SOUND ON SOUND
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Fostex's new recorder is the lowest-cost digital 16-track currently on the market. How have they made it so affordable?
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.
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.
The phenomenally successful Microkorg brought simple, affordable synthesis to the masses. Can Korgs Microsampler do the same thing for sampling?
Businesses are using music in ever more sophisticated ways to promote their products and reinforce their identities. Tena Clarks DMI Music leads the field in finding original ways to integrate music into marketing campaigns.
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.
No two human voices are the same, and no mic will be the perfect fit for every voice — so just how do you go about finding the best match for a vocalist?
Although it may look very similar to their existing Baby Bottle, this new mic from BLUE turns out to be a different beast entirely.
Alison Krauss persuaded mix specialist Mike Shipley to return to engineering after a 10‑year gap — in a genre he’d never tackled. The result was a creative and commercial triumph.
We discuss the sort of studio setup you need for voice-over work, and how you can start promoting and selling your services. • Read Part 1
Regular SOS readers may have noticed Ken McBeth, a DIY analogue synth builder for over 10 years, guesting as the columnist in last month's Net Notes. We sent Paul Nagle to bonnie Scotland (where else?) to find out exactly what makes this constructor of kitchen‑table instruments tick...
Few people can truly be said to be multi-talented, but jazz and soul legend Marcus Miller is undoubtedly one of them. Paul Tingen talks to him about his approach to making and recording music, and looks inside his Camel Island studio.
The future looks bright for those musicians who want to use desktop video software to produce their own promotional videos. Dave Shapton explains why.
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.
Effects can play just as important a role in sound creation as the elements in a synth's signal path — provided you have access to their constituent parts. We take a closer look at effects synthesis using simple delays.
This month, we show how manipulating the phase relationships of some tracks in your mix, plus a little disciplined pruning, can revitalise a flat-sounding track.
Artificial reverb algorithms are designed to add 'fake' room ambience to recorded sounds — but a prototype reverb unit from Sony purports to deliver new levels of realism by imposing the characteristics of actual reverberant spaces on the sound. Hugh Robjohns explains....
The Korg PolySix gave Roland's Juno 6 (and Later the Juno 60) some stiff competition back in the early eighties, and is enjoying a revival of popularity today. Nick Magnus takes a retrospective look at this analogue favourite, and gives some advice on purchasing one today.
Universal Audio have given their UAD2 DSP platform extra appeal with yet more accurate recreations of classic studio hardware, and a new version of the card that works with laptop computers.
In the first of a two-part series, Big George looks at Father Christmas, the Easter Bunny, getting signed to a record company on the strength of sending out a demo, and other fairy tales...