SOUND ON SOUND
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PC sequencing stalwarts Voyetra have finally ventured into the Windows sequencing market. Brian Heywood assesses whether their new £99 program was worth the wait.
Paul White reveals more cheats and workarounds aimed at making sequenced instruments sound more realistic.
Are you forever coming up with the same old 'N-N-N-N-Nineteen' effects on your sampler? do you reach for that jaded Peruvian noseflute sample every time you want a 'really original sound' for your latest masterpiece? Fear not, for top tipmeister Paul Ward is back, with more off-the-wall uses for you to try out at home...
After three decades powering the rhythm section of the Rolling Stones, Bill Wyman has gone back to the music he grew up with, with help from the impressive array of talent that is his Rhythm Kings. Sam Inglis hears how their new album Double Bill was made.
Number one UK hit 'Whole Again' took Atomic Kitten from the girl-band niche to a universal audience, and made an impressive first single release for co-writers and co-producers Bill Padley and Jeremy Godfrey. Sam Inglis hears the story.
Arboretum's latest Hyperprism suite of effects and processors offer no less than 29 modules, at an average price of less than £10 each. Janet Harniman-Cook gets plugged in.
Martin Russ fights the corner for the Apple Mac, surveys the current Macintosh product range, and generally tries to persuade you to buy one!
Confusing, isn't it? Where once the only recording option was tape, you can now put a whole studio inside a desktop PC or opt for an all-in-one recording and mixing hardware solution. Then again, you could stick to tape, or buy a separate hard disk recorder. In the first of this short series, Paul White examines the choices.
Paul White examines the basic principles of acoustic treatment in order to help you improve your recording and monitoring environment.
Tascam's versatile US428 combines the duties of audio interface, preamp, MIDI interface and MIDI fader surface at an attractive price, and has generated a lot of interest from musicians. Derek Johnson & Debbie Poyser test it with the Mac, while John Walden reports on the PC situation.
Behringer claim that the Combinator can dramatically compress a signal without introducing any undesirable side-effects. Paul White checked it out on a mastering session.
The new version of Opcode's flagship sequencer/ hard disk recording package almost extinguishes the differences between audio and MIDI recordings, allowing unprecedented control over your compositions. A hitherto MIDI-only Martin Russ broadens his horizons...
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.
Simon Price concludes his three-part series on Digidesign's flagship recording system with some power-user hints and tips.
Many musicians with computer-based studios don't need lots of inputs and outputs, but that doesn't mean they're happy to put up with poor audio quality and design compromises of consumer soundcards. However a new type of affordable, high-quality soundcard is now emerging to meet this need. Martin Walker puts two or the leading candidates to the test.
John Oram now puts hsi name to his own range of mixers and studio outboard, after a varied career including many years of design experience with some of the big names in British audio. Paul White enjoys a slice of sonic history.
Most of us are aware that sticking on a favourite CD can cheer you up after a terrible day, but many baulk at the concept that music can actually help to heal your mind and body, despite the growing evidence to support this theory. Debbie Poyser & Derek Johnson investigate, and meet a man whose music is composed with the intention of making you feel a whole lot better...
We've got so used to DI'ing keyboards that miking up an amp is something that never occurs to some people. Paul White explores the benefits of getting out the mics and plugging in the amp.