SOUND ON SOUND
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Last issue, we covered methods for recording a solo artist. This time Craig Anderton covers editing and comping.
Recording a rock band playing 'live' in the studio presents a unique set of challenges, but it is still possible to achieve a good result.
The creation of Beyoncé’s album 4 involved 10 studios and almost 20 producers. The one constant, apart from the singer herself, was recording engineer DJ Swivel.
Every once in a while a key product is developed that transforms music. To mark our 25th Anniversary, we list the most influential products to emerge during SOS's first 25 years.
It seems that almost everyone who's heard Goldfrapp's debut album Felt Mountain has fallen under their spell. Now the duo have returned with a second, Black Cherry, and a harder, synth-based sound.
Some of the legendary names in engineering and production didn't just make great records — they also invented equipment and techniques we take for granted today.
In the first instalment of this two-part article, we examine how you can use Live as a conventional digital audio workstation.
A tremendously gifted yet private man, Greek composer Vangelis has contributed greatly to the acceptance of electronic music as an art form of its own with soundtrack work like Chariots Of Fire and Blade Runner. From 1975 to 1987, Vangelis did nearly all his recordings at his own Nemo Studios in London, a place hitherto as shrouded in mystery as the man himself. Richard Clewes dons his investigator's mac and turns his attention to Vangelis's Nemo years...
Mike Senior answers some of the most common questions we receive about sending out demos, and helps you to make the kind of impression that will get your music heard.
Cardigans producer Tore Johansson was thrown into unfamiliar musical territory when asked to produce the debut album by Scottish guitar band Franz Ferdinand, but the result was a commercial and artistic triumph.
Groundbreaking Southern rap duo Outkast head into 2004 with a fistful of Grammy nominations and a chart-topping double LP to their name. Their principal engineer and studio manager John Frye pulls back the curtain on one of the year's best records.
It was the best-selling single of last year, and signalled a radical change of musical direction for Cher — complete with bizarre vocal processing. Yet, surprisingly, it was produced in a small studio in West London. Sue Sillitoe relates the astonishing tale of 'Believe'.
You don't necessarily need a multitrack recorder or audio sequencer to make a master-quality recording. Paul White explains how good results can be produced using stereo recording techniques married with MIDI sequencing.
Over the years, Iceland has produced more than its fair share of innovative, experimental pop music. The country's latest hot exports, Sigur Ros, are currently recording an album in a disused swimming pool...
Walter Taieb enjoyed worldwide success as a dance producer, before reinventing himself as a classical composer. Working with violin prodigy Vanessa-Mae tested both his orchestration skills and his music technology expertise.
A job helping to provide the sounds and recording the music for an animated Christmas special has SOS contributor Paul Ward hastily upgrading his studio and exploring the deepest recesses of his synth collection, in search of sleigh bells and singing reindeer patches...
In this final part of our series looking at the alternative systems available for recording and mixing, Paul White outlines his own system and the reasons for building it that way.
Aquabats are an unconventional trio dedicated to the creation and recording of unconventional improvised music — using unconventional and often improvised instruments — which they call Earth Music. Tim Turan tells the story.
Gorillaz have made waves as the first 'virtual band' to achieve real chart success. Behind the animated characters, however, lurk real engineers and musicians... Sam Inglis tracks them down to find out how they recorded their debut hit.
Sampled drums may be quicker and cheaper than the real thing, but there is something special about a real drummer hitting real drums. Hugh Robjohns passes on a few ideas and tips on capturing the best possible kit sound.