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Over the last 18 months, extracts from at least 27 product reviews and features originally published in Sound On Sound magazine appear to have been reproduced without permission in Future Music and Computer Music magazine. Future Publishing apologises to the publishers of Sound On Sound magazine, its employees and contributors for this apparent unauthorised reproduction and would like to thank them for bringing this matter to its attention. Future Publishing would like to make it clear that the writer of the product reviews and features was freelance, not a member of staff.
Future Publishing has given appropriate undertakings to the publishers of Sound On Sound and confirmed that the freelance writer responsible will no longer be contributing to Future Music.
A complete list of the relevant product reviews and features, with some sample extracts, appears below:
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| Complete List of Articles |
Emu Proteus 2500 review (Future Music, September 2002)
includes material taken from: |
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Emu Proteus 2500 review, by Paul Nagle (Sound On Sound, March 2002); |
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Emu Planet Earth review, by Paul Farrer (Sound On Sound, May 2001); |
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Emu Mo’Phatt review, by Paul Farrer (Sound On Sound, March 2001); |
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Emu XL1 review, by Paul Farrer (Sound On Sound, August 2000); |
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Emu Proteus 2000 review, by Paul White (Sound On Sound, March 1999); |
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Emu Audity 2000 review, by Derek Johnson (Sound On Sound, August 1998); |
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Emu E-Synth review, by Simon Trask (Sound On Sound, November 1997).
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Steinberg Cubase SX review, (Computer Music, July 2002)
includes material taken from: |
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Steinberg Nuendo v1.5 review, by Sam Inglis (Sound On Sound, October 2001).
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Steinberg Cubase SX review (Future Music, July 2002)
includes material taken from: |
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Cubase Notes, by Mark Wherry (Sound On Sound, May 2002).
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‘The Truth About Windows XP’ feature (Computer Music, March 2002)
includes material taken from: |
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Windows XP feature, by Martin Walker (Sound On Sound, February 2002)
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Roland XV5050 review (Future Music, February 2002)
includes material taken from: |
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Roland XV3080 review, by Derek Johnson and Debbie Poyser (Sound On Sound, July 2000); |
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Roland XV5080 review, by Gordon Reid (Sound On Sound, November 2000).
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Boss DR670 review (Future Music, December 2001)
includes material taken from: |
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Boss DR770 review, by Derek Johnson (Sound On Sound, July 1999).
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Kenton Plugstation review (Computer Music, November 2001)
includes material taken from: |
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Kenton Plugstation review, by Martin Walker (Sound On Sound, August 2001).
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Korg Triton LE review (Future Music, November 2001)
includes material taken from:
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Korg Triton review, by Derek Johnson and Debbie Poyser (Sound On Sound, June 1999).
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Yamaha Motif review (Future Music Autumn 2001)
includes material taken from: |
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Yamaha Motif review, by Derek Johnson and Debbie Poyser (Sound On Sound, September 2001).
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Propellerhead Software ReCycle v2 review (Future Music, October 2001)
includes material taken from: |
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Propellerhead Software ReCycle review, by Paul Farrer (Sound On Sound May 1995).
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‘The Ultimate Guide To Compression’ feature (Future Music, October 2001)
includes material taken from: |
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‘How & When To Use Mix Compression’ feature, by Hugh Robjohns, (Sound On Sound June 1999); |
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‘A Concise Guide To Compression & Limiting’ feature, by Paul White (Sound On Sound, April 1996).
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Clavia Nord Lead 3 review (Future Music, May 2001)
includes material taken from: |
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Clavia Nord Lead 2 review, by Paul Nagle (Sound On Sound, September 1997); |
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Clavia Nord Lead review, by Gordon Reid (Sound On Sound, May 1995).
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‘Who Needs Pro Tools?’ feature (Computer Music, April 2001)
includes material taken from: |
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Pro Tools feature, by Simon Price (Sound On Sound, February 2001); |
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Otari RADAR II review, by Hugh Robjohns (Sound On Sound, January 1999).
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M Audio Delta 66/Omni I/O review (April 2001, Computer Music)
includes material taken from: |
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M Audio Delta 66/Omni I/O review, by Martin Walker (Sound On Sound, January 2001).
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Sherman Filterbank 2 review (Future Music, June 2001)
includes material taken from: |
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Sherman Filterbank review, by Chris Carter (Sound On Sound, April 1997).
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Propellerhead Software Reason v2 review (Future Music August 2002)
includes material taken from: |
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Propellerhead Software Reason v1 review, by Derek Johnson and Debbie Poyser (Sound On Sound, March 2001); |
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Arturia Storm review, by Derek Johnson and Debbie Poyser (Sound On Sound, October 2001).
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They’ve tried and tested their approach and tend to stick with it for each new generation, so once you know one Roland S+S synth, you can probably operate the others. But for those new to the game, we’ll run through the essentials. |
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Roland XV-3080 review
Sound On Sound July 2000 |
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They’ve tried and tested their approach and tend to stick with it with each new generation, so once you know one Roland S+S synth, you can essentially operate the others. For those new to the game though, I’ll run through the essentials. |
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Roland XV-5050 review
Future Music February 2002 |
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...unless you’ve played the track through and memorised exactly where the loud and quiet spots are, you’ll always respond too late, because you can’t start to move the fader until you hear that something is wrong. |
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‘A concise guide to compression and limiting’
Sound On Sound April 1996 |
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...unless you’ve played the track repeatedly to memorise exactly where the loud and quiet spots are, you’re always going to respond too late, simply because you can’t start to move the fader until you hear that something is wrong. |
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‘The ultimate guide to compression’
Future Music October 2001 |
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...a well-implemented, comprehensive and consistent automation system allowing any VST Mixer or effects parameter to be automated. Faders and knobs can be automated by moving them with the mouse in the mixer view, or by drawing in the Project window... |
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Steinberg Nuendo review
Sound On Sound October 2001 |
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...a well-implemented, comprehensive and consistent automation system that allows any VST Mixer or plug-in parameter to be automated. Faders and knobs can be fully automated by moving them with the mouse in the Mixer view, or by drawing in the Project window. |
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Steinberg Cubase SX review
Computer Music July 2002 |
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Looking below the surface also reveals a number of impressive ‘professional’ features... |
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Steinberg Nuendo review
Sound On Sound October 2001 |
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Looking below the surface also reveals a number of impressive new ‘professional’ features. |
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Steinberg Cubase SX review
Computer Music July 2002 |
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...you never get to edit audio files directly: instead, your edits affect Events, which in turn refer to Clips, which are also editable and which reference the audio files. This structure allows the implementation of a proper edit decision list, with unlimited undo and redo and the ability to view the edit history of an entire Project or a single Event. |
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Steinberg Nuendo review
Sound On Sound October 2001 |
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...you never get to edit audio files directly — instead, any editing affects Events, which in turn refer to Clips. Clips are used to reference the actual audio file, but are also editable, and this allows for the creation of a comprehensive edit decision list. Using this you have unlimited undo and redo capabilities, along with the ability to view the Edit History of an entire Project or a single Event. |
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Steinberg Cubase SX review
Computer Music July 2002 |
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If I had to pick one word to describe Nuendo, it would be ‘elegant’. It allows clear, transparent access to all the information in a Project... |
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Steinberg Nuendo review
Sound On Sound October 2001 |
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...if we had to sum up Cubase SX in just one one word, it would be ‘stylish’. It offers clear and concise access to all the information in a Project... |
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Steinberg Cubase SX review
Computer Music July 2002 |
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...offers excellent automation facilities, and ships with a lot of effects and features that would be expensive optional extras in other applications... |
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Steinberg Nuendo review
Sound On Sound October 2001 |
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...offers superb automation facilities, and an abundance of effects and features that would be expensive optional extras in other applications. |
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Steinberg Cubase SX review
Computer Music July 2002 |
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...a great way to bridge the gap between platforms and applications. Computers running any combination of Mac OS and Windows, or Cubase and Nuendo, can be used in the same network... |
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Cubase Notes
Sound On Sound May 2002 |
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...a great way to bridge the gap between platforms and applications. Computers running any combination of Windows or Mac OS, or Cubase and Nuendo, can be used in the same network! |
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Steinberg Cubase SX review
Future Music July 2002 |
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This is a sophisticated, flexible and good sounding synth that will suit die-hard programmers down to the ground. |
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Emu Audity 2000 review
Sound On Sound August 1998 |
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This is a sophisticated, flexible and great sounding synth that will suit programmers down to the ground. |
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Emu Proteus 2500 review
Future Music September 2002 |
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...provides a superb synth engine with a range of well-implemented traditional facilities... |
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Emu Audity 2000 review
Sound On Sound August 1998 |
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...provides a superb synth engine with a range of well-implemented facilities... |
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Emu Proteus 2500 review
Future Music September 2002 |
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...could be seen as simply a crafty repackaging exercise designed to highlight the (not inconsiderable) synthesis capabilities of the Emulator series and attract musicians who feel happier with the convenience... |
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Emu E-Synth review
Sound On Sound November 1997 |
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...could be seen by some as simply a crafty repackaging exercise designed to highlight the synthesis capabilities of the Proteus series in an effort to attract musicians who feel happier with the convenience... |
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Emu Proteus 2500 review
Future Music September 2002 |
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if you process a file with four effects, you can later undo any of that processing, even after quitting and reloading the song. You can also, for example, remove the processing of the second plug-in, whereupon Cubase SX will then reapply the processing of any subsequent plug-ins with your original settings. |
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Cubase Notes
Sound On Sound May 2002 |
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...if you process a file with a number of effects, you can later undo any of that processing, even after quitting and reloading the song. You can also, for instance, remove the processing of any plug-in, whereby Cubase SX will then reapply the processing of any subsequent plug-ins with your original settings! |
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Steinberg Cubase SX review
Future Music July 2002 |
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...I particularly liked the pattern mode implementation, which offers sufficient hands-on interaction to make live performance a joy... |
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Emu Proteus 2500 review
Sound On Sound March 2002 |
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...I particularly enjoyed using the Pattern mode implementation, which offers sufficient hands-on interaction to make live performance a joy... |
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Emu Proteus 2500 review
Future Music September 2002 |
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The Xtreme Lead 1 is undoubtedly a quality product, but there are a few areas where I feel more attention could have been paid. |
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Emu Xtreme Lead 1 review
Sound On Sound August 2000 |
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...the Proteus 2500 is undoubtedly a quality piece of kit, there are some areas where I feel a little more attention could have been paid. |
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Emu Proteus 2500 review
Future Music September 2002 |
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...this isn’t the warmest analogue filter I’ve ever heard... |
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Sherman Filterbank review
Sound On Sound April 1997 |
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...it’s not the warmest analogue filter I’ve ever heard. |
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Sherman Filterbank 2 review
Future Music June 2001 |
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...will undoubtedly become required kit for many remixers, dance acts and producers... |
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Sherman Filterbank review
Sound On Sound April 1997 |
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...should be classed as required kit for remixers and dance music producers... |
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Sherman Filterbank 2 review
Future Music June 2001 |
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As an added bonus, ReCycle also kindly spits out the grooves and tempos of the loops as a standard MIDI file. |
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Steinberg ReCycle review
Sound On Sound May 1995 |
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As an extra bonus, this version can now spit out the grooves and tempos of loops as a standard MIDI... file. |
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Propellerhead Software ReCycle 2.0 review
Future Music October 2001 |
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...Nuendo does pretty much everything a professional audio editor, multitrack recorder and mixing utility should... |
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Steinberg Nuendo review
Sound On Sound October 2001 |
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...SX is capable of doing everything that a professional audio editor, multitrack recorder and mixer should... |
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Steinberg Cubase SX review
Computer Music July 2002 |
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...sharp contrast to Steinberg’s Cubase, where it often feels as though you can’t do anything without having 17 different windows cluttering up the screen. |
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Steinberg Nuendo review
Sound On Sound October 2001 |
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...sharp and welcome contrast to the original Cubase, where you often felt as though you couldn’t do anything without having to open several different windows... |
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Steinberg Cubase SX review
Computer Music July 2002 |
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...a horizontal panel containing tool icons and shortcuts to other Nuendo windows, along with nudge buttons and settings for parameters such as quantise and snap. |
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Steinberg Nuendo review
Sound On Sound October 2001 |
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...a horizontal panel containing all the tool icons, along with nudge buttons, settings for parameters — such as quantise and snap... |
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Steinberg Cubase SX review
Computer Music July 2002 |
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...disappointed to find that although MIDI notes appear in the Events in the main Project window, you have to open a separate MIDI editor to modify the contents of any MIDI Events. |
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Steinberg Nuendo review
Sound On Sound October 2001 |
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...disappointing that although MIDI notes appear in the Events in the main Project window, you have to open a separate MIDI editor to modify them. |
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Steinberg Cubase SX review
Computer Music July 2002 |
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...enables the processing abilities and hard drives of an unlimited number of computers to be shared over a network... |
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Cubase Notes
Sound On Sound May 2002 |
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...enables the processing abilities and hard drives of an apparently unlimited number of computers to be shared over a network. |
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Steinberg Cubase SX review
Future Music July 2002 |
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...enables you to run audio tracks, effects, and instruments across all the connected computers, but with sample-accurate timing to lock the entire production together. |
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Cubase Notes
Sound On Sound May 2002 |
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...enables you to run audio tracks, effects, and instruments across all inter-connected computers, with sample-accurate timing to lock them all together. |
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Steinberg Cubase SX review
Future Music July 2002 |
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...for example, the MIDI tracks on one computer can be routed to another via any number of virtual channels and ports... |
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Cubase Notes
Sound On Sound May 2002 |
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...for example, it’s possible to route the MIDI tracks from one computer to the next via any number of virtual channels or ports... |
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Steinberg Cubase SX review
Future Music July 2002 |
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Creating a crossfade is a simple matter of selecting where you want it to happen and pressing X. And did I mention that the keyboard shortcuts are fully customisable? |
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Cubase Notes
Sound On Sound May 2002 |
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...creating a crossfade is a simple matter of selecting where you want it to happen and pressing the X key. Of course, all the keyboard shortcuts are fully customisable... |
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Steinberg Cubase SX review
Future Music July 2002 |
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...there’s even a randomise facility that combines elements from the various factory presets to form new patches. |
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Emu Proteus 2000 review
Sound On Sound March 1999 |
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...there’s also a Randomise function that combines elements from a number of factory presets to create new patches. |
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Emu Proteus 2500 review
Future Music September 2002 |
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...building up Songs is a simple matter of chaining Patterns together then adding any performance or controller overdubs afterwards if necessary. |
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Emu Proteus 2500 review
Sound On Sound March 2002 |
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...building up Songs is a simple matter of chaining them together then adding any performance or controller overdubs afterwards if necessary. |
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Emu Proteus 2500 review
Future Music September 2002 |
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I think Emu really have shot themselves in the foot regarding... |
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Emu Planet Earth review
Sound On Sound May 2001 |
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E-mu really have shot themselves in the foot regarding... |
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Emu Proteus 2500 review
Future Music September 2002 |
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...it feels slightly less than the ‘professional’-level product it claims to be, because in some areas it provides less control than most professional users would expect. |
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Arturia Storm review
Sound On Sound October 2001 |
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...it feels slightly less than professional, simply because in some areas it doesn’t offer the control most professional users would expect. |
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Propellerhead Software’s Reason V2.0 review
Future Music August 2002 |
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Patches themselves can be further organised into a 16-part Performance... |
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Roland XV-5080 review
Sound On Sound November 2000 |
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Patches themselves can be further organised into a 16-part performance... |
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Roland XV-5050 review
Future Music February 2002 |
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The key to making overall compression work lies in setting the compressor sympathetically. |
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‘A concise guide to compression and limiting’
Sound On Sound April 1996 |
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The key to making overall mix compression work is through sympathetic settings... |
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‘The ultimate guide to compression’
Future Music October 2001 |
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...careful setting of the compressor will allow the vocal to dip everything else slightly whilst it is present, helping it to stand out better. Between the vocal lines, when the singing stops, the lead instruments will come back up a little in level, so there will be less ‘fighting’ between vocals and lead guitars or keyboards. |
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‘How and when to use mix compression’
Sound On Sound June 1999 |
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...carefully setting a compressor’s threshold to react on the vocals, you can dip everything else slightly while they are present, helping them stand out better. Between the vocals, when the singing stops, the lead instruments will come back up a little in level, so there will be less fighting between vocals and other instruments. |
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‘The ultimate guide to compression’
Future Music October 2001 |
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...sounded more ‘DCO’ than ‘VCO’. |
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Clavia Nord Lead 2 review
Sound On Sound September 1997 |
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...sound more like DCOs than VCOs... |
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Clavia Nord Lead 3 review
Future Music May 2001 |
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...four MIDI continuous controllers (the sources) can be assigned to four destinations per Patch. These include pitch, level, chorus and reverb send, four multi-effect parameters, various LFO parameters, filter cutoff frequency and resonance, plus the attack, decay and release parameters of the three EGs. |
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Roland XV-5080 review
Sound On Sound November 2000 |
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Four MIDI continuous controllers can be assigned to four destinations per Patch. This includes pitch, level, chorus and reverb, four multi-effect parameters, LFO parameters, filter, plus the attack, decay and release parameters of the envelope generators. |
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Roland XV-5050 review
Future Music February 2002 |
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With Cubase SX being built on the foundations of Nuendo, it’s not surprising that both applications will share the same *.NPR (Nuendo Project) file format... |
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Cubase Notes
Sound On Sound May 2002 |
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As SX has been built on the foundations of Nuendo both applications now share the same NPR file format... |
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Steinberg Cubase SX review
Future Music July 2002 |
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Layers may be switched or crossfaded by velocity, keyboard position, real-time MIDI control or from an internal modulation source. |
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Emu Proteus 2000 review
Sound On Sound March 1999 |
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...each layer can be switched or cross-faded by the keyboard position, velocity, an internal modulation source or real-time MIDI control. |
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Emu Proteus 2500 review
Future Music September 2002 |
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The only down side is that the reason SX is able to retrieve previous versions is because they’re never deleted, meaning that the more off-line processing you do, the more hard disk space you’ll need. |
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Cubase Notes
Sound On Sound May 2002 |
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The only downside I can see to this, is that any editing events are never deleted, so the more offline processing you do, the more hard disk space you’re going to need... |
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Steinberg Cubase SX review
Future Music July 2002 |
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There is MIDI control over most parameters and internal modulation sources are routed via a virtual patchcord system to any of 64 destinations via up to 24 ‘patch cords’ per layer. |
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Emu Proteus 2000 review
Sound On Sound March 1999 |
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...most of these parameters are controllable over MIDI, and any internal modulations can be routed to a substantial 64 destinations using up to 24 virtual patch chords per layer. |
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Emu Proteus 2500 review
Future Music September 2002 |
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...the A group of effects comprises 44 reverb/ambience type programs with control only over decay time and high-frequency damping. |
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Emu Proteus 2000 review
Sound On Sound March 1999 |
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...the first group comprising 44 reverb/ambience programs with control only over decay time and high-frequency damping. |
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Emu Proteus 2500 review
Future Music September 2002 |
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The B group comprises 32 delay, modulation and distortion effects ranging from chorus and vibrato to tapped delay and flanging. Here there are controls for feedback plus LFO rate and delay. |
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Emu Proteus 2000 review
Sound On Sound March 1999 |
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The second group comprises 32 delay, modulation and distortion effects covering everything from chorus and delay to tapped distortion [sic] and flanging with additional control for feedback, LFO rate and delay. |
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Emu Proteus 2500 review
Future Music September 2002 |
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...provides up to 64 audio output channels, but if your soundcard is stereo, only two channels will be active. Likewise, up to 64 MIDI channels can come in, so that Reason’s virtual instruments can be played by sequencers other than the program’s two built-in ones. |
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Propellerhead Software’s Reason review
Sound On Sound March 2001 |
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...provides up to 64 audio output channels, but if used standalone with a stereo soundcard only two of these 64 are active. Similarly, up to 64 MIDI channels are supported so that Reason’s virtual instruments can be played by sequencers other than the program’s two built-in ones. |
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Propellerhead Software’s Reason V2.0 review
Future Music August 2002 |
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The first four effects added are assigned to the mixer’s auxiliary send/return loops... |
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Propellerhead Software’s Reason review
Sound On Sound March 2001 |
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...the first four effects added are also assigned to the mixer’s auxiliary send/return loops... |
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Propellerhead Software’s Reason V2.0 review
Future Music August 2002 |
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...multiple mixers are bussed together, summing master outs and aux sends. |
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Propellerhead Software’s Reason review
Sound On Sound March 2001 |
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...multiple mixers are bussed together, in effect summing both master outs and aux sends. |
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Propellerhead Software’s Reason V2.0 review
Future Music August 2002 |
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...gate inputs, for independently triggering Subtractor’s EGs, and three CV outputs allow the synth’s mod EG, filter EG and/or LFO 1 to modulate compatible parameters on another Reason device. |
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Propellerhead Software’s Reason review
Sound On Sound March 2001 |
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Gate inputs allow you to independently trigger all the EGs, and three CV outputs allow the synth’s mod EG, filter EG and/or LFO 1 to modulate parameters on another Reason device. |
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Propellerhead Software’s Reason V2.0 review
Future Music August 2002 |
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...real-time recording it’s simply a matter of pressing the Record button in the transport section and playing along with the metronome as the Pattern loops... |
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Boss DR-770 review
Sound On Sound July 1999 |
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Real-time recording, as the name suggests, is simply a case of pressing the record button in the transport section and playing along with the metronome click as the pattern loops. |
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Boss DR-670 review
Future Music December 2001 |
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As you step through a Pattern, pad hits, complete with velocity, are stored at each step. |
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Boss DR-770 review
Sound On Sound July 1999 |
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...as you work through a pattern, pad hits and velocity are stored with each step. |
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Boss DR-670 review
Future Music December 2001 |
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...quarter-note beats, so 7/8 or 11/16 time signatures aren’t possible (except by working out your song over multiple quarter-note-based Patterns). |
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Boss DR-770 review
Sound On Sound July 1999 |
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...quarter-note beats rather than time signatures, so 7/8 just isn’t possible. Well, unless that is you’re willing to work out your song over multiple patterns! |
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Boss DR-670 review
Future Music December 2001 |
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...features eight channels of high-spec 24-bit A-D and D-A on balanced XLR connections, eight channels of AES-EBU digital, and stereo S/PDIF digital. |
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Sound On Sound February 2001 |
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...featuring eight channels of high-spec 24-bit A-D and D-A on balanced XLR connections, eight channels of AES-EBU digital, and stereo S/PDIF digital. |
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‘Who Needs Pro Tools?’
Computer Music April 2001 |
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...five tabbed pages labelled Monitor Mixer, Patchbay/Router, Hardware Settings, S/PDIF, and About. The latter is self-explanatory... |
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M-Audio Omni I/O review
Sound On Sound January 2001 |
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...five tabbed pages: Monitor Mixer, Patchbay/Router, Hardware settings, S/PDIF, and About. The last is pretty self-explanatory... |
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M-Audio Omni I/O review
Computer Music April 2001 |
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...small switch toggles between ADSR and Envelope Follower modes. In Envelope Follower mode, the ADSR control signal follows the level of the audio signal rather than just being triggered by it... |
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Sherman Filterbank review
Sound On Sound April 1997 |
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...small switch you can even change between the ADSR and Envelope Follower mode. When set to this, the ADSR control will follow the level of the incoming audio signal rather than be triggered by it. |
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Sherman Filterbank 2 review
Future Music June 2001 |
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Essentially, this application allows you to import sampled grooves and drum loops... view them on-screen as a waveform, and then edit and modify them in a number of different ways. |
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Steinberg ReCycle review
Sound On Sound May 1995 |
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Essentially, it allows you to import a sampled groove or drum loop... view it on-screen as a waveform, then edit and modify it in a number of different ways. |
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Propellerhead Software ReCycle 2.0 review
Future Music October 2001 |
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...a 10-voice, pattern-based drum machine featuring 32 patterns, each up to 64 steps long. (The 16 step pads for triggering drum hits are switchable in four banks.) Step resolution is variable between a half note and a 1/128th note. |
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Propellerhead Software’s Reason review
Sound On Sound March 2001 |
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...a 10-voice, sample-based drum machine, ReDrum boasts 32 patterns, each of which can be up to 64 steps long...switchable over four banks and the step resolution is variable between a half note and a 1/128th note. |
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Propellerhead Software’s Reason V2.0 review
Future Music August 2002 |
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...by multiplying the current sample rate by two-thirds, a half, a third, a quarter or a sixth. Starting with a 48kHz sample, the resulting rates would be 32kHz, 24kHz, 16kHz, 12kHz and 8kHz. |
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Korg Triton review
Sound On Sound June 1999 |
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...by multiplying the current sample rate by two-thirds, a half, a third, a quarter or a sixth. This gives possible rates of 32kHz, 24kHz, 16kHz, 12kHz and 8kHz from a 48kHz sample. |
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Korg Triton Le review
Future Music November 2001 |
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....RPPR (Real-time Pattern Play/Recording). This allows musical phrases or patterns (up to 100 user patterns per Song) to be assigned to keys and triggered in real time... |
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Korg Triton review
Sound On Sound June 1999 |
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...RPPR (Real-time Pattern Play/Recording) that allows musical phrases or user patterns to be assigned to keys and triggered in real time. |
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Korg Triton Le review
Future Music November 2001 |
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...resonance to maximum robs a little too much bass end. |
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Sound On Sound September 1997 |
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...resonance up high seems to rob too much off the bottom end. |
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Clavia Nord Lead 3 review
Future Music May 2001 |
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...its channels accommodate stereo inputs as easily as mono. Each input has a level fader, pan pot/balance control, four aux sends, two-band EQ (24dB cut/boost at 80Hz and 12kHz — good, musical choices)... |
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Propellerhead Software’s Reason review
Sound On Sound March 2001 |
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...each channel can accommodate either stereo or mono signals, and features a level fader and meter, four aux sends, control over the balance, and a two-band EQ with a 24dB cut/boost at 80Hz and 12kHz. While this EQ is a good musical choice... |
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Propellerhead Software’s Reason V2.0 review
Future Music August 2002 |
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...automatically loading multiple samples and assigning them to keys on a MIDI keyboard display. Where appropriate, pitched samples are actually assigned to the correct key for their pitch! |
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Propellerhead Software’s Reason review
Sound On Sound March 2001 |
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...multiple samples can be loaded and automatically assigned to keys on the keyboard display, with the pitched samples assigned to the correct key for their pitch. |
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Propellerhead Software’s Reason V2.0 review
Future Music August 2002 |
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...take full advantage of Dr:rex unless you own Recycle, but you could find inspiration in the varied collection of mono and stereo REX loops provided with Reason. Though mainly featuring contemporary drum loops, the collection also includes a range of instrumental riffs. |
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Propellerhead Software’s Reason review
Sound On Sound March 2001 |
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...take full advantage of it unless you actually own ReCycle! too. That said, a varied collection of mono and stereo REX loops can be installed with Reason, and while there are some instrumental riffs included, the majority of them consist of contemporary drum loops. |
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Propellerhead Software’s Reason V2.0 review
Future Music August 2002 |
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...allowing two footswitches to be used with a special splitter lead. One is assigned to stop/start duties, while the second can trigger a pad sound (allowing you to bang a bass drum with your foot, like a real drummer), step through fills and variation Patterns, reset the current Pattern and enter record mode. |
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Boss DR-770 review
Sound On Sound July 1999 |
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...a special splitter lead, it’s possible to connect two foot pedals. The first can be assigned to start and stop the machine while the second can trigger a pad sound, reset the current pattern, initiate record mode or step through the patterns and fills. |
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Boss DR-670 review
Future Music December 2001 |
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...the Nuance parameter, which successfully emulates the effect of a drum or cymbal being hit at different places... |
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Boss DR-770 review
Sound On Sound July 1999 |
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...Nuance parameter to emulate the sound of a drum, snare or cymbal being hit in different places... |
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Boss DR-670 review
Future Music December 2001 |
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...record in step or real time, set Pattern length (maximum 80 steps), and define a quantise value of between a half and a 32nd note, by way of quarter-note, quarter triplet, eighth-note, eighth triplet, 16th note and 16th triplet values. |
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Boss DR-770 review
Sound On Sound July 1999 |
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...record in real-time or step mode, set the pattern length then define quantise value. Quarter-note, quarter triplet, eighth-note, eighth triplet, 16th note and 16th triplet values... |
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Boss DR-670 review
Future Music December 2001 |
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...six 25-way D-Sub connectors on the right hand side
of the rear panel. These conform to the Tascam (DA88) wiring convention (which has virtually become an industry standard) and each connector provides eight channels of balanced audio with inputs and outputs on separate sockets. |
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Otari RADAR II review
Sound On Sound January 1999 |
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...six 25-way D-Sub connectors which conform to Tascam’s industry standard DAT wiring (DA88). Each of the D-Sub connections can handle up to eight channels of balanced audio with the inputs and outputs appearing on separate channels... |
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‘Who Needs Pro Tools?’
Computer Music April 2001 |
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...introduces progressively lower harmonics until, at position 16, the harmonic content is four octaves lower than the original. |
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Sherman Filterbank review
Sound On Sound April 1997 |
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...progressively lower harmonics are introduced to the audio until eventually the harmonic content becomes four octaves lower than the original! |
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Sherman Filterbank 2 review
Future Music June 2001 |
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MIDI can be used to trigger the ADSR and AR generators independently and the internal, audio input trigger can be turned on or off via MIDI. The Filterbank can also convert incoming audio and CV/Gate triggers to MIDI notes. |
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Sherman Filterbank review
Sound On Sound April 1997 |
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MIDI commands can also be used to trigger the ADSR and AR envelopes independently, and the audio trigger input can be turned off or on. Best of all, the Filterbank 2 is capable of converting any incoming signal from the CV/gate input into MIDI notes. |
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Sherman Filterbank 2 review
Future Music June 2001 |
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...gets sample-slicing with Steinberg’s ReCycle. |
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Steinberg ReCycle review
Sound On Sound May 1995 |
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...gets sample-slicing with version 2. |
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Propellerhead Software ReCycle 2.0 review
Future Music October 2001 |
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This means that, like its little brother, it offers a substantial 128-voice polyphony, GM Level 2 compatibility... |
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Roland XV-5080 review
Sound On Sound November 2000 |
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This means that, like its bigger brother, it offers GM Level 2 compatibility... |
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Roland XV-5050 review
Future Music February 2002 |
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...there are seven preset groups of 128 Patches, a group of 256 GM Patches, 14 preset kits of 64 percussion instruments, nine GM kits of 64 instruments, and 64 preset Performances. Add to this the 128 slots for user Patches, 64 slots for user Performances, four slots for user Rhythm Sets... |
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Roland XV-5080 review
Sound On Sound November 2000 |
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There are seven preset groups of 128 patches, 256 GM patches, 14 preset kits of 64 percussion instruments, nine GM kits of 64 instruments, and 64 preset performances. Added to this are another 128 slots for user patches; 64 for user performances and four for user rhythm sets. |
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Roland XV-5050 review
Future Music February 2002 |
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