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The theories behind music technologies explained in easily digestible terms

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MTM 100	Ten Minute Master: Audio Metering From FFT spectrum analysis to stereo vectorscopes, the way that we visualise audio is crucial to successful recording. Mark Cousins watches his meters.	MTM 96	10MM 194 - Sampled string articulations Sampled string libraries generally offer a good range of articulations, but what exactly are the differences between them? Mark Cousins has the lowdown.
MTM 96	10MM 193 - Notch filtering The notch filter is an important part of the arsenal of EQ and filtering tools, but it often goes under-used. Grant Bridgeman filters out the details.	MTM 95	10MM 191 - Comb filtering Comb filtering is a natural phenomenon that affects everything we hear – whether applied deliberately or not. Grant Bridgeman explains all.
MTM 95	10MM 192 - Analogue warmth In this digital age, the relative warmth of analogue recording technology seems to have increasing appeal. Mark Cousins turns up the heat.	MTM 94	10MM 190 - The Vocoder From Mr Blue Sky to the voice of the Cylons, the vocoder has delivered some intriguing and unusual sounds. Mark Cousins takes a listen.
MTM 94	10MM 189 - Dynamic microphones Dynamic microphones are a standard choice for both studio work and live performance. Grant Bridgeman finds out what makes them so... dynamic.	MTM 93	10MM 188 - Tape echo Tape echo remains one of the most distinctive and popular lo-fi effects, used to great effect both on stage and in the studio. Mark Cousins gets dirty...
MTM 93	10MM 187 - Audio signal levels explained Analogue audio signals come in several different flavours and it’s good practice to understand the various types. Grant Bridgeman makes comparisons.	MTM 92	10MM 186 - Software samplers More than any other part of the studio, the sampler has benefited hugely from its move into the software domain. Mark Cousins gets a slice of the action.
MTM 92	10MM 185 - Low-pass filters Low-pass filtering is a common process in audio manipulation, but what’s really going on as we cut-off and resonate? Grant Bridgeman has the details.	MTM 91	10MM 184 - Data storage and retrieval Accessing data quickly and efficiently is vital to all aspects of music production. Mark Cousins sets the pace...
MTM 91	10MM 183 - MIDI mapping Using MIDI to communicate between hardware and software is not as complicated as you might think. Grant Bridgeman takes you on a guided tour through MIDI maps.	MTM 90	10MM 182 - Practical digital audio The quality of a recording made in the digital domain is influenced by many factors, from sampling frequencies to word clock jitter. Mark Cousins explains the basics.
MTM 90	10MM 181 - Control surfaces Taking physical control of your DAW can make mixing and editing a much quicker and more intuitive process. Grant Bridgeman gets tactile.	MTM 89	10MM 180 - Multi-band compression Multiband compressors have become a defining part of the sound and intensity of modern music. Mark Cousins gets a taste of the big squash.
MTM 89	10MM 179 - Routing explained Routing audio around the mixing console is key to any production, whether you’re mixing ‘in the box’ or through outboard equipment. Grant Bridgeman shows the way.	MTM 88	10MM 178 - Subtractive synthesis explained The principles of subtractive synthesis have underpinned sound creation for more than 50 years. Mark Cousins takes a closer look at how it works.
MTM 88	10MM 177 - Importing & exporting audio to & from your DAW Sometimes it can be necessary to move your projects from one platform to another. Grant Bridgeman helps to ensure your work doesn’t get lost in translation.	MTM 87	10MM 176 - Polar Patterns From cardioid though to figure-8, understanding a microphone’s polar pattern is essential to unlocking its full potential. Mark Cousins guides you around the poles.
MTM 87	10MM 175 - M/S Recording and Processing Mid/side stereo recording offers amazing flexibility. Grant Bridgeman stays onside.	MTM 86	10MM 174 - EQ Types From parametric equalisers through to shelving and phase-linear designs, EQ comes in a variety of different shapes and sizes. Mark Cousins finds the right frequency.
MTM 86	10MM 173 - Surround Sound Most DAWs are capable of producing surround sound, but can we deliver it to the customer? Grant Bridgeman investigates the issues of encoding sound for DVD.	MTM 85	10MM 171 - Loudness Explored How ‘loud’ a track is mastered is crucial – but what does the term really mean and how do we perceive it? Grant Bridgeman turns it up.
MTM 85	10MM 172 - Mid-side mastering M/S processing has been an integral part of mastering since the early days of stereo recording. Mark Cousins sums up the differences.	MTM 84	10MM 172 - Understanding MIDI messages It might be almost 30 years old, but MIDI is still a cornerstone of contemporary music-making. Mark Cousins takes a closer look.
MTM 84	10MM 171 - Acoustic Treatment The sound of your room could be ruining your recordings and mixes – but acoustic treatment can help neutralise the problem. Grant Bridgeman gets treated.	MTM 83	10MM 170 - Stem Mixing The use of stems has revolutionised the mixing process, both in the music industry and for film/TV work. Mark Cousins branches out.
MTM 83	10MM 169 - UPS Systems Safeguarding your hardware and recordings from power failure could be a worthwhile consideration. Grant Bridgeman explores the protection	MTM 82	10MM 168 - The Ins and Outs of Quantize Quantizing has become an essential part of MIDI and audio sequencing – and it’s vital for solving a range of timing issues. Mark Cousins polishes his performance.
MTM 82	10MM 167 - Location Recording Recording sound outside the studio can be a challenge in itself – recording sound for film presents a whole host of different issues. Grant Bridgeman goes on location.	MTM 81	10MM 166 - 64-bit audio application Despite some initial teething troubles, 64-bit operation is becoming increasingly prominent in the music technology world. Mark Cousins counts the bits.
MTM 81	10MM 165 - Guitar setup and intonation Correctly setting up a guitar can transform the instrument’s performance. Grant Bridgeman puts down his pick.	MTM 80	10MM 164 - Low-frequency Oscillators The low-frequency oscillator is one of the most important modulation sources available. Mark Cousins takes the low road.
MTM 80	10MM 163 - Radio Mic Frequencies Radio mics are increasingly used at live events, so ‘containing’ the radio waves is crucial. Grant Bridgeman tunes in.	MTM 79	10MM 162 - Resynthesis Resynthesis is one of the most intriguing concepts now becoming more readily accessible to the contemporary sound designer. Mark Cousins explains its finer details.
MTM 79	10MM 161 - Microphone Maintenance Keeping check on the condition of your microphones is time well invested. Grant Bridgeman cleans up.	MTM 78	10MM 160 - Amplifier Modelling Advances in amplifier modelling technology have redefined the way we record and produce music with the electric guitar. Mark Cousins explores its evolution.
MTM 78	10MM 159 - Soundproofing Soundproofing is not just about appeasing the neighbours – it can improve your recordings, too. Grant Bridgeman goes in search of the quiet life.	MTM 77	10MM 158 - Pitch manipulation Sloppy, out-of-tune performances are a thing of the past: modern pitch-shifting technology can put them right in the studio. Mark Cousins gets manipulative.
MTM 77	10MM 157 - The theory & application of ring modulation Ring modulation is one of the most aggressive and distinctive sounding treatments on offer. Grant Bridgeman explains why.	MTM 76	10MM 156 - Step Sequencing Despite having only a few notes at their disposal, step sequencers are still an essential tool for electronic music production. Mark Cousins steps out.
MTM 76	10MM 155 - Condenser Mics Condenser microphones are a popular choice within the studio, but what difference does the capsule design make? Grant Bridgeman goes beneath the grille.	MTM 75	10MM 154 - Monitor Design Monitors are a crucial component in every studio, from project setups to pro facilities, but what distinguishes one pair from another? Mark Cousins speaks out.
MTM 75	10MM 153 - Instrument Radiation Microphone positioning is not just about the characteristics of the microphone and room, but the instrument as well. Grant Bridgeman listens to how things sound.	MTM 74	10MM151_oversampling With sample rate formats steadily on the increase, what is the benefit of further oversampling our audio? Grant Bridgeman looks at the multiples.
MTM 74	10MM152 - Anatomy of Reverb From early reflections to a tail’s diffusion, understanding reverb is vital to getting the best from it. Mark Cousins is spaced out...	MTM 73	10MM 150 - Transients explained Some of the most important aspects of a sound’s character are contained in the first few milliseconds. Mark Cousins unlocks the power of the transient.
MTM 73	10MM 149 - Expansion Controlling the dynamic range of a mix is one of the engineer’s most fundamental tasks, but what are the tools and techniques required to do it? Grant Bridgeman stretches out.	MTM 70	10MM 144_The Sound of Tape From the glorious sound of copious tape saturation to good, old-fashioned tape delay,the sound of magnetic recording is here to stay. Mark Cousins gets reel.
MTM 70	10MM 143_Audio interfaces The audio interface is a vital studio component that defines the way we work to a significant extent – and there are plenty out there to choose from. Grant Bridgeman explores the options.	MTM 72	10MM148 - Subwoofers If bass is lacking in your studio, it might be time to invest in a subwoofer. Mark Cousins goes below the surface...
MTM 72	10MM147 - Digital Connections Digital interconnects are becoming more common as the technology becomes more readily available – but do you choose AES/EBU or S/PDIF? Grant Bridgeman is in bits...	MTM 71	10MM146 - Room Correction Why struggle with egg boxes and bass traps when there’s another way to address acoustic issues? Mark Cousins stands corrected.
MTM 71	10MM145 - Sample Rate Conversion It’s a fundamental process that takes place largely behind the scenes, but understanding what’s going on and why will improve your productions. Grant Bridgeman is converted.	MTM 69	10MM142 Waveshapes Sawtooth, square and triangle waveshapes are fundamental to contemporary music production, but what exactly are they? Mark Cousins makes waves.
MTM 69	10MM141 Emulation Digital processing has brought back the old as well as the new. Grant Bridgeman finds out more.	MTM 68	10MM140-The Decca Tree The Decca Tree has been a staple stereo recording technique for more than 50 years. Mark Cousins goes back to its roots.
MTM 68	Ten Minute Master - Staying in Sync If different elements of a system need to be synchronised, you’ll need to get down and dirty with timecode. Grant Bridgeman watches the clock...	MTM 67	10MM138 Audio File Formats If you’ve surveyed the growing crowd of file formats with a touch of apprehension and confusion, you’re almost certainly not alone. Mark Cousins gets packing.
MTM 67	10MM137 In-ear Monitoring Onstage monitors are now frequently being replaced by in-ear systems – even for small pub gigs. Grant Bridgeman explains why.	MTM 66	Ten Minute Master 136 - Headphone Monitoring Creating an effective headphone mix can make a big difference to the quality of the performances you manage to capture. Mark Cousins takes his cue.
MTM 66	Ten Minute Master 135 - Digital Mics If sound is analogue, how can the first link in a signal path be digital? Grant Bridgeman investigates the world of the digital microphone.	MTM 65	10MM134 Wavetable Synthesis Wavetable synthesis has proved a popular alternative to conventional subtractive techniques. Mark Cousins goes in deep...
MTM 64	10MM132 Spatial Awareness Sound surrounds us constantly – and our ears tell us more than we realise... Grant Bridgeman gains a sense of space.	MTM 64	10MM131 De-essing De-essing is a quick-and-easy solution to sibilance control, but how does the technology behind this mix-saving process work? Mark Cousins minds his esses.
MTM 65	10MM133 Linear-phase EQ EQ is arguably the most often-used tool in the studio – but what does linear-phase EQ offer? Grant Bridgeman tweaks the levels.	MTM 63	10MM129 Ribbon Microphones String theory may be new, but ribbon microphones have a lasting appeal. Grant Bridgeman unties the issues...
MTM 62	10MM128 Loudness demystified Commercial recordings have undoubtedly got ‘hotter’ in recent years, but why does one recording sound louder than another? Mark Cousins seeks an explanation...	MTM 62	10MM127 DI Boxes A DI box can be your saviour during a problematic gig or recording session. Grant Bridgeman sizes them up...
MTM 59	10MM 122 Preamps Used on a daily basis in studios around the world, the mic preamp is a vital link in the recording chain. Mark Cousins amps it up.	MTM 59	10MM 121 The Mellotron The future of sampling may be digital, but with the revival of the Mellotron, tape sampling is back. Grant Bridgeman revisits an iconic instrument.
MTM 58	10MM120 Wah-wah Loved by generations of guitarists, the wah-wah pedal has a voice all of its own. Mark Cousins is speechless...	MTM 58	10MM119: Boundary Layer Microphones Also known as PZM microphones, boundary mics offer a number of benefits over more conventional designs in some recording scenarios. Grant Bridgeman remains unphased...
MTM 57	10MM 118 Mixer Routing Mixers come in all shapes and sizes, but their common task is to route audio. Mark Cousins finds his destination...	MTM 57	10MM 117 Surround Sound Microphones Surround recording is becoming increasingly popular, but what are the essential techniques behind it? Grant Bridgeman reveals all... enveloped...
MTM 56	10MM116 Limiting In the ongoing quest for ever-increasing loudness, is a limiter always the simplest and most effective solution? Mark Cousins takes it to the limit...	MTM 56	10MM 115 Mic Positioning How a mic is placed can make a great difference to the sounds it captures. Grant Bridgeman takes a stand...
MTM 55	10MM113 Modulation with Envelopes Envelopes are a common function in synthesis, yet we often don’t utilise their capabilities to the full. Grant Bridgeman delves into the most dynamic of modulators.	MTM 55	10MM114 Audio Interfacing Getting audio in and out of a computer can be achieved in a multitude of ways. Mark Cousins examines your options...
MTM 54	10MM112 Chorus, Flange & Phase When it comes to thickening up sounds or finding ear-pleasing effects, few can resist the temptations of chorus, flanging and phasing. Mark Cousins takes the treatment...	MTM 54	10MM111_Audio_Connectors Unless you work purely in the software domain, your various bits of audio gear will somehow need linking together. Grant Bridgeman plugs in...
MTM 53	10MM109 Harmonics, overtones and pitch are fundamental terms in synthesis, but what exactly do they mean? Grant Bridgeman explores a partially daunting subject...	MTM 52	10MM108 The Channel Strip All mixers feature a channel strip, but how do their various controls integrate into the recording and mixing processes? Mark Cousins channels his energies...
MTM 52	10MM107 Formants Formant filters are incredibly powerful tools for shaping sounds, but just how do they work? Grant Bridgeman applies the human touch...	MTM 53	10MM110 Sound to Picture Despite their apparent differences, the skills and techniques required for sound-to-picture work are much the same as for music production. Mark Cousins gets filmic...
MTM 51	10MM106 EQ Curves If you know how to interpret the curve of an equalizer, you’ll have a better grasp of its musicality and usefulness in music production. Mark Cousins gets equal…	MTM 51	10MM105 Noise Reduction Systems Cleaning up a noisy recording is now a task that can be easily accomplished with the right software and a good ear. Grant Bridgeman investigates the art of digital noise reduction...
MTM 50	10MM103 Studio Cables Every signal path is only as good as its weakest link – and in this respect, cabling is often the most regular offender. Grant Bridgeman finds the path of least resistance...	MTM 50	10MM104 The History of Sampling From vintage Mellotrons to the explosion of digital recording technology, the sampler has had a profound impact on music production. Mark Cousins gets a slice of the action...
MTM 49	10MM101 Audio Editing Unless you’re a one-take wonder, audio editing will be an inevitable part of your recording process. Mark Cousins gets his scissors out...	MTM 49	10MM102 1-Bit Recording Bit depths have been steadily increasing for the past 10 years or more, but now 1-bit recording has reared its head. Grant Bridgeman explores the benefits of progress...
MTM 48	10MM100 Electric Pianos From the silky Fender Rhodes to the rock‘n’roll Wurlitzer, the electric piano has become a cornerstone of contemporary music. Mark Cousins tickles the ivories...	MTM 48	10MM99 Gain Structure Eliminating extraneous noise is a primary task in the studio, but we may be inadvertently generating it ourselves. Grant Bridgeman explains the importance of good gain structure...
MTM 47	10MM98 Distributed Audio Processing A problem shared is a problem halved, but is distributed audio processing an essential requirement of today’s studio setup? Mark Cousins finds out...	MTM 47	10MM97 Portable Recorders Laptops may well be portable, but an all-in-one hardware recorder can offer a much more compact alternative. Grant Bridgeman downsizes...
MTM 46	10MM96 MP3 Compression Downloadable mp3s are the immediate future for the music industry, but how does its lossy compression affect what we hear? Grant Bridgeman listens carefully.	MTM 46	10MM95 Data Management As our hard drives continue to swell, data management will become even more important to our working practices. Mark Cousins takes control of his megabytes...
MTM 44	Metadata You might be unfamiliar with the concept of metadata, but every digital audio file you create or play has the capacity to hold and utilise it. Grant Bridgeman passes on the information...	MTM 45	10MM94 Impedance Impedance is a term you’ll inevitably come across if you regularly deal with any kind of studio equipment. Grant Bridgeman explains why resistance is not always futile...
MTM 45	10MM93 Parallel Compression Parallel compression offers an innovative and unique way of controlling dynamic range. Mark Cousins explores the hard facts behind this intriguing fad...	MTM 44	The Hammond Organ The sound of the Hammond Organ continues to fascinate and delight musicians playing many different styles of music. Mark Cousins finds out what makes the Hammond tick...
MTM 43	10MM90 Earth Loops Electrical noise can be one of the most frustrating problems encountered by the project studio engineer – and a tricky one to fix. Grant Bridgeman goes to ground...	MTM 43	10MM89 Surround Controllers A surround controller is one of the most vital components of a 5.1 mixing environment, but what are they and which one best suits your needs? Mark Cousins takes control...
MTM 42	Mastering Processing Could the difference between conventional studio outboard and mastering-grade processors be purely down to their price tags? Mark Cousins finds out...	MTM 42	10MM88 Headphones There are many good reasons why you should equip your studio with a decent set of headphones, but remember to use them wisely. Grant Bridgeman dons his cans...
MTM 41	Sample Mapping From round robins to release triggers, modern sampling is all about mapping and triggering sample data. Mark Cousins gets a slice of the action...	MTM 41	Stereo Wideners The stereo width of a mix is surely determined by the space separating our monitors, so how can we get wider? Grant Bridgeman explores the world of stereo enhancers.
MTM 40	Leslie Cabinets Software emulations of Leslie cabinets are becoming increasingly common, but the real thing is something very special indeed. Grant Bridgeman gets in a spin...	MTM 40	MIDI Control Virtual instruments have replaced their hardware counterparts to some extent, but MIDI is still a vital tool for controlling the modern studio. Mark Cousins breaks down the bits...
MTM 39	Hard Drives Currently the ultimate in volume data storage and retrieval, hard drives have become a cornerstone of the modern studio. Mark Cousins takes the hard line...	MTM 39	The Importance Of Dither Deliberately adding noise to a pristine digital recording may initially seem like a rather insane thing to do, but there’s a good reason why it’s necessary. Grant Bridgeman explains...
MTM 38	The Evolution Of Reverb From springs to plates, modelled to convoluted, the choice and variety of reverb available to the engineer has never been greater. Mark Cousins finds the room in his studio...	MTM 38	LA Synthesis Hybrid synthesis has been around for a good 20 years now, but where did it all start? Grant Bridgeman revisits LA to find out...
MTM 37	Binaural Recording Binaural recording can quite literally capture the world of sound as you actually hear it, but it’s a technique that hasn’t yet hit the mainstream. Grant Bridgeman dons his headset...	MTM 37	Phase And Recording Summing two audio signals isn’t as straightforward as you might think – especially when phase issues are involved. Mark Cousins takes sides...
	Ten Minute Masters 70-79 Download TMMs 70-79 for just £2.97 and save 70% on the full price of ten downloads!	MTM 36	Surround Sound Formats Moving from stereo to surround sound can be a confusing business. Mark Cousins explains the principal differences and standards in multi-channel audio.
MTM 36	Room Modes The size and shape of a room will have a profound effect on how your ears perceive music – both while listening and mixing. Grant Bridgeman explores the influence of room modes.	MTM 35	Additive synthesis Why subtract when you can add? Mark Cousins explores the harmonic complexities and resynthesised delights of sound in the additive universe…
MTM 35	Sound absorbers If your recording and listening environment suffers from poor acoustics, chances are your mixes are suffering as well. Grant Bridgeman is absorbed by sound.	MTM 34	Latency Latency remains the curse of software-based recording, but what causes it and what technologies have been developed to combat it? Mark Cousins gets delayed...
MTM 34	Basic properties of sound Sound is the fundamental building block of music technology and its properties affect everything we do in the studio. Grant Bridgeman goes back to basics.	MTM 33	Microphone selection Microphone specification sheets provide a wealth of objective information that can help you choose one best suited to a specific task. Grant Bridgeman breaks down the figures.
MTM 32	Digital Errors We might like to think of digital recording as being perfect, but errors do sometimes occur. Mark Cousins explores the hidden imperfections of the binary age...	MTM 32	Wireless Systems Radio microphones and wireless systems can bring new-found freedom to a live performance. Grant Bridgeman rides the radio waves.
MTM 31	Granular synthesis Using granular synthesis, it’s possible to create an entire symphony from just a few tiny fragments of sound. Mark Cousins finds out if small is indeed beautiful...	MTM 31	The decibel The decibel is commonly referred to in the studio, but its true meaning is often misunderstood. Grant Bridgeman clears the air...
MTM 30	Mic frequency response Microphone frequency-response charts provide valuable information about a mic’s performance. Grant Bridgeman explains the theory behind the terminology.	MTM 30	Audio Analysis The ‘sound’ of music is familiar to us all, but have you ever wondered what audio actually ‘looks’ like? Mark Cousins takes a peek at the spectral delights of audio…
MTM 29	Metering An engineer’s ears might be their most important asset, but without informative metering a balanced recording is hard to achieve. Mark Cousins takes a closer look…	MTM 29	Making harmony work Adding harmony lines to a song can greatly enhance its presence and punch, but can leave a track sounding cluttered if used inappropriately. Dave Gale keeps it simple.
MTM 28	Compression types Compression – one of the engineer’s most essential tools – comes in many different shapes and sizes. Mark Cousins mixes his own unique blend of squash…	MTM 28	Microphone Design The key to correctly using different types of microphone lies in understanding how they work. Grant Bridgeman guides you through the Polar regions.
MTM 27	Manipulating time and pitch Manipulating the pitch and timing of a performance has become an accepted part of music creation. Mark Cousins stretches himself to find out more…	MTM 27	Rhythm section arrangement No band is complete without a rhythm section, but getting everything to sit together in the mix takes skill and patience. Dave Gale picks up the beat...
MTM 26	Convolution In the few short years since its arrival, convolution has revolutionised audio processing as we know it. Mark Cousins takes a sample of the future.	MTM 26	Arranging for horns Adding a horn section to a track can make a dramatic difference to its impact and overall groove. Composer Dave Gale shows you how...
MTM 25	Patchbays Patchbays are among the humblest of studio peripherals, yet they can transform studio operation, flexibility and productivity. Grant Bridgeman gets connected...	MTM 25	Physical modelling Shrouded in unapproachable maths and DSP processing, the art of physical modelling is surprisingly more accessible than you might initially think. Mark Cousins gets stuck in...
MTM 24	Psychacoustics Recording technology has developed over the last 100 years, but our ears have evolved over thousands. Grant Bridgeman looks into your auditory organs...	MTM 24	Multi-band processing Multi-band processing has revolutionised mastering techniques and defined the sound of modern radio and pop music. Mark Cousins explains why three bands are better than one.
MTM 23	Analogue tape recording The world’s top studios still offer analogue recording facilities. Keith Gemmell looks into the advantages and disadvantages of recording the old-fashioned way.	MTM 23	Delay Delay is one of the most fundamental and important types of effect in use today. Mark Cousins taps into the secrets of its success.
MTM 22	Exciters & enhancers Exciters and enhancers add sparkle and depth to sound in ways that are impossible to achieve with standard EQ. Mark Cousins sees a brighter future…	MTM 22	Sequencers Over the years, sequencers have evolved from modular hardware devices into sophisticated computer software such as Logic Pro 7. Keith Gemmell investigates their roots.
MTM 21	Recording formats Over the years, R&D teams in the audio industry have provided us with many ways to capture sound. Keith Gemmell examines the formats used for recording, from wax to hard disk.	MTM 21	Gates and expanders Gates and expanders once played a vital role in every studio, but are now being increasingly sidelined due to the prevalence of software alternatives. Mark Cousins expands his horizons...
MTM 20	Automation Unless you’ve got plenty of hands to spare, automation is essential to refining the perfect mix. Mark Cousins investigates a more controlled approach to mixing.	MTM 20	Copyright Copyright protects the music business as a whole – aspiring artists, big-name stars, independent record companies and the major labels alike. Keith Gemmell explains how it works.
MTM 19	Drum machines The TR-909 kick drum – probably the most sampled sound ever? Mark Cousins takes a closer look at the continuing popularity of the drum machine.	MTM 19	mLAN mLAN has been an industry buzz word for several years, but what exactly is it? Rob McMinn explains how this exciting new technology works and what it can do for your music making.
MTM 18	Stereo Recording Creating a professional-sound recording can require as little as two carefully positioned microphones and a 2-track recorder. Mark Cousins takes a look at the choices involved.	MTM 18	MIDI controllers MIDI controllers come in all shapes and sizes – resembling pianos, guitars, saxophones, drums, pedals and mixing consoles. Keith Gemmell explains how they work.
MTM 17	Royalties Who gets paid what, when and how? Keith Gemmell explains the difference between recording and publishing royalties and how they are collected and distributed.	MTM 17	FM Synthesis FM synthesis lost favour after its impressive run of success in the mid-80s, but it still has plenty to offer, as Mark Cousins explains.
MTM 16	Arpeggiators More than just a rudimentary auto-accompaniment control, arpeggiators offer an insight into real-time performance processing. Mark Cousins takes you through the ups and downs.	MTM 16	Signal matching Minimising noise and maximising signal levels is a vital part of the recording process. Keith Gemmell explains the concepts of signal matching and impedance.
MTM 15	Distortion Distortion was once the bane of recording equipment design – now it’s a welcome part of creative sound engineering. Mark Cousins pushes it hard into the red.	MTM 15	Synchronisation When used together, devices like audio recorders, video decks and sequencers must run at exactly the same time and tempo. Keith Gemmell unravels the mysteries of timecode.
MTM 14	Sidechain processing Sidechain processing is the key that unlocks a number of advancing signal processing techniques. Mark Cousins takes a look at the principles involved.	MTM 14	Mixers Are mixers just a mad confusion of knobs and sliders, or a simple and coherent collection of switches? Howard Turner explains how to gets on the busses…
MTM 13	Effects routing Next time you use your favourite plug-in, signal processor or effects unit, consider some different signal routing options. Mark Cousins gets effected.	MTM 13	Scales Scales provide the raw materials needed for composing music and improvising – but do you know your majors from your minors? Keith Gemmell gets into the modes.
MTM 12	String synths and samplers Many best-selling artists use a string section on their records, but are they the genuine article? Not always. Keith Gemmell looks at what can be done using string synths and samplers.	MTM 12	Audio transfer With so many different audio formats and platforms out there, moving material between them can seem daunting. Hollin Jones gives you the lowdown on audio transfer and format conversion.
MTM 11	Filters Filters are hugely powerful sound design tools and essential to the process of subtractive synthesis. Mark Cousins explores the principles of filtering.	MTM 11	Audio compresion Nearly all audio for multimedia and the web is compressed in some way. Here Hollin Jones explains which format to use for what application if you’re producing for these environments.
MTM 10	Modulation Modulation is a core element of almost every sound from vocals to guitar, but it comes in a variety of guises. Ian Waugh examines the warps and whoops of musical life…	MTM 10	Monitors and monitoring Your monitors want to tell the truth – are you listening? Howard Turner hacks through the monitoring myths to help you hear what’s really happening.
MTM 09	Reverb and echo Reverb and echo are two of the most essential core studio effects. Ian Waugh looks at why their popularity goes on and on and on and…	MTM 09	Cabling An often overlooked aspect of setting up a studio, but Rob Holsman explains the importance of cabling to signal quality, and advises how to avoid spaghetti hell.
MTM 08	Samplers Once a rock star’s luxury, now an essential instrument in every professional and home studio. Ian Waugh explores the core features of the sampler…	MTM 08	Plug-in formats Don’t know your VST from your MAS or your TDMs from your AUs? Mike Collins lifts the lid on plug-in formats and explains which ones will work for you…
MTM 07	Vocoders The vocoder is one of the most enduring audio processing effects of all time. Ian Waugh explains how to make it sing. And talk, and dance, and mutter, and play the drums...	MTM 07	Song Structure Creating a song is more than simply stringing verses and choruses together.Ian Waughlooks at how to plan and assemble the disparate elements that go together to make a great number...
MTM 06	Surround Sound So you thought stereo would never die? Greg Marshall explains that the latest sonic format revolution is already here, why it’s set to explode and how to use it.	MTM 06	Alternative synthesis Forms of synthesis other than analogue have become more widespread as computer technology has progressed. Ian Waugh examines a few alternatives that you might want to get your teeth into.
MTM 05	Naming Chords Do you know your major 6th from your minor 7th? Your tetrads from your triads? Joe Bennett explains the notes behind the jargon.	MTM 05	Analogue synthesis Analogue synthesis laid the foundation for most modern synthesizers. Ian Waugh looks at the father of all synthesis types and explains how to get a charge from voltage control.
MTM 04	Fades & crossfades Fades and crossfades are an essential part of audio editing. Ian Waugh explains how to cross your fades when you come to them…	MTM 04	FireWire Its use became widespread with the rise of Digital Video, now it’s threatening to take over the music protocol arena, too. Ian Waugh takes a close look at FireWire.
MTM 04	Envelopes Envelopes play an essential part in all types of synthesis. Ian Waugh has the details wrapped up and stuck down…	MTM 03	EQ Confused about what shelves, notches and band-pass filters actually are? Well, they’re all part of the process of Equalisation. Ian Waugh charts the peaks and troughs of EQ.
MTM 03	Burning CDs There’s more to creating an audio CD than simply clicking the Copy button. Ian Waugh discusses formats slips in a disc and goes for the burn…	MTM 03	Oscillators Oscillators form the core of many synthesis systems. Ian Waugh gets good vibrations as he explains how they work and what they do…
MTM 02	Digital Audio How is sound digitally recorded? And how important are sample rates and resolutions to the process? Ian Waugh looks at the crystal-clear world of digital audio.	MTM 02	Microphones What are the differences between microphone types? And which is the best model for a particular application? Ian Waugh explains what to consider when choosing a mic.
MTM 02	Time signatures Ever wondered what the numbers mean at the start of a piece of music? Ian Waugh takes a look at time signatures and how they describe the beat and pulse of music.	MTM 01	MIDI MIDI is omnipresent in the studio environment, be it amateur or professional. Ian Waugh describes what it is, how it works and its role today’s music making.
MTM 01	Harmonics Have you ever wondered what harmonics are? What is timbre? What exactly is sound? Joe Green takes a non-scientific approach to answering these questions.	MTM 01	Compression The subtle effects of the humble compressor are the most often overlooked on the rack. Karl Hodge charts the high and lows of the ‘automatic volume control’.

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