SOUND ON SOUND
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This month, Paul Wiffen looks at ways of modifying a filter's shape, both in terms of frequency response and over time, and considers the importance of routing in connecting together a synth's various sound-generating and -modifying components.
Paul D. Lehrman took six players, four samplers and a computer, and created a live-performance piece based on the music and words of Frank Zappa. It left the audience delighted — and utterly confused.
Cartoons — they're brilliant! And wouldn't you just love to write the music? Big George Webley puts you in the picture...
Two channels good, four channels better — but 4-channel preamps are thin on the ground. Hugh Robjohns has succeeded in sniffing one out.
Fostex take their stand-alone 8-track hard disk concept onward and upward, turning the well-received D80 into the D90 with some useful and welcome enhancements. Paul White is d-lighted...
Paul White gets a feel for the on-off CD business using HHB's new stand-alone CD recorder.
Just a few months ago you couldn't buy a new additive synth; now you can pick from no less than three, and although they're from the same family, there are enough differences to make the choice less than straightforward Derek Johnson adds it all up.
It's small, sleek and extremely covetable. David Mellor opens the box.
Although it also forms part of the all-encompassing digital SoundLink system, Korg's 1212 PCI card offers a standalone, cost-effective option for getting multitrack digital audio in and out of your Mac. Paul White discovers that digital audio recording relies on going through the proper channels...
When it's time for your Mac to start talking MIDI to the rest of your rig, the technology, like the truth, is out there. But should you spend a few pounds, or a few hundred? Mike Collins has the information you need.
Some of the most prestigious names in monitor design are getting into the project studio market. Paul White auditions Quested's new baby powered monitors, affordable enough for the project studio owner and portable enough for the producer on the move.
Paul White turns on the juice and finds it a perfect excuse to get in his monthly 15 minutes of guitar practice.
Roalnd's D50 became the sound of the late '80s. Does it still have a place in the late '90s? Paul Ward takes a trip around LA...
Much hard graft has been put in by electronic instrument manufacturers over the years in an attempt to transfuse the essence of the tonewheel organ into a MIDI-compatible keyboard. Nick Magnus dissects Roland's latest virtual modelling approach, and pronounces the operation a complete success.
Peter Ridsdale gives his personal impressions of cult shareware program Cool Edit.
Waldorf have been cooking up something special for the son of their acclaimed synth dynamo, the Microwave. Paul Nagle gets quite a taste for it...
Given the wide range of studio and synthesis equipment Yamaha make, it's perhaps odd that there's been no serious sampler in their catlogue for almost 10 years. Now, after putting a toe in the water with the well-received SU10 mini-sampler, they're taking the pro sampling plunge once more with the A3000. Chris Carter finds that still waters run deep...
U2 have always striven for a new sound on each of the records they make, and during the sessions for their latest album, their aim was once again 'to construct a new sound for U2 whilst still making them sound like U2'. To this end, they brought in production wizard Flood and Scottish dance artist Howie B and set about new methods of recording. Paul Tingen investigates the art of Pop...