SOUND ON SOUND
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The third instalment in Quantum Leap's Stormdrum series explores the private percussion collection of a legendary American drummer.
When Charlie Andrew began working with Alt-J, both were unknown. The resulting album would change everything...
For many, (What’s The Story) Morning Glory? is Oasis’s masterpiece. Producer and engineer Owen Morris tells us the story of its creation.
The unlikely result of a collaboration between two 4AD bands, the release of ‘Pump Up The Volume’ by MARRS was a great day for house music and copyright lawyers alike.
Best known for his collaborations with Elton John, Gus Dudgeon is one of the most successful British record producers ever. He talks to Sam Inglis about his work.
Over the last couple of years Ive mixed quite a lot of songs, but only single tracks here and there. Now Im about to mix an album, and Im wondering what would be the best way to do it. The recording has been done in a very decent studio, and they have been adding some programmed elements afterwards. I want to avoid a situation where I mix all the tracks so that they sound great on their own, only to realise later that they wont fit together as a whole. How would you approach this? Would you mix one track, and use it as a reference for the other mixes? Would you re-use some of the settings (for example, use the same plug-ins for the same tracks, with some tweaks)? Sadly, the budget doesnt allow for a separate mastering job, so I would have to do some limiting and final tweaks myself.
This month, we turn Production Lines over to the classical fraternity, with some words from classical producer Joanna Leach.
NI’s Session Horns forsakes the cinematic to focus on a real-world brass section that’s well suited to pop and rock music.
Oktava have created a storm in the microphone marketplace with the MK219. Now they hope to follow up their initial success with the MK012, designed for both studio and broadcast use.
The most lavish recording facility ever built is not in London, New York or LA, but a remote part of South Africa. We trace the extraordinary story of BOP Studios.
By the time you read this, he could be clutching his first Oscar for his soundtrack for the historic blockbuster Elizabeth. David Hirschfelder discourses with Richard Buskin about the art, science and pyschology of scoring for the moving image.
Instead of cutting corners, Swedish company Ehrlund have added them, by basing their microphone around an unusual triangular diaphragm.
Izotope’s Iris offers a new take on sound design via its innovative sample resynthesis engine.
Not many artists would make an entire album from field recordings of the life of a pig. But not many artists are like Matthew Herbert...
Producer Phil Ramone was legendary for getting great vocal sounds. Here's how he did it — and how you can do the same.
This month, how to use software synths and samplers effectively in your DP projects.
In the C716, Josephson Engineering have built upon established technology with some novel ideas of their own.
Audio files to accompany the article.
Not everyone finds drum programming easy, and if you're one of the rhythmically challenged, Logic's Ultrabeat drum synth could be your ticket to more interesting and sophisticated percussive parts.
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