SOUND ON SOUND
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.
Paul White meets the latest version of Alesis' Quadraverb concept, and finds it respendent with 20-bit I/O, improved digital and analogue interfacing, and a proper internal PSU.
FM synthesis was the success story of the mid-'80s, and synth based on its principles, like Yamaha's DX7, sold by the bucketload — until affordable sample-based synths arrived at the end of the decade. Now, with their new FS1R, Yamaha have updated the technology for the late '90s.
Eventide, the undisputed masters of digital pitch-shifting, have launched a limited-edition version of their industry standard DSP4000. Is it just window dressing, or does it have anything genuinely new to offer? Hugh Robjohns finds out.
Derek Johnson & Debbie Poyser take a look at a new programmable control surface which allows you to set up a physical controller for almost any aspect of a MIDI device.
When such an established name in the world of electronic pianos comes out with something new, you'd be wise to sit up and take notice. Yamaha's latest offering, the P200 promises up to 64-note polyphony, state-of-the-art on-board sounds, and a brand new fully weighted 88-note keyboard. Interested? Paul Farrer finds out if it has all been worth the weight.
Paul White risks serious wear and tear to his patch-seletion finger by trying out the whole set of Roland JV-series Expansion Cards.
Paul White revisits his old analogue synthesis days via Bitheadz's Retro AS1 — but can a computer screen ever be as friendly as all those knobs and faders?
Although not very common in semi-pro environments, Quested is a well respected name in professional music studios. The conpany's new F11 active nearfield monitors are likely to bridge that gap and introduce the Quested name to a much wider audience. Hugh Robjohns lends them his ears...
Loop-based sequencing can involve heavy-duty time-stretching and pitch-shifting, but Sonic Foundry aim to change this with Acid, which allows you to mix multiple sample loops while changing their pitch and tempo in real time. Martin Walker applies the Acid test.
In contemporary music terms, the Korg Wavestation is verging on the antique, yet it still has the capacity to surprise and...
Waves are rightly renowned for their full price plug-in suites for both Mac and PC, but can they achieve the same reputation at the entry level end of the market? Martin Walker wonders just how easy it is.
You know how it is — you wait ages for a buss, and then eight of them come along at once. Hugh Robjohns flags down Mackie's entry into the digital mixing fray.
If you like playing the odd game, but still want quality audio when writing music, Martin Walker believes the Turtle Beach Montego could provide the best of both worlds.
Paul White studio tests least expensive digital desk currently on the market and asks, "is the writing on the wall for small analogue mixers?"
If you have ever been faced with an error message that prevented you loading in an entire track of WAV audio, you will be extremely interested in Wave Safe. Martin Walker explores a world of corruption.
In a market already awash with software plug-ins, it takes something special to stand out. Martin Walker investigates a filter that is poles apart.
Unlike the vintage equipment it emulates, Rebirth is getting more sophisticated all the time. Derek Johnson & Debbie Poyser catch up with the latest version.
Computers may have revolutionised home recording, but for the recording guitarist who prefers the sound of single coil pickups, they have taken the age-old problem of radiated-field noise to a new level. Dave Lockwood checks out a new generation fo pickups promising a real solution without compromising the classic sound.
If you saw our review of the Voyager 1 Beat Extractor in the Feb '98 issue, you'll already know what to expect from the Micro...