SOUND ON SOUND
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Paul White tries out something that he wishes had been available back in his intensive gigging days — a box that automatically puts your vocals in tune in real time!
The latest addition to Waldorf's Microwave family certainly advertises its presence. Paul Nagle finds out if the future's bright as well as orange.
The upgrade of Cubase to version 4.0 sees the software comprehensively overhauled — and it's available in an optional 24-bit version for the first time. Martin Walker temporarily changes platform for the next stage of the Cubase journey.
Superficially, it may look no different from other soundcards, but Yamaha's new DSP Factory is a real TARDIS when it comes to facilities. Martin Walker explores a soundcard that's bigger on the inside than it is on the outside.
While the fame and fortune of pop stars is frequently short-lived, session musicians can carve out a career lasting many years, making a living through sheer ability and professionalism. Big George Webley goes behind the scenes....
It's the dream of many an SOS reader to have a multimillion-selling worldwide hit with a track recorded in your bedroom — but as Crewe-based Dario G found out, it can create more problems than it solves. Matt Bell finds out how the group came through the turbulent waters of success to produce a fine debut album.
It's all in the mind... music, that is. A computer can't begin to make music without a human being... or can it? Paul Hodgson explains the current way of thinking at the cutting edge of research into music cognition.
David Ferguson has worked his way up from sampling hoovers on tape to an enviable position as a highly sought-after TV composer. Debbie Poyser & Derek Johnson discovers how he managed it, and find out his views on the way the music-for-TV industry is developing.
Derek Johnson checks out two ST freebies that could help you to tame your synths..
Just when you thought it was safe to dip your hand in your pocket and buy that ideal studio, Paul White throws digital mixers into the frame.
In the final instalment of our series on the techniques and technology of digital audio, Hugh Robjohns contemplates plugging it all together.
Although you can go 'under the bonnet' and put together your own PC suitable for MIDI + Audio recording, buying a complete system could prevent many potential problems. Martin Walker gets bundled up.
This month, Martin Walker finds that it's good to talk, and uses a PC utility to burn his Akai-formatted hard drive sample collection onto Akai-format CD-R disks.
Continuing his quest for the perfect listening environment, Paul White looks at ways to treat a control room without having to bring in the builders.
Martin Russ looks at some of QuickTime 3's new features, and considers why the 'computer-as-complete-recording-studio' approach isn't always the best one...
Will physical modelling continue to be at the leading edge of synthesis, or are there other methods moving up on the inside tracks? Paul Wiffen winds up the Synth School series with a little crystal ball-gazing.
Nicholas Rowland fades away with a few tips for creating and manipulating MIDI echoes, along with some other sequencing esoterica.
Digidesign's new interface allows Pro Tools users to transfer data to and from ADAT-compatible devices. Mike Collins finds out if it's a Bridge too far...
If you've got a storming vocal on tape you're halfway towards a great production. Paul White offers some tips on perfecting this most important of recording skills.