SOUND ON SOUND
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If you need to operate your sequencer from a distance, there are many ways to stay in control. Martin Walker explores a variety of low-cost and purpose-built options.
Looking into the future is never easy, especially where Operating Systems are concerned. Martin Walker ponders the possibilities.
There are now quite a few MIDI Control surfaces on the market, yet the knob-laden Drehbank, which offers interesting possibilities for interconnection between vintage CV synths and modern MIDI gear, is sure to excite much interest. Paul Nagle turns on and tunes in.
dsTEC's eye-catching new analogue mono is bad — but in a good way. Chris Carter reaps the wages of Syn.
Hugh Robjohns tries out a stylish new microphone from US manufacturers Earthworks.
Emagic's new baby is a bargain cross-platform hardware and software bundle which includes a useful new CD-mastering package for Mac users. Paul White finds out whether they've delivered the goods.
Paul White tests a couple of simple digital audio processors that also allow you to make unlimited copies from your own SCMS-protected DAT tapes.
In Part 1 we explained how the tones of most real instruments can be reduced to patterns of harmonics, which can be generated using sine, saw, square or pulse waveforms. This month, we consider the sonic raw materials needed to imitate unpitched percussion.
Korg's Trinity workstation has, like their earlier instruments, become virtually an industry standard — but far from resting on their laurels, the company have upped the ante still further with the new Triton. Derek Johnson and Debbie Poyser provide an exclusive hands-on review.
The theremin is one of the oldest electric instruments around, and its distinctive sound is instantly recognisable. However, real ones are hard to find, and even harder to play. Sam Inglis tries to work out a way of cheating.
Even the mightiest keyboard players have to start somewhere and quite a few started with Korg's diminutive MS10 patchable monosynth.
If you were offered a Roland JV2080, complete with Session expansion card and software editor, for around half the price of a JV1080, you'd probably wonder what the catch was. OK, so the JV1010 isn't quite that, but it comes surprisingly close...
Zoom's new beatbox offers a wide range of percussion sounds and patterns at an extremely affordable price.
The latest addition to Alesis's DM series of drum modules has the suffix Pro — but does it have the feature‑set to match?
Legendary US record producer Bob Clearmountain undoubtedly has his name on more hit records than anyone else in the history of popular music. Dave Lockwood asks the man who invented the role of 'specialist hit mixer' to reveal the secrets of his success.
Hugh Robjohns meets a double-act of new Beyer microphones.
The Circle 3 nearfield monitors are the latest fruits of the collaboration between HHB and Harbeth. Hugh Robjohns tries them out.
Artificial reverb algorithms are designed to add 'fake' room ambience to recorded sounds — but a prototype reverb unit from Sony purports to deliver new levels of realism by imposing the characteristics of actual reverberant spaces on the sound. Hugh Robjohns explains....
Paul White tries the hybrid sound of SPL's new dual-channel precision microphone preamplifier.
Mike Collins provides some early reflections on TC Electronic's latest reverb unit and effects processor.