SOUND ON SOUND
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Great songs are 1% inspiration and 99% perspiration. Big George mops his brow and takes it to the bridge...
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.
Eliot Kennedy has carved out a highly successful career for himself as a hi-tech producer and songwriter for a wave of groups at the 'teen sensation' end of the pop market, all without leaving Sheffield. Nigel Humberstone finds out how he did it.
An expert at hard disk recording and editing, Mike Higham has developed his career alongside Digidesign's Pro Tools. Sam Molineaux talks to an engineer who's on the fast track...
With prices for an original Roland TB303 as high as £1000 on the open market, it is unsurprising that the last two years have seen a number of manufacturers attempting to emulate the 303 in a cheaper, MIDI'd form. Martin Russ checks out the latest pretender to the throne...
Neil Watkinson at his home studio.
As a child, Norman Fay was cruelly cheated of the thing he wanted most — a Memorymoog. Never one to bear a grudge, he reviews Moog's most unruly synth with the benefit of hindsight.
British-based Australian Barrington Pheloung is well known for his prolific film and television work, including the theme music to TV's Inspector Morse. One of his most challenging recent projects was the soundtrack to the biopic of Jacqueline Du Pre, Hilary And Jackie...
In spite of his success producing Saint Etienne, Ian Catt hasn't left his roots behind. Richard Clewes talks to him about his work with the band, his production techniques, and how to place an SM58 in a U-bend for that ultimate 'Armitage Shanks' sound...
Mike Collins provides some early reflections on TC Electronic's latest reverb unit and effects processor.
Having looked at the history and development of built-in effects on synths over the last decade and a half, Paul Wiffen now explores the practicalities of using them, and how to get the best from the keyboards and modules which contain them.
With more zones than a one-day Travelcard and an impressive array of physical real-time control options, the keyboard version of Kurzweil's K2500 represents a new frontier in digital synthesis. Paul Ward heads for the border...
After a hiatus of several years, Yamaha return to sampling with the cheapest, most portable dedicated sampler yet. Derek Johnson coins a phrase...
In his first interview since winning the coveted 'Best Producer' award at this year's Brits, John Leckie joins Mark Cunningham in Abbey Road Studio 2 to discuss his 27-year career and the making of Cast's new album, Mother Nature Calls.
Most of the time, inspiration doesn't so much strike as go on strike — so what can be done to coax it back to work? Paul White proffers a few suggestions.
Paul White continues his introduction to sampling with a look at some of the extras, accessories and peripherals that you might need in order to get the most out of your new purchase.
You don't need to have Top 40 hits to make a living from your music. Just ask Kent Brainerd, who has made a tidy sum by composing music for company training and presentation videos. Find out how...
Emu's eye-catching new Command Stations repackage the sounds of their MP1 and XL1 sound modules, adding hands-on sequencing and real-time controls. Can the company win fans with these late entries to the groovebox market?
The latest and greatest incarnation of MOTU's flagship Mac sequencer adds full surround mixing support among many other new features.
A record producer's career is seen as glamourous and exciting, but what does the job actually entail? Over the next few months, David Mellor will be talking to top producers about the whole process, from initial concept to final pay cheque. This month he looks at the different types of record producer in the music business.