SOUND ON SOUND
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It's a great concept — a keyboard synth that can run computer plug-ins. Open Labs have created one by putting an entire PC inside a keyboard. But is it a recording revolution, or an overpriced processor in a fancy case?
Elizabeth Parker is one of Britain's best-known composers of music for television, and is renowned in the business for her ability to complete projects to the tightest of deadlines. Sam Inglis visits her unique personal studio to find out how she does it...
We show you how to edit and save your synth's Patches, and help you maximise the effects potential of your multitimbral setups. Plus there's advice on troubleshooting thorny panning problems, and tips on automating levels without changing your individual sounds.
As a child, Norman Fay was cruelly cheated of the thing he wanted most — a Memorymoog. Never one to bear a grudge, he reviews Moog's most unruly synth with the benefit of hindsight.
Roland followed their first MC303 Groovebox with the well-specified MC505. Now there's the MC307, with a spec more like the 505, a price closer to that of the 303, and more DJ-friendly features.
Since the launch of their A100 modular synth in the mid-'90s, Doepfer have been quietly adding modules to the system, some fairly simple, others splendidly esoteric. We explore some of the latest...
After a spell away from project studio consoles, Allen & Heath return with a magical new contender. Martin Walker conjures up some thoughts on the WZ20:8:2.
Propellerhead, makers of the unique Reason software studio, have come from nowhere to award-winning developer status in just eight years. We catch up with one of the key men behind this small but influential Swedish company.
In a synth market dominated by the Japanese and American manufacturers, it's a pleasant surprise to be looking at a synth made in Sweden — especially when it's as technologically advanced as the Nord Lead. Gordon Reid sees red...
Boss of the highly successful and determinedly independent Mute Records, Daniel Miller is one of the UK music industry's unsung stars. Bill Bruce celebrates 20 years of Mute with the man himself, looking back on such highlights as his work with Depeche Mode — and takes a rare tour of Miller's superb home studio.
After more than 20 years making uncompromising industrial records, pioneering German band Einstürzende Neubauten escaped a creative and financial crisis through an Internet project which allowed their fans to influence the recording of their latest album.
Martin Walker has had more than his fair share of computer hassles recently, including exploding monitors, audio glitches, and the mysterious death of Word...
As Lexicon introduce new processors to replace the acclaimed PCM80 and PCM90, Paul White takes a look at how these classic units have been further improved to create the PCM81 and 91.
In this final part of our series looking at the alternative systems available for recording and mixing, Paul White outlines his own system and the reasons for building it that way.
Recording a choir on location presents a number of unique technical and artistic challenges. Hugh Robjohns describes how he approached a recent project.
When Emu launched their flagship Proteus 2000 sound module last year, they promised a further range of cheaper 'P1K' modules which would cater for special needs, but be expandable to full Proteus 2000 spec. The first of these modules to appear aims to recreate the classic Hammond tomewheel organ sound. Nick Magnus is impressed.
Ten years after the K5, Kawai return to the technology which gave them the most successful implementation of additive synthesis ever, and include something of everything else they've learnt in the meantime. Paul Wiffen wonders if it all adds up...
A record producer's career is seen as glamourous and exciting, but what does the job actually entail? Over the next few months, David Mellor will be talking to top producers about the whole process, from initial concept to final pay cheque. This month he looks at the different types of record producer in the music business.
The Roland Promars helped to usher in a new era of microprocessor-controlled analogue synthesizer, but has subsequently been all but forgotten. Gordon Reid remembers the world's only 'Compuphonic' monosynth.