SOUND ON SOUND
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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.
Now that Sound Designer II no longer provides sampler support, the way is clear for an improved version of the veteran Alchemy software. Mike Collins thinks it's worth its weight in gold.
Inquisitor-General Paul White puts Samson on the rack, but finds few guilty secrets.
It may be Swiss, but there's nothing cheesy about the idea of a synth that lets you rekindle your rusty analogue programming skills. Paul Nagle dons his boots and goes hiking through the peaks and troughs of the ProTone's analogue waveforms...
Studiomaster's new desk joins the long list of other contenders in the crowded 8-buss mixer market. Unlike many of its competitors, however, the Classic 8 is a split console, and includes MIDI muting and a meter bridge as standard. Is this enough to encourage musicians to settle for Studiomaster? Paul White finds out.
Now that Waldorf have released their 4-pole filter as a stand-alone unit, giving your digital synth an analogue spin is as easy as popping it in the microwave. The result, as Paul Ward discovers, isn't always fast food.
Few people would deny that there's nothing like a real acoustic piano — but they're not always the most practical of instruments. Paul Ward looks at an electronic alternative that could be the answer.
Tech 21's founder and inventor of the SansAmp range of solid state, vacuum tube-emulating amplifiers talks to Paul White about the intricacies of reproducing tube circuits without the tubes.
If computers belong in the studio, how come we spend half our time Gaffa-taping up the cracks? As a music technology trainer, Paul D.Lehrman is something of a digital evangelist — but one who's suffering a crisis of faith...
Half teacher, half technician, as a producer you're going to have to coax the best from your charges, identify their strengths and conceal their weaknesses. David Mellor dons the velvet glove...
Multimedia artist Nick Rothwell isn't very old. But he's old enough to remember a time when we didn't need hallucinogenic drugs to have a visual imagination. What's he on?
The last year has seen Steve Rodway shoot to fame as a producer/remixer whose golden touch is on the mainstream charts. Matt Bell meets the man behind the Motiv8 to discuss his mixing methods, the technology he uses, and the remix work that put him on the map...
Bored with ordinary commercial studios, The Cure decided to cut loose for their latest album, and set up their latest recording facility in a Tudor house in the country. Nigel Humberstone visited the band on location to discuss the technology that made the move into the country possible, and the group's working methods.
What would modern popular music be like without effects? Can you imagine rock without distortion? Ambient techno without delays? New age without reverb? Effects are second only in importance to the instrument needed to produce the music in the first place. Over the next nine pages, Derek Johnson and Debbie Poyser present their guide to what's on the effects market today...
Brian Eno is convinced that it's the start of a whole new ballgame... but is PC soundcard technology advanced enough for 'generative' music to work? Brian Heywood hears the new Enigma Variations.
The last years of the '90s will see a lot of changes, with the fin de siecle spirit extending to music and computers. Martin Russ sees Macs shedding their inhibitions...
Whether you see it as sleeping with the enemy or simple self-preservation, Atari users are increasingly defecting to Mac and PC emulation packages. Ofir Gal considers some of the available options: MagiC mac vs TOS.
Last month, we looked at which elements are most likely to go wrong in the mix. This month, Paul White takes a more positive line, and looks at how to record the right instrumental sound to tape in the first place.
Paul White explores a few ways of taking nature's most common audio phenomenon and manipulating it to create special effects.
Paul White takes a closer look at SMPTE and MIDI Time Code, and their role in Tape-to-MIDI sync.