SOUND ON SOUND
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There have been some famous twin-guitar line-ups in rock history and, even if you can't strum a note, you can now have the virtual equivalent — both of these software instruments will play on time and in tune, and won't want a solo in every song! But are they both equally good?
Cubase SX 3 is the latest incarnation of one of the best-known brands in sequencing software, offering many new features and tying up the loose ends from previous generations of Cubase. But with increased competition, most notably from Apple and Cakewalk, can Steinberg maintain their cross-platform advantage?
Yamaha have scooped the insides out of their well-specified MU80 half-rack GM/XG sound module and transplanted them into a full rack case, with a few extra features aimed at making the resulting MU90R stand out from the GM crowd. Christopher Holder is generally impressed.
Niels Larsen, Steinberg's Sales and Marketing manager, lets you in on some crafty ways of using Cubase.
Version 2 of Celemony's revolutionary pitch- and tempo-shifting software includes new features, better sequencer integration and an improved interface.
We look at the creative potential of Logic's Touch Tracks feature and the corrective potential of the audio fade-in, as well as showing you what 'solo safe' is and why you need it.
Kurzweil bring flexible multi-channel effects hardware within the reach of many more home studio owners.
The Vienna Symphonic Library is more than just a sample library — it's a tool that aims to help you create true-sounding orchestral performances of your own music. But are we talking Berlin Philharmonic or Portsmouth Symphonia?
As the '80s drew to a close, The Stone Roses made rock music cool again, melding '60s psychedelia and acid house under the production guidance of John Leckie.
Walter Taieb enjoyed worldwide success as a dance producer, before reinventing himself as a classical composer. Working with violin prodigy Vanessa-Mae tested both his orchestration skills and his music technology expertise.
A lavish production well ahead of its time, 'Bohemian Rhapsody' remains one of British rock's finest moments. Twenty years after its original release, Mark Cunningham learns how the mercurial muse was committed to tape from its producer, Roy Thomas Baker, and (then assistant) mix engineer, Gary Langan.
Industrious Swedish company Propellerhead are well known for their virtual instruments, but now they've made an entire software studio. Derek Johnson & Debbie Poyser bolt a few virtual devices into the virtual rack...
Engineer and producer Bruce Botnick recorded some of the greatest artifacts of West Coast psychedelia, among them the first five albums by The Doors. Here he describes the making of their influential second album and its title track, which saw them develop their live sound through radical experimentation in the studio.
Paul White's absolute beginners' guide to MIDI continues with a look at MIDI's role in sequencing.
This month we look at why MIDI interfaces aren't always to blame for your MIDI timing problems, and report on the latest news regarding Yamaha's Open Plug-in Technology.
With a second album release imminent, Nigel Humberstone talks to the creative driving force behind D-Ream, Peter Cunnah.
Stephen Street made his name as an engineer working with one of the most influential indie bands ever. He describes the sessions that created the title track of The Smiths' most celebrated album.
Continuing their tradition of themed rackmount modules, Emu have unleashed a 128-voice virtual orchestra in a box. A virtuoso endeavour or virtual insanity?
Over the last 30 years Tony Platt has engineered and produced albums by some of the biggest names in music, from rock to reggae. Tom Flint talked to him about his days at the pioneering Island Studios, his work with the legendary producer Mutt Lange and his vision of the future.