SOUND ON SOUND
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These days, a new synth without some form of DSP effects processing is almost unthinkable — but it wasn't always like that. Paul Wiffen traces the introduction of effects on synthesizers and looks at making the most of the early implementations.
Yamaha's new flagship workstation mixes 'n' matches several of the company's existing synthesis technologies and throws in a new one for good measure. But have they over-extended themselves? Simon Trask spends some time with the EX5 to find out...
Roland's latest synth module boasts an impressive spec, including a 32-bit RISC processor, 64-voice polyphony and the ability to hoast up to four expansion cards simultaneously. Could it be the only synth you'll need? Dave Crombie finds out.
Producer and engineer Elliot Mazer is well known for his ongoing work with Neil Young, and was there at the birth of digital recording. Like Young, however, he's never been happy with the way it sounded — until now.
It was the best-selling single of last year, and signalled a radical change of musical direction for Cher — complete with bizarre vocal processing. Yet, surprisingly, it was produced in a small studio in West London. Sue Sillitoe relates the astonishing tale of 'Believe'.
When it comes to controlling sequence tempo and imposing a meaningful beat structure on freely-recorded MIDI and audio, DP has plenty of tricks up its sleeve — including Live-like 'liquid audio' powers.
The Atari goes back to the future with the help of the Electron SidStation, and Derek Johnson finds out why it's hip to be square...
The debut single from Liverpool's Frankie Goes To Hollywood was the result of adventurous production and enjoyed massive chart success - as well as creating a great deal of controversy.
Phase interactions are well known for their ability to destructively interfere with recorded signals, but an understanding of the process can turn it into one of the most powerful creative tools available to you.
The latest instrument plug-in from IK Multimedia and Sonic Reality packages eight Gigabytes of samples, mostly from a huge range of classic synths, in IK's Sampletank front end.
Over a 40-year career, Phil Ramone has built up perhaps the most impressive discography of any producer working today — and although he emphasises the importance of traditional engineering and people-management skills, his work is also at the limits of what cutting-edge technology makes possible.
A co-founder of US electro-pioneers Information Society, Paul Robb recently scored the new movie form the creators of South Park. He has a new band signed to Virgin and a dance side-project, yet still manages to write award-winning music for TV. Sam Molineaux joins him and his various alter egos in his new Los Angeles studio, Digitalis.
Think your own music is good? Listen to these tracks from SOS readers and see if you agree with the good Doctor's prognosis...
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.
Ann Dudley first came to fame as one of the shadowy figures behind the seminal Art of Noise. But she refused to be confined by the boundaries of pop, and has since exercised her considerable talents in album arranging and composing for film and TV. Richard Buskin talked to her about her musical history and forthcoming album.
Producer, singer/songwriter Trevor Horn has been at the forefront of technological innovation since his earliest work with The Buggles, in a career that has yielded countless classic singles and albums.
Physical modelling may be fashionable, but it isn't always very controllable. AAS aim to change all that for PC owners, by equipping their Tassman software synth with an easy-to-use front end. Martin Walker enters a new world of generators and resonators.
Best known as the producer of some of the most important punk albums of the '70s and biggest dance hits of the '80s, Mike Thorne now runs his own label, multimedia company and studio in New York. Tom Flint talked to Mike about technology, his studio and the future...
Find out how to use the I/O plug-in within an Output Audio object, and also learn how Logic's improved plug-in delay compensation allows some powerful new mixing techniques.
Reviews/appraisals of the latest sample CDs: The Legend Of China 4* • Freaky Jazzy Funky 2 4* • Glass & Stones 5* • Opus 1 5*