SOUND ON SOUND
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The current challenge to reverb designers such as Dave Griesinger of Lexicon is to create realistic algorithms for surround sound. Paul White finds out how he's approached the problem.
Debbie Poyser has just about had it with Apple. Here she explains why before going off to buy a new G4.
Sound On Sound's September 1999 SAE/Quantegy competition offered the fantastic prize of an all-expenses-paid recording session in a New York studio with a top producer. Tom Flint talked to the lucky winners to find out how they put their winning demo together — and found out how producer Nicky Graham transformed it into a potential chart smash.
Working from a small studio in Quebec, Canada, Pierre Marchand has been responsible for some stunning production work, most notably with songsmith Sarah McLachlan. Paul Tingen finds out how he successfully mixes a technological approach with live performances to create his organic intimate sound.
Dave Shapton explores the consequences of new, media-independent formats for music distribution and reproduction.
I have a reasonably modest home recording studio incorporating an Akai DPS12 hard‑disk multitracker with onboard...
I have a brick shed out the back of my house which measures 10 feet by 8 feet inside, and I would like to make a little...
I've been playing in bands ever since I saw George Harrison and the boys in 1963 (I'm still a Beatle‑freak!) Now,...
For my next project, a theatre musical, I am currently writing MIDI backing tracks in Cubase, which will then be...
Confused by DirectSound driver options? Martin Walker explains them all, recaps on the Millennium bug and makes a packet with his CD-RW drive.
Fitting hardware upgrades to your PC should be comparatively easy, but sometimes not everything goes according to plan. Martin Walker guides you through the pitfalls.
Though the Mac platform is often ahead of the PC for musical applications, it used to lag behind in the race to provide professional MP3 software. Simon Trask tries out a new program which aims to restore the balance.
Not all Atari programs are completely serious. This month Derek Johnson discovers one that could give your band a name and a lot of laughs.
Hi-tech gear companies have set up shop on the web and offer all manner of downloadable goodies, plus FAQs, tips and techniques, to support their users. Derek Johnson & Debbie Poyser take their pick.
Although MIDI + Audio sequencing packages on both Mac and PC are becoming ever more powerful, 'the timing was tighter on my Atari' is still a common complaint. Paul White looks at ways of tightening it up, with additional PC information by Martin Walker.
In the final part of his series on digital editing, Paul White examines some methods of removing clicks from a recording, before looking at how to burn a production master CD.
Running out of processing power is a frequent source of frustration for those working with computer-based digital audio. Martin Walker tackles some common queries about how to avoid it.
Software Technology's VAZ Modular promises the authentic sound of analogue synthesis form. Martin Walker tests out their claim.
The latest upgrade to Wavelab, which takes the program to version 3.0, boasts only one major new feature — but it's a killer. Martin Walker is stunned by the possibilities.
![Figure 1: [top] A simple synthesizer. Figure 2: [bottom] Applying this control voltage to the oscillator frequency would result in a short burst of vibrato.](https://dt7v1i9vyp3mf.cloudfront.net/styles/teaser_large/s3/imagelibrary/s/synthsec1_2-0200-qAtfRQgceyPk0EN0dHZIftHUGToqoWju.gif "Figure 1: [top] A simple synthesizer. Figure 2: [bottom] Applying this control voltage to the oscillator frequency would result in a short burst of vibrato.")
In this month's instalment of his series on the basics of subtractive synthesis, Gordon Reid considers the magic ingredient that makes all the other elements sound interesting...