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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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Rip Rowan
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Mark of the Unicorn (MOTU) has a long pedigree in the short history of computer-based recording. Although strong in the running for Worst Company Name Ever - and the sure-fire-winner in the category of Silly Company Names Based On Legendary Beasts - MOTU is a serious pro audio company with a history of producing some workhorse studio hardware and software, including Digital Performer and the MIDI Timepiece AV.
More recently, MOTU has made a lot of noise in the DAW community with a line of products based around a standard PCI audio system.
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Rip Rowan
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Michael Laskow is no newcomer to the music business. With over three decades of recording, management and production experience, Michael has earned a place in the industry as a person who makes things happen.
Although he has worked with - and been a part of - some of the most successful musical projects and businesses of the last thirty years, Michael's most notable accomplishment may well be the company that he formed.
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Ted Perlman
| This past summer I had the immense pleasure of working with the legendary band "Chicago". I was hired to engineer, co-produce, and record the live portion of an album scheduled to be released in the middle of October, 1999.
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Bruce Richardson
| Black and Whites is what BitHeadz calls "a tone module on a disc." What is included is an extensive set of acoustic piano and Fender Rhodes multisamples, along with some string sounds for layering, and a runtime edition of the Unity DS-1 sampler engine.
Unity users can also use Black and Whites as a content CD.
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Bruce Richardson
| Dream Station, like ReBirth, gives users analog synthesis technology with built-in pattern based sequencing. It adds another layer to the paradigm, however, and allows users to drive the whole operation via MIDI.
Fuzzy, Buzzy, Fat and Fun
Load up the demo song Mr.
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Bruce Richardson
| My first thought when introduced to GigaSampler was: why do I need this?
I had become accustomed to manipulating phrase and loop construction in ACID, and had really begun doing all my traditional "sampling tasks" in that environment.
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Bob Lichty
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Paul Mahern is a bit of a legend to us "Hoosiers" in this business. He has steadily been turning out very well produced, great sounding albums from right here in the heartland for close to twenty years.
Paul started with Indie-Rock bands like Antenna and The Blake Babies.
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Bruce Richardson
| Let me give you a little hint about Reaktor. You'll go cuckoo for Coco Puffs if you're an under-the-hood type. I'm going to have to write a bit more about Reaktor than some of the other models, just to explain the paradigm.
If you've been following software synthesis for any amount of time, you've seen Generator.
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Bruce Richardson
| You may wonder why ReBirth would be getting mention here. It's old news, after all, especially to anyone producing dance tracks.
What's important about this synth is that it quite possibly provided the push that started the revolution.
Before ReBirth, softsynths were strictly for the geek and tweak crowd.
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Bruce Richardson
| Retro AS-1 is a fully programmable virtual analog synth. It runs on PC and Mac platforms, and is capable of 32 voice polyphony. AS-1 is nicely appointed for either live use or for multi-channel configuration with a sequencer.
Retro features a single-page mixer app that makes multitimbral operation a snap.
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Bruce Richardson
| SurReal is a straightforward, single-page, polyphonic virtual MIDI module.
SurReal comes complete with the entire Reality sound set, and utilizes the same synthesizer engine and solid latency / polyphony performance that makes Reality such a workhorse.
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Rip Rowan
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Spatial processors are all the rage. Just about every effects package comes with some kind of "stereoizer" effect. What do these effects really do? How should they be used? And which ones work the best? I spent some quality time getting my head into this technology, trying to understand what these different tools are doing, how they work, and which ones I like the best.
About Spatial Enhancers
First, a little history on the origins of 3D audio technology.
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