SOUND ON SOUND
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Paul White's looking at a gadget to improve impedance mismatch.
Dynacord products have a quiet reputation for quality amongst those in the know, but are often overlooked in a market dominated by the big guns in effects. Nick Magnus thinks the DRP5, offering high-quality reverb at an affordable price, might be about to change all that...
Mike Barnes rounds up a new wave of software and hardware support for the Emu EIIIX, which once again makes Emu samplers a serious alternative at the higher end of the sampler marketplace.
Mark of the Unicorn's Performer has been a Mac sequencing stalwart for almost as long as the Mac platform has been used by musicians. Now faced with a growing number of competitors, it's up to version 5.0 and continues to improve in presentation and functionality, according to Mike Collins.
Open just about any equipment manual and you'll come across terms like input impedance, output impedance, impedance matching and so on — but what do they all mean, and does it matter anyway?
Vic Lennard investigates a rather interesting new Falcon product...
It's not only the distinctive looks of the legendary Oberheim synth that the designers of OBMx have borrowed; they've also incorporated its legendary sound quality into a '90s MIDI synth made in the true analogue mould. Dave Crombie wonders if it's too good to be true...
Derek Johnson checks out the new flagship of the Sound Canvas range.
76-note master keyboards at under £500 are relatively thin on the ground. Derek Johnson takes a look at the Korean-made contender for your cash.
After last month's test-drive of Yamaha's top-of-the-range-QY300 music sequencer, Martin Russ now takes its baby sibling, the QY8, for a spin around the block.
Touring with Pink Floyd is not, as you might imagine, like a quick gig down the Bull and Gate. There's a tour budget of around £70 million, and the efforts of hundreds of people go into making each concert truly spectacular. In this exclusive, Mike Lethby talks backstage to some of the men who keep the Floyd on the road.
Daniel Lanois has followed up a career producing acclaimed recordings for the likes of U2 and Peter Gabriel with two solo albums which have earned him equal respect as an artist in his own right. Paul Tingen talked to him about the changing directions in his own music.
From a garden studio in Wales, Danny Chang scores multi-million pound animated productions for TV companies throughout Europe. Paul White talks to him about the gear and techniques involved in writing music for cartoons.
This month, we turn Production Lines over to the classical fraternity, with some words from classical producer Joanna Leach.
Nigel Lowis has made his name producing female soul vocalists like Dina Carroll and Judy Cheeks, but his skills also include songwriting and remix work. Sue Sillitoe joined him at Sarm West, his home from home, to talk about songs, synths and success...
As well as being an SOS contributor since the early days, Paul Wiffen is the manager of a music store specialising in hard disk recording. Eighteen months ago he previewed the Falcon 030 for SOS, and now, after a year on the market, he assesses the impact it has had and examines some of the rumours which are floating around.
Peter Buick has been living with Cubase Audio for the Atari Falcon since its inception. Here he reveals all about his relationship with the system, ask whether it is the ultimate marriage between MIDI sequencing and tapeless recording — and tries to save you a few months of frustration (and a divorce) along the way.
The X2 console forms the centrepiece of an Alesis studio that is becoming increasingly up-market and professional. Paul White checks out the new desk and finds that, despite its apparently high cost, it really does have a lot to offer to the more demanding user.
The Windows music software scene is thriving. Brian Heywood reflects on its effects on the rest of the music software market, and examines some new arrivals in more detail.
Vic Lennard fires up his sequencer and looks at the latest bunch of MIDI files...