SOUND ON SOUND
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![Figure 1: [top-left] A simple monosynth. Figure 2: [bottom-left] A four-note broken chord played on a low-note-priority monosynth. Figure 3: [top-right] A four-](https://dt7v1i9vyp3mf.cloudfront.net/styles/teaser_large/s3/imagelibrary/s/synth1_2_3_4-1200-LnVd8udvvUlbYzHRUn7emBwcts7cRLAI.gif)
Having explored the way monophonic and duophonic analogue keyboards work, Gordon Reid puts away his Minimoog and Odyssey and descends into the complex world of polyphonic synths to a flourish of complex jazz chords.
In the final part of our two-part Retrozone, Gordon Reid charts EMS's further achievements, the reasons for their decline in...
Neumann have rejuvenated one of their most celebrated capsule designs, allowing Hugh Robjohns to bask in that unmistakable glow...
The Supernova modelling workstation earned a pile of accolades for its excellent 'analogue' sounds, superb multitimbral effects, and its user-friendly, knobular interface. But Novation have now withdrawn the original and replaced it with the Supernova II. Can something so good get better still?
Continuing their tradition of themed rackmount modules, Emu have unleashed a 128-voice virtual orchestra in a box. A virtuoso endeavour or virtual insanity?
The characteristic sound of vintage valve equipment is well known, but interest is now growing in early op-amp designs too. One example is the Trident Series 80 console from the 1970s, which has recently been reincarnated in the form of the Oram S80 Producer Box. Hugh Robjohns relives those heady days...
Gordon Reid tries out Philips' updated dual-deck CD recorder, and finds that a number of improvements have now made the machine more useable in the studio.
Martin Walker's looking through tinted glasses at this latest offering from Prosoniq...
Ever imagined what a guitar with a resinator body would sound like with a humbucker-style pickup, played at the 12th fret through a Marshall stack? John Walden creates just such a virtual instrument, with the help of Roland's VG88 V-Guitar System.
Many musicians recording with teir computer find that they need to buy — and wire up — separate mic preamps, guitar preamps and monitor mixers as well as their soundcard. Martin Walker tries out a products that aims to combine all of these elements in one system.
Paul White tests TC's new multi-mode approach to dynamics, and finds that it's as easy as CCC.
Paul White lives life to the max with the new Waves L2, a mastering limiter with all the trimmings.
Looking like a 23rd-century Minimoog pumped full of anabolic steroids, Yamaha's sequel to the hugely successful DJX offers more of the same sampling, sequencing and performance features. Paul Farrer doesn't want to rock, DJX — but it's making him feel so nice...
Dave Wright puts forward the case for noise, genuine old hiss, interference, wind and grind — the full mechanics of the recording process captured in all their glory...
This month Dave Shapton reports on the latest in broadcast video, from the International Broadcasting Conference in Amsterdam, and predicts how these innovations will be used by musicians as promotional tools. He also takes a look at the future of software-only video editing.
The SOS team drop in on another reader studio, this time in the form of a radio station!
How can an electronic band produce exciting, spontaneous, unpredictable and visually engaging perfomances? And if they do, is it really possible to capture the experience of being there in a recording? Rick Smith and Karl Hyde of Underworld believe they have the answers, as Paul Tingen discovered.
Paul White looks at different gain-control elements and their effect on audio.
In the final part of this two-part Net Notes about broadcasting your audio and video on the Internet, Dave Shapton discusses error correction and quality control, helps you to prepare for your webcast and suggests some solutions for broadcasting live events.
