SOUND ON SOUND
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In this final instalment, we present a practical overview of the 'room‑within‑a‑room' principle which is used in the construction of virtually all major studios.
Having dealt with walls and floors, we move on to the floors and ceilings of the studio, with a view to reducing sound leakage even further.
We turn our attention to uprating studio walls, as well as techniques for building sound‑isolating partitions.
This month, we examine doors and windows, the most vulnerable areas when it comes to sound leakage.
SOS begins an in‑depth series on practical studio design. This month, the emphasis is on measures you can take to soundproof your studio or practice room.
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.
Ian Gilby takes control of the Bokse US-8 Universal Syncronizer.
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.
Beyond the razor-blade: HHB's innovative CLUE system provides an answer to the digital editing dilemma. Paul Gilby pieces together the story.
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.
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.
A chance to do some crystal gazing at product developments in the music / recording / visual fields.
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.
This 4-track MIDI sequencer is a step in the right direction for Casio but have the budget restrictions limited its appeal?
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.
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.
Two men, a girl and an electrical appliance meet under strange circumstances in the Swiss Alps. Ted Fletcher reports.
Low cost digital reverb comes of age according to producer Robin Lumley.
