SOUND ON SOUND
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Forget completely flexible software synthesis — what everyone wants, it seems, is emulations of 35-year-old monophonic analogue synths! We check out the latest modelled Minimoog, and see how it compares to the original hardware.
Few project studio owners have the space to record a real drum kit to its best advantage. However, drum parts that are completely sample-based can lack a sense of organic authenticity, and can make an otherwise good recording sound like a demo. Fortunately, there are several ways you can tackle this problem for more lively results.
The new version 7 of Logic is a huge upgrade which sees the program assimilated even further into Apple's product range, and adds some intriguing new instruments and networking features. Following last month's preview, here's the full lowdown...
Norman Fay takes a relro look at the Rhodes Chroma, the last and most obscure of ARP's long line of analogue synthesizers.
Engineer Richard Chappell has been at Peter Gabriel's Real World Studios for over 15 years — and he's spent seven of them working on Gabriel's latest solo album.
Paul White intercepts another incoming Russian microphone, this time from Nevaton Ltd in St Petersburg.
A very short piece of music can earn a very large amount of money if its the soundtrack to a TV ad, but competition for these spots is fierce. The founders of Massive Music, specialists in sourcing music for the advertising industry, explain what it takes to succeed.
In 2001, Propellerheads Reason broke new ground by virtualising every element of the classic analogue synth studio. Six years on, is the original still the best?
In 2003 the original V-Synth represented a bold leap forward in synthesizer technology. Can Roland take the concept further with the new V-Synth GT? Read on...
Ian McMillan's band recording presents some challenging drum parts this month, and there are also tips for better mixing of bass, guitars, and backing vocals.
Some cheap monosynths from the '70s and '80s are now highly regarded and hugely expensive second-hand buys. Not so the Jen SX1000 which, says Gordon Reid, is an unjustly neglected nugget of synth history.
A Swedish soft synth is on the way, a New Zealand developer plans to introduce the Atari to the wonders of Ethernet, and US company Dr T's finest hour becomes shareware. Derek Johnson goes global.
Most MIDI sequencers now include some notation facilities, however, these fall some way short of the needs of the scorewriting professional. Arranger and conductor Mike Crofts checks out one of the few dedicated scorewriting programs.
Your next project might be a four-track demo or a 100-track surround mix for cinema. Either way, at some stage you're going to have to mix it — but with DP on your side, that doesn't need to be a headache.
Whether you need electronic beats or realistic acoustic drums, Reason is one of the quickest and easiest tools around for creating varied drum tracks.
Richard Hawley has achieved his high profile in the 21st century by harking back to an age before the Beatles. Hawley and engineer Colin Elliot document the recording of his new album Lady’s Bridge.
The tools available in Magix's highly regarded recording package cover every stage of the recording process, from MIDI sequencing to mastering and CD burning. Version 8 adds some neat extras including analogue-style processors, a virtual drum machine and an Acid-style beat-mapping tool.
If anyone epitomises the home recording DIY ethic, it's Bill Nelson. With over 40 albums to his credit, many of which emanated from his modest home studio, Bill continues to experiment. Nigel Humberstone explores his latest guitar-based creations.
Paul White trips off to California to discover the inside track on sampling, resynthesis, Darwin, and the future power generation of musical instruments from industry pioneers, Emu Systems.