SOUND ON SOUND
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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.
The latest and largest addition to Roland's XP family is a strapping workstation with a monster sequencer and masses of programming muscle. Paul Nagle puts it through a complete workout...
So how is your plug-in band coming on, then? With a combination of Steinberg's Groove Agent and Virtual Guitarist plus Yamaha's Vocaloid, all that is required is a bass player. Enter, stage left, Bornemark's Broomstick Bass...
Two years on from its original release, Native's virtual drum module gets its first full upgrade. Is it all John Bonham tom mayhem, or is it limper than a Kraftwerk drum solo?
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...
For most of us, computers in the studio are part and parcel of the digital revolution. Not from where avant-garde composer Paul Schutze is standing. Paul Tingen discovers a new perspective...
Orbital were renowned for their amazing live shows, and the story of 'Chime', the track that launched their career, shows how they brought their 'live' approach to electronic music to the studio and into the charts.
Although many of the most famous music mixing engineers have been in the business for decades, we find out how a new generation of up-and-coming stars are combining traditional and cutting-edge recording techniques to make their mark on modern production.
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.
When DJs produce their own albums, the results can be mixed — but Laurent Garnier is not your average DJ, and his 'The Cloud Making Machine' is anything but a conventional house or techno record.
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?
Version 2 of Celemony's revolutionary pitch- and tempo-shifting software includes new features, better sequencer integration and an improved interface.
Simon Rinaldo and his bedroom studio full of vintage keyboards and synths.
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?
Paul White goes into economy mode and tries to coax an extra degree of realism out of a budget studio reverb unit.
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.
Roland's new guitar synth is their most affordable yet, but could it also be the best?
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.