnson appreciates the ambience...
Last time, Benedict Grant explained how to properly mike an acoustic drum kit. In this concluding part of our short series, he turns his attention to committing kit sounds to multitrack.
Not all analogue classics have keys. The Xpander was an early module that packed in more features than its moderate size would lead you to expect, and left a legacy still discernible in modern synth design.
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.