SOUND ON SOUND
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In these days of synths that stay in production for just a couple of years before being discontinued, respect is due to a keyboard design that's survived more than half a century of changing musical fashion and is still going strong. Hammond-lover Rod Sparks pulls out all the stops to bring you a personal organ odyssey.
Martin Russ feels the need for speed, and reminds readers of the often overlooked benefits of using macros...
Cakewalk's Robin Kelly passes on some hints and tips designed to help users of the popular Cakewalk Pro Audio PC audio sequencing package get the best from their software.
The ST platform is still plentifully supplied with cheap and cheerful music programs. Derek Johnson delivers an update.
Great songs are 1% inspiration and 99% perspiration. Big George mops his brow and takes it to the bridge...
Paul White looks at how MIDI can be used to turn static effects into dynamic ones.
Martin Walker dons his white lab coat and explains the advantages of knowing a little more about DOS and the Command Line Interface.
£300 is becoming a crowded price point for well-specified effects units, but Art nevertheless hope to stand out with their new Effects Network. Martin Walker decides whether it has what it takes to muscle in on the competition.
This month's clutch of software and hardware problems are mainly of the SCSI variety. Martin Walker deactivates a few suspect devices.
Throughout the '80s, additive synthesis was the Holy Grail for synth purists; many machines aspired to it, but only one achieved it successfully. Paul Wiffen explains how additive works and looks at the various implementations, including the newly updated Kawai version.
Paul White offers a little practical advice on the application of signal processing during recording and mixing.
Paul White tests what must be the ultimate small monitor, but finds that you pay for it in pounds — both fiscal and gravitational.
It may say v1.6 on the box, but the latest version of BIAS's Mac-based audio editor is stuffed with enough new features to warrant a version 2.0 tag. Paul D. Lehrman scales new heights.
The Masterport system consists of dedicated multitrack software and a high-quality card, allowing you to avoid the compatibility problems that can arise when software and hardware from different manufacturers are run together. Janet Harniman-Cook thinks it's the cream of the crop.
Got lots of analogue synths? This could be your one-box solution to bringing them into the world of MIDI. Chris Carter gets converted.
Is the X14 cheap and cheerful, or just cheap? Derek Johnson finds out.
Already well known for their valve mics and valve processors, Groove Tubes have introduced two new mics, one a valve model and the other solid-state. Paul White compares the two newcomers.
Paul White checks out the first tube product in the JoeMeek range.
Does the world need another budget parametric equalizer? Paul White discovers that it never had that many in the first place.
In 1995, Oberheim released the OB3, a little-known drawbar organ module, subsequently eclipsed by Hammond and Roland's advanced electronic tonewheel organ emulations. Now Oberheim have teamed up with Italian organ specialists Viscount to produce the enhanced OB3-2. Nick Magnus squares the difference.