SOUND ON SOUND
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.
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...
Roland have finally released the rackmounting version of their much-vaunted JP8000. And what is this? A mic input? Paul Ward adopts his best Kraftwerk pose for a spot of modern nostalgia.
MIDI guitars have been around for years, but systems catering to bassists are far less common. Derek Johnson sets his sequencer's controls for the heart of the bass...
Paul White tests a new valve mic that captures the essence of a good vintage design at a realistic price.
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.
'80s technology is still out there in abundance and going cheap. Derek Johnson spotlights a budget beatbox that has everything it takes to slot into the '90s studio.
The latest addition to Waldorf's Microwave family certainly advertises its presence. Paul Nagle finds out if the future's bright as well as orange.
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...
SPL are remowned for producing highly specialised audio processing tools, and their latest product is no exception. Paul White attempts to unravel the mysteries of the Transient Designer dynamics processor.
The last few years have seen a rise in the number of sample-based keyboards and modules dedicated to reproducing the distinctive tones of the Hammond organ in a portable, low-cost, MIDI-friendly package. Nick Magnus checks out the latest keyboard offering from Hammond themselves.
Studio Vision has been offering digital audio recording for an amazing eight years, making Opcode a pioneer in this field. Martin Russ sets out to discover whether successor Studio Vision Pro is still keeping up with the times, and finds it visibly improved...
Paul White encounters a budget recording preamp with a colourful pedigree.
The upgrade of Cubase to version 4.0 sees the software comprehensively overhauled — and it's available in an optional 24-bit version for the first time. Martin Walker temporarily changes platform for the next stage of the Cubase journey.
There's a new star in the current galaxy of groovy dance-oriented synths, but does it outshine the rest? Derek Johnson and Debbie Poyser investigate Quasimidi's most comprehensive dance music creation tool yet.
Sitting in Digitech's Studio range between the S100 and the Quad 4, the new S200 combines the functions of the former withthe ergonomics of the flatter. Hugh Robjohns checks it out.