SOUND ON SOUND
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Tascam, the originators of the Portastudio concept, which is now almost 25 years old, have taken a fresh look at the format for the 90's, substituting the digital MiniDisc medium for the analogue tape which has served home recordists so well, and adding a clutch of brand-new features. Hugh Robjohns indulges in a little 4-play.
This Professional processor provides all the tools you need to produce a high-quality master. Hugh Robjohns has the final say.
Derek Johnson takes a second look at this powerful instrument, now available at a fraction of its original retail price.
The so-called guitarist's dream has failed to deliver on so many occasions that many guitar players now seem sceptical about the whole concept of MIDI guitars. Does the Yamaha G50 give us cause to rethink our prejudices, or does it simply reinforce them? Paul White finds out.
The MU10XG's unassuming casing conceals a sound source with hidden depths which you can explore using MIDI SysEx.
If you've heard of Paris's IRCAM, you probably imagine it's government-funded research bunker devoted to a kind of avant-garde sonic and musical experimentation that has little relevance to the average hi-tech musician. Over the last few years, though, as Paul Tingen discovers, IRCAM has been coming down to earth, and a new spirit of openness and commercial awareness now shapes its work.
Designers of the SoundBlaster range, Creative Labs recently unveiled their next generation soundcard, the AWE64 Gold. Paul White discusses the future of PC soundcards with Creative lads Franco De Bonis and Mike Chandler.
Singer/Songwriter Patcee Francis argues that music should transcend technology, not be circumscribed by it.
These high-quality headphones have been redesigned to make them more suitable for studio use. Paul White listens in.
High-profile synth programmer, remixer and recording artist Pete Gleadall is a man of many talents. Matt Bell talks to him about his part in the new Pet Shop Boys album, his work for George Michael, and the role of the modern programmer.
Producer Steve Levine has taken advantage of the tumbling price of quality recording equipment to assemble a complete digital studio in a tiny room at his home. Paul Tingen enters the digital domain...
Brian Heywood concludes his look at PC soundcards by considering some of the issues involved in using them to record and play back digital audio.
Derek Johnson brings you more news from the platform that wouldn't die... the ST.
AARRGGH! Just as you were about to save your computer crashes, destroying the only record of your latest musical opus. What should be your next step? Before you douse your PC in aviation fuel and set it ablaze, calm down, and hearken unto the soothing advice of Crashmeister Janet Harniman-Cook...
Every studio musician knows at least enough about analogue connections to get a standard recording system up and running. When it comes to digital, though, we're often in the dark about what will work with what. Hugh Robjohns raises the digital standards.
Most budding engineers will, at some time, have to tackle a performer who wants to sing and play the guitar at the same time. Mic type and placement can make a big difference to the quality of the result obtained, as Hugh Robjohns explains..
Many people have trouble adding new software cards to a PC. If your slots are full to overflowing, and every card is fighting for its own resources, you will almost certainly encounter problems. Fortunately, Martin Walker is here to lead you through the minefield.
Astonished by the speed of software development, Martin Russ wonders where it's all leading... MOTU Digital Performer.
Multi-band compressors tend to cost a little more but can often produce more natural-sounding level control than standard broad-band compressors. Hugh Robjohns looks at a sophisticated new model from Behringer and tries to restrain himself.
Brian Heywood discusses the powerful new soundcard from Terratec, plugs a couple of musical web sites, and entreats software developers to stop trying to reinvent the wheel...