SOUND ON SOUND
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After another panicky start to the year for the MacOS, Martin Russ asks what happens next.
Do hit songs have a hidden ingredient that makes them successful by appealing directly to our emotions? It's a question that musicians and scientists have sought the answer to for many decades. Acoustic researcher Ernest Cholakis has a new take on the theory...
Roland released the JP8000/8080 virtual analogue synth way back in 1997, but never really followed it up. Now they've combined the modelling synth idea with their Groovebox concept, presenting it in compact form with a wealth of hardware control options...
The most dramatic overhaul of the Mac OS ever was ignored by most musicians until recently — and rightly, as established music applications and standards no longer run under it. But lately, there have been more and more reasons for musicians to leave OS 9 behind. If you're considering making the switch, read on...
After a break of almost 10 years, Eurhythmics are back with a new album — and a new hit single, 'I saved The World Today'. Mike Senior talks to gifted programmer and producer Andy Wright about his role in the project.
The British-made single-oscillator monosynth is unashamedly retro in both its knob-laden styling and its lack of MIDI. Paul Nagle gets orgon-ised.
Nearly two years after everybody else jumped on the Power Mac bandwagon, Mark Of The Unicorn have finally come on board with their flagship sequencer, which will now record and play back audio without the need for external hardware. Has it been worth the wait? Derek Johnson finds out.
Guitarists who use sequencers have been waiting many years for the perfect MIDI guitar. John Walden tries the Parker MIDIFly to see if the wait is over.
A surprising amount of the music you hear on TV and radio is not specially commissioned but is taken instead from libraries of ready-written themes. Nigel Beaham-Powell explains how the library music system works and gives some pointers on getting into it.
It was once taken for granted that freelance engineers would use the standard outboard provided by the studio they were working in. But the explosion in the amount of gear available means that now they often have to assemble personal rack to be sure of getting access to their tools of choice. Dan Daley explores the phenomenon...
Mark Snow's quirky yet haunting X-File theme tune was last year's surprise worldwide chart hit, and his atmospheric scoring plays an important part in setting the mood for this darkly compelling television phenomenon. Derek Johnson discovers that the music is out there...
David Mellor looks at the roles of computers in the modern studio.
Software-based noise removal systems are one way of restoring defective recordings, such as vocal takes ruined by mains hum, or crackly recordings from vinyl — but such systems can be very expensive. The relatively low-cost DART Pro seeks to change all that. Panicos Georghiades and Gabriel Jacobs clean up all round.
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You press a key on your synth. It plays a note. That's it, right? Wrong. We explain the role of envelopes, gates, and triggers in this deceptively simple process.
Abbey Road's famous Studio One has played host to innumerable big-budget orchestral recordings for film, but the final session before its refurbishment in 2001 saw it being used for a new purpose: to record the soundtrack for a video game.
Waldorf's flagship keyboard synth has been available for months — but until very recently, it was so unfinished that it was scarecely reviewable. Since April, Gordon Reid has stuck with it, painstakingly noting the improvements that have come with each system software upgrade, until finally, with the synth standing at OS version 1.13, enough features are working to justify a full SOS review.
Designers of the SoundBlaster range, Creative Labs recently unveiled their next generation soundcard, the AWE64 Gold. Paul White discusses the future of PC soundcards with Creative lads Franco De Bonis and Mike Chandler.
Another look at another reader's studio.
The perpetrators of recent smash hit 'Da Ya Think I'm Sexy?' might look like a leopardskin-clad disco covers band composed of several people, but in fact they're the pet electronic project of two Mancunians with their heads firmly screwed on an eye to the future of dance music.
In the first part of this new series, David Mellor gives his personal slant on creating a studio that will stay with you as your recording skills and budget improve.