SOUND ON SOUND
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David Byrne must surely be one of the most individual and iconoclastic musicians of the late 20th century and, six years after leaving Talking Heads, he's still fusing different musical styles and forging new musical alliances. Sue Sillitoe does at least some of the talking...
Writer and electronic musician Paul Nagle successfully combines a day job with live performance and regular CD releases. Paul White zooms up the M6 and comes in for a landing at his well-stocked studio.
An Atari ST with 16MB of RAM? It's now possible, as Derek Johnson reports.
This month, Martin Russ turns traitor and investigates an alternative to the MacOS.
Paul White looks at the workings of capacitor mics and discusses their advantages for studio recording.
David Mellor looks at the roles of computers in the modern studio.
This month, some of the people who actually get their hands dirty with arranging — often for the household names in popular music — pass on their thoughts, hints and tips.
If you're thinking of buying a PC soundcard specifically for HD recording, you'll find the market awash with models old and new. Martin Walker provides an overview of what's currently available.
Waking up the neighbours with the latest turbo folk masterpiece is a major concern for many project studio owners. Paul White explains that monitoring with headphones and moving house are not the only solutions...
The ball of S&S synthesis had been thrown, and most of the big names in synthesis caught it and ran with it, scoring some notable goals in the process. Paul Wiffen continues his chronicle of modern synthesis with a look at the state of play from the late '80s to the present day.
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.
