SOUND ON SOUND
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Korg have followed up their diminutive Electribe analogue modelling synth and beatbox with another desktop product aimed at the dance fraternity — a sampling effects box with an innovative real-time control surface. Chris Carter descends into Kaoss...
The fashionably vintage exterior of this US-made dual-channel preamp is matched by an all-valve interior. Hugh Robjohns gets a retro perspective.
Classic studio signal processors such as the vintage Urei 1176 limiting amplifier impart a unique sound while keeping levels under control, but are rare and expensive. Purple Audio have an answer in the form of the MC76 — an old idea revisited. Hugh Robjohns does the time warp again...
Recognising that there are millions of synth-hungry guitarists out there, manufacturers have been trying for years to develop products which would appeal to them. Norm Leete traces the history of Roland's innovative GR range of guitar synths and controllers.
Take the sound engine of the acclaimed JV1080/2080, add the data from three expansion boards (plus space for two more), a 5-octave keyboard arpeggiator, 40 multi-effect algorithms and four real-time control sliders and what do you get? Paul Farrer turns (XP)30...
Swiss synth manufacturers Spectral Audio continue their journey into retro space with a new analogue monosynth, the Neptune. Sam Inglis finds out if it's out of this world.
Two more JV‑series expander cards have become available, and both have managed to excite me rather more than the ...
If you've got a recent soundcard supporting SoundFonts, such as the Soundblaster Live! or Value models, or the Emu APS, then...
The reduction in the cost of setting up a sophisticated multitrack studio that has taken place over the last few years means...
One of the most important innovations in recent studio technology is the ability to automatically correct out-of-tune vocals in real time. Antares have had this field to themselves with their Auto-Tune plug-in and ATR1 hardware unit — but now there's competition. Paul White tries out TC Electronic's version of perfect pitch in a box.
Janet Harniman-Cook concludes her two-part feature with a guide to creating your own Enhanced CD.
John Walden suggests why unsigned artists don't have to remain unheard, thanks to MP3 and the Internet.
Neil Watkinson at his home studio.
'90s glamsters Suede wanted a more electronic, produced feel for their latest album, Head Music, so they linked up with production supremo Steve Osborne. Tom Flint talks to Steve about the complex production of the group's latest Top 20 single.
Many pepople seem frustrated with the 'free' software that is bundled with CD-R drives, so this month Martin Walker looks at a new low-cost CD-burning package, as well as reading a few meters.
Poor studio wiring can lead to hums and buzzes, but you can avoid the worst of these problems by following a few simple rules.
Paul White examines how a simple computer-based studio can be hooked up with a mixer to provide zero-latency monitoring during recording.
Mike Simmons continues his introduction to web design for musicians with a more detailed look at the most important HTML tags, and explains how, when and in what form to use graphics on your site.
You don't necessarily need the most powerful and up-to-date PC to create sophisticated MIDI and audio compositions. Martin Walker looks a little more deeply into what can be squeezed out of a complete range of machines, from modest to monster.