SOUND ON SOUND
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Roland once stated that they would never bring out a follow-up to their now terminally trendy TB303 Bassline. However, the success of other manufacturers' TB clones and the inflated price of the original have made them think again. Derek Johnson and Debbie Poyser are proud to present the UK's first in-depth review of the new MC303.
Is it a Filofax? Is it a Stylophone? No... it's Roland's answer to Yamaha's portable music Walkstation family. Faster than a speeding bullet, Derek Johnson and Debbie Poyser apply their X-ray vision to the new PMA5.
This sophisticated new digital editor is up against such established software as Sound Forge and Samplitude Studio. Janet Harniman-Cook assesses whether Steinberg have built on their status in the sequencer field with a successful PC wave editing program.
Tascam revolutionised home recording with their cassette-based Portastudio, but haven't yet offered a budget digital version to compete with the Fostex DMT8/D80 and Roland VS880. Now their 4-track MiniDisc-based 564 is almost ready. Paul White gets a sneak preview...
Can Tascam's lean, mean DA38 offer musicians more functionality than the portlier DA88 without compromising on quality — and give the Alesis ADAT XT a run for its money? Paul White investigates.
The M2000 takes much of the technology behind its Danish manufacturer's professional flagship, the M5000, and re-packages it with less flexibility but a much lower price tag. Paul White finds out whether it's barking up the right tree.
This is the smallest and least costly reverb unit Alesis have ever produced. Paul White finds out whether you can mind the quality and still feel the width!
Paul White casts a critical ear over TL Audio's new budget dual-channel valve equalisers to see if high quality really is possible at such a relatively low price.
True, the name harks back to the CS-series synths of the '70s and '80s, but with their new CS1x, Yamaha definitely have their eyes set on the future. Critics Derek Johnson and Debbie Poyser analyse Yamaha's blue period...
In this second article on digital music production, Clive Williamson looks at how musicians can use computer technology to get their work from a DAT tape to the final product — the CD.
With a new studio album set to take their unique brand of instrumental music to the top of the charts, Ozric Tentacles are arguably the most successful truly independent band in the UK today. Jonathan Miller met leader Ed Wynne at their Somerset studio.
The pitch-shifting and harmonisation facilities available in the Digitech Vocalist series have been widely acclaimed as the most natural-sounding on the market. Paul White talks to Fred Speckeen of Canadian company IVL Technologies, who are behind the Vocalist and other pitch-shifting technology.
JJ Jeczalik, one third of '80s sampling pioneers Art Of Noise and erstwhile 'Mr Fairlight' has sold his series III and bounded into the '90s with an Akai sampler and a brand new album of dance music. Paul Tingen finds out why no noise is good noise.
The latest crop of dance-specific sound modules are a bad thing, both for pop in general and dance music in particular, says SOS Contributor and self-confessed 'cynical old hippy' Norman Fay.
Despite promises that the Internet will soon alter the way we make, promote, and sell our music forever, it would seem the revolution is yet to happen. Or is it? Simon Price explains how the technology required to broadcast your demo anywhere in the world is almost within reach.
Newcastle-based Dubstar released one of the most successful pure pop albums of the last 12 months — and they made most of it using gear that wouldn't be out of place in many SOS readers' studios. Matt Bell gets sidereal with the band's programmer and main songwriter, Steve Hillier.
Famous for their Aural Exciters, Aphex continue to diversify. Paul White takes a look at the US company's new valve-based compressor.
If you want to make a living as a producer, masterminding great recordings is not the end of your obligations. You'll have to deal with lawyers, managers, and the business end of record companies — all in the interests of finding work, and ensuring you're paid for it! David Mellor invites you into his parlour...
Brian Heywood ponders some PC problems and waxes lyrical over the forthcoming Soundscape upgrade.
Last month, Paul White looked at ways to tackle the noise and distortion that can spoil a mix. However, even a perfectly recorded mix can still sound terrible, and this calls for different tactics...