Recorders

Portable digital multitrackers are getting even more sophisticated — and ever more affordable. Hugh Robjohns checks out Yamaha's latest MiniDisk 4-track.

Having tested the waters with the low-cost CDR630, Marantz are now set to challenge professional compact disc recorders higher up the ladder. Paul White takes the new CDR640 for a spin.

A 24‑bit, high‑resolution version of the DAT format allows users of 24‑bit workstations to transfer their mixes using readily available, cheap media.

Interested in combining hard disk recording with other analogue and digital recording formats? Paul White connects with a versatile recording interface that offers a host of interconnection options and also claims one of the lowest latency figures in the business.

With an excellent audio specification and lots of inputs and outputs, Event's Layla looks an ideal candidate for many small computer-based recording studios. Martin Walker gets plugged in.

Designed as a replacement for high-end tape-based multitracks, Otari's original RADAR 24-track random access recorder/editor captured a sizeable chunk of the pro market. We take a look at its successor, RADAR II, which offers a host of enhancements including 24-bit audio.

Emu's APS system takes the company into soundcard territory, but with a comprehensive spec that even includes studio-quality mic amps. Martin Walker tries out this all-in-one experience.

Fostex's new portable digital recorder uses virtual tracks to expand its potential and proves that 24 into eight really does go. Bob Dormon does the maths...

Yamaha's soundcard is a synth, a mixer and an effects unit in one. Martin Walker finds plenty to talk about.

Yes, it's a Minidisc machine and it's not even a multitrack, just a stereo recorder. Why on earth could you possibly want one in the studio? Dave Shapton explains...

Superficially, it may look no different from other soundcards, but Yamaha's new DSP Factory is a real TARDIS when it comes to facilities. Martin Walker explores a soundcard that's bigger on the inside than it is on the outside.

The ADAT format is more often the choice of personal studios than professional facilities — but the new M20 is set to change all that. Hugh Robjohns takes the 20-bit ADAT for a spin.

These days there are several ways of going about recording your own CDs. Paul White gives this new Marantz professional stand-alone model a spin and discovers a few advantages over using a computer and CD-ROM drive.

If you want more of everything digital, why not try 24-bit recording at a 96kHz sample rate? Martin Walker is floored as his dynamics increase in leaps and bounds.

As the popularity of the ADAT optical 8-channel digital interface has grown, so PCI soundcards have appeared to transfer audio into this format and out of computers. Previous cards have included one optical connector, but Sonorus's STUDI/O has two, permitting 16-channel operation. Martin Walker makes light work of his optical cables.

Paul White meets the junior member of Alesis' family of Type II 20-bit ADAT recorders.

Multichannel PCI-card based digital audio recording systems are increasingly common these days, but not all of them focus on the quality of the onboard converters to the extent they should. Dave Shapton checks out a new card from far-sighted digital problem-solvers Aardvark that promises not to throw out the baby with the bathwater.

There's plenty of choice when it comes to audio cards for Windows 95/NT PCs — Janet Harniman-Cook finds out what sets the new WaveCenter from Frontier Design Group apart from the pack.

Combining the famous Lexicon reverb sound with the latest hard disk recording technology, the Lexicon Studio system should win many admirers. Martin Walker falls in love.

Paul White checks over the latest incarnation of an old friend.

In the space of just two years, Roland have doubled the power of their hard disk multitrack concept, going from the eight tracks of the VS880 to the 16 of their latest baby. Paul Nagle admires the VS's sparkling new options.