Article section list

Martin Walker is the first to take the chair in our new regular column on Internet based resources for the hi-tech musician. This month, he looks at sites that aim to help you improve the sound of your studio.

In this final part of our series looking at the alternative systems available for recording and mixing, Paul White outlines his own system and the reasons for building it that way.

Since Microsoft released Windows 98 at the beginning of June, some PC musicians have held back to see how stable it is, while others have taken their chances. Martin Walker crosses his fingers and jumps the latest hurdles form Bill Gates.

The iMac has been shrouded in mystery since its announcement by Apple — and some of the puzzles just won't go away, even now the first machines have shipped. Martin Russ investigates.

This month sees a major upgrade of the PC variety, as Martin Walker invests in a faster, more powerful machine, as well as installing Windows '98. Things will never be the same again!

All fingers and thumbs in front of a keyboard? John Walden provides a few pointers to make sequencing using a MIDI guitar controller a less fretful experience.

All recording setups incorporate effects devices of one sort or another, but it's easy to end up using them only in the same predictable ways. Roger Jackson introduces some more imaginative ways to freshen up your productions.

Martin Russ looks at some of QuickTime 3's new features, and considers why the 'computer-as-complete-recording-studio' approach isn't always the best one...

This month, Martin Walker finds that it's good to talk, and uses a PC utility to burn his Akai-formatted hard drive sample collection onto Akai-format CD-R disks.

Just when you thought it was safe to dip your hand in your pocket and buy that ideal studio, Paul White throws digital mixers into the frame.

Nicholas Rowland fades away with a few tips for creating and manipulating MIDI echoes, along with some other sequencing esoterica.

Derek Johnson checks out two ST freebies that could help you to tame your synths..

Will physical modelling continue to be at the leading edge of synthesis, or are there other methods moving up on the inside tracks? Paul Wiffen winds up the Synth School series with a little crystal ball-gazing.

Continuing his quest for the perfect listening environment, Paul White looks at ways to treat a control room without having to bring in the builders.

Although you can go 'under the bonnet' and put together your own PC suitable for MIDI + Audio recording, buying a complete system could prevent many potential problems. Martin Walker gets bundled up.

If your MIDI data refuses to emerge properly from the end of the cable, why not try these handy tips. Martin Walker helps you thru your Ins and Outs.

There is now a bewildering array of audio options inside most PC audio recording packages, and if you understand the reasoning behind them you can get a bit (or even a few bits) more quality out of your hard drive audio. Martin Walker explains.

What do you need to put together to create your own studio? Paul White investigates practical options for a core system based on preferred methods of creating music.

Derek Johnson unearths a simple but fun Atari tracker and sound chip synth, and explains how your ST can help you train your ears...

Paul White looks at how you can calculate how much studio acoustic treatment you really need.