SOUND ON SOUND
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Having surfaced from the depths of the previous instalment, Steve Howell takes a deep breath and plunges back into his explaination of some of the modulation possibilities afforded by modular analogue synths...
This month, Paul Wiffen looks at ways of modifying a filter's shape, both in terms of frequency response and over time, and considers the importance of routing in connecting together a synth's various sound-generating and -modifying components.
Quasimidi have distilled the experience gained from their successful dance-orientated keyboards into a one-box solution of concentrated rave power. Derek Johnson gets on the ravy train.
The price of compact MIDI controller keyboards has come tumbling down in the past few years, but weighted-action full-length keyboards have remained relatively expensive —until now. We investigate the 88-note keyboard that runs off USB power...
Using a combination of dummy load and speaker simulator lets you record your favourite valve guitar amp at full tilt without disturbing your neighbours. The trouble is, none of the designs so far have managed to sound close enough to a real speaker. Could this be the one that finally nails it?
Viewed by many musicians as the modern standard in computer-based score-writing software, Sibelius has an impressive pedigree and reputation. Following the success of three releases on the Mac and Windows platform, can it maintain its simple user interface as the powerful feature-set continues to expand?
For most of us, computers in the studio are part and parcel of the digital revolution. Not from where avant-garde composer Paul Schutze is standing. Paul Tingen discovers a new perspective...
Is it a synth, a sequencer or a sampler? The answer to all three questions is an emphatic 'yes', as Paul White finds out when he takes the E4XT Ultra into his studio.
Prepare to shed a tear in another near-miss tale of a desirable analogue synth swept aside by the rise of digital technology.
Eventide's new entry-level unit brings their high-end algorithms within reach of the serious home studio owner.
Whenever we hear or read song lyrics, we are hearing the voice of a person, whether that voice be the songwriter's own, exploring his or her own emotions and feelings, or someone else's. The second part of Sam Inglis' series explains how you can write for different voices to put across different messages.
Producer Steve Levine has taken advantage of the tumbling price of quality recording equipment to assemble a complete digital studio in a tiny room at his home. Paul Tingen enters the digital domain...
Wilf Smarties explores the never-ending world of sample loops and how best to use them in your music.
One of two General MIDI modules are simply a cut above the rest, and Roland's high-end Sound Canvases fit right into this category. Paul White retires to the studio with the latest in the line and dips into a seemingly limitless palette of sound...
Spectrasonics' massive sample-based soft synth promises to be the ultimate source for pads, atmospheres and textures.
David Mellor warms to TL Audio's new mid-range valve voice processor.
In Part 1, we saw how manufacturers realised that putting DSP effects on synths made for great sales. Subsequently, they twigged that it was also a good idea to let us take them off again (selectively), and route and adjust them ourselves.
Behringer's new digital effects box models the characteristics of well-known high-end and vintage reverberators.