SOUND ON SOUND
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When it's time for your Mac to start talking MIDI to the rest of your rig, the technology, like the truth, is out there. But should you spend a few pounds, or a few hundred? Mike Collins has the information you need.
Some of the most prestigious names in monitor design are getting into the project studio market. Paul White auditions Quested's new baby powered monitors, affordable enough for the project studio owner and portable enough for the producer on the move.
Paul White turns on the juice and finds it a perfect excuse to get in his monthly 15 minutes of guitar practice.
Roalnd's D50 became the sound of the late '80s. Does it still have a place in the late '90s? Paul Ward takes a trip around LA...
Much hard graft has been put in by electronic instrument manufacturers over the years in an attempt to transfuse the essence of the tonewheel organ into a MIDI-compatible keyboard. Nick Magnus dissects Roland's latest virtual modelling approach, and pronounces the operation a complete success.
Peter Ridsdale gives his personal impressions of cult shareware program Cool Edit.
Waldorf have been cooking up something special for the son of their acclaimed synth dynamo, the Microwave. Paul Nagle gets quite a taste for it...
Given the wide range of studio and synthesis equipment Yamaha make, it's perhaps odd that there's been no serious sampler in their catlogue for almost 10 years. Now, after putting a toe in the water with the well-received SU10 mini-sampler, they're taking the pro sampling plunge once more with the A3000. Chris Carter finds that still waters run deep...
U2 have always striven for a new sound on each of the records they make, and during the sessions for their latest album, their aim was once again 'to construct a new sound for U2 whilst still making them sound like U2'. To this end, they brought in production wizard Flood and Scottish dance artist Howie B and set about new methods of recording. Paul Tingen investigates the art of Pop...
When less-than-satisfactory service from a music store begins to border on the distinctly dodgy, Judy Lemon asks: how do they think they can get away with it?
You've got the talent but you haven't got the gear. Sounds familiar? Christopher Holder visits a production team who decided to do something about it, and are reaping the rewards.
X is Microsoft's favourite letter at the moment, with ActiveX and DirectX both providing improvements in PC sound. Martin Walker explains all.
Sometimes a new PC will be delivered with parts missing, or incorrect ones fitted. Martin Walker breaks down a typical specification into byte-sized chunks, and shows you how to find out what's actually inside the case.
A very, very big piano inside a very, very small box: Derek Johnson investigates Alesis' latest impressive conjuring trick.
The recent Goodman PDL computer shows proved that music is alive and well in the Atari world. Derek Johnson features a show report, rounds up a bargain shareware collection and generally keeps you up to date with all things in Atari.
Shakespeare had his Dark Lady for creative inspiration, Dante had his Beatrice, Petrarch had his Laura — and you? You've got your PC! Janet Harniman-Cook compares three different interactive composition packages which aim to provide that elusive spark...
To start off this short series on multi-effects programming, Paul White explores the key building blocks found in today's versatile units.
Greg D'Alessio of Opcode Systems offers some hints, tips, and advice for Mac users running Vision, Studio Vision Pro, and Overture software.
Somewhere in the North-East of England, electronic musician and designer Ron Berry has been applying an old-style analogue modular synth to the creation of a very contemporary phenomenon — physical modelling synthesis. Jonathan Miller finds out how it's done.