SOUND ON SOUND
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Bass is the linchpin for so much of today's music, anchoring the other sounds and providing a foundation for the mix as a whole. But at the same time, it can seem maddeningly difficult to pin down and control. Help is at hand...
Electronic music pioneer Klaus Schulze talks about the way he'd like to see synthesizer design developing over the next few years.
Belgian company Lassence are seeking to gain recognition as a small modular synth manufacturer with their new patchable µVentury II system. But there's plenty of competition in the homegrown analogue market these days. Does the µVentury II have what it takes?
Some mic preamps are used for the audible effect they produce on recordings, while others are chosen simply to amplify your mic signals as cleanly as possible. Paul White checks out at the third unit in Focusrite's affordable Green range, and finds a quality mic amplifier that falls into the latter category...
CEDAR Audio's Series X units offer a trio of phenomenally powerful audio restoration tools in neat, stand-alone boxes with simple user interfaces. Hugh Robjohns cleans up..
What do you need to put together to create your own studio? Paul White investigates practical options for a core system based on preferred methods of creating music.
Cutting-edge innovation is by no means a guarantee of commercial success, but Korg have had a flair for both - although not always simultaneously. We look at how this continued to be true throughout the '90s to the present, when the company pushed the boundaries of physical modelling while refining their world-beating workstations.
Yamaha have taken their MU90R, wired in a VL tone generator and put three-part harmoniser in the effects section. The result is the MU100R. Christopher Holder gets virtual.
There's no gain without pain. Martin Russ experiences the joys and agonies of a new computer — the Apple Power Mac 7300.
For over 15 years, Korg have produced the world's most successful workstation synths, and the OASYS is their new £5400 flagship, their attempt to take the concept to the next level. In the first instalment of our two-part in-depth test, we assess how they have fared...
Ken Freeman couldn't afford a Mellotron to play his string parts, so he invented a new kind of electronic instrument. But though the world would eventually embrace string synthesizers with a passion, he never got the credit he deserved.
More and more people are choosing digital recording systems, which is creating a spin-off market for valve processors designed to lend a more comfortable warmth to the resulting recordings. Hugh Robjohns looks at an SPL unit being touted as the ideal partner for eight tracks of digital.
Paul White explains that although we may do most of our work using samplers and sequencers, the art of drum miking is just as important as it ever was.
With MIDI playing an ever greater part in music production, there's a danger that the art of using microphones will be lost. Paul White describes the valuable techniques of miking acoustic instruments — something he recommends every studio user should learn.
SOS visits another reader's home/project studio.
Martin Walker grumbles about long-winded install routines, and guides you through a few ways to check your system files and Registry for problems.
Where can I find a good sampled Joanna? Does processing degrade the quality of digital audio? How can I avoid effects being out of phase when I use Group Tracks in Cubase? How can I get six mono outputs from my VP9000? How can I eliminate hum in my studio? What are the advantages of higher sampling rates? Can you recommend a microphone for recording a guitar?
Best known for his collaborations with Elton John, Gus Dudgeon is one of the most successful British record producers ever. He talks to Sam Inglis about his work.
Paul White lives life to the max with the new Waves L2, a mastering limiter with all the trimmings.
With a front panel resembling a butchered Moog Source, and plug-in filters that claim to give you the sound of various vintage brands inside one instrument, the ATC1 is bound to excite interest. Paul Nagle changes his tune.