SOUND ON SOUND
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Nigel Shaw isn't signed to a record company, yet sales from the multiple albums he's produced in his home studio enable him to make a good living from his talents. Paul Tingen talks to him about the business of independent music
With years of record label legal wrangles finally behind him, George Michael set about making an album to put him back at the top of the charts and consolidate his status as serious artist/producer. Working the desks on the Older sessions at SARM West was engineer Paul Gomersall, who tells Mark Cunningham about the making of the album.
There are now more recording media and data storage formats than ever before. Paul White catches up with Pro Tape's Richard Symons, to discuss the role of tape in a multi-platform future.
SOS reader, songwriter and freelance producer Steven Robinson has some strong opinions on the state of pop music today. In this month's stream of invective, he gets some of it off his chest.
Offering 5-part harmony at a budget price, the MV5 is Digitech's easiest to use pitch-shifter yet. The David Mellor Singers provide the tune...
Faced with the unfinished album sessions on analogue tape and a studio full of PCs and digital gear, Brian Heywood gets a chance to find out how flexible modern equipment really is.
The C-Lab Falcon MkX has flown through its CE tests and finally landed in the UK. Ofir Gal checks the spec and assesses the new machine's chances of taking off.
Conventional wisdom states that you can't 'fix it in the mix', but that doesn't mean you cant' try! Paul White discusses a few practical salvage techniques in the first part of this short series.
Martin Russ surveys his dying Mac IIsi and ponders the purchase of a new model. Will he go for leading-edge Power or a last-generation bargain?
When using effects, it's all too easy to add noise to your mix — and it's not always the fault of your effects unit. Paul White offers a few practical tips for achieving quieter mixes.
On its release in the late '80s, the SQ80 had to slug it out with Roland's D50 and Korg's M1, and didn't come out on top, at least as for sales were concerned. Steve Howell takes a look at an early and underrated workstation that still has a lot to offer.
Paul White tests a pair of US-built studio monitors designed to combine tonal accuracy with affordability.
This Italian master keyboard may be completely dumb soundwise, but it's pretty clever in other departments. Derek Johnson and Debbie Poyser just love being in control.
Always ready for some off-road action, Paul White scrambles for his XLR adaptors and test drives LA Audio's latest incarnation of the 4x4.
It's not often that plug-in cards merit the same attention as the equipment they plug into, but these add-ons are capable of transforming Lexicon's PCM80 effects processor into a completely different beast, as Paul White discovers.
The battle for control of the affordable digital multitracker market has intensified in 1996. Paul White puts Fostex's latest weapon, the rackmounting D80, to the test.
Paul White nervously opens Pandora's box — and realises that instead of being the mythical source of demons and sorrows, it's just Korg's new compact guitar multi-effects processor...
Prefer a Mackie compact mixer with faders? then the 1402VLZ could be just what you're looking for. Paul White checks it out.
As a child, Norman Fay was cruelly cheated of the thing he wanted most — a Memorymoog. Never one to bear a grudge, he reviews Moog's most unruly synth with the benefit of hindsight.