SOUND ON SOUND
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What do the manufacturer's frequency response figures tell you about your studio monitors? Less than you might think, as Phil Ward discovers...
The recent G3, G4 and iMac computers are fast and attractive to musicians, but they present various dilemmas when it comes to connecting your MIDI and audio interfaces. In part 1 of this short series, Paul Wiffen looks at the various ways to get MIDI data flowing reliably in the absence of ADB and serial ports.
I have a terrible dust problem in my studio. I have wooden floorboards, the gaps between them are sealed with silicone...
I was told that the quality of CD media and of the CD‑writing software package used can affect the sound quality of...
I am an audio engineer from the fair shores of New Zealand. The other day I was presented with an argument, and this...
I've recently bought myself a home studio setup (PC, Cubase VST, Alesis ADAT LX20 digital audio recorder, Akai...
Mike Senior answers some of the most common questions we receive about sending out demos, and helps you to make the kind of impression that will get your music heard.
I am searching for a mixer for an unusual application. I wish to mix the stereo output from my computer and to send it...
What's the difference between an audio CD I have burnt on a CD‑R and one that is produced 'professionally' at a...
The affordability and compactness of Minidisc, DCC and smaller DAT recorders makes gathering location sounds a lot easier than...
The last few weeks I have been recording using the Yamaha SW1000XG together with a Joemeek VC3 preamp/compressor. During...
Recording bass is ostensibly a simple affair, but often what sounds great in isolation lacks any power to penetrate a mix. The...
Paul White auditions some new active monitors from Fostex that offer a number of technical innovations.
Korg follow up their top-flight Triton workstation with a sophisticated rackmount expander. The new model sacrifices some features but enhances many others and adds support for the mLAN music network standard. Simon Trask racks it up.
At last, an easy way of consistently getting a polished, 'produced' bass guitar sound in your recordings! Dave Lockwood tests a physical modelling processor that bass players and engineers alike will welcome.
Electrix's new babies may look like Day-Glo '50s Bakelite radios, but they are in fact an innovative pair of pint-sized studio processors. Paul Farrer gets out his magnifying glass...
Despite the ever-increasing number of PC recording cards on the market, there's one particular niche that has remained unaddressed, for years. Martin Walker tries out a product that, at last, fills the gap.
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.
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In these days of 64-note polyphony and 32-part multitimbrality, it's easy to forget the importance of note-priority systems in analogue monosynths — yet they can have a drastic effect on what you hear when you play or trigger an old synth. Gordon Reid provides a refresher course.
You might think the Pod Pro is just a Pod in a rack, but there's a lot more to it than that.