SOUND ON SOUND
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True, the name harks back to the CS-series synths of the '70s and '80s, but with their new CS1x, Yamaha definitely have their eyes set on the future. Critics Derek Johnson and Debbie Poyser analyse Yamaha's blue period...
In this second article on digital music production, Clive Williamson looks at how musicians can use computer technology to get their work from a DAT tape to the final product — the CD.
With a new studio album set to take their unique brand of instrumental music to the top of the charts, Ozric Tentacles are arguably the most successful truly independent band in the UK today. Jonathan Miller met leader Ed Wynne at their Somerset studio.
The pitch-shifting and harmonisation facilities available in the Digitech Vocalist series have been widely acclaimed as the most natural-sounding on the market. Paul White talks to Fred Speckeen of Canadian company IVL Technologies, who are behind the Vocalist and other pitch-shifting technology.
JJ Jeczalik, one third of '80s sampling pioneers Art Of Noise and erstwhile 'Mr Fairlight' has sold his series III and bounded into the '90s with an Akai sampler and a brand new album of dance music. Paul Tingen finds out why no noise is good noise.
The latest crop of dance-specific sound modules are a bad thing, both for pop in general and dance music in particular, says SOS Contributor and self-confessed 'cynical old hippy' Norman Fay.
Despite promises that the Internet will soon alter the way we make, promote, and sell our music forever, it would seem the revolution is yet to happen. Or is it? Simon Price explains how the technology required to broadcast your demo anywhere in the world is almost within reach.
Newcastle-based Dubstar released one of the most successful pure pop albums of the last 12 months — and they made most of it using gear that wouldn't be out of place in many SOS readers' studios. Matt Bell gets sidereal with the band's programmer and main songwriter, Steve Hillier.
Famous for their Aural Exciters, Aphex continue to diversify. Paul White takes a look at the US company's new valve-based compressor.
If you want to make a living as a producer, masterminding great recordings is not the end of your obligations. You'll have to deal with lawyers, managers, and the business end of record companies — all in the interests of finding work, and ensuring you're paid for it! David Mellor invites you into his parlour...
Brian Heywood ponders some PC problems and waxes lyrical over the forthcoming Soundscape upgrade.
Last month, Paul White looked at ways to tackle the noise and distortion that can spoil a mix. However, even a perfectly recorded mix can still sound terrible, and this calls for different tactics...
Paul White goes into economy mode and tries to coax an extra degree of realism out of a budget studio reverb unit.
Martin Russ's terminal terminal finally gives up the ghost and after thinking long and hard about its replacement, he makes a surprising decision...
Ofir Gal brings news of a crop of software releases, from audio to graphics, which could enhance your Atari working environment...
The ARP 2500 is so rare that most of the existing examples are in private collections. Though few of us will ever get to play with one, the story of this modular monster remains fascinating. Lucky 2500 owner Robert Alexander relates the tale...
Digitech's VTP1 seeks to outpace the competition in the crowded valve mic preamp market by offering built-in 4-band EQ and a digital output. Paul White sees how it runs...
Best known in the microphone world for their high-quality dynamic mics, Electrovoice are now hoping to raise their profile as a manufacturer of capacitor models with the release of three additions to their RE range. Paul White listens in.
Korg have added a vocal harmony generator to their i-series of intelligent arranger workstations, taking advantage of the same harmonising technology that's behind Digitech's market-leading Vocalist series. Gordon Reid finds out whether the new unit has anything surprising up its sleeve...