SOUND ON SOUND
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Keyboardist/producer Julian Colbeck (of KeyFax NewMedia/Alan Parsons' ASSR) reflects on this inaugural West Coast 'Everything Synthesizer' event and managed to secure an exclusive chat with Thomas Dolby (watch the video).
Here's how to tidy up your plug-in menu in Cakewalk.
Need to export different mixes from the same project? Cubase Pro 10 makes it easy…
FabFilter have reinvented their Pro‑L limiter for the new world of loudness normalisation.
Foals' first foray into self-production yielded not one but two albums — but making them wasn't easy!
Genelec's latest monitor is a flexible beast, designed for the large multi-speaker setups that are needed in VR and immersive audio. But does this versatility come at the expense of its usefulness for conventional music mixing?
JoeCo's debut desktop interface combines high sound quality, robust engineering and some unusual features.
Billy Decker's signature plug-in collection is aimed at those who'd rather get things done than get into the details.
Korg's new mini PA is as versatile as it is compact and portable.
Over 10 years ago I started a leader column by saying: "The cold reality is that the musical hardware and software available...
We look at how to capture and reuse third‑party samples in Live.
Play and record external MIDI instruments in Logic.
The team behind Push Turn Move shift their attention to modular synthesis.
The Medusa combines analogue and digital, synthesizer and sequencer — and even throws in a controller for good measure.
The PreSonus Atom offers hands-on control and tight integration with their Studio One DAW.
Could you please explain what the Waves V‑Comp auto-release setting actually does? What is it trying to accomplish?
Understanding the voice count of your Pro Tools system can avoid nasty surprises on large projects.
I'm looking through my reverb plug-in's preset list, and I'm wondering: what do all those cryptic preset names mean?
I couldn't use the Neumann TLM103 as my 'kicksnare' mic, as it couldn't handle the sound level produced by the drummer. Even with zero gain at the preamp this mic produced a distorted signal. What was I doing wrong?
From the classic vocoders of the '70s through to the hyper pitch-corrected pop vocals of the last decade, Roland's VT‑4 can do it all.