SOUND ON SOUND
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Roland's latest offering in the 16-bit sampler stakes is more compact, more expandable, and less expensive (by a fair margin) than its predecessors. But have they had to make significant omissions to achieve this? Paul Wiffen investigates.
Derek Johnson waxes lyrical about a synth he wouldn't part with but is the cheapest he owns — Roland's last monosynth, the 1982-vintage SH101.
In an age of ever‑growing polyphony, Studio Electronics, best known for their vintage synth rebuilds, have returned to first principles — to create the first analogue monosynth for almost a decade. So how does this MIDI‑equipped modern classic measure up to its vintage forbears?
There's more to vocoders than 'Mister Blue Sky' — and with the vocoders available on some current multi-effects processors, creative vocoding is now available to almost anyone.
Mike Collins takes an in-depth look at Digital Performer Version 1.4/Performer Version 4.2 and the Digital Waveboard, which adds hard disk audio recording to Performer's powerful sequencer.
A parametric EQ might seem like a bit of a peripheral purchase, but with its flexibility and fine control, it has a host of creative and corrective applications in the studio. Tascam's 4-channel PE40 scores for value, but how does it perform? Paul White finds out.
After a period of record company hassles, Coldcut are back with a new album, a new singer and a new style. Wilf Smarties explores Philosophy with Jonathan More.
Nigel Humberstone accompanies aspiring band Necroscope to one of their gigs, to find out how they cope when taking technology onto the stage with no roadies or technical support.
The oft-neglected other half of New Order bounce back into the limelight with a joint album of particular charm. Nigel Humberstone tracks down Gillian Gilbert and Stephen Morris to talk about their working methods, their home studio, and their contribution to the growing EC gear mountain.
Most major record companies are now involved in manufacturing hardware as well as signing bands and this, says producer Tony Platt, is causing a huge conflict of interest. Can these two diametrically opposed aims be reconciled?
Toyah's first pop album for several years, Leap, was recorded not in an expensive commercial studio, but in the type of home recording environment with which many SOS readers will be intimately familiar, as Paul White discovers.
Will Mowat's career to date looks like a musician's dream come true. A routine programming assignment turned into full membership of Soul II Soul; now he's working with Godfather of Soul James Brown and producing a new album for rising African star Angelique Kidjo. Richard Buskin talks to Will about his approach.
Martin Russ looks at one aspect of computing that may provide a new outlet for your Atari music-making: CD-ROM.
Gordon Reid turns his attention to multi-band digital noise removal systems.
Paul White offers a few tips to help you avoid pitfalls when buying second-hand equipment.
Make your digital synth put on an analogue hat. Does the current passion for analogue mean you have to put your digital synth back in its box and track down an analogue instrument? Not if Nick Magnus has anything to do with it!
Though now discontinued, the K1 and its modular cousins enjoy continuing popularity on the second hand market. Setting this synth up for multitimbral sequencer use is straightforward — when you know how.
Paul Austin looks at a sound and vision system which brings true multimedia closer than ever before: Toccata.
Brian Heywood looks back over the past year of PC music activity.