SOUND ON SOUND
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Is it an effects processor? Is it a Variphrase processor? Is it a virtual analogue synth module? The truth is, Roland's VariOS can be any of these. Is this the flexible future of hardware? We find out...
Vic Lennard gives the lowdown on the new range of Apple computers and accessories...
Newcastle-based engineer Dave Maughan, like many SOS readers, runs a small commercial studio based in his own house — where he recorded one of the year's most acclaimed albums. Sam Inglis hears his story.
When Channel 5 decided to re-do the music for their daily magazine show, Exclusive, Big George was asked to pitch for the job, and went about it in his usual idiosyncratic way...
This innovative VST Instrument from Steinberg and Wizoo aims to take the donkey work out of producing realistic sequenced guitar parts.
Which effects and processing plug-ins do the Sound On Sound staff and product reviewers love the best? We asked, they answered...
Synthesized, sampled, or modelled, the Hammond B3 tonewheel organ has inspired many imitations over the years. Now, for 15 thousand pounds, you can own Hammond's attempt at recreating the original. How close have they come?
Sibelius Software have won over the classical music community with their well-regarded score-writing software. Can their new G7 package do the same for guitarists?
We look at the completed orchestrations for the film project introduced last month, and begin to consider the problem of what to do when a director demands revisions to your work...
Matt Bell talks to the man behind Chicane, and unravels the story of a Bryan Adams vocal mangled into anonymity by an unreliable vocoder, and a number one hit produced in a home studio without so much as a patchbay to its name.
With rival sampler manufacturers currently battling it out at the lower end of the market, Emu's latest bid for budget supremacy is the successor to their ESI32 and ESI4000 — the ESI2000. Paul Farrer takes it easy.
Find out what you need to do — and avoid doing — if you want your demo to stand out from the crowd.
According to Oval's Markus Popp, traditional definitions and categories are inadequate when it comes to evaluating electronic music. Instead, his highly conceptual projects aim to make us understand music in terms of the software processes used to produce it.
Craig Anderton puts all his tips in one basket...
Engineers still wet behind the ears who do a Tyson (chew off your ear) about their extensive knowledge of audio — Big George Webley hates 'em. He states his case...
If something's letting down your pop tracks, it could be the arrangement rather than the song itself at fault. Derek Johnson & Debbie Poyser offer some advice on how to make sure your music gets the star treatment it deserves.
Derek Johnson reports on three covetable programs for sequencing and composition, and urges you to share the ware... Hollis Research Trackman; Roni Music's Sweet 16.
With another major transition occurring in the Mac world this year, it's time to consider the real ramifications of moving from Power PC to Intel-based Macs for musicians and audio engineers.
If you have to record in the same room as your PC, the acoustic noise the computer produces can be more than a mere irritant: it can also compromise sensitive recordings. We take a look at what you can do to restore peace.
So, you've been commissioned to write the score for something. What should you do next? We provide some suggestions, with real-world scoring examples for you to download and try.