SOUND ON SOUND
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Korg shook the hi-tech recording world in 1988 with the introduction of the M1 workstation. With their new Trinity range, Korg are attempting to update the workstation concept for the 1990s. In the first instalment of this two-part review, Gordon Reid assesses how they have fared.
The latest big thing in computer-based sequencing is the integration of real-world audio and MIDI data within the same program. Mike Collins puts the four leading Macintosh contenders head to head to see how they compare across a range of facilities.
Windows users looking for comprehensive and professional editor/librarian support for their MIDI instruments may not need to look any further. Paul Nagle perks up his patches with Unisyn.
Paul White checks out what must be one of the smallest serious monitors ever.
Paul White tries out a new overdrive pedal that was clearly named after a very large T-shirt.
Technics' first foray into the pro synth market, the WSA1, catapults them to the front of the pack. Martin Russ discovers whether acoustic modelling synthesis really can create gold sounds from base metal.
Long-time Akai sampler user Paul Ward tries to stop his credit card from leaping out of his pocket as he gets to grips with the tempting additions to Akai's mid-range sampler.
Panicos Georghiades and Gabriel Jacobs checks out the long-awaited upgrade of this popular and professional PC sampler editor.
Sound On Sound's first decade has been graced by synths that were revolutionary, synths that were fascinating, synths that were seminal, and synths that were simply loved. Julian Colbeck takes a personal look at 10 of the best from synthesizer history.
Aquabats are an unconventional trio dedicated to the creation and recording of unconventional improvised music — using unconventional and often improvised instruments — which they call Earth Music. Tim Turan tells the story.
Martin Russ takes a look at the changing face of technology during the first decade of SOS.
Not many bands would set up banks of modular and analogue synths in Paddington station and play free for the delight of the weary commuters. node did — but then that's the kind of guys they are. Nigel Humberstone talks to half of the band about free-form composition, inspired mistakes, and the lack of sex appeal in electronic music.
Regular SOS contributor Martin Russ returns to the back page with some rabid thoughts on software updates.
Brian Heywood traces the development of the most popular computer platform in the world, and examines its application in music.
After years of rumours and myth, the fruits of the Beatles' reunion for small screen and recording projects can now be experienced by mere mortals. For the past 18 months, Mark Cunningham has been keeping his ear to the ground, and can now reveal the fascinating details surrounding the Fab Four's Second Coming'...
Accurate monitoring is a must in the recording studio, but the perceived level of bass depends on where you are standing and where the speakers are positioned. Paul White explains why in audio, a boundary literally means a six.
Approaching re-entry into the atmosphere, Simon Millward concludes his tour of the Cubase universe with a look at some of the flagship sequencing package's lesser-known functions.
In these days of practically unlimited MIDI sequencer tracks, just eight tape tracks can seem frustratingly few. David Mellor passes on a few tricks to help 8-track users expand their recording horizons — including how to get 20 tracks from 8...
Paul White looks at the benefits of using a multi-port MIDI interface.