SOUND ON SOUND
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Hell hath no fury like a platform scorned, and Atari's neglect of the Falcon drives the mild-mannered Ofir Gal to rancorous recrimination....
It might be an unorthodox style of musicianship, but anything that adds strings to the Amiga's bow is to be welcomed. Paul Overaa gets tangled up in Loom...
It can all go without a hitch; recording, overdubbing, even the mixing — but the finest ingredients do not always guarantee a feast. Paul White explains how a little forethought and planning can make all the difference to your final mixes...
All mechanical meters are VU meters, all bargraph meters read peak levels — and both types will give the same reading if you feed in a test tone. Reasonable enough assumptions, but wrong on all counts, as Paul White explains.
The mighty ARP were in existence for little more than 10 years, but introduced a sound which is as much a part of synth history as the Minimoog. Derek Johnson rehabilitates two of the ARP clan's poor relations...
What do you do if a valuable master tape that you've had on the shelf for the past 15 years tries to weld itself to the playback head as soon as you try to play it? Swear loudly, then pop in in a low oven, advises master chef Jean-Paul White...
If you thought you had hassles finding a CD-ROM drive to work with your PC, you haven't entered the soundcard zone. Brian Heywood offers a cautionary tale...
CD-R may be the fastest growing mastering format, but its complicated zip codes and impenetrable protocols have made it anything but user friendly. As prices tumble and software evolves, however, it's an increasingly accessible medium. Mike Collins explains how he's mastered mastering on his Mac...
Paul White tries out these tiny, British-built monitor speakers — and discovers that small really is beautiful.
Paul White finds Behringer's new 'more of everything' box a plentiful source of cheap thrills.
Descending Mosses-like from the mount, Lexicon's new dedicated reverb processor brings intelligence from the company's top-end reverbs. Paul White gets a debriefing...
Although aimed primarily at Mackie owners, Ultramix is an automation system that will run on other desks too with the aid of a modestly-equipped Mac — promising the home studio everything but the motorised faders. Bernhard Speyer investigates...
The tiny and cost-effective line mixer could improve invaluable in all sorts studio, live and multimedia situation. Derek Johnson thinks small...
Paul White ponders the benefits of a DAT recorder with a 40kHz audio bandwidth.
Beethoven's amanuensis it might not be, but for dancey doodlings, you won't find a better scratchpad than the Roland MSQ700 'multitrack digital keyboard recorder'. Steve Howell reassesses the sequencer that dared not speak its name...
Paul White tests a mic that's outstanding in its field — without going out and standing in a field.
Cubase, in its many guises, has established itself as an industry standard on Apple and Atari platforms, and now looks set to be the benchmark by which other PC sequencers will be judged. Kevin Pawsey investigates what Steinberg has to offer the score-producing musician.
When your dilatory digits can't hit those chords on cue, MIDI sequencing can seem the only solution. As Paul Ward discovers, however, now you have a flexible new friend...
It looks like a flagship reverb, yet it checks in at the price of a jet ski. Paul White cuts a dash with Yamaha's versatile new digital reverb.
The home and project studio mixer market is currently dominated by British and American manufacturers. With the release of the RM800 desk, Yamaha are clearly hoping that some of the success of their top-end digital mixers will percolate down to the middle market. Derek Johnson finds out whether the RM800 has what it takes.