SOUND ON SOUND
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How much treble is too much? As this month's Mix Rescue discovers, it's easy to overdo things at the recording stage, but not quite so easy to correct them at the mix.
Disagreement can be destructive, but it can also drive a band on to new heights. So it was when 10cc's Kevin Godley turned up his nose at a love song penned by Eric Stewart and Graham Gouldman, insisting that it would have to be completely reinvented in the studio...
Michael Anthony plays Orpheus in the underworld of home keyboards in an attempt to discover what level of technology lies beneath their distinctly untrendy exteriors.
Fletcher ElectroAcoustics' Voice Channel is a modern reincarnation of a vintage classic compressor, repackaged with a high-spec mic amp and an enhancer.
Bass is the linchpin for so much of today's music, anchoring the other sounds and providing a foundation for the mix as a whole. But at the same time, it can seem maddeningly difficult to pin down and control. Help is at hand...
What do the manufacturer's frequency response figures tell you about your studio monitors? Less than you might think, as Phil Ward discovers...
Prior to taking over the sampling world, Akai launched a hybrid analogue/digital synth with a unique interface.
Many UK music technology retailers are now building specialist PCs to order, and Digital Village are no exception. Their Pentium 4 systems promise careful optimisation at a very competitive price.
What does the SOS team want for Christmas this year?
Released in 1984, 'People Are People' perfectly combined Depeche Mode's love of pop music and experimentalism, and gave them their first US hit single.
Combining Focusrite's cutting-edge preamplification and A-D conversion with Sintefex's pioneering convolution technology, the Liquid Channel can mimic the most celebrated mic preamps and compressors ever designed. Could this be the only voice channel you'll ever need?
Les Paul made some of the most innovative records of the 20th Century, but he had to invent multitrack tape recording first...
Paul White clocks on for a shift in Focusrite's Tone Factory, the first of the company's new low-cost Platinum range of processors, and discovers the anarchic side of Focusrite.
One of Yamaha's most well-known studio products receives a makeover for the 21st Century.
In part 2 of this series, Oli Bell offers advice on choosing a sampler for modern styles, finding and using samples from the Internet, and deciding which sample CDs to buy.
The latest and largest addition to Roland's XP family is a strapping workstation with a monster sequencer and masses of programming muscle. Paul Nagle puts it through a complete workout...
Most US synthesizer manufacturers followed the now all-too-familiar corporate history of rapid growth in the 1970s followed by acrimonious dissolution in the 1980s. What happened to Octave, however, was a little different...
Most of us can set up a suitable vocal reverb treatment, but what's the best way to deal with all those synthesized and sampled instruments? Paul White offers a few suggestions.
Applied Acoustic Systems, known best for their Tassman software synth, have now used their modelling technology to create an electric piano plug-in. But of course, theirs isn't the only one around...
For 10 years, Yamaha's compact QY 'walkstations' have offered an impressive set of tools for the mobile MIDI musician. Nicholas Rowland checks out the latest, which adds guitar and vocal processing.