SOUND ON SOUND
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Taking over the Apple Notes hot-seat, Martin Russ delivers more news about PowerPC and explains how to create custom icons.
Though sound synthesis has a relatively short history, its progress has been rapid, with the result that the basic concepts of synthesis are now becoming lost in the mists of time — yet to effectively programme current synths, it really helps to know them.
There's also life beyond Beyond, as WILF SMARTIES discovers from Toby Marks, one of Beyond's early artists, now graduating to independent chart success under the name Banco De Gaia.
Following hot on the heels of the TS10, the weighted 76-note keyboard and improved features of the TS12 make it a hot contender for 'top workstation'. David Crombie passes judgement.
Julian Colbeck sizes up the new offering from the prolific Korg camp, the latest to use the company's long-running A12 synthesis system. Is it just the same old stuff in the new box, or does the X3R have enough Unique Selling Points to justify its existence?
Whenever LA Audio design a new processor, they seem to take the Swiss Army Knife approach, kitting it out with a host of practical add-ons to increase its usefulness. So Paul White wasn't too surprised to find that the 4c is more than just a quad compressor...
Roland's latest offering in the 16-bit sampler stakes is more compact, more expandable, and less expensive (by a fair margin) than its predecessors. But have they had to make significant omissions to achieve this? Paul Wiffen investigates.
Derek Johnson waxes lyrical about a synth he wouldn't part with but is the cheapest he owns — Roland's last monosynth, the 1982-vintage SH101.
Recording music can, and should be, serious fun, according to producer Tony Visconti.
There's more to vocoders than 'Mister Blue Sky' — and with the vocoders available on some current multi-effects processors, creative vocoding is now available to almost anyone.
Mike Collins takes an in-depth look at Digital Performer Version 1.4/Performer Version 4.2 and the Digital Waveboard, which adds hard disk audio recording to Performer's powerful sequencer.
In an age of ever-growing polyphony, Studio Electronics, best known for their vintage synth rebuilds, have returned to first principles — to create the first analogue monosynth for almost a decade. Minimoog owner Nick Magnus finds out how this MIDI-equipped modern classic measures up to its vintage forbears.
A parametric EQ might seem like a bit of a peripheral purchase, but with its flexibility and fine control, it has a host of creative and corrective applications in the studio. Tascam's 4-channel PE40 scores for value, but how does it perform? Paul White finds out.
After a period of record company hassles, Coldcut are back with a new album, a new singer and a new style. Wilf Smarties explores Philosophy with Jonathan More.
Nigel Humberstone accompanies aspiring band Necroscope to one of their gigs, to find out how they cope when taking technology onto the stage with no roadies or technical support.
The oft-neglected other half of New Order bounce back into the limelight with a joint album of particular charm. Nigel Humberstone tracks down Gillian Gilbert and Stephen Morris to talk about their working methods, their home studio, and their contribution to the growing EC gear mountain.
Most major record companies are now involved in manufacturing hardware as well as signing bands and this, says producer Tony Platt, is causing a huge conflict of interest. Can these two diametrically opposed aims be reconciled?
Toyah's first pop album for several years, Leap, was recorded not in an expensive commercial studio, but in the type of home recording environment with which many SOS readers will be intimately familiar, as Paul White discovers.
Will Mowat's career to date looks like a musician's dream come true. A routine programming assignment turned into full membership of Soul II Soul; now he's working with Godfather of Soul James Brown and producing a new album for rising African star Angelique Kidjo. Richard Buskin talks to Will about his approach.