SOUND ON SOUND
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I usually quite like reading manuals, incrementally absorbing many simple but valuable facts and concepts in a short...
Paul White takes a newly reincarnated Focusrite classic for a spin in his studio and discovers that sometimes, they do make things like they used to.
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.
The traditional ways of attracting the attention of record companies are becoming ever more difficult to pursue, and if you don't have a well-connected manager, you might think that you don't stand a chance. As Robin Morley found, however, a little ingenuity and industry knowledge can do a lot for you...
Koblo's software instruments are fun and easy to use, with brightly coloured, single-screen user interfaces. Derek Johnson and Debbie Poyser try out their latest, a virtual drum machine which can be run as a stand-alone application or alongside a MIDI + Audio sequencer.
Hugh Robjohns tries out Roland's updated digital monitors.
Derek Johnson collects £200 as he passes 'Go' on his tour of one of Korg's more obscure vintage boards.
Last month, we examined the frankly scary maths allowing you to predict the audible effects of Frequency Modulation. This time, although the maths gets even tougher, Gordon Reid relates the theory to the practical implementation of FM synthesis on Yamaha's digital synths, as well as modular and non-modular analogues.
MIDI can be a creative tool as well as a functional one, and Kurzweil's new stand-alone ribbon controller is designed to help you exploit its artistic possibilites. Derek Johnson & Debbie Poyser open up a new world of expression.
Lexicon's reverbs are highly regarded by many musicians, and their new Core 2 combines them with multi-channel analogue and digital I/O to create an affordable computer recording system. Martin Walker tries it out.
The latest addition to Lovetone's range of bizarrely named stomp-boxes is a surprisingly well-specified ring modulator. Will it sting Derek Johnson & Debbie Poyser into musical action?
At around £20,000 a pair, Meyer's new X10 monitors lie well beyond the budget of most SOS readers — but the technology inside them represents a breakthrough in loudspeaker construction, and should filter down to more affordable products over the next few years. Hugh Robjohns demystifies the design...
Ridge Farm Studios began making equipment in 1995, and have followed up their Gas Cooker DI box with the Boiler, a two-channel compressor. Paul White assesses its no-frills approach to the art of the big squeeze.
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.
High sample-rate recording formats offer an extended audio bandwidth, but there are currently few microphones with a frequency response to match. Hugh Robjohns tries out the first commercial studio microphone designed specifically to address this new market.
Gordon Reid checks out a compact filter module that won't break the bank.
The most affordable of Steinberg's MIDI + Audio sequencing packages has just received a thorough overhaul, to the point where it now incorporates some features not yet found in the full PC version of Cubase. Maritin Walker tries out the new Cubasis VST.
Martin Walker checks out a suite of four plug-ins (Band Pass, Comb Filters, PitchAccum and Shuffling) from Steinberg: GRM Tools.
A studio effects processor dedicated solely to providing digital delay is a rare thing in this age of all-singing, all-dancing multi-effects units. Paul White tries out TC Electronic's affordable D-Two.