SOUND ON SOUND
A new wave of dedicated DSP cards is helping computer musicians boost their plug-in power. The latest to appear is Universal Audio's UAD1, which offers recreations of vintage compressors as well as a high-quality reverb.
Those SOS readers that followed up some of the links in the April 2001 Net Notes column may be interested in Jeff...
US mic manufacturers CAD move in on the affordable end of the market with two new large-diaphragm models, one of which offers multi-pattern functionality. Hugh Robjohns evaluates the M177 and M179.
We test a versatile four-bus mixer which provides mic amps and direct outputs for all of its 16 input channels, as well as offering built-in facilities for M&S recording.
Paul White tests Digitech's latest GeNetX amp modelling technology, which includes a Warp control allowing you to morph between amp and speaker models in real time.
The Soundbeam's ability to translate physical movements into MIDI messages, in a sophisticated and customisable way, makes it unique among alternative MIDI control systems.
Paul White tests one of the first of a new generation of portable multitrackers which utilise SmartMedia digital data storage cards as their recording medium.
Not every old analogue synth can be a classic. Gordon Reid reflects on one that is not desirable, probably won't appreciate and, in many analogue enthusiasts' opinions, does not deserve to be hunted down - except, perhaps, to be put out of its misery!
Rather than rack up their recent flagship Virus Indigo, Access have made the Virus Rack a lower-spec version at a keen price. Gordon Reid considers whether this Virus is still infectious...
• Classical * Score = 4 • Modern * Score = 4 • Cinematic * Score = 4 • Rock & Pop * Score = 3
EMES have developed the first studio monitor to use a patented new single-point stereo speaker technology. Hugh Robjohns tests the Owl System and compares it with the conventional Violett HR on which it is based.
If you constantly find yourself playing the same old chord shapes, then the rather nifty Australian Chordwizard...
The Blue Tube preamp accepts both mic and instrument inputs, and lets you add as much tube warmth as you like using real valve circuitry.
In these days of virtual instruments and fully featured software sequencers, why should you even consider spending £2000 on a cumbersome hardware synth workstation? If the workstation is as well thought-out as Yamaha's new Motif, perhaps you should.
TL Audio's successful Fat 1 stereo compressor now has a new sibling with its own built-in mic preamp. Paul White delivers the SOS verdict.
The inherent non-linearities and distortions of analogue equipment are sometimes sorely missed in this digital age. Empirical Labs offer their new FATSO Jr as a solution.
