SOUND ON SOUND
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Experienced engineers know that recording the spoken voice properly is actually more difficult than recording a singer. Hugh Robjohns explains why this is so, and passes on some hints and tips for developing a good technique.
You probably don't realise how noisy your computer studio is until you turn everything off and enjoy the silence. Paul D. Lehrman explains how you can arrange your setup to reduce noise and restore peace to your working environment.
Derek Johnson plugs a Swiss TOS-based computer, reveals plans for more Atari shows, and sets the record straight on Atari hard drives...
Success on a stick? Paul White studio tests a new back electret that would appear to combine strength with sensitivity.
Craig Anderton explains how you can use your multi-effects unit to create contemporary short delay treatments.
The first software release from AudioWorks offers hope to MIDI musicians with limited keyboard skills. Sound2MIDI lets PC users record note-perfect sequences, using only a soundcard and a microphone. Dominic Hawken tests the system.
This new voice channel aims to provide all you need to get a good sound from a mic, at a reasonable price. David Mellor tries it out.
Paul White explores the budget side of sequencing with Evolution's inexpensive keyboard and PC sequencing software bundle.
Though it's not exactly cheap, the Green Focus EQ brings professional quality within reach of the serious project studio owner. Paul White does the 'rite thing...
Rather than trying to be a jack of all trades, SAW Plus has made itself a master of one — providing a dedicated multitrack recording and editing environment for digital audio on the PC. Janet Harniman-Cook came, saw, and wrote this review...
Ten years after the K5, Kawai return to the technology which gave them the most successful implementation of additive synthesis ever, and include something of everything else they've learnt in the meantime. Paul Wiffen wonders if it all adds up...
The Fostex DMT8 was the first affordable 8-track digital recorder with a simple cassette multitracker-style user interface. Now, there's the new DMT8VL, which costs less and has fewer features than its forerunner, but also boasts a couple of improvements to the original design. Paul White is determined to remain unconfused.
Though digital technology has transformed the nature of synths, effects, and even multitracks, project studio mixers have largely remained steadfastly analogue, breaking the chain which, if complete, would allow your music to remain in the digital domain from sequencer to master.Korg's 168RC forms the heart of a system designed to all but eliminate the analogue signal path, and Paul Wiffen wonders where it's been all his life...
If you aspire to pro Lexicon effects such as the PCM80, but don't have deep enough pockets, the MPX1 could be just up your street. Paul White gets a sneak preview.
MIDI interfaces come in many different shapes and sizes, with most slotting inside the PC. External interfaces, however, such as those made by MOTU, can offer certain advantages, as Martin Walker discovers.
Once the play thing of the rich and famous, this hybrid synthesizer/sampling system introduced the world to wavetable synthesis. John Molloy reflects on Germany's finest hour.
Ever fancied having a separate compressor, noise gate and fader and automation on every channel of your mixing desk? The latest modules from PreSonus offer all of this and more, bringing that elusive 'SSL sound' within the reach of even the most basic consoles. Dominic Hawken puts the new units through their paces.
A pair of active small studio monitors with the Spendor pedigree have to be worth investigation. Gumshoe Paul White pulls his hat low, dons his mac and checks them out.