Reviews
Can you benefit from something that doesn't make a noise?
Simmons MTM MIDI Trigger Can you benefit from something that doesn't make a noise? asks Paul Gilby in his in-depth review of this interesting MIDI trigger device from the pioneers of the electronic drum. It might not generate sounds of its own but this unit certainly makes possible some marvellous effects when MIDI'd up to synthesizers. Check it out.
DYNACORD MCC1
MIDI Control Computer On the face of it, Dynacord's MCC1 looks a worthwhile investment for those who wish to by-pass the Spaghetti Junction of MIDI cables in the studio. But it faces stiff competition from other manufacturers' products. Paul Gilby fathoms its depths and draws his conclusion.
ROLAND SUPER JX SYNTHESIZER: JX10
Roland Super JX10 Synthesizer For some time now Roland's synthesizer range has been lacking a flagship model worthy of the Jupiter 8's reputation. Mark Jenkins believes they finally have one in the form of their very latest 12-voice JX10 Super JX polysynth. Read why...
THE ANSWER IS SMPL
SMPL Systems Synchroniser With more importance being attatched to the benefits of a fully-integrated, synchronised studio set-up, Mark Jenkins checks out a new-to-the-UK chase synchroniser package imported by Audio Services of Stockport that is ideally suited to use with Tascam recorders and supports both SMPTE and MIDI.
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EMPATHY
Rupert Hine Approach To Record Producing In the world of record production, the combination of Rupert Hine and Farmyard Studios in Chalford, Bucks, is a proven winner. Successes over the past few years speak for themselves - gold and silver albums adorn the walls in the studio complex featuring such worthies as Saga, The Fixx, Howard Jones and Tina Turner. In fact, one might be forgiven for thinking that Rupert Hine is a fairly recent 'name' amongst producers. However, in a career spanning twenty-one years in music, and with over sixty-five albums to his credit, it may come as a surprise to find that Rupert has been producing since 1972. David Etheridge takes up the story...
Technique
ANIMATING FILM SOUND
Animating Film Sound John Goodenough takes us through the prodution processes involved in composing and recording a suitable soundtrack for an animated film he completed last year, and provides a rare insight of the decisions he had to make each step of the way.
SAMPLING: Or Sam-click-pling?
Sampling Martin Russ presents a discussion of some of the more technical consequences of looping samples.
TALKING MIDI
Talking MIDI: Part 6: Patch And Program Part 6: How are synthesizer program numbers defined internally by MIDI? Why the confusion today between 'patch' and program'? These points and more are answered in this sixth part of Jay Chapman's revealing series on the bits and bytes of MIDI.
TX7: To The Limit
Yamaha TX7: To The Limit Making full use of the TX7's capabilities without a Yamaha DX7 is possible. Thanks to MIDI and the home computer! Ray Elder explains how.
USING TIMECODES: Automating The Studio Part 5
Using Timecodes: Part 5: Automating The Studio Part 5: In the final part of his series on the synchronisation of audio and video, Francis Rumsey summarises the possible applications of timecodes in helping to automate the music studio.
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