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by Rip Rowan The seminal article blasting the modern mastering industry for singlehandly destroying a generation of great music.
the Spirit of Radio?
by Bill Park A scathing indictment of the megalithic entertainment conglomerate Clear Channel and its devastating effect on music and the people who make it.
Debra Soule
by Rip Rowan Building a mix from the ground up with Debra Soule's "Everlasting".
by Bill Park A comprehensive explanation of the wholesale changes in the radio industry stemming from the 1996 Telecom Act. | | | | | | | |
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Bruce Richardson
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 One of the biggest gifts that GigaSampler has given the production world is the availability (at long last) of a realistic MIDI-driven piano.
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ProRec Editorial Staff
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The Digital 8•Bus (d8b) is a 72-channel digital mixer with 24 faders, massive onboard DSP, a true workstation-class 32-bit Pentium-compatible CPU processor, support for SVGA monitor, keyboard, and mouse, and an open plugin architecture.
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ProRec Editorial Staff
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Minnetonka Mx 5.1 is the premiere surround-enabled DAW application. Mx 5.1 features fully customizable Surround Mixers, Automatic 5.1 bussing, Fully automated Surround Panning on every channel, User-adjusted Surround Sound Panning Algorithm, Per-channel SubBass Crossover with user-defined parameters, True Center / Virtual Center Blend Control, Automatic 6-track master creation to hard disk, Breakthrough Tactile-Feedback Interface and Midi Timecode generation.
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Rip Rowan
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UltraPitch is a pitch shifter plug-in that comes in three lovely flavors: single-voice, three-voice, and six voice.
UltraPitch is a full formant-correcting harmonizer. That means it detects the pitch of a note and shifts only the note, leaving the harmonics (formant) intact.
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Rip Rowan
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SuperTap is Waves' entry into the delay category, and it leaves almost nothing to be desired. The plug-in comes in two flavors: a two-tap version and a six-tap version. Both are exactly alike except the number of delay taps provided.
Chalk up another user interface victory for Waves.
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Joel Braverman
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In May of last year ProRec brought you a comprehensive and exhaustive report on Samplitude 2496. Since then, several major improvements have been made to the software package. This report outlines some of the most recent changes to the program.
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Rip Rowan
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Four Mile Mule had already recorded rhythm tracks for about twenty songs when "Black and White Movie" was written. We all felt strongly that it was the catchiest song in their catalog and decided to record it and package ten other songs with it as a demo CD.
With only 8 inputs into my recorder, we would cut drums and bass at the same time, then go back and add acoustic and electric guitars and vocals.
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Rip Rowan
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There's an old saying that goes, "If you don't know where you're going, any road will take you there."
There's a corollary to that saying. "If you don't know where you're going, how will you know when you get there?"
Followed closely by, "If you don't know where you're going, who knows where you'll end up."
There's a point to be made here.
Before I ever hit the record button, the first thing that must be determined is the artist's sonic goals.
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Rip Rowan
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This is hands-down my favorite plug-in of the bunch. I've just used this effect to death. I love it. MondoMod is a perfect example of elegance and simplicity, and it just sounds great.
MondoMod is just three basic effects in one simple package: an amplitude modulator (tremelo), a frequency modulator (vibrato), and a pan modulator (autopanner).
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Rip Rowan
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MetaFlanger is a stereo flanger unit that offers all forms of flanging from subtle stereo widening to full-out jet takeoff effects. MetaFlanger's flexibility is a result of some intelligent decisions to provide the user with options not usually found on flangers.
Controls are provided to adjust the level and polarity of both the effect and the feedback loop.
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Rip Rowan
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So now we have four tracks worth of audio: a direct bass, a distorted bass, and a stereo drum track. Time to get busy with guitars!
Acoustic Guitars
First up is acoustic guitars. This is easy work with Four Mile Mule.
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Garry Simmons
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Let's face it. Working with many music/audio programs using a mouse can be tedious. I love my "studio in a PC", but sometimes I just want to reach out and grab a fader or knob to get the job done.
It's more than an old habit that won't die.
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