SOUND ON SOUND
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Apple's new iMac is as radical in appearance as its predecessor — but how well does it fit into the recording studio?
Is the Electronic Music scene, as personified by the likes of Tangerine Dream, Jarre, Vangelis and Kraftwerk, dead and buried? or is it alive and well, and living in Derby? Graham Getty reports.
Working from a small studio in Quebec, Canada, Pierre Marchand has been responsible for some stunning production work, most notably with songsmith Sarah McLachlan. Paul Tingen finds out how he successfully mixes a technological approach with live performances to create his organic intimate sound.
The first album from this chart-topping pianist and chanteuse was a million-seller; her second looks set to continue the trend. Ian Gilby was invited into the Craven home studio to discuss the enduring appeal of MOR.
Storm, the French software studio from virtual-instrument creators Arturia, keeps on improving. We check out version 3.
It's all very well grumbling about some musical aspect of your PC's performance, but unless you know the cause of the problem you may have little idea what needs to be done to improve matters. Martin Walker points you in the right direction.
Paul White gives some tips on how to get the best out of your computer sequencer without needing a degree in computer science...
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.
Can you tell me something about a vintage mic I've found? Why don't my synths' sounds work well together in mix? How do contact microphones work? Is there a combined soft sampler and sequencer on the market? Which soundcard should I upgrade to?
The CS6X has more features than any previous Yamaha Control Synth, with plenty of polyphony, real-time controllers, onboard effects, and basic sampling. You can even fit PLG expansion cards, giving you access not only to fresh sounds, but also other forms of synthesis.
British company Digisound's affordable modular synth may not have the cachet of a Moog or an ARP, but — as Paul Nagle explains — they were innovative, well designed, and sounded great... Additional material by Dave Robinson.
In recent months, SOS's online Mac Music forum has highlighted the difficulty with achieving the same number of channels of audio I/O under Mac OS X and Logic that were possible under OS 9. We investigate the problems and provide some solutions.
Although much more widely used than ever before, the multitimbral ability of electronic instruments to produce several different sounds at the same time is still not always fully exploited. Paul Wiffen traces the evolution of this powerful feature.
With interface standards and user requirements changing all the time, the audio interface marketplace is a volatile one. We catch up with representatives of eight leading manufacturers for the inside track on the future of audio I/O hardware.
Nowadays, plenty of hit albums are recorded in bedroom studios — but Liam Howlett of the Prodigy has gone one better, by recording his latest in bed.
Korg have dominated the top-end workstation market for several years with their Triton range, but apart from the rack version, there have been no lower-priced spin-offs. The Triton Le keyboard changes that, offering many of the Triton's powerful features at a more affordable price.
The MRS1044 is Zoom's first serious 'studio in a box', offering 10-track hard disk recording and editing with integrated drum machine and bass sounds. Does it have what it takes to succeed in this increasingly competitive area of the market?
Some people view GM modules as the chartered accountants of their racks, but believe it or not, there are ways to make them interesting. Paul White and Martin Walker club together to make your GM synth roar.
Recent years have seen a revival in back-to-basics recording techniques, but few engineers or producers have taken things as far as Jim Sutherland did with Edinburgh folk-pop band Aberfeldy...