SOUND ON SOUND
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It might look like a simple analogue desk, but beneath the MGP16X’s familiar exterior lies some extensive digital processing.
Following last months workshop on dub mixing, we talk to living legend Mad Professor, a world-class exponent of this music genre.
Is music mastering an art or science?
If you want to group tracks in Cubase, Group channels aren't always the best option. We explore what you can and can't do with the Link Channels function.
We look at a new plug-in, as well as guide you through the pros and cons of active pickups, and suggest some products that might appeal if you are upgrading.
The success of Avril Lavigne's debut album Let Go catapulted The Matrix to the front rank of songwriters and producers. Since then, they've moved in ever wider musical circles, culminating in their work with nu-metal pioneers Korn.
Taylor Swift has become country music's biggest mainstream star, thanks in part to a stellar production team. Producer Nathan Chapman and mixer Justin Niebank lift the lid on Swift's latest hit album, Speak Now.
The haunting dub of ‘Ghost Town’ perfectly captured the mood of its time, and spent three weeks at the top of the British charts during the turbulent summer of 1981.
Maschine’s MkII hardware gets a Technicolour make-over, while its software increments to v1.8...
Heavyocity’s latest contender delivers a winning one-two combination.
Paul White checks out three VST plug-ins for this month's folder.
Drumcores come a long way, and version 3 makes it easier than ever to use pro drummer performances on your tracks.
Prodigy live engineer Jon Burton talks to some of the world’s top sound engineers about the similarities and differences between tour and studio work.
American producer Steve Ferrera has a problem with most A&R people — and that's why he's taken a job as head of A&R at Echo, the new record label set up last year by Chrysalis group chairman Chris Wright. Artist-friendly labels may be a cliche, but Ferrera is determined that Echo really will be different. Here he explains his Philosophy...
Big George takes a critical look at what seems to be the only game in town: solitaire.
There are very few people who can make a living doing a job they really enjoy. Producer John Leckie feels he is one of the lucky ones — and that's why it irritates him when people he works with in the studio don't realise how lucky they are. He explains why he thinks that artists, engineers and producers should all count their blessings...
Swedish synthesists Elektron have turned their attention to sampling — and, with characteristic individuality, have created something quite unique.
Looking for a follow-up to her smash-hit debut album, Lily Allen ditched her many other collaborators to work mostly with LA-based producer and musician Greg Kurstin on Its Not Me, Its You.
Prominy have put 64 Gigabytes of lovingly sampled Stratocaster into their SC instrument. That's a lot of Stratocaster — so does the sonic end justify the means?
Why would a rock band play live at talking volume, and in a separate room? To give their audience the unique immersive effect that only binaural sound can provide...