SOUND ON SOUND
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Some engineers earn a reputation for classic recording techniques and live bands, while others help to create the cutting-edge sounds of modern rap and R&B. From Foreigner and the Rolling Stones to Timbaland and Missy Elliot, Jimmy Douglass has done both.
Over the 40 years of their existence, Korg have produced a huge variety of groundbreaking music gear, from electronic percussion to industry-standard synths, and from guitar tuners to digital recording workstations. This month, we look back at how it all started...
Paul White concludes his short series on mixer automation with a step-by-step guide to setting up and running an automated mix.
Astonished by the speed of software development, Martin Russ wonders where it's all leading... MOTU Digital Performer.
There are now more options on the market than ever before for anyone wishing to indulge in hard disk recording and editing. Paul D. Lehrman previews the latest update for the popular Pro Tools system, designed to keep Digidesign on top amidst increasing competition.
SOS pay a visit to more avid readers to investigate their home/project studio.
Having come up last month with a reasonably realistic cymbal patch, it's time to take the principles of synthesizing metallic percussion one stage further, and produce bell sounds. But there's more to this than you might think...
When punk rock broke in 1976, the Sex Pistols caused panic in establishment Britain — and more than a few raised eyebrows in Wessex Studios, where Chris Thomas and Bill Price recorded the band's milestone EMI debut album.
As a member of the Mahavishnu Orchestra, a composer for film and TV and a performer in his own right, Jan Hammer helped to define the role of the synthesizer player in rock and jazz.
Not content with acting as a high-spec control surface and Firewire audio interface for your studio computer, this new high resolution console seems determined to outshine it with its slick touchscreen graphical interface and onboard VST plug-in hosting.
In this second article on digital music production, Clive Williamson looks at how musicians can use computer technology to get their work from a DAT tape to the final product — the CD.
JJ Jeczalik, one third of '80s sampling pioneers Art Of Noise and erstwhile 'Mr Fairlight' has sold his series III and bounded into the '90s with an Akai sampler and a brand new album of dance music. Paul Tingen finds out why no noise is good noise.
To create the MR Keyboard line, Ensoniq could simply have taken the insides out of their MR Rack module and grafted on a keyboard. Instead, they've thought long and hard about what a performing and composing musician really needs from his instrument. Julian Colbeck applauds the result.
Martin Walker advises manual dexterity, speeds up his internet experience, and finds yet more tweaks for Windows.
The Supernova modelling workstation earned a pile of accolades for its excellent 'analogue' sounds, superb multitimbral effects, and its user-friendly, knobular interface. But Novation have now withdrawn the original and replaced it with the Supernova II. Can something so good get better still?
The SOS team drop in on another reader studio, this time in the form of a radio station!
How can an electronic band produce exciting, spontaneous, unpredictable and visually engaging perfomances? And if they do, is it really possible to capture the experience of being there in a recording? Rick Smith and Karl Hyde of Underworld believe they have the answers, as Paul Tingen discovered.
Your PC can be a hugely powerful tool — but if it's not set up properly, the number of hoops you have to jump through before you actually get to do any recording can be intimidating. Martin Walker explains how to smooth the path.
