SOUND ON SOUND
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Nicholas Rowland tries out the new features in MOTU's ever-evolving flagship Macintosh sequencing package.
Countless bands have been influenced by The Rolling Stones, which makes it all the more interesting to find out how they work and record. Richard Buskin talks to top producer/musician Don Was and engineer Don Smith about their contributions to the Stones' new album.
"Your mission, should you decide to accept it, is to produce the music and sound effects for a major international documentary series, largely in a home midi studio." Could it be done? In part 1 of their two-part assignment, special agents Paul D. Lehrman and Steve Olenick found out.
Vic Lennard looks at a Tracker program with a difference — and gets a sneak preview of a GM sound module in a Falcon...
Since UK garage emerged from the underground last year, record companies have been scrambling to sign up the stars of the latest Big Thing. Foremost among these is Mark Hill, who, as well as being one half of Artful Dodger, has also produced Craig David's hit single and debut album Born To Do It.
Despite having produced a string of successful albums by artists as diverse as Crowded House, Suzanne Vega and Elvis Costello, Mitchell Froom still strives for a fresh approach to each new project and refuses to sit back and sink into a formula. Paul Tingen talks to him.
Software samplers are not new, but until now they have only existed as stand-alone applications or sequencer-specific plug-ins. Paul Sellars investigates Steinberg's HALion, which offers close integration with Cubase VST, but can also be used as a VST-format plug-in from other sequencers.
This month Martin Walker improves his aural skills and reports on progress with Cubase 5.0.
Most people are familiar with basic reverb, delay and modulation effects, but what lies beyond? In the first part of a new series, Paul White explores the twilight zone of effects processing.
The latest in Roland's line of MC-series workstations is their best (and most expensive) yet, incorporating synthesis, sequencing, real-time control, and sampling. But in an increasingly software-driven world, can a Groovebox still cut it?
Viewed by many musicians as the modern standard in computer-based score-writing software, Sibelius has an impressive pedigree and reputation. Following the success of three releases on the Mac and Windows platform, can it maintain its simple user interface as the powerful feature-set continues to expand?
MIDI guitar has a long and chequered history, litered with great expectations and expensive failures. Dave Lockwood investigates the latest contender to see if it really is able to bring something genuinely new to the field.
2002 saw the release of the Evolver, a quirky hybrid analogue/digital synth and sequencer from Sequential synth pioneer Dave Smith. Now he continues his renaissance with a four-voice polyphonic version that integrates neatly with the original.
RME's Fireface 800 brings together all of the company's expertise in developing audio hardware for computers, mic preamps and converters into one highly desirable unit. But can you really fit so much functionality into one interface without cutting corners?
Paul White lends a critical ear to Xpression's first ever powered monitor, to test the company's claim of accuracy at a budget price.
It's hard enough to reach the top in any field, be it engineering, production, programming or playing an instrument, but Michael Bradford has excelled in all of these departments - and often while travelling across America at 80 miles per hour! Richard Buskin meets a man who's helped to create massive hit albums for Kid Rock and the New Radicals.
It's not only the distinctive looks of the legendary Oberheim synth that the designers of OBMx have borrowed; they've also incorporated its legendary sound quality into a '90s MIDI synth made in the true analogue mould. Dave Crombie wonders if it's too good to be true...
Vic Lennard fires up his sequencer and looks at the latest bunch of MIDI files...
The drum kit can be one of the most time-consuming and frustrating of instruments to record, so it's worth taking a structured approach.
Can an expensive valve microphone preamp like this one really make that much diference to the quality of your recordings?