SOUND ON SOUND
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Paul Farrer describes the trials and tribulations of writing the soundtrack to the big-screen movie version of Shakespeare's Macbeth.
Hugh Robjohns shrinks to microscopic size in order to show you around the conglomeration of knobs, wires and circuits that make up a mixer.
These days a compressor is pretty much an essential purchase if you're recording vocals or non-keyboard instruments. Paul White looks at how they operate, and how they can be used both to control levels and to fatten sounds.
After another panicky start to the year for the MacOS, Martin Russ asks what happens next.
In the first part of this occasional series for users of popular software packages, we take a look at what you need to do to get up and running using Logic's Environment page, and provide an introduction to the Multi-instrument Object.
PC utility programs are either invaluable workmates, or end up languishing in a corner of your disk drive, rarely used. In a quest to sort out the most useful items for musicians, Martin Walker subjects his PC to the ultimate test.
These days, many businesses plan to replace their computers every two years. Although bi-annual upgrades don't come easy on your wallet, in the fast-changing world of the PC-based musician, upgrades are eventually inevitable. Martin Walker advises you on how to negotiate the troubled path to DSP processing paradise..
Akai's S1100 hard-disk recording option caused quite a buzz on its release, and even now makes this well-specified sampler even more versatile. Chris Carter passes on some hard-won tips for making the best of S1100 HD recording.
Designing sounds on a computer can give you virtually all the knobs and sliders you'd want, but there's the potential to go far beyond hardware synthesis too. Dennis Miller begins a two-part tour of what's available.
Brian Haywood looks at two new enhanced versions of previously available PC software...
Need to transfer songs between an old sequencer and your new computer? Or between a sequencer at home and a MIDI File player for live work? Vic Lennard explains the procedure.
The Atari ST is more than 10 years old, but its high suitability for music and the enthusiastic support of users means that it's still going strong. Derek Johnson takes a look at some current software, reflects on some older software available at bargain second-hand prices, and reveals those all-important Atari Show dates.
An amp is an amp is an amp... but Paul White finds himself vexed by such eternal verities.
A back-electret mic that doesn't need phantom power; Hugh Robjohns won't be calling the ghostbusters...
The best drum machine ever? Staunch admirer Nicholas Rowland leaps to the defence of the long-neglected Cheetah MD16.
Ensoniq seem determined to break into the big-league effects market with their highly specified 24-bit DP Pro. Paul White investigates.
They may look the same as their predecessors, but inside the a-version of Groove Tubes' mics is a new set of circuitry. Paul White's feelin' groovy..
The British-made single-oscillator monosynth is unashamedly retro in both its knob-laden styling and its lack of MIDI. Paul Nagle gets orgon-ised.
When Roland announce a new synth, endowed with a new breed of synthesis, it's time to sit up and take notice. The 'Analogue Modelling' JP8000 appears to offer the power and flexibility of digital control applied to analogue-type sounds. Can it be too good to be true? Paul Ward tries to stop tweaking long enough to tell us.