SOUND ON SOUND
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TL Audio have gained an enviable reputation for high-quality processors. Hugh Robjohns takes a look at the latest addition to their Classic range.
A co-founder of US electro-pioneers Information Society, Paul Robb recently scored the new movie form the creators of South Park. He has a new band signed to Virgin and a dance side-project, yet still manages to write award-winning music for TV. Sam Molineaux joins him and his various alter egos in his new Los Angeles studio, Digitalis.
The music biz is a notoriously difficult one, but you might think that at least the people who get paid to work for you are on your side. Sam Inglis says it's even worse than you thought.
Music on the Internet has brought into sharp focus the changes that will need to be made to a global law to ensure the safety of music copyright. Debbie Poyser and Derek Johnson assess the possible impact of new technology.
The Cardigans are the biggest thing to come out of Sweden since, er, Ace Of Base, and their recent hit 'My Favourite Game' represented a successful change of musical direction. Sue Sillitoe tracks down their regular producer Tore Johansson in his Country Hell studio to talk about how the song was put together. Reasearch by Matt Bell.
Subtle timing nuances play a large part in the feel of much of today's rhythm-based music. Martin Walker bangs the drum about creative use of groovy time-tweaking functions.
The times are colourful for Apple Macs. Martin Russ looks at the new Bondi Blue G3 PowerMac, and then does some serious Thonking.
When it comes to emulating acoustic instruments, the modern orchestra probably represents the ultimate challenge. Philip Meehan shows you how to take it on and win.
This month, Martin Walker reviews PC software packages that help you check out your own studio acoustics and examine your MIDI data.
As computers continue to increase in power, so the numbers of roles they can play in the studio increases — and the makers of Audio Architect would have us do our synthesis in software. Kevin Perry finds out if it can really replace those old Moogs and Prophets.
Ataris can now be picked up at very reasonable prices and, with the addition of some cost-effective software, make useful live sequencing devices. Derek Johnson highlights this and other uses for your ST, and discusses some fast new TOS-compatible machines from Europe.
John Walden exchanges his plectrum for a mouse and suggests some guitar-related Internet sites that might encourage even the more technophobic pluckers and strummers to venture into cyberspace.
Although most modern synths come with good bass guitar patches, there's still nothing quite like the real thingplayed well — provided you know how to record it. Paul White examines a few alternative approaches.
Hums, clicks, rustles, chirps, shuffles and creaks. Just a few of the sounds that your recordings could well do without. Paul White has a quiet word about the art of noise reduction.
Paul White is all ears as he puts AVI's latest two-way monitor loudspeaker to the test.
These days, a new synth without some form of DSP effects processing is almost unthinkable — but it wasn't always like that. Paul Wiffen traces the introduction of effects on synthesizers and looks at making the most of the early implementations.
Paul White braves the slings and arrows of his outrageous PC in the good cause of testing a MIDI + Audio sequencer designed with the guitarist in mind.
These days, high-end PC soundcards offer much more than mere audio interfacing, incorporating mixing, synthesis, sampling and often powerful onboard processing facilities. Martin Walker finds the features of Creamware's new DSP-powered Music Production Environment' impressive even by modern standards.
Paul Tingen catches up with the musical innovator and legendary force behind BeBop Deluxe at his minimalist home studio, and finds him producing more music than ever before.
It was the best-selling single of last year, and signalled a radical change of musical direction for Cher — complete with bizarre vocal processing. Yet, surprisingly, it was produced in a small studio in West London. Sue Sillitoe relates the astonishing tale of 'Believe'.