SOUND ON SOUND
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Christina Aguilera's debut single was a worldwide smash hit last year, thanks in no small measure to the distinctive work of producer and co‑writer David Frank. Mike Senior finds out how he did it.
Spectral Audio's internet homepage includes a large graphic, stating, rather menacingly, 'Rave or Die'. Christopher Holder meets the new Syntrack monosynth and decides death can wait.
Commercial physical modelling synths first appeared in 1994, but until now, nobody has produced one that offers truly multitimbral operation together with decent polyphonic performance. Korg's new Z1 does — and for well under £2,000. In this, the first UK review of the finished instrument, Goron Reid laughs wildly and plays lots fo chords — because he can.
Having learned last month how to synthesize tuned bells, we turn this time, in the last of this series on the subject of percussion, to untuned bells — in the form of the humble cowbell — and claves.
Paul White talks to one of the seminal figures of the electronic music era, pioneering synthesizer designer Bob Moog.
Not all analogue classics have keys. The Xpander was an early module that packed in more features than its moderate size would lead you to expect, and left a legacy still discernible in modern synth design.
Mark Isham resides at the top of Hollywood's film-music hierarchy, equally comfortable composing for orchestra as for a rack of samplers in his home studio. He marks time as an innovative genre-hopping artist and sought-after trumpeter too. Jonathan Miller finds out how he fits it all in...
Most jobbing producers would regard jetting off to exotic locations to spend a year with one of the most famous artists in the world as a fantasy. For programmer and producer Kipper, however, the dream became reality — thanks to Sting. Tom Flint caught up with Kipper in his Surrey home studio.
This month, some of the people who actually get their hands dirty with arranging — often for the household names in popular music — pass on their thoughts, hints and tips.
Pro Tools has made a leap to 24-bit, but does the increased theoretical quality really translate to a better sound, and it is worth the extra money? Mike Collins finds out.
Writing audio CDs is getting easier and easier, especially with this new release for the PC from Sonic Foundry. Martin Walker rubs two files together and goes for the burn.
Engineer Richard Chappell has been at Peter Gabriel's Real World Studios for over 15 years — and he's spent seven of them working on Gabriel's latest solo album.
Although much loved by musicians, Boss's SE50 and SE70 effects processors have now been discontinued, and the new SX700 is designed to replace them. Rob Brady decides whether the SX can follow in the footsteps of its forefathers, or whether it is destined forever to walk in their shadow.
Combining strings, a monosynth, a bass synth and a polyphonic synthesizer, did ARP create the keyboard equivalent of 'Wash and Go', or a jack of all trades and master of none?
Imagine you've spent a lot of time and money setting up a one-off gig in a historic castle, for a select audience, with the aim of recording and videoing the performance for future release. Then disaster strikes: catastrophic equipment failure leaves you with half a gig on multitrack tape, and major rebuilding work is needed later in the studio. Phil Bates mixes some cement, rolls up his shirt sleeves and tucks his pencil behind his ear...
The DC16 is an assignable control surface ideal for use both with gear and software, and with digital audio systems such as Pro Tools. Mike Collins just loves being in control.
The new version of Cubase is all about big ideas, including a completely new way of working with tracks, plug-ins and virtual instruments.
We've seen some curious studios in SOS over the years, but not many have included a warehouse full of vintage hardware, Pro Tools HD rigs, and thermostatic ovens. But it's all part of the daily routine at FX Copyroom...
Offering classic Hammond sounds in a rackmount format, the XM1 module, together with the optional XMc1 drawbar controller, seems the ideal space-saving solution for those unwilling to rely on sample CDs for their organ sounds. Hammond XB2 owner Nick Magnus considers the pros and cons of a transplant.