SOUND ON SOUND
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Martin Russ explores ways of transferring 16-bit audio files from the Mac to a synth, and reveals what's new in the Mac music world.
Kenton's latest take on their affordable hardware control surface concept eschews the faders of previous Control Freaks in favour of 16 knobs. And it manages to be cheaper than the fader versions...
This month, Martin Walker discovers some new VST instruments and helps you clean up your Registry.
Janet Harniman-Cook checks out the new kid on the monitoring block and discovers a history of serious loud speaker design.
Apple's first Intel-based laptop was introduced earlier this year. Is this the portable Mac musicians and audio engineers have been waiting for?
Windows XP works better for audio than any other Windows OS so far, but musicians still seek those ultimate go-faster tricks, so this month we bring you a guide to those that are worth doing and those that are worth avoiding.
David Mellor explains why he abandoned his hardware sampler in favour of Digidesign's computer based sample playback card, and takes a look at what you need to make it into a fully fledged sampling setup.
Steinberg believe that now that PCs are so powerful, the days of dedicated DSP farm for professional computer-based recording systems are over. Martin Walker enters the native processing world of Nuendo.
A dodgy snare recording was just one of the problems facing Rob O'Neil at the mixdown stage, so the SOS dynamic duo (Paul and Hugh) visited his home studio to help him sort things out.
If you are the kind of person who likes to accentuate the transients in their pitch-shifted recordings, before vocoding them and auto-doubling the results, Waves have the perfect plug-in bundle for you...
High sample-rate recording formats offer an extended audio bandwidth, but there are currently few microphones with a frequency response to match. Hugh Robjohns tries out the first commercial studio microphone designed specifically to address this new market.
Designers overcame most inherent problems with digital audio long ago, but for many of us, the experience still isn't perfect. This in-depth guide tells you why — and what you need to know to put things right...
Convincingly reproducing the effects of rotating horns and speakers in software inside a 1U rackmounting box is a challenge to the designer. Bringing it in under £300 is an achievement. Gordon Reid examines the latest incarnation of a keyboard effect that's come full circle...
If sparkling analogue drum sounds are what you need to turn your tracks to gold, Germany's Touched By Sound company may have the answer in the form of the DRM1 eight-piece analogue drum module.
Audio equipment is expensive, so it pays to keep it in good condition and forestall potential problems. Paul White provides a few tips.
According to Oval's Markus Popp, traditional definitions and categories are inadequate when it comes to evaluating electronic music. Instead, his highly conceptual projects aim to make us understand music in terms of the software processes used to produce it.
Spectrasonics' new software instruments are based around a vast library of sampled material, but also contain enough processing options to make them more like virtual synths. We check out the rhythm-oriented Stylus...
Some mic preamps are used for the audible effect they produce on recordings, while others are chosen simply to amplify your mic signals as cleanly as possible. Paul White checks out at the third unit in Focusrite's affordable Green range, and finds a quality mic amplifier that falls into the latter category...
Few things are more frustrating than unwanted clicks and pops in your recorded audio. But what are the main causes, and how can they be eliminated?
Musicologist and composer Big George wonders...