SOUND ON SOUND
Akai samplers, in their familiar off‑white rackmount cases, have become fixtures in studios all over the world. Their latest models may use the same colour scheme, but they offer an entirely new user interface and a host of powerful new features.
Sam Inglis roots around in the dustbin of history and fishes out one of the few Roland analogue instruments you can still afford without a second mortgage. Does it deserve to be rehabilitated?
With several successful dance-oriented synth successes to their name, Quasimidi attempt to buck the trend with their latest offering. The Polymorph does offer plenty to interest the dance fraternity — real-time modulation knobs, and an analogue-style sequencer and user interface — but behind the façade lurks a powerful synth.
The East German company Microtech Gefell only became known in the West after the fall of the Berlin Wall, but it was founded by no less a man than Georg Neumann in 1943. Hugh Robjohns tests a new mic with an impressive pedigree...
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.
Analogue Systems have expanded their RS Integrator modular range to include an analogue step sequencer and several new modules — as well as a new, complete high-end system.
Yamaha's soundcard is a synth, a mixer and an effects unit in one. Martin Walker finds plenty to talk about.
The ASRX, Ensoniq's entry into the world of all-in-one sampling and sequencing workstations, has just received a major upgrade and a fresh lick of paint. Chris Carter finds out whether the improvements justify its new 'Pro' label.
Imagine a sampler with almost unlimited memory that doesn't cost a fortune, and runs on a PC using a standard soundcard. Martin Walker installs Gigasampler, and prepares to be amazed.
Roland's latest high-end arranger is the company's first for three years, yet it looks strikingly similar to its predecessor. Does it have anything new to offer in an increasingly sophisticated market? Simon Trask arranges some time with the G1000...
Users of computer-based recording systems often feel restricted by the limited degree of physical control available when it comes to mixing, especially when compared to a traditional setup centred around a hardware mixer. Mike Collins tries out a new system from Mackie which aims to improve matters.
It's small, beautifully formed, shows a fondness for purple and claims to be an 'Artist'. John Walden finds out whether Digitech's new guitar preamp/effects processor sounds fit for a Prince.
Paul Ward reintroduces an instrument now widely neglected on account of its 'digital' tag, and argues that it still has much to recommend it.
A new utility from Musitek claims to turn printed dots and lines into something non-score reading musicians can get to grips with. Janet Harniman-Cook gives it the once-over.
Spirit's 328 is a digital mixer designed to retain the intuitive feel of an analogue desk. Paul White takes the controls, while Hugh Robjohns explores the 328's comprehensive digital interfacing.
Paul White tries the latest incarnation of an old friend and discovers that beneath the new paint job, little has really changed.
Derek Johnson and Debbie Poyser explore a well -specified virtual monosynth from newcomers Koblo.
Dedicated rhythm machine are very much back in fashion, and the new Boss DR202 offers an impressive specification at a budget price. Chris Carter investigates its qualifications.