SOUND ON SOUND
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Modern digital effects units always include emulations of analogue effects such as tape delay and flanging — but none of them ever seem quite like the real thing. Paul White explains how these vintage effects worked, and offers insight into how our modern attempts could be made more accurate.
Whenever we hear or read song lyrics, we are hearing the voice of a person, whether that voice be the songwriter's own, exploring his or her own emotions and feelings, or someone else's. The second part of Sam Inglis' series explains how you can write for different voices to put across different messages.
Vic Lennard signs-off as SOS Apple Notes columnist with a look at VM.
Paul White tests AVI's updated 'Red Spot' version of their Bigga-Tron monitors and finds out if this offers a worthwhile improvement.
Big George focuses on how to hit your intended target... right between the eyes.
The growth of the Internet and email-based communications should have made it easier to contact the people who could help you to further your musical career — but, of course, it's not that simple. Robin Morley offers advice on how to use message boards, email and newsgroups to develop useful contacts...
I'm really excited about buying a synth as this will be my first (I have portable keyboards). I'm looking for techno...
I recently purchased a Stagg microphone and a Joemeek VC3Q recording channel and initial trial uses have really impressed...
I have a Mac Powerbook running Pro Tools 5.0.1 Free, which is great for editing (I import waveforms from a CD,...
I am thinking about spending some cash on a new setup for a home studio, as I'm getting a bit frustrated with the...
I'm finding it very difficult to buy some realistic string/orchestral sounds.
At the moment I have a Roland...
I work in the motion picture industry and need a portable recording rig to use for composing and recording music in my...
I use an Atari ST for sequencing, and I am having huge problems with Cubase. I've used it on three different...
The latest addition to Eventide's acclaimed Ultra-Harmonizer range, the DSP7000, looks set to keep them at the forefront of digital effects technology. Hugh Robjohns checks out the machine that redefines the state of the art.
Derek Johnson & Debbie Poyser test Fostex's new hard disk 24-track. The D2424 may not have quite the feature set of its two main rivals, but the facilities it does have may be very well targeted towards the intended users.
The Korg DDM110 was one of the first digital drum machines to reach the mass market. Paul Sellars rediscovers its distinctive, punchy sound and revels in the simplicity of its programming...
The Little Lanilei Rotary Wave is an ingenious attempt to offer the sound of a real rotary speaker system in a compact and...
There's no doubt that the best way to record an acoustic guitar is to mike it up using a high‑quality capacitor mic, but...
![Figure 1: [top-left] A simple monosynth. Figure 2: [bottom-left] A four-note broken chord played on a low-note-priority monosynth. Figure 3: [top-right] A four-](https://dt7v1i9vyp3mf.cloudfront.net/styles/teaser_large/s3/imagelibrary/s/synth1_2_3_4-1200-LnVd8udvvUlbYzHRUn7emBwcts7cRLAI.gif)
Having explored the way monophonic and duophonic analogue keyboards work, Gordon Reid puts away his Minimoog and Odyssey and descends into the complex world of polyphonic synths to a flourish of complex jazz chords.