SOUND ON SOUND
Got lots of analogue synths? This could be your one-box solution to bringing them into the world of MIDI. Chris Carter gets converted.
I don't know about your studio, but the back of my MIDI rack looks like the rat's nest from hell, and a lot of that is down to...
If you need an easy-to-use controller keyboard Roland's latest mid-ranger master could be the one for you. Nicholas Rowland takes a spin down the A33.
The Nanosynth is a pygmy on the outside but a veritable Watutsi on the inside. Derek Johnson cuts a swathe through the undergrowth in search of tiny treasure...
Microtech Gefell's first multi-pattern mic is graced with the kind of looks which could assure it classic status — as long as its sound lives up to its stunning appearance. Paul White lends an ear.
Tape saturation is the latest thing to get the physical modelling treatment. Can two high-powered DSPs, however, really achieve the same effect as a strip of rust being dragged over a magnet? Paul White investigates.
It may say v1.6 on the box, but the latest version of BIAS's Mac-based audio editor is stuffed with enough new features to warrant a version 2.0 tag. Paul D. Lehrman scales new heights.
Paul White studio tests a compressor whose main claim to fame is that you can't hear it working. Is transparency merely an attribute of the Emperor's new clothes, or is this unit something rather special?
If you're tempted to try out the whole Spectrum of bass sounds, Peavey have updated and old favourite, and Nick Rowland has the lowdown...
The demand for Roland's TB303 remains very strong, given that the 'fad' of the acid line continues unabated. No surprise, then, that Dutch boffins Syntecno have updated their 1996 TB303 clone to make it even more attractive. Christopher Holder limbers up his tweaking finger.
Commercial physical modelling synths first appeared in 1994, but until now, nobody has produced one that offers truly multitimbral operation together with decent polyphonic performance. Korg's new Z1 does — and for well under £2,000. In this, the first UK review of the finished instrument, Goron Reid laughs wildly and plays lots fo chords — because he can.
Got the jitters? Aardvark's external sync unit could be the answer. Mike Collins investigates.
£300 is becoming a crowded price point for well-specified effects units, but Art nevertheless hope to stand out with their new Effects Network. Martin Walker decides whether it has what it takes to muscle in on the competition.
High-quality equalisers have the magical property of allowing you to tweak tonal content, while themselves remaining practically invisible to the ear. Hugh Robjohns checks out a contender from an American company new to the UK market.
The latest upgrade to WaveLab Verson 1.6 includes CD writing in its arsenal. Martin Walker loeads up and dives in...
The Masterport system consists of dedicated multitrack software and a high-quality card, allowing you to avoid the compatibility problems that can arise when software and hardware from different manufacturers are run together. Janet Harniman-Cook thinks it's the cream of the crop.
Low‑cost patchbays are pretty much commodity items nowadays, and ever since P...
The DC16 is an assignable control surface ideal for use both with gear and software, and with digital audio systems such as Pro Tools. Mike Collins just loves being in control.
Now that digital equipment is arriving in project studios, a patchbay becomes a worthwhile purchase. Mike Collins goes back to his routes...
Paul White plumbs new depths with KRK's recently introduced active sub-bass package, designed to turn their nearfield monitors into full-range systems.