SOUND ON SOUND
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These two stereo multi-effects boxes from Kurzweil bring the powerful processing of their flagship KSP8 more easily within reach of the home studio owner.
Compressing the stereo bus can give your music coherence, smoothness and, above all, punch — but there are plenty of pitfalls for the unwary. We lead you through the minefield that is mix compression.
Paul White catches up with the man who pioneered the art of radical remixes in the '80s, and has gone on to become a hugely successful producer and songwriter.
Paul Ward dons a Miami Vice-style jacket and a pair of pink-rimmed Armani shades, and travels back to the '80s heyday of FM synthesis for a retro look at the one-time flagship of Yamaha's synth range, the multitimbral TX802 expander.
Brian Heywood brings you the latest PC News, and looks back on three years of PC Notes.
Danish company TC Electronic have been at the forefront in developing new and more realistic reverb algorithms. Most recently, they've been putting their energies into overcoming the particular problems associated with artificial reverb for surround sound. Thomas Lund, TC's Programme Manager, explains their approach to Paul White.
BT revitalised the sound of boy band N'Sync, composed some of the most radical soundtracks to appear in mainstream films, and has a good claim to have invented trance. And he still finds time to talk to SOS...
EXS24 and EVP88, two of Emagic's dedicated plug-ins for Logic, are now available in scaled-down form for VST-compatible sequencers. But what has been lost in order to make the instruments work as VST plug-ins?
Buying the Express version of Apple's Logic will save you a cool £500 over the full-blown Pro edition — and you'll still get a mighty powerful sequencer...
Recording the One Way Ticket To Hell... And Back album, Roy Thomas Baker and the Darkness used 400 reels of tape, up to 1,000 tracks per song and a year in the studio — not to mention custom-made panpipes. Find out more...
The Roland Promars helped to usher in a new era of microprocessor-controlled analogue synthesizer, but has subsequently been all but forgotten. Gordon Reid remembers the world's only 'Compuphonic' monosynth.
When it comes to MIDI files on the 'net you have two options: either trawl through the myriad of illegal pirate sites or deal with a professional. Paul Farrer separates the pros from the cons.
On its release in the late '80s, the SQ80 had to slug it out with Roland's D50 and Korg's M1, and didn't come out on top, at least as for sales were concerned. Steve Howell takes a look at an early and underrated workstation that still has a lot to offer.
Do these low-cost condenser microphones from Marshall Electronics' MXL range have what it takes to stand out from an ever-increasing number of competitors?
With software from an independent German writer, your Atari could make music like Mozart, or just play back MIDI files for you...
Kurzweil have always enjoyed a reputation for manufacturing high-quality workstations — their latest, the K2600, is reviewed this month. But back in the late '80s, this reputation was founded only on their impossibly expensive K250. David Etheridge explains how the 1000-series put them on the map...
Can Steinberg's professional recording package make an impact in the Pro Tools-dominated Macintosh market? Sam Inglis finds out.
For the Staple Singers' landmark 1972 Stax album, engineer Terry Manning and producer Al Bell employed the talents of Memphis's finest musicians and two of the South's most famous studios.
Their combination of Southern soul and hip-hop gave Gnarls Barkley one of the biggest hits of the year, thanks in part to the mixing wizardry of Ben Allen.