SOUND ON SOUND
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Buying your first synthesizer can expose you to apparently meaningless technical specifications, conflicting advice, and overwhelming technical jargon. Confused? You won't be, after reading Derek Johnson & Debbie Poyser's plain English guide to making the right choices.
Martin Russ continues his look at computer busses and reports back from the recent Apple Expo show.
There's more to gating than just getting rid of unwanted noise: the humble noise gate is capable of truly creative studio trickery. David Mellor reveals some of the unusual uses for your Drawmer DS201, but if you don't own a DS201, don't despair: these tips can be adapted for most good quality gates.
Following the demise of the Windows MIDI Mapper under Windows '95, Brian Heywood considers ways of setting up alternative MIDI patch maps on your PC, and looks back on his personal favourite products of 1995...
Having come a long way from its humble beginnings in the early n-n-n-n-nineteen eighties, sampling is now an integral part of music making. Paul White explains what samplers do and how they can be used.
A true understanding of any piece of studio gear only comes after using it for months, or even years. 1995's Reader Survey suggested that more features would be welcome from people with such 'Long-term' gear experiences, so, in the first part of this occasional series, Janet Harniman-Cook reveals the truth about her PC sequencing and digital recording setup.
Paul Overaa goes behind the scenes at Tangent Music and discovers a rather unusual Amiga connection...
With new sounds, a new operating system and a lower price, the QS6 looks set to attract its fair share of admirers. Rob Brady tickles the ivories...
Noise reduction comes in various guises, with Dolby alone offering five different systems. Paul White explains the difference between Dolby, dbx and a bag on your head...
The information superhighway, the 'Net, you name it, the hype just goes on and on... Ofir Gal finds out how music-making Atari users can join in the fast lane.
Can these two low-cost back-electret mics really deliver studio-quality performance? Paul White finds out.
Having led the way in the '80s sampling revolution, Emu have turned their attention to the '90s discipline of hard disk recording with the Darwin digital recorder. Paul Ward checks out the new species on the block...
Part 2: Gordon Reid concludes his review of Korg's new family of workstations.
This unconventional sequencer program aims to let musicians work like musicians rather than computer programmers, and has already met with an enthusiastic response in its original Mac version. Paul Nagle hand-picks his virtual musicians and gets jamming.
When Paul White heard that Rogers had built the LS1 low-cost monitors for home studio use, he was keen to try them out. But could they deliver Rogers' quality at such a low price?
Enclosed headphones that are sensibly priced, comfortable, and sound as accurate as a pair of good monitors — is it possible?
Paul White visits the future of home recording, where tape heads never need cleaning, cassettes never jam and mistakes can be undone at the touch of a button.
Anyone into sampling or hard disk recording appreciates the need for a low-cost, high-capacity, archivable storage medium — and that's exactly what Iomega's Zip 100 drive delivers. Paul White gives it a spin...