SOUND ON SOUND
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Walk inside Philip Taysom's studio and you will find classic synths in abundance, all connected and all ready to play...
Korg's new music workstation combines the synthesis, multi-effects and sequencing capabilities of the Triton with a new performance-based interactive music generation system — one that goes way beyond traditional arpeggiators and auto-accompaniment sections for sophistication and versatility. Simon Trask is SOS's KARMA policeman...
Over the last three decades Chris Tsangarides has produced some of the biggest names in heavy rock and has perfected the art of capturing the excitement of a loud, live band on record. Tom Flint finds out about some of his trademark production and engineering techniques including his work on the latest Gary Moore album, Back To The Blues.
SOS visits another reader's home/project studio.
An 'Unplugged' session is going to require a very different studio from a techno track bursting with MIDI bells and whistles. Beyond that, choosing a recording studio is down to that elusive spiritual ingredient, 'the vibe'. David Mellor investigates pop psychology...
The Korg DDM110 was one of the first digital drum machines to reach the mass market. Paul Sellars rediscovers its distinctive, punchy sound and revels in the simplicity of its programming...
The music industry's down, but your passion for audio is still high. Fortunately, there are alternatives to working in the studio that can feed your fervency and still make you a living — perhaps even a better one.
In the second part of our coverage of Korg's new collection of software instruments, we turn our attention to the virtual MS20, and the MS20-shaped hardware controller. Just how well do these renditions compare to the original?
Paul Ward plays a key role in the thriving Surreal To Real record company, is about to release his second solo album — and still holds down a day job. Paul White caught up with him backstage, after his impressive live performance at the EMMA festival, to find out how he does it.
Great songs are 1% inspiration and 99% perspiration. Big George mops his brow and takes it to the bridge...
We test and report on another crop of highly insertable software Plug-ins: PSP Master Q • TLL Everyphase • Fabfilter Fabfilter One • Cranesong Phoenix • Audiorealism BassLine • Sonic Charge µTonic.
An expert at hard disk recording and editing, Mike Higham has developed his career alongside Digidesign's Pro Tools. Sam Molineaux talks to an engineer who's on the fast track...
Unil the EII came along, Paul Wiffen had no time for sampling as a musical tool. But when he found all the filtering and enveloping he was used to from analogue synthesis, plus a sound fidelity which he hadn't heard before, he was a convert...
Two successful new producers from New Zealand have used a unique blend of old and new technology to create two hit albums for the Stereophonics. Mike Senior talks to Bird & Bush about their role in a British rock & roll success story.
The flood of quality effects units from Lexicon continues unabated. The Reflex takes the familiar Alex format, enhances its front panel editing, adds Lexicon's new Lexi II chip for improved sound quality, and tops it all off with comprehensive MIDI control facilities. Nick Magnus gets dynamic...
Can an Englishman's home be both his castle and his studio — or is it better to keep business and pleasure apart? Jay Kay of Jamiroquai clearly feels that building his own facility has paid off. Sue Sillitoe heads for his Chillington studio in Buckinghamshire to find out more...
Most home recordists would love to own a stereo digital recorder, but the relatively high price of DAT and MiniDisc has kept this desire a pipe dream — until now. Paul White tries out the very attractively priced Philips DCC730 digital recorder and discovers what could be a new standard in affordable digital mastering.
SOS meets another reader in their home studio.
Mark Thomas finds himself very much in demand writing and recording music for film, television and library albums. Much of the music involves orchestral instruments, and even 70-piece orchestras, but as Mark explained to Paul white, the bulk of the work can still be carried out in a home studio.
From hit solo albums to film soundtracks and remixes, Nitin Sawhney has turned his hand to almost every aspect of music production -- and his music is equally diverse, blending Indian and Western classical styles with rock, hip-hop and dance.