Modalics: "Our dream is to change how people create music digitally"
We sat down with the brains behind Beat Scholar, EON-Arp and the new Time-Oddity Chorus plugin
We sat down with the brains behind Beat Scholar, EON-Arp and the new Time-Oddity Chorus plugin
Watch him taking a ride in Air Force Oxygene
We walk you through how to nail vocal processing using Logic's EVOC-20 Vocoder
Fancy adding some analogue impurity to your DAW? It's time to turn on, plug in and freq out…
Manipulating samples into abstract new forms, Catching Flies has emerged with a creative identity all of his own. We sat down with the producer to find out more about his latest release, Tides
“It’s just knowing how far you can push something before it loses its musicality,” says the man who finessed Miley Cyrus’s Flowers
Knowing where to use vocal processing could make or break your track. We take a look at where you might choose to add some electronic vocal colour
The company's latest software emulation brings the DMX to your DAW and beefs it up with extra controls and effects
Never mind AI, we’re getting the robots involved in production, as we demystify vocoders, talkboxes, hard-tuning and harmonisers!
“It was turning into this arena-sized highly commercial thing, which wasn’t what I wanted to do, and the whole EDM festival thing felt super whack to me,” he says now
“It’s like the fans just decided: ‘No, this is your hit song’”
Just like the astrological sign Gemini, UK company UDO’s “bi-everything” synth is double the fun
The company says it’s worth $99, but you can have it for nothing
Shake It Off is “all sung one or two notes going up and down,” he says
As Annie Clark releases her seventh album, Kate Puttick learns why the studio is both her heaven and her hell, and why there’s still a place for drum machines even when you’ve got Dave Grohl to hand
Do you know which synth or preset she could have been thinking of?
Xavier de Rosnay and Gaspard Augé lift the lid on their creative process in a new interview with Apple Music's Zane Lowe
“A lot of people ask why I don’t use the Neve on her," says Stuart White. "And I love the Neve on vocals, don’t get me wrong, but the Neves tend to crackle when you turn the pre gain”
An Oberheim and Minimoog went for a song, but it was a Martin Gore guitar and E-mu sampler that stole the show