SOUND ON SOUND
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Rather appropriately, we round off this series by looking at what you need to consider when composing music designed to play while the end credits roll...
Recording the One Way Ticket To Hell... And Back album, Roy Thomas Baker and the Darkness used 400 reels of tape, up to 1,000 tracks per song and a year in the studio — not to mention custom-made panpipes. Find out more...
As instruments go, the electric guitar is a pretty established format, but if anyone can change that, Moog can...
Benny Blanco has created a string of number one hits without expensive instruments or virtuoso keyboard skills. What exactly is his secret?
Morph The Cat, Donald Fagen's third solo album in 24 years, sees Fagen and engineer Elliott Scheiner continue their quest for the best possible sound quality — which, it seems, comes only from analogue recording.
Korg's newest workstation heavyweight boasts 32 recording tracks, a powerful 44:12:2 mixer, a programmable drum machine, and up to 11 simultaneous effects — all for under £1000. Read our hands-on report...
Dr Alex Paterson tells us how the Orb’s cavalier sampling and devil‑may‑care attitude towards copyright took ambient house from the chill‑out room to the top of the charts.
A fearless maverick who swears by the need to generate tension in the studio, Youth has made a name as one of the most creative producers to emerge from Britain in the last two decades.
Line 6 have extended their reach into the bass amplifier market with the Low Down series, the smallest and most portable of which is the LD150.
Norbert Putnam was part of the original Muscle Shoals rhythm section, and as a million-selling producer, helped to bring pop music to the country capital of the world.
REMs first single wasnt just an embryonic form of the style and sound that would later make them so successful, it was also a gem of the American new wave. But it took a long time coming...
Big George Webley recounts some personal experiences of the jingle music business and drops a few hints about how you might get in on the action...
Queens Of The Stone Age's fourth album Lullabies To Paralyze has cemented their position as the biggest and most exciting rock band in the world. Engineer and co-producer Joe Barresi describes the combination of old-school technique and far-out experiment that went into its making.
For mixing Kraftwerk's synthetic beats and simple melodies with New York rap, 'Planet Rock' and producer Arthur Baker can arguably be credited with creating an entirely new genre: hip-hop. This is how it happened...
For their latest album, style chameleons James retreated from commercial recording studios and found a new creativity working in the comfort of their own houses. Paul Tingen hears why they've decided there's no place like home...
For the 2002 album Heathen, David Bowie and Tony Visconti revived one of the greatest artist/producer partnerships in pop history. Following the success of that project, the duo have again worked closely together on Bowie's new album, Reality.
Steve Brown had never produced a record or recorded live drums before he met singer-songwriter Rumer. Half a million album sales later, her faith in the partnership has paid off.
Dave Lockwood tests this hi-tech guitar system which seeks to replicate the sound of many of the most coveted vintage and modern amplifiers on the market, with full digital multi-effects thrown in, and all in a convenient, portable, combo format.
For Jonathan Wilson, the quality of recorded music peaked in late-'70s LA. His own production career has been a quest to scale the same heights.