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With '8 hate' remaining strong, Microsoft haven't had the best of years. Is that all about to change?

Our engineer figures out how to apply just the right amount of polish to an indie-rock track with a DIY aesthetic.

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As the nails are being hammered firmly into the coffin of competitive loudness processing, we consider the implications for those who make, mix and master music.

Even with the simplest of setups, audio recording for film is no easy task — especially when the whole picture has to be shot in a day.

Live enters a state of flux as we get to grips with morphing.

Proving that not every pop star is a manufactured creation, John Newman is as at home in the studio as he is on TV.

When I first looked at the Jake Bugg sessions, I was like, 'Wow, this is really stripped-back.'

While Tom Petty and Jeff Lynne’s writing partnership was certainly successful, it was the partnership between Jeff Lynne and engineer Richard Dodd that gave the records their distinctive sparkle.

It didn’t make the headlines, but a quiet revolution is happening in Mac OS Mavericks...

Producer Phil Ramone was legendary for getting great vocal sounds. Here's how he did it — and how you can do the same.

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From de-essing to complex drum processing, side-chain access in Studio One opens up many new possibilities.

Electronic drum kits are not silent, so what can you do to tame their thumps and rumbles?

We scrutinise two Rack Extension additive synths and look at how to add harmonic complexity to any source.

Learn to set up M/S matrixing in Pro Tools and you open up a world of creative processing possibilities.

Learn to set up M/S matrixing in Pro Tools and you open up a world of creative processing possibilities.

They boast faster boot times, total silence and greater durability ­— but is a solid-state drive right for you?

Work smarter not harder with Smart Controls in Logic Pro X.

We look at crossfading, Live's secret sound-design weapon.