Even though it had no serious competitor quality-wise, Soundcraft's original Series 200 mixer was somewhat lacking in the 'useful features' department. The newly-improved 200B puts all that to rights as Dave Lockwood discovers.
Jay Chapman discovers why this 16-track MIDI sequencer package for the BBC B micro, described as the musical equivalent of the humble word processor, is receiving so much acclaim from studio users.
Always eager to expand their experiences, Mainframe duo Murray Munro and John Malloy talk to Ian Gilby about the processes involved in the shooting of the promo video that accompanied their recent Polydor single release.
Accepted as the synchronisation standard in the television and broadcast industry, this digital timecode is fast making inroads into the recording studio at all levels. Kendall Wrightson puts it all in perspective with the start of this series.
Engineer Dave Meegan recalls how depression helped land him a plum position at Trevor Horn's Sarm West Studios. Chris Allison listened with great interest.
In between tours with Ultravox and appearances on Live Aid, Midge Ure somehow found the time to discuss the writing and recording of his first ever solo LP 'The Gift' and his No.1 single with SOS Editor Ian Gilby.
You don't know his name but you'll have heard his refrains. Composer Paul Bliss writes hits for the best of 'em using a UMI-2B sequencer package and several synthesizers. Ralph Denyer finds out how.
Greater reliance on hi-tech instruments in the studio means there's more demand for people able to programme them. Paul Gilby spoke first to Karin Clayton about her recently formed agency that supplies programmers for studio sessions, and then to Fairlight programmer Simon Lloyd about his work.
SOUND ON SOUND
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