SOUND ON SOUND
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The latest addition to Alesis's DM series of drum modules has the suffix Pro — but does it have the feature‑set to match?
Legendary US record producer Bob Clearmountain undoubtedly has his name on more hit records than anyone else in the history of popular music. Dave Lockwood asks the man who invented the role of 'specialist hit mixer' to reveal the secrets of his success.
Hugh Robjohns meets a double-act of new Beyer microphones.
The Circle 3 nearfield monitors are the latest fruits of the collaboration between HHB and Harbeth. Hugh Robjohns tries them out.
Artificial reverb algorithms are designed to add 'fake' room ambience to recorded sounds — but a prototype reverb unit from Sony purports to deliver new levels of realism by imposing the characteristics of actual reverberant spaces on the sound. Hugh Robjohns explains....
Paul White tries the hybrid sound of SPL's new dual-channel precision microphone preamplifier.
Mike Collins provides some early reflections on TC Electronic's latest reverb unit and effects processor.
The JoeMeek ProChannel VC3 has recently undergone a major redesign making it more suitable for professional applications,...
Most studios include a number of digital devices, but in order to get them to converse in the digital domain, they have to run...
Tascam's CD-RW5000 is one of the more cost-effective CD recorders around that can make use of the cheaper 'pro' blank discs — and the company have also released a useful box that can duplicate both audio CDs and CD-ROMs. Paul White checks them over.
Are you the typical SOS reader? What do you feel about the magazine? What gear will you be buying in 1999? Ian Gilby presents the results of our most recent Reader Survey.
This month, David Mellor considers the progression from first studio job to Assistant Engineer.
Interview with Lawrence Ray from Back To Base in his Blue Water Studio.
A successful DJ-turned-remixer/producer, Justin Robertson has also found fortune with collaborator Roger Lyons as Lionrock. Now the Sherlock Holmes-obsessed duo have relocated to their own studio, Moriarty's Cavern, and have a new side project, Gentleman Thief. Tom Flint gets an elementary education...
The single by Johnny Marr and Bernard Sumner's 'Supergroup' Electronic is closer to traditional rock and roll than electronica, with its driving guitars and bluesy harmonica riff. But there's more to the simple-sounding production than meets the ears, as Matt Bell finds out from programmer Merv De Peyer and engineer Jim Spencer.
SOS reader TJ Stone asks whether the mountains of sophisticated equipment available to successful musicians and producers really help to make better recordings.
The plug-in compatibility of most audio software means that you can add new effects and processing capabilities — but not all programs support the same types of plug-in, and some require additional hardware. In the first part of a comprehensive roundup, Paul White and Martin Walker look at the different plug-in formats available.
You don't necessarily need a multitrack recorder or audio sequencer to make a master-quality recording. Paul White explains how good results can be produced using stereo recording techniques married with MIDI sequencing.
The craft of mixing is all about controlling and balancing the relative levels of different instruments. Most of this balancing is done by riding the faders, but dynamic compression can also be a very useful and powerful tool if used appropriately. Hugh Robjohns explains some of the techniques and traps involved in mix compression.
As much as we'd like to buy all the latest PC software, no-one's coffers are bottomless. Martin Walker looks at some of the many free or low-cost alternatives for the PC musician.