SOUND ON SOUND
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In the first part of a two-part series, Gordon Reid charts the rise of EMS and their creation of the world's first self-...
TV music composer David Lowe tells Paul White how a British Airways World commercial took him halfway around the world — and back...
Multi-port MIDI interface and patchbays can seem an expensive indulgence for the average studio. But, as Martin Russ explains in the concluding part of this two-part feature, they can really help you to get the best use from the MIDI gear you already own.
At under £500 — less than an eighth of the original price of its VL1 predecessor — Yamaha's VL70m constitutes a brave attempt to bring physical modelling synthesis within the reach of all musicians. Martin Russ joyfully welcomes this monophonic modelling module...
Morcheeba's last album Big Calm was a commercial and artistic breakthrough, and expectations were running high for their new album, Fragments Of Freedom. The first single from the album, 'Rome Wasn't Built In A Day', was an intriguing taster. Producer Pete Norris told Tom Flint how it was written and recorded.
It's been possible to make music on Apple laptops for many years now, but creating a working mobile system is harder than it looks. Fortunately, one SOS contributor has years of experience to pass on...
In 1983, New Order sold over three million copies of their 12-inch single 'Blue Monday' and it has remained a classic. SOS spoke to producer, musician and New Order fan Roger Lyons, to find out how he helped the band bring the track back to life.
High-profile synth programmer, remixer and recording artist Pete Gleadall is a man of many talents. Matt Bell talks to him about his part in the new Pet Shop Boys album, his work for George Michael, and the role of the modern programmer.
Astonished by the speed of software development, Martin Russ wonders where it's all leading... MOTU Digital Performer.
Martin Russ laments his unerring success at buying new Macs just as they are about to be superseded, but recovers enough to find another little-known but fascinating seam of music software.
One of the Mac world's sequencing front-runners, Vision has been ported to the PC, where it faces some stiff competition from the established packages. Paul Nagle goes all visionary...
The migration to OS X has caused major upheavals for both software manufacturers and musicians, but Mark Of The Unicorn's long-established Digital Performer sequencer is better than ever.
In order to get the most out of your audio equipment, you need to be able to line it up correctly. Most PC users, however, may already have all the necessary tools and, as Martin Walker explains, they are easy to use when you know how.
Paul Wiffen continues his homage to the first 'musical' sampling keyboard, which brought sampling out of the dark ages of simple trigger playback and into the realm of filters, envelopes and performance controls which we take for granted on all modern samplers. The Emulator II was, as he explains, also responsible for other major innovations like on-board hard drives and CD-ROM libraries...
Eight true stereo simultaneous effects for £300? In the battle to squeeze the best possible performance from budget digital processors, this charming new multi-effects unit has some serious power nestling in its coils. Paul Farrer 'snakes' a look at the Addverb 3 and jumps out of his skin with delight...
To create the MR Keyboard line, Ensoniq could simply have taken the insides out of their MR Rack module and grafted on a keyboard. Instead, they've thought long and hard about what a performing and composing musician really needs from his instrument. Julian Colbeck applauds the result.
JJ Jeczalik, one third of '80s sampling pioneers Art Of Noise and erstwhile 'Mr Fairlight' has sold his series III and bounded into the '90s with an Akai sampler and a brand new album of dance music. Paul Tingen finds out why no noise is good noise.
No expense has been spared in the design of Lynx Studio Technology's latest soundcard, which adds 192kHz capability to remarkable sound quality, bringing it into real competition with high-end, stand-alone converter boxes.
Can you tell me something about a vintage mic I've found? Why don't my synths' sounds work well together in mix? How do contact microphones work? Is there a combined soft sampler and sequencer on the market? Which soundcard should I upgrade to?
Music mythology has it that real drummers are illiterate, beer-swilling louts with about as much musicality as a dead dog. Nevertheless, it can be hard to find an acceptable substitute. Sam Inglis offers a few pointers.