G.W. Childs returns with a tutorial on how to get side-chaining in Reaper 4. As well as showing the basics, he shares some time-saving tricks too.
Native Instruments and Heavocity are back with a new instrument: Damage. With over 30 GB of dark, aggressive, industrial and percussive sounds, Hollin Jones sets out to measure its devastating impact.
It's a fact: More and more digital musicians are trying their hand at mastering their tracks. Gary Hiebner digs in and looks at one way to do this in Ableton Live using stems.
Using guitars as MIDI controllers is not a new concept or a passing fad. Toby Pitman explores the history of MIDI Guitar controllers from the early 80s to the crop and those yet to hit the market.
Flex editing in Logic 9 can correct timing errors, stretch out vocals, adjust the groove of an audio recording and much more. In this article Mike Watkinson uses flex to quantize a sloppy drum part.
If you're new to GarageBand or the process of recording vocals using Apple's free DAW, join Richard Lainhart's step-by-step guide through the basics.
Reason is well known for its incredible-sounding instruments and effects and the Pulveriser is no exception. Mo Volans discovers just how capable at distortion this new effects unit is.
Interested in ethereal / spooky soundscapes? Want to emulate the original Star Trek soundtrack? Or just plain interested in sound design? You'll love these sounds Peter Schwartz has created in Logic.
For some reason mentioning 'The Environment' strikes terror into the heart of many a Logic user. But it doesn't have to be scary. Peter Schwartz is here to help you work through the fear.
Working with AudioSuite-rendered clips just became much easier. For example, Trimming beyond the boundaries of the edit selection is now possible. Mike Watkinson gets a handle on this new feature.
Maschine has been a runaway success since its launch and Maschine Mikro looks set to follow the same path also. Mo Volans picks up iMaschine for iPhone to see how this groove sketchpad measures up.
In theory 32 bit floating point audio is the way forward. But how will it change the way you record and mix in Pro Tools? What are the practical benefits and disadvantages? Mike Watkinson explains.
Trust G.W. Childs IV to come up with another left-field approach when it comes to sound design. In this tutorial G.W. dispenses with the traditional and uses Reason 6's Echo as a distortion effect.
The Elastic Audio features in Pro Tools provide ultimate flexibility (sic) when editing drums and rhythmic parts. Mike Watkinson puts all its modes to the test on vocal performances.
One of the most intriguing abilities in Pro Tools 10 is being able to visually match volume levels dynamically across clips. Rounik Sethi gets to grips with the new Clip-Based Gain feature.