SOUND ON SOUND
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Will physical modelling continue to be at the leading edge of synthesis, or are there other methods moving up on the inside tracks? Paul Wiffen winds up the Synth School series with a little crystal ball-gazing.
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.
One-time lords of synth-pop, OMD have had a chequered 18-year history, but frontman Andy McCluskey genuinely believes their 10th and latest album ranks among the band's best work. Nigel Humberstone talks to McCluskey and producer Matthew Vaughan about the making of Universal.
With a new studio album set to take their unique brand of instrumental music to the top of the charts, Ozric Tentacles are arguably the most successful truly independent band in the UK today. Jonathan Miller met leader Ed Wynne at their Somerset studio.
Onboard effects may seem like a relatively recent synth innovation, but even old modular synths offered analogue effects. Although they were basic, the freely patchable nature of modular synths allowed them to be used to create convincing acoustic instrument sounds — thus effectively physical modelling. Gordon Reid explains how.
ART have been championing the cause of musicians on a budget for years with their great value multi-effects units. We check out their latest effort, offering true 4-in, 4-out capabilities for under £300.
It's taken a couple of years, but 808 State have at last emerged from a variety of studios with a sleek new album, the superbly-crafted Don Solaris. Mat Bell talks to head of State Graham Massey.
Never ones for resting on their laurels, Steinberg have added a host of enhancements and additions to Wavelab. Martin Walker tries looping the loop, and analyses his WAV file collection.
Though Logical Edit is potentially one of Cubase's most useful features, it's also one of the most feared and misunderstood. In this three-part series, Simon Millward aims to explain it...
In the first of a two-part series, Big George looks at Father Christmas, the Easter Bunny, getting signed to a record company on the strength of sending out a demo, and other fairy tales...
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...
The SOS team drop in on another reader studio, this time in the form of a radio station!
With his fame and status as a world-class musician and recording artist, Eric Clapton can afford to spend as much time as he thinks necessary honing his next release. Richard Buskin talks to engineer Alan Douglas about the lengthy sessions and changes of heart surrounding the recording of the new Clapton album, Pilgrim.
Martin Russ fights the corner for the Apple Mac, surveys the current Macintosh product range, and generally tries to persuade you to buy one!
In their eagerly-awaited new flagship synth, Roland have harked back to the sampling technology of their respected S-series samplers, as well as adding some contemporary touches to equip it for the 21st century. Gordon Reid assesses past, present and future.
The studio business has seen huge changes in the last 10 years, and the equipment, techniques and fashions that were cutting-edge in the early '90s are often redundant now. Mike Senior meets a producer and engineer who, having made it to the top then decided to take a five-year break and is now back with a vengeance.
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...
With a feature list longer than most people's arms, the EWS64 XL has whetted plenty of appetites. Martin Walker dismantles his PC once again in the search for the ultmate soundcard.
This month, some of the people who actually get their hands dirty with arranging — often for the household names in popular music — pass on their thoughts, hints and tips.
A true understanding of any piece of studio gear only comes after using it for months, or even years. 1995's Reader Survey suggested that more features would be welcome from people with such 'Long-term' gear experiences, so, in the first part of this occasional series, Janet Harniman-Cook reveals the truth about her PC sequencing and digital recording setup.