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A lecturer writes: 'If you need to be taught music technology, then you shouldn't be doing a music technology course.' What can he mean?
The SOS rescue team set off for Bristol to help out readers Alistair Vickery and Jon Midwinter, who wanted help with their mixes — not only getting the bass sounding right, but also stopping it getting out of the house and annoying the neighbours!
The Monty Python team once famously claimed that being able to play the flute was a simple matter of 'blowing here, and moving your hands up and down here'. But there's a lot more to it than that...
SOS reviewers often mention their test or reference CDs — compilations of what they feel to be well-mixed, well-recorded audio, which they use to evaluate converters, monitors, and so on. But how do you go about making one yourself? We reveal all...
Over the last 20 years, several hardware manufacturers have tried to harness the power of additive synthesis in an accessible format. Can soft-synth designers Virsyn succeed where they didn't?
Native Instruments' latest plug-in combines up to 1024 bands of vocoding with frequency-domain effects and a neat granular synth.
Business End enables you to have your demo reviewed by a panel of producers, songwriters, musicians and managers. This month's industry panel is drawn from the MPG (Music Producer's Guild).
More of your submissions receive a healthcheck from 'Doctor' John Harris.
Editor In Chief Paul White explains why hardware is one way of reducing piracy in the music software industry.
I regularly make stereo location recordings of orchestras, using Cool Edit Pro for editing and mastering. If I simply...
I know that the white keys on a keyboard form a diatonic scale, but what does diatonic really mean?...
With so many brand-new budget-priced microphones out there these days, I'm wondering if it might be better to get a high-quality mic second-hand instead?
What's the difference between optical compressors and other types of compressor, such as VCA, FET and valve compressors?
Bearing in mind that my console does not accommodate balanced outputs and insert points (the only balanced connections on the console are at the input stages of all channels and the effects returns), can I use unbalanced patchbays, thereby simplifying the patch lead requirements?
Please can you explain the difference between 'soloing' a channel and using the other buttons marked 'PFL' and 'AFL' to listen...
I've been recording vocals using a Neumann TLM103 mic going through a Dbx 386 tube preamp, and using the Dbx's converters to send a digital signal into a Roland VS1680 multitracker. I understood the Dbx was virtually impossible to clip, but experience proves otherwise! What am I doing wrong?
Is there any real difference between morphing from one sound to another and crossfading? In many cases, the two sound very similar...
Cubase SX has a Detect Silence feature and a Hitpoints feature that seem to me like they do pretty much the same thing. Are they different, and when should I use them?
The groundbreaking Beat Detective module in TDM Pro Tools systems offers some hugely powerful tools for manipulating the timing of recorded audio. This month we start by quantising audio material.