SOUND ON SOUND
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One of the PC's plus points is its adaptability to a variety of tasks depending on the extra hardware installed in it — and the soundcard used can make or break it as a musical tool. In this two-part series, Brian Heywood takes a look at the various types of soundcard available.
Ofir Gal and Derek Johnson round up more Atari software and hardware news, and discover a new online Atari magazine.
When your PC soundcard ceases to function, the newly connected external controller very often gets the blame — wrongly. Brian Heywood identifies some possible alternative causes.
Janet Harniman-Cook quite literally takes the lid off the PC, and explains why she thinks it's the best bet for the future of music.
Paul White looks at the components of a PC-based desktop music system, and suggests some helpful ways of using such setups in conjunction with more 'traditional' studio equipment.
The PC-owning community now seems to be split into two camps — those who already record onto hard disk, and those who would like to, but have not yet worked out what equipment they really need. Martin Walker guides you past the pitfalls and perils.
Paul White gives some foolproof step-by-step ideas for creating contemporary and vintage guitar sounds in the studio.
Martin Russ gets to grips with Quick Time 2.5, explains how Weird Blinking Lights work, and gives his regular roundup of Mac news and useful 'net addresses.
Yet another ultra-compact mixer emerges from R&D, to fierce competition from similar models by other manufacturers. David Mellor does a spot of channel-hopping...
Multi-port MIDI interface and patchbays can seem an expensive indulgence for the average studio. But, as Martin Russ explains in the concluding part of this two-part feature, they can really help you to get the best use from the MIDI gear you already own.
Paul White tries out an intriguingly-styled US-built mic and discovers that tonal honesty can occasionally be a very good studio policy.
Most of the major music software manufacturers now recognise the PC as a serious music platform and are ensuring that the PC versions of the software don't miss out on any important features. Paul White gives an overview of the latest Logic Audio for Windows '95 and compares it with the Mac version.
To create the MR Keyboard line, Ensoniq could simply have taken the insides out of their MR Rack module and grafted on a keyboard. Instead, they've thought long and hard about what a performing and composing musician really needs from his instrument. Julian Colbeck applauds the result.
Many budding engineers aspire to Forcusrite equipment, but until recently, its cost has made it the exclusive province of the professional. The Green range aims to change all that, while still retaining the legendary Focusrite quality. Paul White gives it the green light.
Panasonic's latest pro studio DAT is priced to compete with Tascam's established DA30 MkII. Paul White gives his professional opinion on how it measures up.
This imposing valve mic from Australian newcomers Rode looks and sounds expensive, but costs a lot less than comparable models from more familiar manufacturers. Jolly swagman Paul 'Bruce' White looks down under, on top, and inside.
The radical keyboard design of the prophet T8, thought by some to provide the best feel and response of any synth yet made, had a heavy cost for manufacturers Sequential, delaying the T8's launch by two years and stunting potential sales. Robert Alexander reflects on a synth which was ahead of its time.
After months of curiosity-arousing, X-Files-style advertising, Soundcraft's Ghost is here, offering the project studio owner automated 8-buss mixing at a highly competitive price. David Mellor deliberately avoids all jokes about EQ and haunting sound quality.
Paul White experiments with mind expansion '90s style, and discovers no harmful side effects!