SOUND ON SOUND
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Back in 1994, jungle producer Renegade (aka Ray Keith) released a record called 'The Terrorist', and it's probably fair to say that the jungle and drum & bass scenes haven't been the same since.
We show you how to coax a more convincing performance from your VST instruments using Cubases Chorder plug-in.
This month we help reader Simon Fitzpatrick to bind his synthesized, programmed, and acoustic sounds together into a cohesive mix.
U–he’s Bazille is a complex synth capable of an astonishing variety of sounds.
Engineer Eric Tomlinson recorded a host of classic soundtracks during his 40-year career, not to mention what's...
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...
Make your Cubase mixes pack more punch with master‑bus compression.
Its got a bigger sample library and some whizzy new features, but what Kontakt 4 really wants to do is make your life easier...
Native Instruments’ latest plug-in suite aims to provide the classic Lexicon reverb sound at a budget-friendly price.
Producing great drum parts can be quicker, easier, and more fun with the dedicated facilities Sonar 4 provides. We explain.
The Mix Review in Sound On Sound This month we analyse hits from Biffy Clyro, Armin Van Buuren and Duke Dumont, and take a look back at a classic mix, Sinead O’Connor’s version of “Nothing Compares 2 U”, from 1990.
MOTU's Digital Performer 8 includes some neat new plug-ins — many with applications beyond the obvious.
Thinking of turning your iPad into a mobile recording studio? Check out our round-up of multitrack recording apps first!
Like a bird on the wing, we travel over the sea to Skye to help last year’s SOS Awards prize winner set up his brand-new studio!
Hailed as the first British acid house single, A Guy Called Gerald’s sublime ‘Voodoo Ray’ has since become a classic in its own right.
In the making of Alabama Shakes’ Sound & Color, producer Blake Mills and engineer Shawn Everett had almost unheard–of licence to experiment — and took full advantage.
Oasis’s 1996 gig at Knebworth marked the end of an era for point–source PA. We asked the people who made it happen what has changed since.
In association with instrument collector Andreas Beurmann, Realsamples have created the Beurmann Edition, a set of eight sampled historic keyboards...
When they began work on The Seldom Seen Kid, Elbow had no record label and no producer. Two years later, it's brought them mainstream success at last.