SOUND ON SOUND
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Cardigans producer Tore Johansson was thrown into unfamiliar musical territory when asked to produce the debut album by Scottish guitar band Franz Ferdinand, but the result was a commercial and artistic triumph.
Now that studio equipment is getting cheaper and smaller, Paul White argues it makes sense to spend some of the money saved on making our studios nicer...
NI have taken the technology behind Kontakt, and used it to build a sampler that's all about loops.
Now that Korg's Legacy Collection is properly complete, we follow up last month's preview with the first instalment of our three-part in-depth review. This month, we focus on the Korg Wavestation plug-in...
The story of a multi-miked location recording session, from pre-concert setup to the post-recording software-controlled mixdown.
Learn how to set up Logic's Environment so that you can jam with other musicians in real time on a single system.
Increasing numbers of musicians want to gig with their computers — but home PCs are fragile and laptops may not always be powerful or adaptable enough. So what are your alternatives, and what measures can you take to protect the centrepiece of your live set?
This month, we find out whether Hyperthreading is hyper-helpful to the musician and discover some new freeware. First, though, it's time to spring-clean that Windows Registry...
A common occasion for grief in Pro Tools is when moving projects from one system to another. Here are some tips to help you keep your hair.
We test and report on another crop of highly insertable software Plug-ins: PSP Master Q • TLL Everyphase • Fabfilter Fabfilter One • Cranesong Phoenix • Audiorealism BassLine • Sonic Charge µTonic.
I want to output my audio from my PC into my Soundtracs desk for processing. Using all three of my soundcards simultaneously will give me 24 balanced outs. However, these soundcards are different models from different manufacturers. Is there a workaround or do I need three identical cards?
I record guitar using a Line 6 Pod Pro going into a Roland VMC7200 mixing desk via S/PDIF. While the guitar is plugged in, every so often a little audio spike comes through the monitors. Can you tell me what this noise could be and how to stop it?
I understand the benefit of having 'limited-range' monitors alongside full-range monitors so that you can hear what your mixes will sound like on small domestic hi-fi systems. But what advantage is there in buying these monitors for £250, when a cheap pair of hi-fi speakers can cost as little as £30?
If I record the DI'd signal from a guitar so I can put it through a guitar amp later, what are the concerns, if any? Will the line-level signal coming out of my mixer be too high or otherwise inappropriate for the amp?
I understand that mixes from DAWs can be improved significantly if, instead of using the digital mix buss within the computer, individual tracks are converted to analogue and then summed/mixed externally. Could you explain whether this approach really does offer significant benefits?
I'd like to know more about the difference between monitor designs that feature ports and those that do not. How do they differ in terms of sound and performance?
I need some way to play a stereo backing track when playing live with my band. I don't want to use a CD player, as they skip, but I'm wondering what other options are there?
Multi-gigabyte sample libraries offer unprecedented realism and lots of potential for confusion. Redmatica's neat OS X utility allows Emagic EXS24 users to tame their unruly sample collections.
Most of the major Windows sequencers now support dual processing, and if you want the ultimate performance, machines like Red Submarine's dual Xeon PC could be the way to go.
It's another multi-DVD orchestral library! Does it merit a thunderous introductory timp roll or a feeble tap on a vibraslap? Find out...