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Magazine Articles
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Mar 1, 2000,
Mike Levine
Welcome to the March 2000 installment of "Operation Help." This month we hear from Roland on bouncing VS-1680 tracks with effects, from BitHeadz on setting...
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Jul 1, 2000,
Mike Levine
In this month's installment of "Operation Help," Mark of the Unicorn helps you set up Digital Performer to work with ReBirth and ReWire, and E-mu offers...
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Aug 1, 2000,
Mike Levine
Welcome to "Operation Help." This month, we'll concentrate on answering reader questions. Topics covered include noise-reduction formats for cassette,...
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Feb 1, 2000,
Mike Levine
Welcome to the latest edition of "Operation Help." Our main goal with this column is to help you get the most out of your favorite hardware and software....
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Oct 1, 2006,
By Heather Johnson
Sound Team is an Austin, Texas based six-piece band that melds indie rock and postpunk with German synth music and '80s pop. The group takes an exploratory...
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Sep 1, 1999,
Lygia Ferra and Erik Hawkins
Major record labels spend millions of dollars a year promoting and marketing their acts. As an independent artist, you're lucky if you have any money...
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Jul 1, 2006,
By Jim Aikin
Controlling more than one parameter from a single MIDI Control Change message is an excellent way to add expression to your synth sounds. In Square One:...
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Jul 1, 2005,
By rachMiel
Extreme forms of audio and MIDI editing can pull listeners in, and the resulting techniques often become a vital part of the ongoing evolution of electronic...
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Aug 1, 2006,
By rachMiel
Increasing filter resonance to its conventional limit sharpens audio, giving it presence and bite. Pushing resonance beyond that limit can generate wild...
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Oct 1, 2000,
Steve Oppenheimer
Lately, I've watched several organizations experience growing pains. For starters, EM's Onstage and Remix magazines are clearly gaining momentum, in response...
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Dec 1, 2001,
By Jeff Obee
Michael Oster is the sole guiding force behind F7 Sound and Vision and the producer of two high-quality CD-ROMs of sound effects in the Concept:FX series....
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Jul 1, 2000,
Jeff Obee
If you have high-quality, portable recording gear and lots of processors, you can pluck sounds out of the environment and design your own audio creations....
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Oct 1, 2001,
By Scott Wilkinson
New transistor technologies promise faster silicon chips. At the heart of all electronic-music devices is a multitude of silicon-based integrated circuits...
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Mar 1, 2000,
Nick Peck
Synthesizers and samplers are great for certain types of electronic and artificial effects, but I rarely use them for sound design. I find that there's...
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Aug 1, 2005,
Steve Oppenheimer Editor in Chief
When it comes to assessing music production and performance, it's all about relativism. There is no right or wrong, only what works and that is a matter...
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Feb 1, 2002,
By Julian Colbeck
Produced: 1970-79Made in: United StatesDesigned by: Harold RhodesNumber produced: more than 100,000System: hammer action, electric pickupsPrice new: $500-$1,800...
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Feb 1, 2003,
By Erik Hawkins
Until very recently, if you wanted to use the recording and composing tools found in your home studio, you needed to be at home. The idea that you could...
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Oct 1, 2002,
by Gino Robair
Choosing a hard-disk recorder that can go the distance....
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Jan 1, 2003,
By Steve Oppenheimer
Our January 1988 issue featured two technologies that had been around awhile but were finally having a serious impact on music production: MIDI and digital...
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Feb 1, 2003,
By Steve Oppenheimer
Our February 1988 EM ran 140 pages, counting the covers, which is impressive considering that the February 1987 issue was 116 pages and the February 1986...
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Mar 1, 2003,
By Steve Oppenheimer
Our primary focus in March 1988 was on MIDI sequencing, starting with Sequences That Swing with Performer, a feature on creating a swing feel by experimenting...
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Oct 1, 2002,
By Steve Oppenheimer
In 1987 the term electronic music usually indicated a broad genre of cutting-edge and mostly instrumental music. The drum machine was king, but it sounded...
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Nov 1, 2002,
By Steve Oppenheimer
Our main cover line for the November 1987 issue summed it up well: Colorful music through creative programming. Craig Anderton kicked things off with...
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Apr 1, 2003,
By Steve Oppenheimer
Our editorial RAM buffer overflowed with computer information in April 1988. The cover feature, The Musical Computer, was actually a suite of articles...
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May 1, 2001,
Steve Oppenheimer
Ah, it's May, and young folks' thoughts turn to MIDI? It sure seemed so in our May 1986 issue, which featured a wealth of MIDI-oriented features. We got...
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