SOUND ON SOUND
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A great lead vocal sound can make all the difference between an average demo and a potential single. Paul White and Mike Senior answer some of your questions on vocal recording.
Paul White turbocharges his Mac in the never-ending battle to load up bigger and better plug-ins.
Fostex's new digital mixer sports ADAT I/O and a feature set which belies its price. Derek Johnson & Debbie Poyser trip the lightpipe fantastic.
Emagic's Waveburner CD-writing package has grown to incorporate new editing features and powerful plug-in support, but retains its intuitive user interface. Paul White tests the new, improved version.
MOTU's good-sounding, competitively priced audio hardware has won them a lot of friends in the project-studio and professional arenas. The latest addition to their range is a 12-channel interface that offers 96kHz, 24-bit recording. Robin Bigwood tests the 1296.
I'm having a bit of trouble with one of the songs I'm working on in Cubase VST, running on a PC with Yamaha...
Gordon Reid builds on the acoustic theory of wind and brass instruments he introduced last month, and explains how to produce a convincing analogue trumpet sound.
Gates are far more than just problem-solvers for reducing spill and noise. They can be used to add punch to drum sounds, put rhythmic interest into sustained parts or even as mixing automation.
Korg's new music workstation combines the synthesis, multi-effects and sequencing capabilities of the Triton with a new performance-based interactive music generation system — one that goes way beyond traditional arpeggiators and auto-accompaniment sections for sophistication and versatility. Simon Trask is SOS's KARMA policeman...
Yamaha claim, via their European web site, that over 45 million people now have access to XG sounds. This is not surprising as...
Although the binaural recording technique drifts in and out of fashion, it is nonetheless useful...
Roland's new entry-level performance synth is a full-length yet lightweight synth-action keyboard with ready-to-go sounds derived from recent JV and XV expansion boards. Nick Magnus investigates the RS9's family tree.
The SPV355, launched in the late '70s, was intended to allow the pitch of instruments such as guitars and saxophones to control analogue synth sounds — which it does with varying degrees of success. Fortunately, it has other tricks up its sleeve, as Chris Carter explains.
Musicians using Mac and PC sequencers often complain about loose MIDI timing. Martin Walker checks out an interface from Steinberg which should solve this problem — at least for users of their sequencing software...
Tascam's versatile US428 combines the duties of audio interface, preamp, MIDI interface and MIDI fader surface at an attractive price, and has generated a lot of interest from musicians. Derek Johnson & Debbie Poyser test it with the Mac, while John Walden reports on the PC situation.
More and more musicians are trying to escape the sterile confines of modern commercial studios in favour of their own creative environments. Brendan Perry's highly individual recording space is uniquely suited to his eclectic style, as John Walden reports.
Many 'classic' analogue synths are getting on for 30 years old now, yet they are still highly sought after. Hugh Robjohns reports on a company that specialises in finding and fixing vintage electronic instruments.
Martin Walker evaluates a program that bridges the gap between the limitations of typical bundled CD-writing packages and fully fledged audio editors.
Producer and engineer John Leckie is renowned for his work with English pop legends such as John Lennon, The Stone Roses and Radiohead. Recently, however, he left behind the comforts of Abbey Road to record one of Africa's best-known singers on location in Senegal.