SOUND ON SOUND
Considering that the Wavestation first emerged in 1990, it's aged remarkably gracefully and, relative to some of its...
Pro Tools moves up a bit (or eight) and Mackie's dedicated hardware controller for the system finally arrives. Mike Collins gets an advanced viewing.
We all know there are lots of compact mixers on the market — but then lots of people need a compact mixer, and SoundTech's 16-channel Quantum Mix is priced for mass appeal. Mike Crofts looks before he leaps.
The latest version of this popular audio sequencer sees Emagic's answer to competitor Steinberg's VST built-in effects. But there's rather more to this significant upgrade than that, as Paul White reports.
If you own a VS880, you can already record, edit and produce a stereo mix of your masterworks, all with out leaving the 880's tape-like hard disk recording environment, but now Roland have added the ability to make a CD master in the same way. Paul Nagle goes for the burn.
You might think you can't afford 32 inputs and eight busses — but a look at this cost-effective console might just change your mind. Derek Johnson goes on the busses...
For some years, Sambell Engineering (who manufacture the Atacama range) have provided a 'bespoke' service, making one‑...
Digital devices need synchronisation just as much as analogue ones, and this new offering from Digidesign aims to be a one-box solution for most audio and visual sync requirements. Mike Collins says it's about time...
Viscount were there from the very beginning of the budget effects revolution, and with the EFX100 they hope to give the cash-starved masses a further option. Christopher Holder finds out whether the EFX100 holds its own in the bustling budget marketplace.
The world of multi-effects might be generally interdisciplinary, but Derek Johnson finds that there'll always be room for a specialist.
When it comes to computer audio editing, the user interface is extremely important. Having physical controls to grab hold of has already give Ensoniq a lot of advance publicity for their Paris hard disk recording system.
Can an expensive valve microphone preamp like this one really make that much diference to the quality of your recordings?
Emu's latest sampler release is a new budget module to replace the ESI32. But with recent price drops from Akai and Yamaha's return to the sampling fold, have the company done enough to fend off the competition?
Paul White tests AKG's new budget studio valve mic to see whether it's really possible to build a quality tube capacitor mic for under £1000.
Not all analogue classics have keys. The Xpander was an early module that packed in more features than its moderate size would lead you to expect, and left a legacy still discernible in modern synth design.
Paul White finds out whether a blend of valves and photocells really can deliver the ultimate vintage compressor sound.
Paul White tries out a new hardware solution for dodgy vocalists — Lexicon Vocal Fix Card for the PCM80.
Though the V-Drum system is ideally suited to the hi-tech drummer, its modular brain features, modelled timbres and powerful editing features may lend it appeal as a source of high-quality sounds for the non-drummer. Nicholas Rowland checks out the beat feat.
In the last year SOS has reviewed no less than 10 examples of the new breed of so-called 'Voice Channels', promising a one-box solution to high quality vocal recordings. Derek Johnson & Debbie Poyser present a brief guide to the models we've looked at, to help you decide which you should go for.