SOUND ON SOUND
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Some people view GM modules as the chartered accountants of their racks, but believe it or not, there are ways to make them interesting. Paul White and Martin Walker club together to make your GM synth roar.
Despite their success in most other areas of music technology, mixers have never been Alesis' strong suit. With their new compact model, Paul White thinks that they may just have come up trumps.
In the third instalment of our series on the techniques and technology of digital audio, Hugh Robjohns turns his attention to digital audio error detection and correction — and some of the problems associated with them!
Derek Johnson ventures once more into the bizarre world of Atari software...
Martin Russ realises the worth of Metadata, and brings glad tidings of profitable Apples...
Sony's proposal for a next-generation CD format — the Super Audio CD — promises a great deal in terms of sound quality and compatibility. But will it be enough to succeed in a confused and fragmented market place? Hugh Robjohns examines the new format.
Confusing, isn't it? Where once the only recording option was tape, you can now put a whole studio inside a desktop PC or opt for an all-in-one recording and mixing hardware solution. Then again, you could stick to tape, or buy a separate hard disk recorder. In the first of this short series, Paul White examines the choices.
Paul White examines the basic principles of acoustic treatment in order to help you improve your recording and monitoring environment.
Unexpected crashes happen to all of us — even SOS PC gurus! Martin Walker tells a tale of troubleshooting, and falls for Steinberg's new Freefilter.
Paul White forgets his Ps and Qs to concentrate on his Ss and Ts while trying out Drawmer's new MX-series de-esser.
Physical Modelling and Virtual Synthesis have been buzzwords for several years now, especially when it comes to imitating analogue synthesis. But what are their advantages and disadvantages, and how do they work? Paul Wiffen explains.
Still looking for the best mic/preamp money can buy? Hugh Robjohns unearths some real gems from the USA.
Although Craig Armstrong has been building strong writing and arranging credits since the start of the '90s with such artists as Massive Attack, Madonna, Suede and U2, it's only in recent months that he's come to the fore as a solo artist in his own right, with his new album The Space Between Us. Paul Tingen notches up some Frequent Flyer miles to talk to him.
The TLM103 is, of course, a complete impossibility — it has supposedly been designed to a project studio price whilst retaining the qualities of Neumann's top-flight, large diaphragm U87.
A synth company that produced as many classic and well-loved instruments as did Moog Music is surely allowed the odd turkey! Gordon Reid waxes critical over one of them.
If audio performance and price are higher on your list of desirable soundcard features than bells and whistles, Midiman's Dman 2044 could be just the job. Martin Walker discovers a 4-input card that's as easy on the wallet as it is on the ear.
In the space of just two years, Roland have doubled the power of their hard disk multitrack concept, going from the eight tracks of the VS880 to the 16 of their latest baby. Paul Nagle admires the VS's sparkling new options.
The Spirit name stands for quality analogue mixing at affordable prices — but can their new 328 carry the company's traditional values into the digital age? Paul White takes a first hands-on look at Spirit's digital debut.
Never ones for resting on their laurels, Steinberg have added a host of enhancements and additions to Wavelab. Martin Walker tries looping the loop, and analyses his WAV file collection.
If you fancy recording up to 64 audio tracks from the comfort of a familiar PC wave editor interface, Syntrillium Software's feature-packed Cool Edit Pro could be just the ticket. Martin Walker warms to the latest release of this popular package.