SOUND ON SOUND
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With impressive improvements in power, speed and flexibility, Digidesign's software upgrade for their flagship digital audio production system keeps them ahead of the pack. Paul D. Lehrman wonders where the catch is...
Danish company TC Electronic have been at the forefront in developing new and more realistic reverb algorithms. Most recently, they've been putting their energies into overcoming the particular problems associated with artificial reverb for surround sound. Thomas Lund, TC's Programme Manager, explains their approach to Paul White.
There's more to vocoders than 'Mister Blue Sky' — and with the vocoders available on some current multi-effects processors, creative vocoding is now available to almost anyone.
Sony's surprise entry into the project-studio digital console market looks set to establish a new benchmark for ease of use and operational flexibility. Hugh Robjohns checks out the new DMX100.
With rival sampler manufacturers currently battling it out at the lower end of the market, Emu's latest bid for budget supremacy is the successor to their ESI32 and ESI4000 — the ESI2000. Paul Farrer takes it easy.
Although Native Instruments' Reaktor has offered sampling options for some time, it's taken the company a while to produce a dedicated software sampler: Kontakt. Can it make headway in what has become a crowded market?
The Nord Modular offered a classic blend of flexible software and well-designed hardware in 1998. But can the improved G2 keep up with the soft synths of 2004?
Tori Amos may not yet have attained the same status in the UK that she enjoys in the US, but that hasn't stopped her setting up her own studio in a quiet corner of Cornwall. On the eve of her forthcoming 200-date tour, Hugh Robjohns talked to Mark Hawley & Marcel Van Limbeek about recording Tori's latest album and engineering the live tour.
One of the most influential jazz keyboardists ever, Herbie Hancock is renowned for his innovative use of electronics and new production techniques.
We conclude our two-part examination into whether the traditional distinction between studio monitors and hi-fI speakers is justified. This month, the power-handling and compression characteristics of our four test monitors come under scrutiny...
Software instruments are flexible, upgradeable, and frequently offer better user interfaces, while hardware offers better tactile feedback and is easier to use live. But what if you could combine the plus points of both? Enter the Noah...
We follow a location recording project from start to finish, showing you how to plan for and conduct the session, as well as how to avoid common pitfalls.
English electronic duo Mono are virtually unknown in the UK, but are in big demand in the USA, thanks to their single 'Life In Mono' being used as the main theme to the film of Great Expectations. US-based English writer Sam Molineaux talks technical to Mono's musical mainstay Martin Vergo, and provides the perfect perspective on the disparity between their British and Stateside success so far.
Acclaimed producer Mike Hedges has filled his studio with equipment that is almost as antique as the ancient French chateau that houses it. Paul Tingen catches up with a man who's far from manic but quite ready to preach the virtues of analogue.
Rob Playford is not only the man who, as Goldie's producer, helped mould one of the most original drum & bass talents into a household name and chart success; he's also boss of one of the hippest drum & bass labels on the planet, and a sought-after remixer. Christopher Holder asks 'how does he do that?'.
In the final part of his series on digital editing, Paul White examines some methods of removing clicks from a recording, before looking at how to burn a production master CD.
Young Irish engineer Robbie Adams played an important part in the recording of U2's popular and critically-acclaimed albums Achtung Baby and Zooropa. Here he gives Paul Tingen a fascinating insight into the exciting and unorthodox recording methods they used.