Want to create Hollywood-style explosions as seen in your favorite action/thriller movies? Using After Effects you can and Richard Lainhart shows you how. Get ready to detonate...
Mac OS upgrades and updates bring with them excitement for new and useful features. Now that the dust has settled, Mo Volans explores the benefits for all audio users across OS X 10.7.
Native Instruments and Heavocity are back with a new instrument: Damage. With over 30 GB of dark, aggressive, industrial and percussive sounds, Hollin Jones sets out to measure its devastating impact.
It's a fact: More and more digital musicians are trying their hand at mastering their tracks. Gary Hiebner digs in and looks at one way to do this in Ableton Live using stems.
Using guitars as MIDI controllers is not a new concept or a passing fad. Toby Pitman explores the history of MIDI Guitar controllers from the early 80s to the crop and those yet to hit the market.
Editing quicker is the name of the game for most video editors. And using keyboard shortcuts still provides the best solution. David Smith shares his 8 essential finger-flexing FCP X shortcuts.
Flex editing in Logic 9 can correct timing errors, stretch out vocals, adjust the groove of an audio recording and much more. In this article Mike Watkinson uses flex to quantize a sloppy drum part.
Halloween is almost here and rather than get all dressed up you can create a scary digital portrait in Photoshop CS5 instead. Follow Richard Lainhart as he gives Jordan Rudess a vampiric makeover.
Reason is well known for its incredible-sounding instruments and effects and the Pulveriser is no exception. Mo Volans discovers just how capable at distortion this new effects unit is.
Interested in ethereal / spooky soundscapes? Want to emulate the original Star Trek soundtrack? Or just plain interested in sound design? You'll love these sounds Peter Schwartz has created in Logic.
Drawing complex shapes to create masks in iWork is certainly possible, but not always desirable. Mike Watkinson shows how to import scalable vector graphics into Keynote & Pages to make custom masks.
It's the final part of this 5-article series comparing Final Cut Pro X & Adobe Premiere Pro. David Smith sits back after a hard day's edit to explore the different export options in both NLEs.
For some reason mentioning 'The Environment' strikes terror into the heart of many a Logic user. But it doesn't have to be scary. Peter Schwartz is here to help you work through the fear.
Working with AudioSuite-rendered clips just became much easier. For example, Trimming beyond the boundaries of the edit selection is now possible. Mike Watkinson gets a handle on this new feature.
Maschine has been a runaway success since its launch and Maschine Mikro looks set to follow the same path also. Mo Volans picks up iMaschine for iPhone to see how this groove sketchpad measures up.
In theory 32 bit floating point audio is the way forward. But how will it change the way you record and mix in Pro Tools? What are the practical benefits and disadvantages? Mike Watkinson explains.
Trust G.W. Childs IV to come up with another left-field approach when it comes to sound design. In this tutorial G.W. dispenses with the traditional and uses Reason 6's Echo as a distortion effect.
If you're familiar with the iOS way of displaying Apps then you'll feel right at home in Lion's Launchpad. Richard Lainhart goes through the basics and shows you some cool tips.
The Elastic Audio features in Pro Tools provide ultimate flexibility (sic) when editing drums and rhythmic parts. Mike Watkinson puts all its modes to the test on vocal performances.