SOUND ON SOUND
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Paul White plugs into the all-singing, all dancing digital box that can perform graphic, parametric and shelving EQ functions all at once — and even handle real-time room analysis and auto EQ'ing during its quieter moments...
The technology that lets your PC speak can equally well make it listen. Brian Heywood gets all analytical on us...
Most synths now boast an infinite variety of sounds, but what the manuals don't tell you is that you need an infinite amount of time to explore them properly. Paul White suggests some short cuts to synth heaven.
Whatever the reality of Apple's finances, the money men have decided the company is ripe for the picking. But will upsetting the Apple cart produce a windfall for the user? Martin Russ keeps his ear to the ground... Sun Microsystems.
The long-awaited keyboard version of Kurzweil's flagship synth is finally unleashed. Paul Ward nearly falls out of his P-RAM with excitement...
Squelchy as a Minimoog and programmable as a PC, it's time to re-evaluate the Moog Source — so says Stephen Bennett.
Andy Davies casts his eyes, ears and fingers over two new products from Oberheim: a controller keyboard which aims to replace your piano, and an organ module which threatens to do the same with your Hammond...
Several software houses are producing modestly priced programs which take advantage of the audio capabilities fo the Apple Power Macs. The result can be high-quality multitrack digital audio at a suprisingly low cost. Paul D. Lehrman finds he's got the Power...
The new version of Opcode's flagship sequencer/ hard disk recording package almost extinguishes the differences between audio and MIDI recordings, allowing unprecedented control over your compositions. A hitherto MIDI-only Martin Russ broadens his horizons...
How does Audio Technica's AT4050 multi-pattern studio mic compare with their hugely popular AT4033 cardioid mic?
Michael Anthony takes us back to the mid-eighties, when MIDI was in pre-school playgroup, and manufacturers built synths that couldn't decide if they were analogue, digital, or both...
A monosynth that doesn't cost monopoly money? Paul Nagle thinks Waldorf's new Pulse offers the most fun you can have with your presets off...
Paul White checks out the successor to his beloved D4 and ends up casting sidelong glances at his cheque book.
We try out Akai's first synth in absolutely ages — and discover a monster in sheep's clothing.
The Godfather of German electronic music, Klaus Schulze favoured an all-digital approach to recording the '80s. The last few years, however, have seen a radical revision of his former philosophy. Paul Tingen meets the man for whom old working habits die hard...
There have been Leslie simulators before, but none to exploit the sympathetic warmth of valves.
Paul White tries to pigeonhole Digitech's new effects unit — but quickly discovers that it can mean different things to different users.
Digitech have trimmed back both price and features for the latest addition to the TSR effects family. But does the newcomer offer enough bang per buck?
Paul White puts Mackie's new 1202 VLZ next to his original 1202 and discovers more changes than you might expect.
Paul White experiences the delights of this all-digital, automated mixing environment where unwieldy cable harnesses and tiered patchbays are the thing of the past.