SOUND ON SOUND
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Having looked at the history and development of built-in effects on synths over the last decade and a half, Paul Wiffen now explores the practicalities of using them, and how to get the best from the keyboards and modules which contain them.
The recording studio inside the virtual world of the computer is real enough, but sometimes you have to treat it with care to get the best from it. Paul White offers a few tips on the subject.
Is BIAS Peak the natural successor to the ageing Sound Designer II, or can the old dog still show it some tricks? Paul White finds out.
Digidesign's Pro Tools is undoubtedly a powerful system, and a hardware control surface such as the Gallery Production Palette can really help to unlock that power. Mike Collins just loves being in control...
Guillemot's MAXI Studio ISIS PCI soundcard system for the PC seems to offer a lot of bang for the buck. John Walden dives in to find out what all the flap is about.
How to find this classic multi-part 'synthesis explained' tutorial series on the current Sound On Sound site.
In Part 1 of this (63-part) series exploring the world of subtractive synthesis, Gordon Reid goes right back to basics. What are waveforms and harmonics, where do they come from, and how does the theory relate to what we actually hear?
Most US synthesizer manufacturers followed the now all-too-familiar corporate history of rapid growth in the 1970s followed by acrimonious dissolution in the 1980s. What happened to Octave, however, was a little different...
Miriam Stockley is one of the premier session singers in the UK; but it's taken her until now to record an album of her own. She talks to Sue Sillitoe about recording the album in her new home studio.
Paul White gets inside Focusrite's new compressor to find out what really makes it tick.
Italian firm Generalmusic have made their reputation in the home keyboard market, but their new Equinox is an extremely well-specified professional workstation.
A new studio microphone from Shure is always well worth investigating. Hugh Robjohns checks out the KSM32 cardioid mic.
The latest version of Behringer's Composer dynamics processor appears to provide all the facilities anyone could ask for, with a separate expander/gate, compressor and limiter for each of its two channels.
Last month, Gordon Reid reviewed the babies of the Technosaurus range, the Microcon synthesizer and Cyclodon sequencer. This month, he tackles their (very) big brother, the Selector modular synthesizer...
Waldorf's long-awaited Q synthesizer is now shipping, but without many of the features it will ultimately possess. Gordon Reid takes a hands-on look at what's here now and what's to come.
The piano comes in a variety of forms and is used in many different roles as part of ensembles and as a solo instrument. Many engineers regard the piano as the hardest instrument to record. Hugh Robjohns offers some practical hints and tips for getting the right sound.
Offering an integrated MIDI + Audio sequencer and hardware controller with motorised faders, StudioMix mimics some of the features of high-end digital audio workstations — but at under £800, how good can it be?
JoeMeek combine the old and the new in their opto-electronic analogue compressor with 24-bit digital I/O and M&S signal path. Paul White tries it out.
Designed to interface the Kurzweil K2000/K2500 synths directly with digital recording equipment, the DMTi also has a role as a general-purpose digital format convertor. Hugh Robjohns checks it out.