SOUND ON SOUND
Click with a new metronome, tune up a pitch correction problem and stop that annoying whistling. In short, catch up with the latest from MOTU's wonderful world of Digital Performer...
Both Sonar Producer Edition and Studio Edition offer several choices for dynamics processing. How do you pick the right one for the job?
Having introduced the concept of looping, velocity switching, and multisampling, it's time to actually make some samples. We give you a few hard-won tips that can make your life easier on the way.
Reason mixes can sound superbly fat and punchy, thanks to the array of tools the software puts at your disposal. We adapt some traditional mixing know-how to the Reason platform and offer device-specific tips to help you improve your mixes.
Move over Auto-Tune: Digital Performer v4.6's new Pitch Automation features are fully integrated into the program and provide considerable power over all aspects of pitch. We explain how they work and take you through some practical examples.
More news of what's cooking in the world of Windows — but first, why it might be time to ditch Internet Explorer in favour of Mozilla's Firefox browser...
Sonar technology takes over Cakewalk's entire product line, from low to high end, while the Studio and Producer editions get an audio engine tune-up. Read all about it...
The new PC interfacing standards of USB and Firewire brought with them the promise of 'hot-plugging' and easy interconnection. But some musicians have discovered, to their cost, that the reality doesn't always live up to the promise. We investigate...
Sometimes the click can steal the life from a session, so why not start with a live performance?
Mixing and automating complicated projects can be made simpler if you use 'stems'. What are they and how do you do it? Read on...
The Hollies were the third artist in as many years to cut Albert Hammond and Mike Hazelwood's pop ballad, yet it was their version that became a worldwide top 10 hit. In 1974, Alan Parsons was behind the mixing desk at Abbey Road for the recording.
This month brings news of further maintenance updates to Pro Tools, plus some intriguing plug-in launches...
Last month we discussed how to prepare mixes so that they are ready for the mastering engineer. This month, we look inside the mastering room during the processing of an album, to see what kind of equipment is used, and the sort of processes that are applied to finish the tracks to the required standard.
We look at how to use the facilities available to Cubase's MIDI tracks to recreate certain master keyboard functions.
The Strip Silence window in Pro Tools allows you to automate complex edits that would take hours to do by hand. Find out how...
The new Tiger AUPitch plug-in promises better pitch-shifting performance, but does it deliver in practice?
We explore a powerful Audio Units plug-in host application you might not realise you already own, called AU Lab. Plus news of the multi-button Apple mouse and Intel architecture changes...
If you need to run multiple Firewire audio interfaces, you'll want to upgrade to the latest Tiger version of Logic. Read on...
As we saw last month, sampling is really just a form of digital recording, but to use short recordings to emulate real instruments, you soon need to understand new concepts like multisampling, looping, and velocity switching. We explain all...
We investigate a newcomer to the orchestral sample-player scene and provide a quick round-up of the 'powered processing' options available to DP users.