SOUND ON SOUND
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.
Good news, good news and more good news. Martin Russ just can't believe his luck.
Controller freak Nicholas Rowland wiggles his magic mod wheel and transforms your sequenced sounds into something just a little more spellbinding...
In the penultimate part of his series on synthesizer technology, Paul Wiffen turns his attention to the problem of emulating acoustic instruments in which the sound is produced by a string or reed, and amplified and modified by the body of the instrument.
In his second article on acoustic treatment, Paul White tackles the absorbing subject of acoustic traps.
Just when you thought you'd got your cholesterol down, it's nothing but chips again. MARTIN WALKER wades through the new CPU options, and uninstalls some more software.
Following on from last month's look at the advantages and pitfalls of analogue and digital tape, and hardware tapeless recorders, Paul White turns his attention to the ways in which computers can be used in audio recording.
Getting your studio organised doesn't necessarily mean investing in expensive studio furniture or being a DIY whizz. Derek Johnson & Debbie Poyser explain how they made the most of their space, and pass on some hints and tips for a tidier life.
Your computer sequencer can do bewitching things with simple ingredients, creating the impression that you're a musical wizard even if you're just a one-finger pianist. Nicholas Rowland works some MIDI magic...
Hardware development is still going for Atari computers: now STe users can buy a new processor accelerator that brings faster operation and internal hard drive to STe computers, for relatively modest cost. Derek Johnson feels the need for speed...
To get the maximum quality from audio sample CDs, you need to transfer the sound data to your PC in the digital domain. Martin Walker explains why the process isn't always as easy as you might expect.
Last month, Paul Wiffen looked at how virtual synthesis can emulate analogue synths whilst going beyond their hardware-based limitation. Now he looks at its applications for imitating and exceeding older instruments such as electric piano and organ.
Paul White and Dave Lockwood strum up a few tried-and trusted methods of improving your studio guitar sound.
Confusing, isn't it? Where once the only recording option was tape, you can now put a whole studio inside a desktop PC or opt for an all-in-one recording and mixing hardware solution. Then again, you could stick to tape, or buy a separate hard disk recorder. In the first of this short series, Paul White examines the choices.
Physical Modelling and Virtual Synthesis have been buzzwords for several years now, especially when it comes to imitating analogue synthesis. But what are their advantages and disadvantages, and how do they work? Paul Wiffen explains.
Some people view GM modules as the chartered accountants of their racks, but believe it or not, there are ways to make them interesting. Paul White and Martin Walker club together to make your GM synth roar.
Unexpected crashes happen to all of us — even SOS PC gurus! Martin Walker tells a tale of troubleshooting, and falls for Steinberg's new Freefilter.
Sony's proposal for a next-generation CD format — the Super Audio CD — promises a great deal in terms of sound quality and compatibility. But will it be enough to succeed in a confused and fragmented market place? Hugh Robjohns examines the new format.