SOUND ON SOUND
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Newsgroups are one of the most valuable, yet one of the most neglected features of the internet — indeed, many people don't even know of their existence. Kevin Perry explains how to access them and what benefits they offer for musicians.
Tired of those sampled string sounds? Hugh Robjohns outlines a number of techniques and tips for recording real live string soloists and string sections.
Collaboration between hardware and software developers isn't common in the world of PC music — but this month Martin Walker reports on several attempts to bridge the divide.
If you're still under the impression that the Celeron is a type of vegetable, now's the time to find out more. Martin Walker plugs in some new processors.
Less than £60 buys an Atari sample editor that's up there with new Mac and PC audio tools in terms of sound-manipulation potential. Derek Johnson puts his samples through the Squash It! mangle.
Just as the Universal Serial Buss arrives, the FireWire juggernaut sounds its horn and releases the air-brakes. Martin Russ boldly attempts to fight off the worst of the bad puns.
We've all experienced the burst of creativity that getting hold of a new sound can bring about — but not being able to afford new synths and sound modules is also a familiar feeling.
In Part 1, we saw how manufacturers realised that putting DSP effects on synths made for great sales. Subsequently, they twigged that it was also a good idea to let us take them off again (selectively), and route and adjust them ourselves.
You've got a digital desk and a high-resolution computer workstation, but how do you input 24-bit source material? Hugh Robjohns checks out MusicNet's answer.
Bob Moog's analogue filter in a pedal certainly has the vintage look — but does it capture that vintage Moog sound? Paul White does the stomp and finds out.
The complete virtual studio comes a step closer with sophisticated software sampling. Derek Johnson & Debbie Poyser look at a cross-platform program that aims to take sampling out of the rack and onto the desktop.
Norm Leete waxes lyrical about the mega-synth that introduced sampling to the world back in 1980 and went on to appear on innumerable hit singles and albums.
Beyerdynamic's range of microphones has grown at a very healthy rate over the last year or so. We provide a first opinion on their new general‑purpose studio condenser, the MCE90.
We meet the reviewer's dream — a powerful synth that's versatile, easy to use, easy to edit and even demonstrates its own patches for you!
As studios became more and more virtual, musicians begin to miss having real knobs and faders to play with — hence the success of Peavey's original PC1600 MIDI hardware fader box. Six years on, it has just been replaced with a new version.
TC Electronic's latest innovation is a dual-channel mic preamp/channel strip with comprehensive digital processing.
Yamha scored a big success with their famously blue, knob-endowed CS1x Performance synth, and now they seek to build on this with the silver-grey CS2x — but does the 1-digit increment and change of colour scheme constitute revolution or evolution?
Yamaha's fine tradition of free product-support software continues with a Mac editor for their unique FS1R synth.
Seven years ago, teacher, musician and engineer Howard Turner transformed himself into The Studio Wizard and placed an ad offering his services as studio trouble shooter and consultant. It worked like a charm...
Audio software and PC soundcards are offering 20- or 24-bit recording capabilitiy at even more affordable prices — but whether the extra data on your hard disk will actually correspond to better sound quality depends on a host of other factors. Martin Walker tells you what you need to know when deciding if you should make the change.