SOUND ON SOUND
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The type of microphone you choose for a given task can have a profound effect on the quality of the resulting recording. Paul White sorts out the dynamics from the capacitors.
If you're the proud owner of a new PC, and want to make music, there are plenty of ways to get started, and you may be surprised at just how good the results can be. Martin Walker makes sure your shopping list is short but sweet.
Between the extremes of the broad brushstrokes of subtractive synthesis and the painstaking detail of additive, there have existed many hybrid styles of synthesis combining the speed of the former with the precision of the latter. Paul Wiffen traces the development of this middle ground through its successes and heroic failures.
If you're serious about cutting noise from your studio, you'll have to explore the mysteries of studding and neoprene rubber. Paul White explains that it's not quite as exciting as it sounds...
The S100 offers half the innards of Digitech's Studio Quad, but sells for half the Quad's price. Hugh Robjohns finds out whether it does everything by halves...
Paul White discovers that it's good to talk, especially when you have some help from Digitech.
Martin Walker peers through the Windows version of Emagic's Logic Audio 3.
Paul White previews a new digital conversion technique designed to provide high-resolution sounds without the need for extravagant sampling frequencies.
As well as providing eight independent sets of MIDI connections, the Unitor 8 features comprehensive synchronisation facilities and even supports video timecode. Paul White explores the Ins and Outs of it.
Debbie Wiseman has been described as Britain's most prolific and emotionally charged film composer, with a long list of TV and cinema credits that belies her age, including the recent Oscar Wilde biopic.
The debate's been going on for as long as drum machines have been around: can they really sound human? Nicholas Rowland takes jazz drumming as his test case and tries to find out.
Many musicians now have digital audio in their studios, so Midiman have decided to help them interface cleanly to the outside world, with the bizarrely named Flying Cow. Martin Walker thinks it cud be a winner...
Nearly two years after everybody else jumped on the Power Mac bandwagon, Mark Of The Unicorn have finally come on board with their flagship sequencer, which will now record and play back audio without the need for external hardware. Has it been worth the wait? Derek Johnson finds out.
Prosoniq, the German software company behind many of the DSP processing alogrithms used in MIDI + Audio sequencers, have now made the powerful fruits of their expertise available in stand-alone form. But can the software actually be put to good use? Paul D. Lehrman investigates.
While Roland's A70 in its basic form is a well-equipped but dumb controller, it can metamorphose into a Roland JV-style synth, a General MIDI synth, or a piano at the drop of an expansion board. Paul Ward has a controlling interest....
Paul White finds he has a crush on the Smart Research C2 compressor — but at what cost?