SOUND ON SOUND
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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.
In a world brimming over with multi-effects units, will TC Electronic's new FireworX cause sparks to fly amongst the competition? Hugh Robjohns lights the blue touch-paper...
Paul White lends an ear to TLA's latest parametric EQ, the 5013, an attractively-priced valve/solid state design that keeps up the tradition of delivering quality without the cost.
Once upon a time, all synths were like this — discrete analogue sound-generating and sound processing modules, connected in any configuration the synthesist cared to dream up. If you like that idea, Analogue Systems are providing a new alternative to expensive antique systems. Chris Carter does the time warp again...
One day we all might drive a compact hatchback. Until then, Mac musicians should rally support for their beloved computer. Kenny Campbell sounds the call...
Recording Architecture's renowned Black Box modular acoustic treatment system is now available in a range of packages specifically aimed at the project studio. Dave Lockwood talks to consultant acoustician, Nick Whitaker and architect Roger D'Arcy about the company's latest venture in this sector of the market.
English electronic duo Mono are virtually unknown in the UK, but are in big demand in the USA, thanks to their single 'Life In Mono' being used as the main theme to the film of Great Expectations. US-based English writer Sam Molineaux talks technical to Mono's musical mainstay Martin Vergo, and provides the perfect perspective on the disparity between their British and Stateside success so far.
Acclaimed producer Mike Hedges has filled his studio with equipment that is almost as antique as the ancient French chateau that houses it. Paul Tingen catches up with a man who's far from manic but quite ready to preach the virtues of analogue.
Rob Playford is not only the man who, as Goldie's producer, helped mould one of the most original drum & bass talents into a household name and chart success; he's also boss of one of the hippest drum & bass labels on the planet, and a sought-after remixer. Christopher Holder asks 'how does he do that?'.
Last month Big George looked at what demos actually are. This month he tells you how to prepare for recording one and avoid wasting lots of time, tape, and money.
Paul White discovers that it is possible for a compact monitor to deliver a sound that is both accurate and tonally well-balanced.
Updating software ought to be a simpler matter, but often things don't go according to plan. Martin Walker catalogues a selection of problem areas.
Hugh Robjohns continues his look at the techniques and technology of digital audio. This month — quantising and oversampling.
Many PC owners still seem to have trouble trying MIDI and audio together, and timing remains the main problem area. Martin Walker attempts to pull all the strands together.
Setting up MIDI gear for the best audio quality is a very similar process to setting up your mixer, and you can often reduce noise levels significantly. Martin Walker provides some quick and easy ways to minimise hiss and hum from MIDI gear.