SOUND ON SOUND
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After a couple of weeks spent trying to decipher the inner mysteries of QuickTime 2.0, Martin Russ devotes this month's Apple Notes to revealing the results...
If you feel that the average sequencer makes you take off your musician's head and put on your computer programmer's head, take a look at FreeStyle. Derek Johnson is not a number, he's a free man...
Paul White concludes this series with a look at phrase and loop sampling, the use of keygroups and mapping, and the use of the modern sampler as a synthesizer.
MOTU software specialist and UK distributor Simon Stock passes on some useful info for users of Performer, Digital Performer, Composer's MOSAIC and Freestyle.
The theremin is one of the oldest electric instruments around, and its distinctive sound is instantly recognisable. However, real ones are hard to find, and even harder to play. Sam Inglis tries to work out a way of cheating.
Tracking down the information you need on the Internet can be a joy or a nightmare, depending on whether you're idly browsing or desperately searching for a small specific piece of information. In this month's Net Notes, Martin Walker passes on a selection of basic tips to make browsing easier.
Stephen Harris is the man behind some huge recent hits by U2, Santana and the Dave Matthews Band. Sam Inglis finds out how he made it big.
Cubase, in its many guises, has established itself as an industry standard on Apple and Atari platforms, and now looks set to be the benchmark by which other PC sequencers will be judged. Kevin Pawsey investigates what Steinberg has to offer the score-producing musician.
Lexicon's PCM70 reveb has been widely acclaimed as a modern classic, a ubiquitous component of pro studios worldwide. Paul White tests out its successor, the PCM80, falls deeply in love with it, then has to give it back!
Martin Russ puts the latest doom and gloom Apple news from the media into context.
Carbon-fibre cables, gold-plated connectors, contact enhancers and spiked, lead-filled supports — not a list of props from a science-fiction blockbuster, but a selection of the many accessories available from hi-fi specialist dealers. Martin Walker enters the twilight zone to sort fact from fiction and discover whether any of this black magic can help you in the studio.
It might be an unorthodox style of musicianship, but anything that adds strings to the Amiga's bow is to be welcomed. Paul Overaa gets tangled up in Loom...
Last month, Martin Russ got caught up in Apple takeover fever. This month, he explains how the situation has completely changed...
SOS pay a visit to more avid readers to investigate their home/project studio.
If the Crumar Spirit is one of the best analogue monosynths the world has ever known, how come you've never heard of it? Gordon Reid explains...
Derek Johnson & Debbie Poyser take a look at a new programmable control surface which allows you to set up a physical controller for almost any aspect of a MIDI device.
In all the hullabaloo over the wizardry that brought long-dead reptiles back to life for last year's smash TV success Walking With Dinosaurs, the story of the production of the musical score from a small home studio — a tale no less impressive than behind the programme's visuals — was overlooked. Matt Bell sets the record straight with composer Ben Bartlett.
Nicholas Rowland fades away with a few tips for creating and manipulating MIDI echoes, along with some other sequencing esoterica.
Last month, Paul White looked at the vocal recording chain to identify areas in which spending more money would produce better results. This month it's the turn of outboard effects and monitoring.
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.