SOUND ON SOUND
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Not content with adding a huge raft of improvements to their already comprehensive Emulator X soft sampler, Emu have also removed the need to use it with their own soundcards, so now everyone can get in on the fun.
Every week, BBC1's new Saturday night show Get Your Act Together takes an aspiring singer or group and attempts to transform their musc, image and performace, to turn them into true professionals — in two days. Among the eminent record producers chosen to work their magic on these acts is Steve Levine, who talks to Sam Inglis about the unique challenges involved.
We've all experienced the burst of creativity that getting hold of a new sound can bring about — but not being able to afford new synths and sound modules is also a familiar feeling.
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.
Younger Brother brings together two of the Twisted labels biggest names. We visited Simon Posfords studio in a bid to uncover the secrets of psytrance...
One of two General MIDI modules are simply a cut above the rest, and Roland's high-end Sound Canvases fit right into this category. Paul White retires to the studio with the latest in the line and dips into a seemingly limitless palette of sound...
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...
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 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.
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.
Paul White tries out AKG's versatile new back-electret, fixed cardioid microphone.
When it comes to mixing, there are no rules, and all engineers and producers have their own preferred approach. We kick off this 'Mixing It' special feature with a look at how the professionals mix it.
Every songwriter sometimes goes through times when the inspiration just seems to dry up, and the perspiration doesn't seem to be working. Debbie Poyser offers some tips to help you out of them.
If you're recording and editing MIDI + Audio on a PC, you'll want to try a piece of the latest Cakewalk. Janet Harniman-Cook reports from the kitchen.
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.
Paul Wiffen continues to examine transitional synthesis, covering the Wave Sequencing facility, first introduced on the innovative Korg Wavestation, and concluding with Emu's Z-plane technique, which may be regarded as bridging the gap between S&S and today's physical modelling.
The ASRX, Ensoniq's entry into the world of all-in-one sampling and sequencing workstations, has just received a major upgrade and a fresh lick of paint. Chris Carter finds out whether the improvements justify its new 'Pro' label.
The Phantom is the first valveless mic from a company known for their top-quality valve designs. Will their solid-state debut make as good a name for itself?