SOUND ON SOUND
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When a musical giant like Yamaha start putting their name to daughter boards, you know something's up. Yet the DB50XG harnesses your PC soundcard's processing power as never before. Panicos Georghiades and Gabriel Jacobs dig the new breed...
Alesis made their name with their reverbs, but really came of age with the revolutionary ADAT digital multitrack. Paul White talks to the company's founder and President Keith Barr about the impact of ADAT, and the future of technology in music.
An 'Unplugged' session is going to require a very different studio from a techno track bursting with MIDI bells and whistles. Beyond that, choosing a recording studio is down to that elusive spiritual ingredient, 'the vibe'. David Mellor investigates pop psychology...
Though hard disk recording offers possibilities far beyond those achievable with magnetic tape, it often sports a vastly more complex user interface, which can alienate the tape-based faithful. But Akai's new 16-track hard disk recorder seeks to meet the tape heads halfway, David Mellor plays ambassador...
You might expect Bjork's eclectic repertoire and capricious temperament to make the task of arranging and sequencing her live shows a nightmare. As Paul Tingen discovers, however, for Guy Sigsworth, that's half the fun...
In spite of his success producing Saint Etienne, Ian Catt hasn't left his roots behind. Richard Clewes talks to him about his work with the band, his production techniques, and how to place an SM58 in a U-bend for that ultimate 'Armitage Shanks' sound...
Music journalist Rikky Rooksby considers the effect technology is having on music, and tries to extract some of the digit from digital.
Internet audio is going places — and nowhere faster than for the net-surfing Mac user. Martin Russ looks at the latest developments.
Craig Anderton offers a few tips to help you balance your mix without relying solely on changes to relative volume levels — and gets in touch with his Neanderthal past. Additional material by Paul White.
Hell hath no fury like a platform scorned, and Atari's neglect of the Falcon drives the mild-mannered Ofir Gal to rancorous recrimination....
It might be an unorthodox style of musicianship, but anything that adds strings to the Amiga's bow is to be welcomed. Paul Overaa gets tangled up in Loom...
It can all go without a hitch; recording, overdubbing, even the mixing — but the finest ingredients do not always guarantee a feast. Paul White explains how a little forethought and planning can make all the difference to your final mixes...
All mechanical meters are VU meters, all bargraph meters read peak levels — and both types will give the same reading if you feed in a test tone. Reasonable enough assumptions, but wrong on all counts, as Paul White explains.
The mighty ARP were in existence for little more than 10 years, but introduced a sound which is as much a part of synth history as the Minimoog. Derek Johnson rehabilitates two of the ARP clan's poor relations...
What do you do if a valuable master tape that you've had on the shelf for the past 15 years tries to weld itself to the playback head as soon as you try to play it? Swear loudly, then pop in in a low oven, advises master chef Jean-Paul White...
If you thought you had hassles finding a CD-ROM drive to work with your PC, you haven't entered the soundcard zone. Brian Heywood offers a cautionary tale...
CD-R may be the fastest growing mastering format, but its complicated zip codes and impenetrable protocols have made it anything but user friendly. As prices tumble and software evolves, however, it's an increasingly accessible medium. Mike Collins explains how he's mastered mastering on his Mac...
Paul White tries out these tiny, British-built monitor speakers — and discovers that small really is beautiful.
Paul White finds Behringer's new 'more of everything' box a plentiful source of cheap thrills.
Descending Mosses-like from the mount, Lexicon's new dedicated reverb processor brings intelligence from the company's top-end reverbs. Paul White gets a debriefing...