SOUND ON SOUND
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Flying duvets provide an emergency remedy for control-room acoustics in The Lab's two-storey industrial unit.
A complete studio in a box, for around the cost of a decent software sequencing package.
Bored with ordinary commercial studios, The Cure decided to cut loose for their latest album, and set up their latest recording facility in a Tudor house in the country. Nigel Humberstone visited the band on location to discuss the technology that made the move into the country possible, and the group's working methods.
String Studio uses Applied Acoustics' physical modelling expertise to (in theory) generate the sound of any string instrument. Good or bad vibrations? We find out...
In all the hullabaloo over the wizardry that brought long-dead reptiles back to life for last year's smash TV success Walking With Dinosaurs, the story of the production of the musical score from a small home studio — a tale no less impressive than behind the programme's visuals — was overlooked. Matt Bell sets the record straight with composer Ben Bartlett.
Users of computer-based recording systems often feel restricted by the limited degree of physical control available when it comes to mixing, especially when compared to a traditional setup centred around a hardware mixer. Mike Collins tries out a new system from Mackie which aims to improve matters.
Nick Howes of Yamaha's European Music Software Division shows you how to get the best out of XG soundcards.
Physical Modelling and Virtual Synthesis have been buzzwords for several years now, especially when it comes to imitating analogue synthesis. But what are their advantages and disadvantages, and how do they work? Paul Wiffen explains.
More Pro tools users than ever will now have the option of ditching the mouse and mixing from a full-featured hardware control surface, thanks to this collaboration between Digidesign and Focusrite. Hugh Robjohns and Paul White get their hands on the Control 24.
A heady blend of world music, dance and Irish folk, Afro Celts' music has been heard on film soundtracks and festival stages across the globe. Their latest album Seed was the first to be produced in their own studio, built in the Britannia Row premises that were once the home of Pink Floyd.
British-based Australian Barrington Pheloung is well known for his prolific film and television work, including the theme music to TV's Inspector Morse. One of his most challenging recent projects was the soundtrack to the biopic of Jacqueline Du Pre, Hilary And Jackie...
Acoustic problems and mains hum were making Aniff's studio difficult to use, so the SOS team stepped in to help.
You don't necessarily need the most powerful and up-to-date PC to create sophisticated MIDI and audio compositions. Martin Walker looks a little more deeply into what can be squeezed out of a complete range of machines, from modest to monster.
Pro Tools is virtually an industry standard for music production and post-production, even though its powerful mixing and signal processing capabilities have previously only been fully accessible through a computer screen. The recent introduction of Digidesign's own ProControl addresses that problem. Hugh Robjohns just loves being in control...
It looks like a groovebox, but inside it's a powerful FM synth, fully editable via bundled software. Derek Johnson & Debbie Poyser modulate those frequencies...
The ASRX, Ensoniq's entry into the world of all-in-one sampling and sequencing workstations, has just received a major upgrade and a fresh lick of paint. Chris Carter finds out whether the improvements justify its new 'Pro' label.
The reputation of Sequential Circuits is up there with the likes of Moog and ARP, but is the first Prophet in 20 years a worthy addition to that heritage or a cash-in on former glories?
Hard disk recording always strtches any computer to the limit, and if you want eight simultaneous tracks or more you'll definitely need help. Martin Walker finds out whether the V8 system can come to the rescue.
Despite the synth-spangled history of the company, it's been many years since a Roland product ruled the high-end keyboard roost, and 2001's Fantom workstation failed to change this. However, there's much more to the new Fantom S than one extra letter...
Paul White tests one of the first of a new generation of portable multitrackers which utilise SmartMedia digital data storage cards as their recording medium.