SOUND ON SOUND
Norm Leete waxes lyrical about the mega-synth that introduced sampling to the world back in 1980 and went on to appear on innumerable hit singles and albums.
Much of today's Mac music recording and processing software realistically requires a G3 processor to give optimum real-time performance; but this doesn't mean you need to consign older Macs to the scrapheap. As Bob Dormon explains, there is now an alternative to trading in your old Performa for a costly new machine.
Is it really possible to produce a worthwhile stereo compressor which sells at under £200? Paul White finds out.
You've got a digital desk and a high-resolution computer workstation, but how do you input 24-bit source material? Hugh Robjohns checks out MusicNet's answer.
For those who want to fit an entire MIDI studio on a desktop, Roland have produced a baby keyboard stuffed with their Sound Canvas GM/GS sounds. Paul White clears space by his computer for the SK88 Pro.
Portable digital multitrackers are getting even more sophisticated — and ever more affordable. Hugh Robjohns checks out Yamaha's latest MiniDisk 4-track.
Pro Tools owners can now reap the benefits of a stack of vintage guitar amps thanks to a new plug-in from the masters of physical modelling. Paul White tunes up, plugs in and starts cranking up the virtual knobs.
Bob Moog's analogue filter in a pedal certainly has the vintage look — but does it capture that vintage Moog sound? Paul White does the stomp and finds out.
In a departure from their normal approach, Soundscape have developed a system that works inside your PC rather than outside it. Martin Walker takes a closer look at the Mixtreme environment.
The SU700, Yamaha's entry into the 'groove sampler' stakes, is derived from their A3000 studio sampler and inherits some of its sibling's most impressive features — including adventurous effects and imaginative sample-manipulation facilities — while adding quite a few tricks of its own. Derek Johnson and Debbie Poyser go loopy.
Digidesign's latest Pro Tools MIX card offers even more power than last year's PT24, providing higher plug-in performance and improved mixing and processing capabilities — and there's a new software version with some useful enhancements. Mike Collins weighs up the pros and cons.
The complete virtual studio comes a step closer with sophisticated software sampling. Derek Johnson & Debbie Poyser look at a cross-platform program that aims to take sampling out of the rack and onto the desktop.
The latest incarnation of SPL's enigmatic Vitalizer offers a mixture of the qualities of other models in the range. But does it have anything new to offer?
Though marketed as a guitar effects unit, the G Force might be more accurately described as a full-function studio effects processor with some neat guitar-related functions added.
JBL's latest active two-way reference loudspeaker system has been derived from their impressive LSR32 range-topper.
We try out what must be the most cost-effective programmable 24-bit effects unit on the market. But can quality really come at such a low price?
Gordon Reid gets twiddling with two small but perfectly formed analogue units aimed at the pockets — literally — of today's aceed‑hungry dancemongers.
Multi‑pattern microphones traditionally have true capacitor capsules and are correspondingly relatively expensive — until now. We test AKG's affordable new C4000B, the first dual‑diaphragm, multi‑pattern mic with an electret capsule.
Paul White is all ears as he puts AVI's latest two-way monitor loudspeaker to the test.
As computers continue to increase in power, so the numbers of roles they can play in the studio increases — and the makers of Audio Architect would have us do our synthesis in software. Kevin Perry finds out if it can really replace those old Moogs and Prophets.