SOUND ON SOUND
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Paul Wiffen reports on some historic developments for Mac musicians, as Apple announce their official support for the mLAN interface standard, and also comes to the rescue of more readers seeking advice.
Logic and Cubase owners have had their own dedicated SOS columns for several months — so we're now devoting space to another of the world's favourite sequencers, MOTU's Digital Performer. Long-standing DP user Robin Bigwood presents the first of this regular column.
Mike Senior answers more of those beginners' questions which prove to be not quite as basic as they seem.
We look at the creative potential of Logic's Touch Tracks feature and the corrective potential of the audio fade-in, as well as showing you what 'solo safe' is and why you need it.
The sampler has made its presence felt throughout modern music production, and phrase sampling in particular is the backbone of many musical styles. Oli Bell arms his loop points and explores some tricks of the trade.
The advent of digital television has opened the eyes of many more musicians to the possibility of working on music for picture. John Walden trawls the Net to see what advice is available for those who want to score.
Modern software allows you to turn a spare PC into a synth of sampler that's perfectly tailored to the needs of your studio. Martin Walker tells you how.
This month, Big George starts another revolution, whether you like it or not...
Sam Inglis demostrates how you might furhter enrich your lyric writing with the use of comparisons.
British computer peripherals manufacturer Cheetah ventured into the hi-tech music jungle in the 1980s and went down in budget gear history. David Harman goes on a synth safari with their MS6 analogue rack synth.
Derek Johnson & Debbie Poyser test Fostex's new eight-tracker, which once again lowers the entry-level price for the musician aspiring to digital.
Many musicians with computer-based studios don't need lots of inputs and outputs, but that doesn't mean they're happy to put up with poor audio quality and design compromises of consumer soundcards. However a new type of affordable, high-quality soundcard is now emerging to meet this need. Martin Walker puts two or the leading candidates to the test.
Hugh Robjohns twsts Millennia's flagship STT1 recording channel which offers elements of their entire product line all in one ultra-flexible box.
Many musicians bemoan the Net's implications for copyright but, as Robin Morley says, people in glass houses shouldn't throw stones...
With its on-the-fly tempo-matching for sample loops, Acid put a new spin on an old way of making music on the PC. Now, at last, there's a similar Mac program. Derek Johnson and Debbie Poyser try out Bitheadz' Phrazer.
Ever heard a synth talk? If you have, it's due to formant synthesis. Gordon Reid explores the theory of analogue formant synthesis, how it relates to the human voice and modern digital synths like Yamaha's FS1R.
Korg have realised some of the sonic expansion potential of their Triton keyboards and module by releasing a number of PCM sample expansion boards. Simon Trask, who reviewed the Triton Rack for SOS a few months ago, listens to what they have to offer...
A new selection of soundcards from Germany promises excellent audio quality at extremely competitive prices, with a selection of I/O options to suit most buyers. Martin Walker tries out the first model in the Marian range.
Paul Sellars offers some advice on what musicians should look for when choosing Internet audio software, and introduces the best of the current slew of Windows applications.