SOUND ON SOUND
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All too often we don't really pay much attention to the way our equipment looks until we come to sell it — but as Paul White shows, it only takes a few minutes of TLC to give your gear a complete facelift.
The modular, analogue synthesizer, owned by few and coveted by many, is a extraordinarily flexible beast. Many of the effects made possible by the lumbering monsters, however, can also be emulated using far more modest instruments, as Steve Howell explains.
Interested in having access to your very own PD library — on a single disk? Vic Lennard meets up with the Atari GEMini CD-ROM.
The Windows multimedia revolution grinds on... This month Brian Heywood looks at a couple of products that may help you find a multimedia heaven with the PC. Logitech Soundman Wave & Lyrrus G-Vox.
As promised, Paul Austin concludes his look at the big guns in Amiga multimedia.
Martin Russ brings you the latest Apple news, benefits from an Opcode World Tour, reveals all about the new Power Macs, and passes an instant wallpaper music recipe...
A large, painstakingly assembled sample library is of little use if it's so badly organised that you can't separate your tablas from your trumpets. Dave Stewart gives some tips to help you make your library a model of accessibility.
Despite the onslaught of the computer sequencer, hardware sequencers are still alive and well and producing music in many a studio. Jon Cotton, a long-time user of Roland's MC50/500 series, passes on some hard-earned hints and tips for getting the most out of your microcomposer.
Sequencers are great for mechanical grooves — but that's only half the story. As Craig Anderton explains, MIDI sequencers offer tremendous expressive capabilities to those who take advantage of controller editing, logical edit, randomisation, and other common features.
Paul White digs out his patch leads and powers up Allen & Heath's new general purpose, 4-bus console.
Having addressed your studio mains wiring, you can now turn your attention to the connections between your equipment. Paul White explains the undoubted benefits of a patchbay system.
Richard Rothman doesn't own a studio, can't play an instrument and keeps as far away from computers as he can. Nevertheless, he has been involved in the production and promotion of some very successful independent record releases. How is it done?
Drawmer's new dual-channel tube equaliser combines traditional parametric EQ with Drawmer's own high and low-pass filters to create a highly flexible, classic-sounding EQ. Paul White takes it into the studio.
The Proteus series of sound modules have gained a reputation for being all things to all musicians — but they've never had on-board effects. The newest addition to the family takes care of that. Nigel Humberstone checks it out.
Have Roland finally come up with a more affordable MIDI guitar for the masses? Paul White obviously thinks so.
What can Sony's new effects processor offer that its competitors don't already have? Paul White took the new Sony HR-MP5 into his studio to find out.
Soundcraft's new mixer attempts to combine budget pricing with a level of performance capable of doing justice to the new breed of digital multitrack machines. Paul White finds out how well it succeeds.
Steinberg's Time Bandit is a Mac software package for processing Sound Designer II files off-line, using sophisticated time stretch and pitch shift algorithms. Long-time Sound Designer II user Paul White couldn't wait to get it home...
This inexpensive program lets you add the advantages of pattern-based drum programming to your setup, without abanoning your full-blown sequencer. Brian Heywood gives it a battering...