SOUND ON SOUND
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I have been pondering whether to change from my software MIDI sequencer to a Yamaha QY700 — the gains, I hope, being...
For a while now I've been thinking about building a PC especially for recording. I decided that I wanted to mount it with...
My mixes always sounded dull and flat, so I got an SPL Tube Vitalizer to warm them up. The problem is that through my...
I am soon to be the proud owner of a Yamaha A5000 sampler. Does anyone at SOS know of an Internet users' forum or...
I have a Roland electronic drum kit, and have had complaints from my neighbours upstairs, who I guess can hear it. It's...
I recall seeing a brief article in an issue of SOS describing an ambient microphone costing around £80. The...
In part 2 of this series, Oli Bell offers advice on choosing a sampler for modern styles, finding and using samples from the Internet, and deciding which sample CDs to buy.
Martin Walker muses on whether there is really any such thing as a bad soundcard, and extends some helpful advice on how to make sure you get the right one for your needs.
With music professionals at the helm and software from Emagic, Tonos.com is another way for musicians to collaborate online. Mark Wherry makes some connections.
Big George is pitch perfect from the media song sheet this month.
Emu's multi-coloured assault on the sound module market continues with the Planet Earth, which houses a brand new set of ethnic and world sounds. Confirmed tree-hugger and Emu preset basher Paul Farrer takes time out from boiling a mixed-lentil casserole to check it out...
Paul White tests Joemeek's multi-pattern contender for the valve mic heavyweight title.
Korg have seriously upgraded their original D16, adding a 'double O' for good measure. John Walden is both shaken and stirred...
Paul White looks beneath the surface of Sound Diver 3 to discover an immensely powerful and flexible patch editor and librarian system.
Gordon Reid embarks on a journey to synthesize convincing woodwind and brass. This month, he considers how these instruments make their sounds in real life.
Looking like a star cruiser, or something from the film 2001 (rather than just the year), Alesis' Andromeda is the first analogue polysynth that approaches the complexity of a digital workstation. But does analogue necessarily equate to quality?
TC‑Helicon's revolutionary VoiceCraft card for their VoicePrism processor allows the user to radically reshape the whole character of a vocal sound, adding tonal and inflectional changes that go way beyond the capabilities of current voice processors. Paul White talks technology with designer Fred Speckeen.
Paul White reveals that there's much more to gating than you might think.
