SOUND ON SOUND
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Loop-based sequencing can involve heavy-duty time-stretching and pitch-shifting, but Sonic Foundry aim to change this with Acid, which allows you to mix multiple sample loops while changing their pitch and tempo in real time. Martin Walker applies the Acid test.
Unlike the vintage equipment it emulates, Rebirth is getting more sophisticated all the time. Derek Johnson & Debbie Poyser catch up with the latest version.
Paul White studio tests least expensive digital desk currently on the market and asks, "is the writing on the wall for small analogue mixers?"
In contemporary music terms, the Korg Wavestation is verging on the antique, yet it still has the capacity to surprise and...
If you saw our review of the Voyager 1 Beat Extractor in the Feb '98 issue, you'll already know what to expect from the Micro...
Paul White tests a new valve mic that captures the essence of a good vintage design at a realistic price.
Paul White risks serious wear and tear to his patch-seletion finger by trying out the whole set of Roland JV-series Expansion Cards.
If you like playing the odd game, but still want quality audio when writing music, Martin Walker believes the Turtle Beach Montego could provide the best of both worlds.
In a market already awash with software plug-ins, it takes something special to stand out. Martin Walker investigates a filter that is poles apart.
Waves are rightly renowned for their full price plug-in suites for both Mac and PC, but can they achieve the same reputation at the entry level end of the market? Martin Walker wonders just how easy it is.
MIDI guitars have been around for years, but systems catering to bassists are far less common. Derek Johnson sets his sequencer's controls for the heart of the bass...
When such an established name in the world of electronic pianos comes out with something new, you'd be wise to sit up and take notice. Yamaha's latest offering, the P200 promises up to 64-note polyphony, state-of-the-art on-board sounds, and a brand new fully weighted 88-note keyboard. Interested? Paul Farrer finds out if it has all been worth the weight.
In the sequel to his article last month about being a session musician, Big George takes a look at what it takes to be a successful programmer.
Sue Sillitoe meets the producers of Robbie Williams' 1998 number one hit to find out how it was put together. Additional material by Matt Bell.
Most people knew that Gary Barlow was the songwriting force behind boy-band stars Take That, but his long-term interest in production and recording is less well documented. Now recording and co-producing his second solo album, he looks set to put the memory of his former band far behind him. Matt Bell pays him a visit at his impressive home studio.
Neil Watkinson doesn't care whether your studio is analogue or digital, big or small, so long as new can hear the words...
His music for the futuristic shoot-'em-up Mech Warrior 2 earned him cult status and a heap of 'Best Music' accolades from computer magazines. Now Bruce Willis stars in his latest project. Sam Molineaux loads her tape machine and hunts out Jeehun Hwang in the City of Angels.
Paul White revisits his old analogue synthesis days via Bitheadz's Retro AS1 — but can a computer screen ever be as friendly as all those knobs and faders?
All fingers and thumbs in front of a keyboard? John Walden provides a few pointers to make sequencing using a MIDI guitar controller a less fretful experience.
Since Microsoft released Windows 98 at the beginning of June, some PC musicians have held back to see how stable it is, while others have taken their chances. Martin Walker crosses his fingers and jumps the latest hurdles form Bill Gates.