SOUND ON SOUND
Yet another ultra-compact mixer emerges from R&D, to fierce competition from similar models by other manufacturers. David Mellor does a spot of channel-hopping...
LA Audio have taken the best bits from their mic preamps, compressors and equalisers to create a dedicated, single channel mic/line processor. Paul White patches it in.
The Alesis QS line gets a flagship, with a weighted keyboard, controller features, and an extended sound set. Helmsman Martin Russ finds out whether she's seaworthy...
Most of the major music software manufacturers now recognise the PC as a serious music platform and are ensuring that the PC versions of the software don't miss out on any important features. Paul White gives an overview of the latest Logic Audio for Windows '95 and compares it with the Mac version.
We've all heard of a modular mixing desks - &mdash but perhaps not where all the modules are rackmounting and can be mixed and matched to form a custom console, or used alone. Hugh Robjohns makes all the right connections.
Paul Wiffen, a ferocious advocate of hardware sequencers for many years, takes a look at Yamaha's new flagship sequencer and finds himself reminiscing about the way things were (and could be again).
More and more people are choosing digital recording systems, which is creating a spin-off market for valve processors designed to lend a more comfortable warmth to the resulting recordings. Hugh Robjohns looks at an SPL unit being touted as the ideal partner for eight tracks of digital.
Paul White tests a new British power amplifier to see if it sounds as good as it looks.
The TL Audio Indigo range keeps on expanding, with cost-effective hybrid valve/solid state processors emerging for every studio purpose. Paul White discovers that Indigo can be a very warm colour...
To create the MR Keyboard line, Ensoniq could simply have taken the insides out of their MR Rack module and grafted on a keyboard. Instead, they've thought long and hard about what a performing and composing musician really needs from his instrument. Julian Colbeck applauds the result.
The latest in Akai's line of standalone hard disk recorders, which also includes 8- and 16-track models, sticks with the 4-track format of its predecessor, the DR4d, but adds 250 'virtual' tracks to increase the flexibility it can offer. David Mellor checks out this low-cost entry into the world of disk recording.
Emu's Launch Pad provides a hardware control surface for the Orbit sound module, but can also be used with other MIDI gear. Paul Nagle finds out whether it's destined to become a springboard for many a successful mission.
The radical keyboard design of the prophet T8, thought by some to provide the best feel and response of any synth yet made, had a heavy cost for manufacturers Sequential, delaying the T8's launch by two years and stunting potential sales. Robert Alexander reflects on a synth which was ahead of its time.
At under £500 — less than an eighth of the original price of its VL1 predecessor — Yamaha's VL70m constitutes a brave attempt to bring physical modelling synthesis within the reach of all musicians. Martin Russ joyfully welcomes this monophonic modelling module...
After finally discovering this little mixer almost lost amongst its own packaging, Paul White puts it to work.
Though it costs no more than last year's TSR24S, Digitech's latest top-line studio processor offers twice the power, an improved user interface, and a digital connections option. Derek Johnson leaps into action.
Panasonic's latest pro studio DAT is priced to compete with Tascam's established DA30 MkII. Paul White gives his professional opinion on how it measures up.
Tannoy's latest nearfields offer an updated version of their famous dual-concentric technology, while still retaining that distinctive Tannoy sound. Paul White test drives them.
The Joe Meek Pro Channel is priced within reach of almost every studio owner, yet it delivers the same kind of sounds as its bigger brothers. Paul White is introduced to the baby of the Joe Meek range.