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Studio One: The Browser
PreSonus Studio One Tips & Techniques
The Browser’s presence and impact has swelled to take in all sorts of file‑based functions and probably has a raft of features that you weren’t even aware of.
Published July 2021
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Talkback: Anna Laverty
Studio All-rounder
Now resident in Melbourne, Australia, this former Miloco Studios producer/engineer takes our 9-question challenge.
Published July 2021
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Tegeler Audio Manufaktur Crème RC
Analogue Channel Strip + Remote Control
Tegeler add convenient plug‑in remote control to one of their best‑selling processors.
Published July 2021
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Why I Love... Photography
Chris Korff
Good photography, like a good recording, comes from a mix of experience and pragmatism...
Published July 2021
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Naroth Audio Rhythmus
Kontakt Instrument
Rating: ***** 5/5 Stars. Rhythmus is built from over 2.5GB of samples taken from a variety of ‘found’ percussion.
Published July 2021
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How To Record Guitar Cabs With One Mic
Cab Miking
If you’re new to recording, it often pays to keep things simple, and when it comes to guitar cabs that means learning how to get the best sound with only one microphone.
Published July 2021
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Creative Use Of Auto-Tune | Podcast
7 Tips For Creating Soundscapes
Paul White explains the basics of Auto-Tune and demonstrates 7 tips to help you create a variety of alternative textured soundscapes.
Published July 2021
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Remixing The Beach Boys | Podcast
Mark Linett
The career of LA producer and engineer Mark Linett spans everything from live mixing for Frank Zappa to engineering for Randy Newman and the Red Hot Chili Peppers. We talked to him about his studio, the gear of past and present, and his extensive work remixing and remastering classic Beach Boys records.
Published July 2021
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Field Music: Building A Track In The Studio
VIDEO FEATURE
Across 17 years and eight albums, Field Music have become one of Britain’s best-loved guitar bands. They’ve also evolved a...
Published July 2021
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The Bob Moog Foundation | Podcast
Building A Legacy
Michelle Moog Koussa, Executive Director of the Bob Moog Foundation, talks to Rob Puricelli about her father's legacy.
Published July 2021
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Universal Audio UAFX
Digital Effects Pedals
UA have long been among the best developers of analogue‑modelling software, so the world is expecting great things of these little boxes. Do they deliver the goods?
Published July 2021
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EastWest/Quantum Leap Hollywood Orchestra Opus Edition
Sample Library
EastWest/Quantum Leap unveil their expanded orchestral masterwork and built‑in orchestrator.
Published July 2021
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Alan Parsons OBE
Friends and family threw a surprise “British” party for legendary engineer, producer and artist Alan Parsons in celebration of an OBE awarded to him in the Queen’s Birthday Honours in June for services to music and music production.
Published 29/6/21
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Peter Zinovieff — 1933-2021
Visionary synth designer and electronic music composer Peter Zinovieff has died, aged 88.
Published 28/6/21
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[SERIES] MIDI Basics
5-part series
Paul White's explainer guide to the most important parameters and functions you need to grasp to make the most of MIDI.
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NUGEN Surround Suite offer
NUGEN Audio's surround-sound plug-in collection is on sale until 22nd July.
Published 24/6/21
Chamber Reverb
A term widely used in artifical reverb systems to describe a reverberant space with a specific sonic character. Typically, a chamber reverb is generous and dense, but usually with greater focus and clarity, and less duration, than a Hall reverb. Histortically, a physical reverb chamber was a moderate sized room with tiled surfaces and often glazed pipes stood on end to increase the reverb density, in which one or more loudspeakers reproduced sounds which were picked up by one or more distant microphones.
Noise Floor
The noise floor defines the amplitude of the sum of all noise sources and other unwanted signals within a system. This could be the ambient acoustic noise in a room, or the electrical noise in a recording system or other audio equipment. In a high quality audio system the noise floor is typically around -100dBu or better. The total dynamic range capability of a system is normally defined as the difference in amplitude between the noise floor and the highest signal that can be passed without distortion.