SOUND ON SOUND
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With so many low-cost recording products coming onto the market every month, you may be tempted to ask what, if anything, is to be gained by buying more expensive models. Paul White attempts to answer.
Ever fancied a job as a beta tester of the latest products? Chris Madden's turning it down thanks.
Christopher Fogel accepted an offer to mix an album by an unknown Canadian, and found himself caught up in the phenomenon that was Alanis Morissette. He tells Nigel Humberstone how he went about recording her without loosing the vibe and spontaneity.
Carlsbro Retail's installation arm, CTS, has recently set up a brand-new sales facility near Nottingham. Paul White takes a look around.
Internationally renowned as a producer, recording engineer, and designer of audio equipment, George Massenburg is nonetheless is still in love with the art of music production. Dave Lockwood met up with him in Los Angeles.
When one of the Sony development team for the new Sony MDMX4 MiniDisc multitracker flew into the UK recently, along with the member of the product planning department, it was an ideal opportunity to find out more about Sony's plans for the home studio-based musician. Martin Walker listened in.
Affordable compact and with magnetic shielding, the new Point Seven monitors are sure to cause a stir. Christopher Holder determines whether serious reference monitoring has taken another price dip.
Musicians, arrangers and producers Jean-Phillipe Rykiel and François Breant are well known in their native France as pioneers of Western and African crossover music, and for their willingness to use technology to produce new and challenging forms of music. Paul Tingen paid them each a visit at their Parisian studios to discuss their working methods.
With the advance of new technology, PC audio editors have finally reached the point where they can give Macintosh systems a run for their money. Janet Harniman-Cook investigates the possibilities.
Ask a dozen engineers how to make great vocal recordings and you'll get a dozen different answers — but there are some ground rules, as Hugh Robjohns explains.
Derek Johnson keeps the Atari flag boldly flying with news of a new Atari-based software-only synth, and also checks out a new shareware sample conversion utility...
In last month's issue, Paul Farrer offered hints and tips for making your programmed MIDI instruments seem more real. This month it's the the turn of drums and percussion.
Martin Russ puts the latest doom and gloom Apple news from the media into context.
A system that knows when you've plugged in a new piece of kit, and which sets it up automatically, sound like a big step forward for PC owners. Unfortunately, that big step is into a chasm for many people. Martin Walker lays down some planks to get you safely across.
Many of today's digital effects processors offer you considerable control over the creation of artificial ambiences for your music, and if you know how reverberation works in real spaces, you'll be better equipped for designing fake ones. Hugh Robjohns boldly goes...
The arrival of audio processing software plug-ins for the PC means that the platform can now compete as a viable digital audio workstation, and the latest update to PC audio editor Sound Forge supports the use of several software-based processors. Martin Walker checks them out.
Paul White puts the squeeze on ART's new baby valve compressor.
Brian Heywood brings you the latest hard disk recording news from the Soundscape, and gives his PC a thorough medical with Checkit...
Hugh Robjohns continues his history of stereo recording techniques with a look at the development of spaced microphone arrays.
Now that CD writers and well-specified CD-burning software are becoming more affordable, you might like to think about the advantages DIY CDs could bring to your studio. Mike Collins explains the benefits and takes you through the burning process using two popular software packages.