SOUND ON SOUND
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In Part 1, author Gordon Reid told us how he found one of the world's rarest synthesizers in Australia, and of the trouble he went to to get it home. In Part 2, he explains what it is about the Yamaha GX1 that made it all worthwhile...
Two successful new producers from New Zealand have used a unique blend of old and new technology to create two hit albums for the Stereophonics. Mike Senior talks to Bird & Bush about their role in a British rock & roll success story.
In these days of sampling, DSP and physical modelling, you might think that building your own electronic instruments would be a daunting prospect. According to Reed Ghazala, however, it's a piece of cake — you don't even need to know how they work. Sam Inglis finds out more.
Line 6 have released two DSP-based effects pedals that use physical modelling to recreate the echo, delay and modulation treatments of a bygone age. Paul White — who was there first time around — finds out how they measure up to the real thing.
British company Red Sound Systems are known for their innovative DJ products. Now, in the shape of the Dark Star, they've produced their first synthesizer. Wing Commander Paul Farrer warms up the engines and takes it out on its maiden flight.
Paul White checks out TC Works' Spark, a Swiss Army knife of a Mac editor that takes an entirely new approach to the use of VST plug-ins. It also offers sampler support and MP3 file creation, and its effects section can even run within other VST- and MAS-compatible software.
Active monitor systems which use a subwoofer together with satellite speakers are not particularly unusual in this industry, but the Sirocco Pro from Videologic is sure to stir things up by providing a neat package, with impressive technology, at under £600. Hugh Robjohns tunes in...
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The current challenge to reverb designers such as Dave Griesinger of Lexicon is to create realistic algorithms for surround sound. Paul White finds out how he's approached the problem.
Debbie Poyser has just about had it with Apple. Here she explains why before going off to buy a new G4.
Sound On Sound's September 1999 SAE/Quantegy competition offered the fantastic prize of an all-expenses-paid recording session in a New York studio with a top producer. Tom Flint talked to the lucky winners to find out how they put their winning demo together — and found out how producer Nicky Graham transformed it into a potential chart smash.
Working from a small studio in Quebec, Canada, Pierre Marchand has been responsible for some stunning production work, most notably with songsmith Sarah McLachlan. Paul Tingen finds out how he successfully mixes a technological approach with live performances to create his organic intimate sound.
Dave Shapton explores the consequences of new, media-independent formats for music distribution and reproduction.
I have a reasonably modest home recording studio incorporating an Akai DPS12 hard‑disk multitracker with onboard...
I have a brick shed out the back of my house which measures 10 feet by 8 feet inside, and I would like to make a little...
I've been playing in bands ever since I saw George Harrison and the boys in 1963 (I'm still a Beatle‑freak!) Now,...
For my next project, a theatre musical, I am currently writing MIDI backing tracks in Cubase, which will then be...
Confused by DirectSound driver options? Martin Walker explains them all, recaps on the Millennium bug and makes a packet with his CD-RW drive.
Fitting hardware upgrades to your PC should be comparatively easy, but sometimes not everything goes according to plan. Martin Walker guides you through the pitfalls.
Though the Mac platform is often ahead of the PC for musical applications, it used to lag behind in the race to provide professional MP3 software. Simon Trask tries out a new program which aims to restore the balance.