SOUND ON SOUND
Having come a long way from its humble beginnings in the early n-n-n-n-nineteen eighties, sampling is now an integral part of music making. Paul White explains what samplers do and how they can be used.
Buying your first synthesizer can expose you to apparently meaningless technical specifications, conflicting advice, and overwhelming technical jargon. Confused? You won't be, after reading Derek Johnson & Debbie Poyser's plain English guide to making the right choices.
Noise reduction comes in various guises, with Dolby alone offering five different systems. Paul White explains the difference between Dolby, dbx and a bag on your head...
In these days of practically unlimited MIDI sequencer tracks, just eight tape tracks can seem frustratingly few. David Mellor passes on a few tricks to help 8-track users expand their recording horizons — including how to get 20 tracks from 8...
The Atari range has undeniably been somewhat neglected in the race to produce the hardware and software necessary for integrated hard disk recording on today's computers. Ofir Gal takes a look at a German company who are determined to keep the Atari flag flying.
Accurate monitoring is a must in the recording studio, but the perceived level of bass depends on where you are standing and where the speakers are positioned. Paul White explains why in audio, a boundary literally means a six.
Brian Heywood browses the World Wide Web, and takes a look at the latest CD-ROM writer from Yamaha.
Paul White looks at the benefits of using a multi-port MIDI interface.
Martin Russ follows up last month's article by Nick Rothwell on using MIDI with modern dance by asking: how exactly does he do that?
Approaching re-entry into the atmosphere, Simon Millward concludes his tour of the Cubase universe with a look at some of the flagship sequencing package's lesser-known functions.
Paul Overaa gives you the latest on the Amiga scene... OctaMED technique & ARexx.
With so much interest in vintage synths, it's easy to overlook the fact that many classic sounds owed just as much to the tape delays being used at the time as to the instruments themselves. Paul White shows you how to fake the effect.
Most contemporary sequencers include facilities that make it possible to automate all the key aspects of a MIDI mix, but all too often they remain unused. Paul White explains how to dip your toe in the water without falling in...
This month Ofir Gal takes a look at screen resolution.
Paul White indulges in a spot of woodwork therapy, and comes away with two very cost-effective speaker stands.
Brian Heywood considers the role of affordable 'PC plus soundcard'-based digital audio recording systems, and considers whether such systems could ever mean the end of dedicated hard disk recorders...
In an ideal world, studios would function without hum, hiss, glitches, or mysteriously absent signals, but as Paul White has discovered through experience — they don't!
Simon Millward continues his mission throughout the furthest reaches of the universe of Cubase, boldly sequencing where no man has sequenced before...
Martin Russ offers an antidote to the hype of Windows '95 and explains why the future of computing lies with the PCI buss...