SOUND ON SOUND
If you fancy recording up to 64 audio tracks from the comfort of a familiar PC wave editor interface, Syntrillium Software's feature-packed Cool Edit Pro could be just the ticket. Martin Walker warms to the latest release of this popular package.
Once upon a time, all synths were like this — discrete analogue sound-generating and sound processing modules, connected in any configuration the synthesist cared to dream up. If you like that idea, Analogue Systems are providing a new alternative to expensive antique systems. Chris Carter does the time warp again...
The Spirit name stands for quality analogue mixing at affordable prices — but can their new 328 carry the company's traditional values into the digital age? Paul White takes a first hands-on look at Spirit's digital debut.
In a world brimming over with multi-effects units, will TC Electronic's new FireworX cause sparks to fly amongst the competition? Hugh Robjohns lights the blue touch-paper...
Though the FD4 doesn't have a built-in recording drive, it records to a choise of popular types, costs less than £400, and has been designed to be almost as easy to use as a cassette multitracker. David Mellor goes back to basics...
If audio performance and price are higher on your list of desirable soundcard features than bells and whistles, Midiman's Dman 2044 could be just the job. Martin Walker discovers a 4-input card that's as easy on the wallet as it is on the ear.
Paul White discovers that it is possible for a compact monitor to deliver a sound that is both accurate and tonally well-balanced.
Never ones for resting on their laurels, Steinberg have added a host of enhancements and additions to Wavelab. Martin Walker tries looping the loop, and analyses his WAV file collection.
Paul White lends an ear to TLA's latest parametric EQ, the 5013, an attractively-priced valve/solid state design that keeps up the tradition of delivering quality without the cost.
A synth company that produced as many classic and well-loved instruments as did Moog Music is surely allowed the odd turkey! Gordon Reid waxes critical over one of them.
The TLM103 is, of course, a complete impossibility — it has supposedly been designed to a project studio price whilst retaining the qualities of Neumann's top-flight, large diaphragm U87.
Offering more multitimbrality than its virtual analogue rivals, plus a combination of knobs for instant gratification and an LCD for accessing more advanced features, will the Virus leave the competition feeling a little sick? Paul Nagle finds out.
This new Vocalist has been designed to be easier to use than ever. Martin Walker sings up a storm in three-part harmony...
New drum machines are few and far between these days, but as Nicholas Rowland discovers, this one has a lot to offer even in a world full of computer sequencers.
Paul White tries a simple but useful digital switching system that can be used with s/PDIF or ADAT-format signals.
If you feel that the average sequencer makes you take off your musician's head and put on your computer programmer's head, take a look at FreeStyle. Derek Johnson is not a number, he's a free man...
Yamaha's new flagship workstation mixes 'n' matches several of the company's existing synthesis technologies and throws in a new one for good measure. But have they over-extended themselves? Simon Trask spends some time with the EX5 to find out...
Digital multitrackers are now nothing new, but this one records to a built-in Zip drive using low-cost 100Mb cartridges. Duke Ashton carries on recording.
Tascam have long been one of the big guns in the mid-range recording mixer market. Now they enter the digital mixer arena with a desk aimed at music and post-production work. Hugh Robjohns runs his digits all over it.
In a market already awash with soundcards, it takes a clever company to find a niche that hasn't already been filled. Martin Walker finds out what tricks this new card has up its anti-static sleeve.