SOUND ON SOUND
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The mid-priced XR7 is at the top of the new Fostex cassette multitracker range. Shirley Gray checks it out.
The Strokes' Is This It was many critics' choice for the best album of 2001, and has gone platinum in the UK. Remarkably, it was recorded in a basic New York project studio by a then-unknown producer.
Are programmers musicians? Marius de Vries certainly thinks so, and he's better qualified than most to air an opinion. Paul Tingen meets the man who's lent his talents to everyone from Madonna to Massive Attack.
Paul White finds out how Tascam have transferred their affordable Portastudio concept into the high-end world of 24-bit digital recording.
Paul White turns up the volume, and discovers that Spirit's PowerStation delivers both quality and quantity.
Eventually, pretty much everyone tries to recreate that old vintage valve guitar sound by using an old vintage valve, but Zoom have teamed tube technology with a powerful digital effects DSP to combine the best of old and new. Paul White finds out if the marriage works.
Bored with ordinary commercial studios, The Cure decided to cut loose for their latest album, and set up their latest recording facility in a Tudor house in the country. Nigel Humberstone visited the band on location to discuss the technology that made the move into the country possible, and the group's working methods.
Last month Big George looked at what demos actually are. This month he tells you how to prepare for recording one and avoid wasting lots of time, tape, and money.
Though the FD4 doesn't have a built-in recording drive, it records to a choise of popular types, costs less than £400, and has been designed to be almost as easy to use as a cassette multitracker. David Mellor goes back to basics...
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...
Beyerdynamic have become the first mainstream manufacturer to offer the audio industry a practical digital microphone. Hugh Robjohns investigates the MCD100 to see if it represents the future of recording technology.
Sound On Sound's May 2000 SAE/MPG competition offered readers the chance to win a recording session in a London studio with a top producer. Tom Flint talked to the lucky winners about the recording of their demo — and to producer Steve Levine, who took on the job of transforming it into a potential chart-topper.
As PCs grow more powerful, native-processing systems appear to offer very impressive features. Nevertheless, as Martin Walker explains, there is still a strong case for using dedicated audio hardware, as evidenced by Soundscape's powerful R.Ed system.
There is an element of magic in any audio design, but the Allen & Heath MixWizard series may have more than most.
Part 2: Gordon Reid concludes his review of Korg's new family of workstations.
Following his article on the unconventional use of signal processors as mix automation equipment in out July issue, Paul Ward takes a general look at using equipment in ways that probably never occurred to the designers...
Last time, Benedict Grant explained how to properly mike an acoustic drum kit. In this concluding part of our short series, he turns his attention to committing kit sounds to multitrack.
This month, Martin Russ brings you not only the latest Apple News, but the full low-down on QuickTime 2.0 and SampleSearch. Rumour also has it that he's been moving in breathtakingly high circles at the APRS, don't you know...
Irritated by the pop-fixated production values of small commercial studios, Per Villez decided to attempt a jazz recording session at home, using minimal equipment to produce master-quality results. Here he explains how he went about it on his own terms.
Though the V-Drum system is ideally suited to the hi-tech drummer, its modular brain features, modelled timbres and powerful editing features may lend it appeal as a source of high-quality sounds for the non-drummer. Nicholas Rowland checks out the beat feat.