SOUND ON SOUND
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The Nord Modular offered a classic blend of flexible software and well-designed hardware in 1998. But can the improved G2 keep up with the soft synths of 2004?
Another look inside an SOS reader's home studio...
Most MIDI sequencers now include some notation facilities, however, these fall some way short of the needs of the scorewriting professional. Arranger and conductor Mike Crofts checks out one of the few dedicated scorewriting programs.
The eagerly awaited upgrade from the VSL team breaks all records for size, depth and scope. Is it the be-all and end-all of orchestral sound libraries?
This month Amiga guru Paul Overaa takes over the reins on our Amiga Notes pages. What have we let you in for? Read on and you'll see...
TC Electronic's new flagship stereo reverb not only gives you their state-of-the-art VSS4 reverb algorithms, but also emulates a variety of reverbs through the ages.
Throughout the '80s, additive synthesis was the Holy Grail for synth purists; many machines aspired to it, but only one achieved it successfully. Paul Wiffen explains how additive works and looks at the various implementations, including the newly updated Kawai version.
More wise words on using Cubase's Score editor this month, as we explain how to create a musical score in which several voices share a single stave. There's also the usual assortment of handy editing tips...
The V-Synth is a classic case of the whole being more than the sum of its parts. None of its impressive features are new — they've all been seen on previous Roland products — but nevertheless, it's the best new synth in years. We explain why...
I am aiming to write music for TV and have been trying to practise on TV programmes recorded onto video. I own an Atari...
Beat-slicing can radically expand the creative potential in your loop library — you can match tempos and key signatures, rearrange loop events, and delve into inspirational sound design. SOS looks at the leading beat-slicing software and shows you how to get the best from this powerful technique within your sequencer.
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.
Flying duvets provide an emergency remedy for control-room acoustics in The Lab's two-storey industrial unit.
DSP convolving techniques now allow us to 'sample' the sound of real reverberant spaces, and even other digital reverbs. But why stop at reverb? Focusrite's Liquid Channel can be used to reproduce the effect of classic compressors and even mic preamps...
String Studio uses Applied Acoustics' physical modelling expertise to (in theory) generate the sound of any string instrument. Good or bad vibrations? We find out...
The increased headroom and dynamic range afforded by 24-bit recording can be a boon, but until now its cost has put it out of reach of many. However, this looks set to change with the latest cross-platform release from Gadget Labs. Martin Walker looks and listens to the Wave/8:24 on his PC.
A complete studio in a box, for around the cost of a decent software sequencing package.
Elizabeth Parker is one of Britain's best-known composers of music for television, and is renowned in the business for her ability to complete projects to the tightest of deadlines. Sam Inglis visits her unique personal studio to find out how she does it...
A heady blend of world music, dance and Irish folk, Afro Celts' music has been heard on film soundtracks and festival stages across the globe. Their latest album Seed was the first to be produced in their own studio, built in the Britannia Row premises that were once the home of Pink Floyd.
In all the hullabaloo over the wizardry that brought long-dead reptiles back to life for last year's smash TV success Walking With Dinosaurs, the story of the production of the musical score from a small home studio — a tale no less impressive than behind the programme's visuals — was overlooked. Matt Bell sets the record straight with composer Ben Bartlett.