SOUND ON SOUND
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This month Paul Wiffen takes up residence as SOS's Apple expert. After relating his own Mac history, he turns Agony Uncle and addresses a few readers' problems...
The Studio Module allows PC and Atari users to select configurations and patch names for their synths within Cubase. Paul Nagle guides you through the basics of creating a Studio Module setup.
In this month's installment, Sam Inglis looks at how you can use the sounds and rhythms of words to make your song lyrics more memorable.
Ego Sys' WaMi Box is one of very few comprehensive recording interfaces for laptop PCs, providing analogue, digital and MIDI I/O along with a synth/sampler, DSP effects and mixing and no fewer than six separate software control utilities. Martin Walker gets to grips with it. Eventually...
This month, we look at using folders and screensets, as well as showing the Score window needn't be a no-go area for guitarists.
Microsoft's latest operating system, although primarily designed for business and network systems, seems to offer many features that are attractive to musicians, including greater stability and support for dual-processor machines. But is there enough software support to make upgrading worthwhile? Martin Walker investigates.
Big George holds forth on the vexed question of management...
Even if you have top-notch recording gear, and the expertise to use it effectively, there are still a number of more intangible problems that the recording musician can face. Amanda Lowe answers some of your questions on how to maintain creativity and a positive attitude in the studio.
Reflecting the growth in the number of VST Instrument plug-ins, as opposed to those designed purely for processing of effects treatments, established plug-in developers FXpansion have now produced DR005, a 'soft drum machine'. Paul Ward snares a copy...
Derek Johnson looks at Glyph's new SCSI and FireWire drives, and investigates the advantages of dedicated audio storage.
Paul White checks out a new emulation of vintage tape echo, and tries not to mention Hank Marvin...
It may not be well known, but it is sought-after. Simon Lowther relates the history and mystery of an early 48-note polyphonic analogue synth and its well-connected family.
Paul White steps back in time with the Line 6 DM4, and revisits fuzz boxes through the ages.
![Figure 1: [top-left] A paraphonic synthesizer. Figure 2: [bottom-left] A fully polyphonic analogue synthesizer. Figure 3: [right] Octave divider boards.](https://dt7v1i9vyp3mf.cloudfront.net/styles/teaser_large/s3/imagelibrary/s/synth1_2_3-0101-muEtxP7wD74DHo.jL_rSEge628JVxWw1.gif "Figure 1: [top-left] A paraphonic synthesizer. Figure 2: [bottom-left] A fully polyphonic analogue synthesizer. Figure 3: [right] Octave divider boards.")
This time, Gordon Reid explains how various analogue synth manufacturers attempted to create workable polyphonic synths by employing digital technology.
M Audio's Omni I/O interface allows 'Delta card' users to add mic amps, instrument inputs, insert points and monitoring capabilities to their existing systems. Martin Walker gets connected.
Magma's ingenious PCI Expansion Chasses attach to portable computers via PCMCIA and allow you to run PCI audio, video and SCSI cards. Paul Wiffen tries out the latest model, which works with current Apple Powerbooks as well as PC portables.
Martin Walker looks at a handy half-rack unit which could provide an ideal front end for your computer-based recording system.
Many of you were caught out by our 1995 April Fool preview of a fictitious piece of software that could modify the musical style of a MIDI file to create specific emotions in the listener. Now, however, it seems that fact may have caught up with fiction. Martin Walker tries out Ntonyx's innovative Style Morpher.
The new C16 offers 16 MIDI-assignable control faders for the thoroughly reasonable price of £150. Derek Johnson and Debbie Poyser love that feeling of control...