SOUND ON SOUND
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Jazz saxophonist Courtney Pine is breaking down the barriers between acoustic and electronic sound generation, marrying jazz with modern forms such as hip hop in a cross-genre partnership which is partly forged in his own home studio. Paul White hears some Modern day jazz stories.
For the newcomer, mixing a multitrack recording can seem overwhelmingly complicated. The key is never to lose sight of the basic principles...
The success of Apple's iTunes Music Store has revitalised online music sales, and not just for the major record labels. Plenty of home-based musicians are now selling music digitally, and making real money. Find out how...
Times change. When announced in 2001, the Chameleon, a reprogrammable DSP unit, looked out of date compared with the software studio concept. But with piracy rife, and software companies being bought out everywhere, the idea of reprogrammable, unhackable hardware now seems quite timely...
If you thought the MMX processor was still the last word in new technology, prepare to boldly go where your PC has never gone before. Martin Walker looks at the many new families of PC chips, and explains their relevance to the musician.
Expandable and user-friendly, Ensoniq's new synth module favours preset sounds and effects over editing and programming options. Julian Colebeck asks how the Mr Rack stacks up.
A lavish production well ahead of its time, 'Bohemian Rhapsody' remains one of British rock's finest moments. Twenty years after its original release, Mark Cunningham learns how the mercurial muse was committed to tape from its producer, Roy Thomas Baker, and (then assistant) mix engineer, Gary Langan.
High-profile synth programmer, remixer and recording artist Pete Gleadall is a man of many talents. Matt Bell talks to him about his part in the new Pet Shop Boys album, his work for George Michael, and the role of the modern programmer.
Waldorf's dream machine is finally off the drawing board and in the real world, and looks sure to set synth players' hearts beating a little faster.
Commercial physical modelling synths first appeared in 1994, but until now, nobody has produced one that offers truly multitimbral operation together with decent polyphonic performance. Korg's new Z1 does — and for well under £2,000. In this, the first UK review of the finished instrument, Goron Reid laughs wildly and plays lots fo chords — because he can.