SOUND ON SOUND
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Sue Sillitoe talks to one of the most influential British record producers of the '90s, Stephen Street — the man behind a string of hit albums for the Smiths, Blur, The Cranberries, Catatonia, Sleeper, Shed Seven and many more.
Mike Barnes rounds up a new wave of software and hardware support for the Emu EIIIX, which once again makes Emu samplers a serious alternative at the higher end of the sampler marketplace.
As computers continue to increase in power, so the numbers of roles they can play in the studio increases — and the makers of Audio Architect would have us do our synthesis in software. Kevin Perry finds out if it can really replace those old Moogs and Prophets.
DP3 is here - and there's a number of fundamental changes to the way the program looks and works. This month, we examine the new tool bar and graphical editing options and consider how to get the most out of your plug-in effects...
The latest incarnation of SPL's enigmatic Vitalizer offers a mixture of the qualities of other models in the range. But does it have anything new to offer?
Native Instruments' Kontakt has become one of the most popular software samplers since its release in 2002, and the new version, with its many excellent new features, should keep it near the top of the heap.
A new generation of vocal processors, and a new generation of engineers, confront the possibilities and ethics of digital vocal manipulation.
The V-Synth is a classic case of the whole being more than the sum of its parts. None of its impressive features are new — they've all been seen on previous Roland products — but nevertheless, it's the best new synth in years. We explain why...
Processor upgrades are a great idea for making older computers in general household use last longer. But how well does a processor speed boost translate into improved performance in musical applications on older Macintoshes? We find out...
Users of computer-based recording systems often feel restricted by the limited degree of physical control available when it comes to mixing, especially when compared to a traditional setup centred around a hardware mixer. Mike Collins tries out a new system from Mackie which aims to improve matters.
Big George uses this month's column to present his very own media Who's Who.
Akai's new 24-track recording and mixing workstation continues the expansion of their DPS multitracker concept with technology derived from the company's renowned post-production machines.
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...
Having addressed your studio mains wiring, you can now turn your attention to the connections between your equipment. Paul White explains the undoubted benefits of a patchbay system.
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.
What can Sony's new effects processor offer that its competitors don't already have? Paul White took the new Sony HR-MP5 into his studio to find out.
These days, high-end PC soundcards offer much more than mere audio interfacing, incorporating mixing, synthesis, sampling and often powerful onboard processing facilities. Martin Walker finds the features of Creamware's new DSP-powered Music Production Environment' impressive even by modern standards.
The Who's final album with Keith Moon took almost a year to record and pushed the band to the limit. Engineer and producer Jon Astley tells the remarkable story behind Who Are You?'s title track.
Paul White turbocharges his Mac in the never-ending battle to load up bigger and better plug-ins.