Article section list

The Internet continues to offer new opportunities for artists wanting to promote their music to a worldwide audience. Simon Trask looks at who is distributing music over the Internet and the attitudes towards this new distribution medium.

Martin Walker suffers the consequences of a major hard disk failure, and attempts to recover his valuable data...

Derek Johnson finds that a picture plays a thousand notes with Fractal Music Composer.

We turn our attention to the effects that can be achieved when subtractive synthesis components are applied not to the output from oscillators, but to real-world sounds — such as human speech.

The MacOS 9.0.4 updater is here — but will it suit everyone? Vic Lennard does a bit of pre-trouble shooting...

Veteran guitarist Carlos Santana's 1999 comeback album Supernatural has been a sales phenomenon in the US album charts. Richard Buskin spoke to engineer Glenn Kolotkin, whose association with Santana goes back to his classic albums of the '70s.

With the growth of digital television and affordable solutions for recording audio to picture, many musicians are keen to get into writing and recording for visual media. In this introduction to the series, Hugh Robjohns investigates basic working methods and suggests some system requirements.

With Hinton Instruments' AudioCalc, your Atari can earn its keep helping out with essential computations in the studio. Derek Johnson finds it all adds up...

Although 'Money' took new British R&B star Jamelia into the top 5 at the age of 17, her apparent overnight success was built on more than a year of hard work by producer Colin Emmanuel. Sam Inglis uncovers the story behind the single.

Now that so many plug-ins are available for free or cheap and easy download on-line, it's possible to build up an impressive arsenal of virtual effects without hurting your credit card. Martin Walker homes in on some of the most interesting products on offer for Mac and PC.

Computer-based MIDI + Audio sequencers have been popular for several years now, but some people have never been entirely happy using a digital rodent to control their main recording hardware. John Walden looks for ways out of the mouse trap by using key commands in Emagic's Logic.

This month, Martin Walker discovers some new VST instruments and helps you clean up your Registry.

Every pitched sound can be thought of as a collection of individual sine waves at frequencies related to the fundamental. Gordon Reid introduces a powerful method of synthesis that works by manipulating these individual harmonics.

As Internet and telecom companies flood the market with attractive-looking offers of 'free unlimited Internet access', many people have been left wondering whether there's any catch, and if not, then which one to choose. Dave Shapton sheds some light on these new services and puts the economics of free Internet access under the microscope.

Most of us are aware that MP3 encoding offers a way of drastically reducing the size of digital audio files while preserving reasonable sound quality. But how many of us know how it works? Paul Sellars explains the theory behind MP3, and offers some tips on making your own coded files sound better.

When is the professional signal level no longer standard? When you want to connect to digital equipment! Hugh Robjohns explains the mysteries of exchanging signals between analogue and digital domains.

Martin Walker discusses Windows 2000 and speeds up his Internet downloads.

To upgrade or not to upgrade, that is the question — Vic Lennard provides some of the answers...

Derek Johnson explores the mysteries of M, a renowned algorithmic composition tool that's now free to Atari users.

Last month, we examined the frankly scary maths allowing you to predict the audible effects of Frequency Modulation. This time, although the maths gets even tougher, Gordon Reid relates the theory to the practical implementation of FM synthesis on Yamaha's digital synths, as well as modular and non-modular analogues.