SOUND ON SOUND
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Recording acoustic keyboard instruments in a home environment can be pretty demanding, but with a little care you can still get professional results.
In our quest for the ultimate electric guitar sound, SOS tested favourite recording techniques from over 40 top-flight producers and engineers. Hear for yourself the results that amazed us.
The pioneering Sonic 6 has a complex and intriguing background, featuring not only the synth industry's most famous name, Bob Moog, but also that of an unsung hero called Gene Zumcheck - a shadowy figure now, but one whose contribution to synthesis deserves acknowledgement.
Now that so many musicians are completing the entire album-making process in their own studios, mastering is becoming an increasingly important skill. Paul White offers a few pointers to becoming a Master of mastering.
The FW1884 is more than just a well-specified Firewire audio and MIDI interface: it also offers detailed control over almost every MIDI + Audio sequencer thanks to its motorised faders, rotary controls, transport buttons and more.
The original loop-sequencing package has grown into a fully-fledged audio and MIDI recording program.
Roland's new V-Bass refines the technology developed for the pioneering V-Guitar systems to meet the demands of bass players.
Shirley Gray checks out the upgraded version of Tascam's popular 8-track Portastudio.
Many musicians recording with teir computer find that they need to buy — and wire up — separate mic preamps, guitar preamps and monitor mixers as well as their soundcard. Martin Walker tries out a products that aims to combine all of these elements in one system.
As Chief Sound Designer for Roland and founder of Specrasonics, Eric Persing has created some of the most widely used sounds in modern electronic music. He tells Kevin McDaniels how he turned sample CDs into big business, and reveals how some of the exotic sounds on his Spectrasonics discs were created.
All recording setups incorporate effects devices of one sort or another, but it's easy to end up using them only in the same predictable ways. Roger Jackson introduces some more imaginative ways to freshen up your productions.
In the fifth and final part of our series on acoustic design, Paul White sums up the key stages of designing a project studio and touches on the subject of air-conditioning.
Last month we showed you how to go about recording a complete (jazz) band to stereo on location. Now let's examine the ways in which you can compile and process the different takes to make up a coherent whole.
Sam Inglis meets a man who has realised that he has to make sacrifices for his music.
When the epic, studio-created drum sounds of the 1980s had to be translated to a stage setting, sample triggering from drum kits came to the fore — and our man Gavin Harrison began his personal quest for the ultimate setup...
Korg's newest workstation heavyweight boasts 32 recording tracks, a powerful 44:12:2 mixer, a programmable drum machine, and up to 11 simultaneous effects — all for under £1000. Read our hands-on report...
Derek Johnson finds Tascam's dual DAT deck, the first ever, is at least twice the fun...
Producer Stephen Hague took New Order into the studio with an ambitious brief: to write and record a single that would break the band in America.
Looking like a star cruiser, or something from the film 2001 (rather than just the year), Alesis' Andromeda is the first analogue polysynth that approaches the complexity of a digital workstation. But does analogue necessarily equate to quality?