For the best part of 20 years, musicians have been asking certain Japanese manufacturers for recreations of their classic synths, and finally one of them has been brave enough to do it. How does Korg’s reborn MS20 compare to its illustrious ancestor?
Few product launches have attracted as much attention as Slate’s touchscreen controller. Is the Raven the future of DAW control — or an oversized iPad?
With user-configurable valve stages, the option of transformer-coupling and more besides, Sonic Farm’s preamp provides a broad palette of tonal options.
The makers of VocAlign have built on its capabilities, creating software that can not only match the timing of vocal parts, but their pitch and level too.
Three-way monitors have traditionally lived at the top end of the market, but there’s now a good choice of models on offer in the sub-£2000 $3000 category. Here’s a selection of recent options, with links to the SOS reviews where available.
Apple's iPad seems to have wormed its way into both live and recorded music in a big way, so having some way to hold the thing securely in the right position is a must...
The harmonica, or blues harp, appears on tracks in many genres. Despite its apparently simple construction, it’s an amazingly expressive instrument — and there are almost as many ways to record it as there are to play it.
Pulp’s infectiously catchy commentary on the joys of class tourism helped propel the group to fame after nearly two decades of obscurity. Engineer David Nicholas tells us how ‘Common People’ was recorded.
Putting in the effort at the front end of the production process can save countless hours when it comes to mixdown — as this month’s remix demonstrates.
DP still has its full share of virtual guitar amps and pedals, reverb and chorus plug-ins — but version 8 also introduced some quality problem-solvers.
Not only did the Les Misérables crew have to capture live singing on a film set: they then had to figure out how to overdub orchestral arrangements to it!
I have a question about recording percussion — in particular, tuned percussion. Why is it that some sound engineers can record without a massive impact when a mallet strikes a bar, and others can't?
The line inputs on my computer interface are all balanced on TRS sockets, but the outputs of my hardware synths are all unbalanced on mono TS sockets...