SOUND ON SOUND
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Cubase doesn’t include an envelope follower — but with a little creative routing you can achieve much the same thing.
ARA makes using Melodyne in DP a cinch!
This DIY adaptor cable will fool your organ into thinking a real Leslie is attached.
Setting boundaries to protect our health is hard, but it will help us live longer and do better work.
Asked to choose a favourite sound to dissect, Leo nominated the track ‘Harm Organ’ from his 2021 solo album, Scene Memory 2.
It’s nearly a decade since the LUFS standard for loudness measurement was defined, yet many still seem confused about what it means for music production.
Metro Boomin’s right‑hand man is championing old‑school mixing techniques in the 21st Century.
Behind their basic user interfaces, Logic’s legacy plug‑ins offer some serious sonic magic.
Michael Williams' latest version contains all of the information from the previous two volumes in a new, 444‑page single volume.
The Strip Silence function can speed up your mix preparation.
I want to run a stereo pair of mics down a single cable to minimise the visual clutter on a tall mic stand, is star-quad cable a viable solution?
When doing parallel compression, are there advantages to using the compressor fully wet on another channel, and feeding it with an aux send from the first track?
As their new album reveals, there’s a lot more to the minimalist, abrasive sound of Sleaford Mods than meets the ear.
We talk you through the basics of editing audio in Studio One.
Mikado Koko is an off‑the‑wall thinker, with music to match...
If you need more low end from your monitors, adding a sub can be very tempting — but is it the right option for you?
Not all hardware loopers are created equal. This is quickly discovered when you dive deeper into creating sonic architectures...
Musician, sound designer, educator and all‑round electronic sound sorceress, Lisa Bella Donna has built a reputation for herself as one of the most eminent synthesists anywhere.
Audio files to accompany April 2023's Cubase workshop.
Paul White takes us through the history and evolution of guitar synths, from early attempts at creating onboard sounds and audio-to-MIDI pickups, through to using pedals and plug-ins to emulate synth effects.