SOUND ON SOUND
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It would take a lot to convince your average engineer, producer or programmer to abandon their trusty hardware sampler, but Creamware may finaly tip the balance with their new PCI sampling card. Martin Walker never says 'never' again...
We turn our attention to the effects that can be achieved when subtractive synthesis components are applied not to the output from oscillators, but to real-world sounds — such as human speech.
It's unusual for SOS to look at CD players, because, although most of us own at least one, they are usually...
If you have even a modest studio, your wall sockets and floor are likely to be festooned with wall‑wart and line‑...
Style-generation software Band-in-a-box is one of the many still-thriving music programs that started life on the Atari. These days, it's very much a home in the latest Mac- and PC-based studios, as Vic Lennard and Martin Walker discovers.
Though high-quality, real-time pitch-shifting is now becoming a reality, this technology comes with a high price tag. Many musicians will therefore continue to rely on offline processes to carry out pitch and timing manipulations. Derek Johnson and Debbie Poyser do just that, with Prosoniq's Time Factory...
Paul White auditions Quested's new active nearfield monitors and discovers there's no baby booming going on here.
Roland's new flagship VS workstation again raises the stakes in the all-in-one hardware market, but has it raised them enough to rival the success of the 1680? Mike Senior finds out.
Roland's JV1080 and 2080 have become the bread-and-butter sound sources for innumerable MIDI studios worldwide. Now the company have introduced their successors in the shape of the XV-series. Derek Johnson and Debbie Poyser test the new XV3080.
SEKD pioneered the development of 24-bit/96kHz soundcards for PCs, and their lead has been followed up enthusiastically by other manufacturers. Does the new Sienna have the features to take them back to the top of the pile? Martin Walker finds out.
Sony's surprise entry into the project-studio digital console market looks set to establish a new benchmark for ease of use and operational flexibility. Hugh Robjohns checks out the new DMX100.
Combining their vast live sound experience with the success of their 328 digital mixer, Spirit have launched a specialised version of the desk, intended for live sound work. The new 324 model, however, is also well adapted to recording, so Hugh Robjohns checks it out in both applications.
Physical modelling may be fashionable, but it isn't always very controllable. AAS aim to change all that for PC owners, by equipping their Tassman software synth with an easy-to-use front end. Martin Walker enters a new world of generators and resonators.
Effectively a drum machine in plug-in form, Steinberg's new LM4 offers the seamless integration with Cubase that is the boon of all VST instruments, as well as claiming far better timing than any MIDI device. Martin Walker pounds the PC beat, while Paul Ward delivers the Mac perspective.
We already have software to sort out tuning problems and now Synchro Arts are providing AudioSuite tools to cure timing problems. Paul White's musical skills prove ideal to test this software to the full!
What do you get when you take three from Nineteen? A compressor, an enhancer and an effects unit... Paul White explains.
Dan Heard wonders why music-shop staff's desire to take your cash isn't matched by a similar willingness to deal with your needs as a musician...
As Chief Sound Designer for Roland and founder of Specrasonics, Eric Persing has created some of the most widely used sounds in modern electronic music. He tells Kevin McDaniels how he turned sample CDs into big business, and reveals how some of the exotic sounds on his Spectrasonics discs were created.
British soulstress Gabrielle returned to the limelight earlier this year with a number one single based around a distinctive sample from Bob Dylan's 'Knocking On Heaven's Door'. Mike Senior meeds producers Johnny Dollar and Simon Palmskin to find out how the hit was constructed.
Best known as the producer of some of the most important punk albums of the '70s and biggest dance hits of the '80s, Mike Thorne now runs his own label, multimedia company and studio in New York. Tom Flint talked to Mike about technology, his studio and the future...