SOUND ON SOUND
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The Wretch Machine sounds absolutely terrible — but that's exactly as its creators, Metasonix, intended. To see what valve-powered synthesis can do for you, read on...
Flux claim that their plug-ins combine simplicity and sophistication, thanks to their unusual interface design and novel controls. Let's find out...
The multitracks for Evanescence’s third album were so big that they required two maxed-out Pro Tools rigs to play back!
In pop music, production partnerships are pretty rare — especially ones as successful and long-standing as that between Clive Langer and Alan Winstanley.
The Reckless album was a huge success for Bryan Adams, giving rise to six hit singles — but the first one, 'Run To You', was almost never even recorded.
Dave Stewarts career has spanned several generations of music technology (from National Health band in the 1970s to hits with partner Barbara Gaskin. For his latest project, he faced the challenge of bringing his old multitracks and MIDI sequences into the computer age.
Headlining the biggest electronic music festival in Europe was a US composer almost unknown in the UK. A contemporary of synth pioneer Don Buchla, Suzanne Ciani enjoys enourmous success in America, yet such recognition has eluded her so far this side of the Atlantic.
With a characterful sound to match their striking retro styling, these new mics set themselves apart from the crowd.
If you remember seeing fresh-faced popsters Altered Images bouncing around the TOTP stage back in the '80s, you may already have seen Stephen Lironi. Nowdays, though, he's all grown up and carving himself a production career with the likes of Space, Jon Bon Jovi and Brian Wilson's singing daughters, The Wilsons. Richard Buskin finds out about the new image.
Producers Clive Langer and Alan Winstanley helped to make Madness one of the most successful British bands of the '80s. Find out how they worked their magic on this 1982 classic pop track...
Flux claim that their plug–ins combine simplicity and sophistication, thanks to their unusual interface design and novel controls.
Monitor speakers affect nearly all the descisions we make when recording and mixing — yet most of us know very little about how they are designed, and why they sound the way they do. In the first of a new series, Phil Ward explains what goes into the design of typical passive nearfields, and the effects they can have on what we record.
Well-known jazz musician John Scofield has spent the last five years updating his sound with the help of modern technology and new collaborators - including innovative guitarist Avi Bortnick.
From Rain Man to The Lion King, and Gladiator to Mission Impossible 2, Hans Zimmer's music is known by audiences worldwide. With business partner Jay Rifkin, Zimmer is also responsible for Media Ventures, a music studio that offers a unique environment for media composers.
Paul White catches up with the man who pioneered the art of radical remixes in the '80s, and has gone on to become a hugely successful producer and songwriter.
Why is Al James poppy and well-arranged track not reaching its potential in the mix, despite extensive EQ treatment and other processing? We dissect his original Cubase project to find out.
We pass on the hard-won wisdom of 50 top producers in the essential Sound On Sound guide to recording kick and snare drums, the backbone of modern music.
Last month, Hugh Robjohns described the planning and setting up he undertook in preparation for recording the choir of Cheltenham College. This month, he turns his attention to the recording itself — and the problems of moving between two venues in one day.
Leading ambient housemeister Banco de Gaia has just completed his eagerly awaited new studio album. Jonathan Miller finds him changing tracks as he steams towards greater success.
Since Lamb first came to prominence at the height of the mid-'90s trip-hop movement, Andy Barlow and Lou Rhodes' distinctive blend of electronica and organic songwriting has gone from strength to strength.