SOUND ON SOUND
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Arturia’s MatrixBrute combines everything the company know about synthesis into one hugely ambitious machine.
The humble TB303 has proved notoriously difficult to recreate in software, but ABL3 comes far closer than most.
Blue’s newly updated range of studio mics offers stylish looks and great sound for a very reasonable price.
Named after Binson’s Echorec magnetic-drum echo machine, the Echorec aims to squeeze all that unit’s essential character into a standard-sized pedal.
Armed with nothing but an Atari, a pair of S950 samplers and his faithful TB303, Fatboy Slim took the charts of the late 1990s by storm.
Don’t take Cubase’s dedicated MIDI Drum Editor for granted — it’s a gem!
Dolby Laboratories have been leading the development of surround-sound systems for four decades, but over the last year or so they have been piloting an intriguing surround system in a famous UK night-club...
Turn your DAW’s aux sends into wet/dry blend controls that won’t raise the overall level of your signal.
With remote control, USB audio interfacing and the sublime sonic performance for which Grace are known, the m108 doesn’t disappoint!
Electronic, heavily processed and sample-based, 22, A Million was a radical departure for Bon Iver — and from normal recording and mixing practice...
KRK’s established V-series monitors have long been popular in the project studio, and now they’ve been given a major overhaul.
Yes, Kii Audio’s flagship monitors are expensive — but then they might just be the best loudspeakers in the world...
The Monologue may be a cut-down version of the Minilogue, but it offers a few features its polyphonic big brother can’t match.
I’ve often run into musicians who seemingly have a terror of recording with computers — some of whom seem to have become convinced that a hardware option will make life easier for them...
We show you how to share MIDI files with Live.
The name Lunastone may not sound so familiar, but this Danish company have an excellent provenance...
Set yourself up for success with custom templates in Logic Pro X.
Working ‘in the box’ is all very well, but what happens when the box breaks?
At both the production and consumption ends of music, analogue is making a comeback.