SOUND ON SOUND
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In the final instalment of our series on the techniques and technology of digital audio, Hugh Robjohns contemplates plugging it all together.
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.
Last month we looked at how analogue modules can reproduce the sound of a real trumpet. All very well if you own a wall-sized modular system — but what if your means are more limited? Gordon Reid adapts theory to practice with a Minimoog.
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.
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.
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...
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.
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.
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.
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 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 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...
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.
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.
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.
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.
Derek Johnson checks out the new flagship of the Sound Canvas range.
The Windows music software scene is thriving. Brian Heywood reflects on its effects on the rest of the music software market, and examines some new arrivals in more detail.
We've got so used to DI'ing keyboards that miking up an amp is something that never occurs to some people. Paul White explores the benefits of getting out the mics and plugging in the amp.