DAVE WRIGHT: The Case For Noise
Dave Wright puts forward the case for noise, genuine old hiss, interference, wind and grind — the full mechanics of the recording process captured in all their glory...
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Dave Wright puts forward the case for noise, genuine old hiss, interference, wind and grind — the full mechanics of the recording process captured in all their glory...
This month Dave Shapton reports on the latest in broadcast video, from the International Broadcasting Conference in Amsterdam, and predicts how these innovations will be used by musicians as promotional tools. He also takes a look at the future of software-only video editing.
Can an Englishman's home be both his castle and his studio — or is it better to keep business and pleasure apart? Jay Kay of Jamiroquai clearly feels that building his own facility has paid off. Sue Sillitoe heads for his Chillington studio in Buckinghamshire to find out more...
Sound On Sound's May 2000 SAE/MPG competition offered readers the chance to win a recording session in a London studio with a top producer. Tom Flint talked to the lucky winners about the recording of their demo — and to producer Steve Levine, who took on the job of transforming it into a potential chart-topper.
The SOS team drop in on another reader studio, this time in the form of a radio station!
How can an electronic band produce exciting, spontaneous, unpredictable and visually engaging perfomances? And if they do, is it really possible to capture the experience of being there in a recording? Rick Smith and Karl Hyde of Underworld believe they have the answers, as Paul Tingen discovered.
This special November 2000 edition includes a 32-page supplement looking back over those early days, making this this the biggest SOS of all time. Selected leaders, highlights, and advertisements reveal how the hi-tech music recording field has evolved and how expectations (and prices) have radically changed through the years...
Disk storage may well be the future of recording but, as Dave Shapton explains, it pays to be aware of some of the potential pitfalls before entrusting your precious original master recordings to such media.
The studio business has seen huge changes in the last 10 years, and the equipment, techniques and fashions that were cutting-edge in the early '90s are often redundant now. Mike Senior meets a producer and engineer who, having made it to the top then decided to take a five-year break and is now back with a vengeance.
David Gray's album White Ladder has become one of the most successful UK chart albums of 2000, a breakthrough spearheaded by top five chart single 'Babylon'. Engineer/programmer and co-producer Lestyn Polson tells Tom Flint the story behind the song.
Sean Clough laments the constraints which the click track has imposed upon musical expression.
Newcastle-based engineer Dave Maughan, like many SOS readers, runs a small commercial studio based in his own house — where he recorded one of the year's most acclaimed albums. Sam Inglis hears his story.
Simon Rinaldo and his bedroom studio full of vintage keyboards and synths.
Since UK garage emerged from the underground last year, record companies have been scrambling to sign up the stars of the latest Big Thing. Foremost among these is Mark Hill, who, as well as being one half of Artful Dodger, has also produced Craig David's hit single and debut album Born To Do It.
Ken Nelson favours the old school of recording, based around clean signal paths, live playing and analogue tape — but that hasn't stopped him working with some of the hottest new bands in Britain. Among them are Coldplay, whose debut Parachutes album crashed straight into the charts at number 1. Sam Inglis finds out how it was recorded.
This month, Dave Shapton suggests that emerging compression techniques may actually improve our audio and multimedia experiences.
Paul Sellars challenges the idea that MIDI + Audio sequencing has had a negative effect upon musical proficiency.
Morcheeba's last album Big Calm was a commercial and artistic breakthrough, and expectations were running high for their new album, Fragments Of Freedom. The first single from the album, 'Rome Wasn't Built In A Day', was an intriguing taster. Producer Pete Norris told Tom Flint how it was written and recorded.
Those who bemoan the lack of invention and experimentation in today's rock music must make an exception for Mercury Rev and the Flaming Lips, two of America's finest and most successful 'alternative' outfits. Their shared producer and engineer Dave Fridmann tells Sam Inglis about their unique approaches to recording.
After poor sales of an album that dealt with death, Mr E and his Eels returned with a beautiful-sounding, poignant, and often funny record about life, recorded mainly in the basement of E's house. Matt Bell talks to E and his collaborators about how the album was made.