SOUND ON SOUND
Even the best-regulated computer can suddenly turn nasty. Martin Walker guides you through the ways to recover when you're faced with a blank screen and a frozen mouse.
Just as analogue synths fell temporarily from grace in the face of digital synthesis technology, so analogue tape seems to be succumbing to the digital recording revolution. But David Mellor argues that a wise musician is one who learns the lessons of fickle fashion...
Niels Larsen, Steinberg's Sales and Marketing manager, lets you in on some crafty ways of using Cubase.
Akai's S1100 hard-disk recording option caused quite a buzz on its release, and even now makes this well-specified sampler even more versatile. Chris Carter passes on some hard-won tips for making the best of S1100 HD recording.
These days a compressor is pretty much an essential purchase if you're recording vocals or non-keyboard instruments. Paul White looks at how they operate, and how they can be used both to control levels and to fatten sounds.
Need to transfer songs between an old sequencer and your new computer? Or between a sequencer at home and a MIDI File player for live work? Vic Lennard explains the procedure.
PC utility programs are either invaluable workmates, or end up languishing in a corner of your disk drive, rarely used. In a quest to sort out the most useful items for musicians, Martin Walker subjects his PC to the ultimate test.
Designing sounds on a computer can give you virtually all the knobs and sliders you'd want, but there's the potential to go far beyond hardware synthesis too. Dennis Miller begins a two-part tour of what's available.
After another panicky start to the year for the MacOS, Martin Russ asks what happens next.
The Atari ST is more than 10 years old, but its high suitability for music and the enthusiastic support of users means that it's still going strong. Derek Johnson takes a look at some current software, reflects on some older software available at bargain second-hand prices, and reveals those all-important Atari Show dates.
These days, many businesses plan to replace their computers every two years. Although bi-annual upgrades don't come easy on your wallet, in the fast-changing world of the PC-based musician, upgrades are eventually inevitable. Martin Walker advises you on how to negotiate the troubled path to DSP processing paradise..
Brian Haywood looks at two new enhanced versions of previously available PC software...
In the first part of this occasional series for users of popular software packages, we take a look at what you need to do to get up and running using Logic's Environment page, and provide an introduction to the Multi-instrument Object.
With the advance of new technology, PC audio editors have finally reached the point where they can give Macintosh systems a run for their money. Janet Harniman-Cook investigates the possibilities.
Brian Heywood brings you the latest hard disk recording news from the Soundscape, and gives his PC a thorough medical with Checkit...
In last month's issue, Paul Farrer offered hints and tips for making your programmed MIDI instruments seem more real. This month it's the the turn of drums and percussion.
Many of today's digital effects processors offer you considerable control over the creation of artificial ambiences for your music, and if you know how reverberation works in real spaces, you'll be better equipped for designing fake ones. Hugh Robjohns boldly goes...
Ask a dozen engineers how to make great vocal recordings and you'll get a dozen different answers — but there are some ground rules, as Hugh Robjohns explains.
Hugh Robjohns continues his history of stereo recording techniques with a look at the development of spaced microphone arrays.
Martin Russ puts the latest doom and gloom Apple news from the media into context.