SOUND ON SOUND
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More constructive comments from MPG (Music Producers Guild) members on SOS readers' submitted recordings.
The likes of Depeche Mode, Cocteau Twins and Nine Inch Nails all owe a sonic debt to engineer/producer John Fryer, who explains his approach to production.
In the first instalment of this two-part article, we examine how you can use Live as a conventional digital audio workstation.
Creamware's Minimax is certainly not the first digital emulation of a Minimoog to be released — nor even Creamware's first. But it bucks the recent trend for software recreations of vintage synths — by being hardware. Can it replace the real deal?
Can you honestly say you use all the features of DP's plug-ins? If not, prepare to be intrigued, as we dig deeper into Dynamics, Multimode Filter, Sonic Modulator and more, in search of the facilities you didn't know were there.
After a house move, SOS reader Russ Sowdon discovered a secret passage under his ground floor, and it led to a hidden barrel-vault cellar which he soon made into his musical den!
Korg's new module makes the synthesis technology of their flagship Trinity workstation range more affordable — but at what cost?
Pro Tools has made a leap to 24-bit, but does the increased theoretical quality really translate to a better sound, and it is worth the extra money? Mike Collins finds out.
Gordon Reid is bitten by the memory of a brilliant, but deeply flawed trio of Italian synthesizer designs that could have been the last word in affordable analogue.
Your computer sequencer can do bewitching things with simple ingredients, creating the impression that you're a musical wizard even if you're just a one-finger pianist. Nicholas Rowland works some MIDI magic...
A hugely successful new album marks The Red Hot Chili Peppers' returns to form — and incredibly, it's nearly all in mono. Engineer Jim Scott talks to Paul Tingen about the recording process and the group's refreshingly direct approach to production and mixing.
Sometimes it's easy to forget that home studios packed with synths and samplers aren't solely the preserve of the dance fraternity. British soul artist Ola Onabule does all his recording and the managing of his own label from his Brixton home.
Initially best known for their radical and stylistically diverse remixes of other people's material, Apollo Four Forty have recently notched up their tenth Top 40 single and have been expanding into music for TV, film and computer games. Sam Molineaux investigates the trio behind this feat of multimedia mastery...
When Apple bought Emagic two years ago, the question on everyone's lips was 'What will they do with Logic?' Now they have unveiled perhaps the most radical overhaul the sequencer has ever seen, with improvements ranging from new instruments and effects to a networking system that could eliminate CPU restrictions completely. We explain what's changed in this preview (our full in-depth review will follow next month).
From unlikely beginnings as a naval SONAR operator with no musical training, Bill Szymczyk became a legendary producer and engineer whose work with The Eagles would define the hi-fi sound of '70s rock.
Few of us use our software sequencers in isolation — we all need associated hardware, such as monitors, external effects, and favourite MIDI synths. This month we take a look at using DP with such hardware.
Despite its size, this diminutive drum machine packs in a decent sound set and some interesting guitar‑oriented features.
With so much focus on computer workstations these days, wiring up analogue gear is becoming a bit of a lost art, but don't fear: all you need to know is here.