SOUND ON SOUND
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David Ferguson has worked his way up from sampling hoovers on tape to an enviable position as a highly sought-after TV composer. Debbie Poyser & Derek Johnson discovers how he managed it, and find out his views on the way the music-for-TV industry is developing.
Derek Johnson checks out two ST freebies that could help you to tame your synths..
Just when you thought it was safe to dip your hand in your pocket and buy that ideal studio, Paul White throws digital mixers into the frame.
In the final instalment of our series on the techniques and technology of digital audio, Hugh Robjohns contemplates plugging it all together.
Although you can go 'under the bonnet' and put together your own PC suitable for MIDI + Audio recording, buying a complete system could prevent many potential problems. Martin Walker gets bundled up.
This month, Martin Walker finds that it's good to talk, and uses a PC utility to burn his Akai-formatted hard drive sample collection onto Akai-format CD-R disks.
Continuing his quest for the perfect listening environment, Paul White looks at ways to treat a control room without having to bring in the builders.
Martin Russ looks at some of QuickTime 3's new features, and considers why the 'computer-as-complete-recording-studio' approach isn't always the best one...
Will physical modelling continue to be at the leading edge of synthesis, or are there other methods moving up on the inside tracks? Paul Wiffen winds up the Synth School series with a little crystal ball-gazing.
Nicholas Rowland fades away with a few tips for creating and manipulating MIDI echoes, along with some other sequencing esoterica.
Digidesign's new interface allows Pro Tools users to transfer data to and from ADAT-compatible devices. Mike Collins finds out if it's a Bridge too far...
If you've got a storming vocal on tape you're halfway towards a great production. Paul White offers some tips on perfecting this most important of recording skills.
Sitting in Digitech's Studio range between the S100 and the Quad 4, the new S200 combines the functions of the former withthe ergonomics of the flatter. Hugh Robjohns checks it out.
Paul White encounters a budget recording preamp with a colourful pedigree.
The last few years have seen a rise in the number of sample-based keyboards and modules dedicated to reproducing the distinctive tones of the Hammond organ in a portable, low-cost, MIDI-friendly package. Nick Magnus checks out the latest keyboard offering from Hammond themselves.
Emagic have slicked up the popular Logic sequencer line with a few coats of metalic paint and some sparkly new features to match. Paul White goes Platinum with the top of the range.
Simon Lowther introduces the clan of classic American analogue synths, the Oberheim OBs.
It's certainly borrowed (for the purposes of this review), and it's unquestionably blue, but is it old or new? Synth Guidance Counsellor and long‑time K2000 owner Paul Ward checks out Kurzweil's VP makeover of this legendary workstation.
The ADAT format is more often the choice of personal studios than professional facilities — but the new M20 is set to change all that. Hugh Robjohns takes the 20-bit ADAT for a spin.