SOUND ON SOUND
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At around £20,000 a pair, Meyer's new X10 monitors lie well beyond the budget of most SOS readers — but the technology inside them represents a breakthrough in loudspeaker construction, and should filter down to more affordable products over the next few years. Hugh Robjohns demystifies the design...
Ridge Farm Studios began making equipment in 1995, and have followed up their Gas Cooker DI box with the Boiler, a two-channel compressor. Paul White assesses its no-frills approach to the art of the big squeeze.
The Roland Promars helped to usher in a new era of microprocessor-controlled analogue synthesizer, but has subsequently been all but forgotten. Gordon Reid remembers the world's only 'Compuphonic' monosynth.
High sample-rate recording formats offer an extended audio bandwidth, but there are currently few microphones with a frequency response to match. Hugh Robjohns tries out the first commercial studio microphone designed specifically to address this new market.
Gordon Reid checks out a compact filter module that won't break the bank.
The most affordable of Steinberg's MIDI + Audio sequencing packages has just received a thorough overhaul, to the point where it now incorporates some features not yet found in the full PC version of Cubase. Maritin Walker tries out the new Cubasis VST.
Martin Walker checks out a suite of four plug-ins (Band Pass, Comb Filters, PitchAccum and Shuffling) from Steinberg: GRM Tools.
A studio effects processor dedicated solely to providing digital delay is a rare thing in this age of all-singing, all-dancing multi-effects units. Paul White tries out TC Electronic's affordable D-Two.
Paul White is transported back in time by the sights, sounds and smells of the new digital Watkins Copicat echo unit.
The eight-track digital recorder has become a standard building block at virtually every level of the recording industry, and a wide range of tape and hard disk-based devices is available. Now Yamaha have extended the choice with a machine built around a 640Mb magneto-optical drive. Hugh Robjohns takes it for a spin...
As a producer and engineer, Alan Moulder has been responsible for some of the most sonically innovative rock music of recent years. In a rare interview he talks to Richard Buskin about his approach to recording and working with Nine Inch Nails and Smashing Pumpkins.
Audia Production Services work within the music industry and lecture on many different Music Technology courses. In this article they raise concerns about the current developments in Music Technology education.
Dave Shapton muses on the possibility of Apple's OS X becoming a desktop front-end for Linux, and explores the consequences of a new wireless communications protocol for musicians.
SOS meet the owners of another home/project studio.
Fifteen years ago, the idea that writing music for computer games could put you in the freame for a major Hollywood film-scoring job would have seemed laughable. But it's exactly what has happened to Nathan McCree and Matt Kemp. Paul White travelled to their Oxfordshire studio to unearth more...
Matt Bell talks to the man behind Chicane, and unravels the story of a Bryan Adams vocal mangled into anonymity by an unreliable vocoder, and a number one hit produced in a home studio without so much as a patchbay to its name.
I'm thinking about hiring an arranger to do a half a dozen or so of my compositions so that I can get them recorded...
Recently I have been considering an upgrade for my PC, and whilst rethinking my approach to improving my studio and live...
I have been told that part of the job of 'lining up' an analogue multitrack tape recorder involves using phase to adjust...