SOUND ON SOUND
Since forming in 2002, Irish instrumental outfit God Is An Astronaut have developed a unique sound that incorporates ambient electronica, post‑rock guitars, cinematic soundscapes and captivating melodies.
Widely credited with not just inventing techno but also coining the name, Juan Atkins tells the story of his genre-defining record, ‘No UFOs’.
There’s nothing more dispiriting than opening a session only to see the Missing Files error. We show you how to find your audio again!
We’ve updated our set of free audio test files!
Mid‑Sides processing is your gateway to creative manipulation of stereo sources.
Organising your Pro Tools sessions will help you work faster and more efficiently.
Why choose between rock and pop — when, like Andrew Watt, you can excel at both?
Create a complete musical cue from just a single sample with HALion Sonic’s spectral synth engine.
New in Live 12, Ableton’s Meld synthesizer is far more complex than you might think.
Can an old container really be turned into a viable music production space?
Daniel Moyler is a London‑based mixing and recording engineer who when asked to dissect a favourite sound, focuses on the drum sound from ‘Crowbar’ by Frank Carter and the Rattlesnakes.
These audio examples accompany our October 2024 issue workshop.
Pedals are not just for guitars. Here Paul White connects his extensive pedal collection to a modular synth system, effectively using the pedals as additional modules and suggesting some creative ways of setting them up.
DP’s enhanced instrument tracks offer some powerful new options.
Taking the decision to follow his instincts has elevated Julian Bunetta to the top rank of contemporary songwriters and producers.
We talk you through the basics of side‑chaining in Studio One.
Respected British record producer and engineer David Lord chooses XTC’s ‘All You Pretty Girls’ as a favourite sound from the many he’s recorded.
Logic’s virtual drummer now has a full band to play with! We find out what it can do...
Lower a mix’s integrated loudness with Squasher.
Working with analogue tape wasn’t all good, but it did impose a discipline on recording sessions that was hugely beneficial — and which our DAWs have made optional.