SOUND ON SOUND
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Steinberg believe that now that PCs are so powerful, the days of dedicated DSP farm for professional computer-based recording systems are over. Martin Walker enters the native processing world of Nuendo.
If anyone epitomises the home recording DIY ethic, it's Bill Nelson. With over 40 albums to his credit, many of which emanated from his modest home studio, Bill continues to experiment. Nigel Humberstone explores his latest guitar-based creations.
Style-generation software Band-in-a-box is one of the many still-thriving music programs that started life on the Atari. These days, it's very much a home in the latest Mac- and PC-based studios, as Vic Lennard and Martin Walker discovers.
Roland's JV1080 and 2080 have become the bread-and-butter sound sources for innumerable MIDI studios worldwide. Now the company have introduced their successors in the shape of the XV-series. Derek Johnson and Debbie Poyser test the new XV3080.
As Chief Sound Designer for Roland and founder of Specrasonics, Eric Persing has created some of the most widely used sounds in modern electronic music. He tells Kevin McDaniels how he turned sample CDs into big business, and reveals how some of the exotic sounds on his Spectrasonics discs were created.
One of the advantages of a software-based instrument is that it can evolve over time, as its makers add new algorithms and refinements. Clavia's Nord Modular has undergone exactly this process, and its editing software has also migrated to the Mac. Gordon Reid tries out the latest version, along with its baby brother, the MicroModular...
Roland's eagerly awaited new flagship VS workstation builds on the success of the VS1680 and VS1880, offering a massive range of features including 24-track, 24-bit and 96kHz recording, a 64-channel digital mixer, up to eight stereo effects processors, 24-voice phrase sampling, and an enhanced graphical output for a VGA monitor.
Having nearly made it in the '80s with an awesome sound on a par with Trevor Horn's productions, UK electronic music stalwart Mark Shreeve is back, with his sights set on Hollywood. Jonathan Miller discusses vintage gear, multi-million pound albums, and Samantha Fox.
It may say v1.6 on the box, but the latest version of BIAS's Mac-based audio editor is stuffed with enough new features to warrant a version 2.0 tag. Paul D. Lehrman scales new heights.
Although 'Money' took new British R&B star Jamelia into the top 5 at the age of 17, her apparent overnight success was built on more than a year of hard work by producer Colin Emmanuel. Sam Inglis uncovers the story behind the single.
Whether your bag is pop, jazz, or classical music, or even if you just watch TV occasionally, you've almost certainly heard Richard Niles's work. Mike Senior talks to one of the most versatile men in modern music.
These days, few hi-tech musicians would consider their studio complete without some kind of sampler. Paul White goes through the basics of these invaluable studio tools, for the benefit of anyone who has yet to sample one...
Being a MIDI-based musician doesn't mean that you can't get out and play live gigs; you just need to plan more carefully than the average pub band. Grizzled live MIDI veteran David Harman explains the pitfalls and outlines some of the preparation you need to take your show on the road.
Based on the popular 9030, the Zoom 9050S offers combinations of up to eight simultaneous effects from a repertoire of 55 effect types. Paul White investigates the need for speed.
Innovative musicians, DJs, entrepreneurs, technology intellectuals, artists... Jonathan More and Matt Black mix up more than just records to make Coldcut. Derek Johnson & Debbie Poyser meet up with the Ninjas to talk zentertainment and audiosyncrasies...
James Asher made the transition from library music to successful commercial releases by tapping into an underlying demand for world-flavoured, rhythmic new age music. Martin Walker takes a world view...
Lexicon's reverbs are highly regarded by many musicians, and their new Core 2 combines them with multi-channel analogue and digital I/O to create an affordable computer recording system. Martin Walker tries it out.
Fifteen years ago, the idea that writing music for computer games could put you in the freame for a major Hollywood film-scoring job would have seemed laughable. But it's exactly what has happened to Nathan McCree and Matt Kemp. Paul White travelled to their Oxfordshire studio to unearth more...
Peter Ridsdale gives his personal impressions of cult shareware program Cool Edit.
Christina Aguilera's debut single was a worldwide smash hit last year, thanks in no small measure to the distinctive work of producer and co‑writer David Frank. Mike Senior finds out how he did it.