SOUND ON SOUND
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The release of a new album by ex-Genesis guitarist Steve Hackett is usually a cause for celebration amongst his substantial body of fans. Paul Ward talks to him about the making of his latest, Darktown, and wonders whether it might find him an even wider audience....
Is it a synth, a sequencer or a sampler? The answer to all three questions is an emphatic 'yes', as Paul White finds out when he takes the E4XT Ultra into his studio.
Having decided to construct a studio for their own use, Damon Albarn of Blur and his collaborators Tom Girling and Jason Cox chose to create an environment as unlike a typical commercial studio as possible. And then they fitted it with perhaps the most bizarre assortment of equipment ever collected together...
The Hafler brand name has been around since the '70s but isn't yet well known in the UK project studio market. All that could be about to change, courtesy of the TRM range of nearfield active monitors and subwoofers. Hugh Robjohns mixes and matches.
Jomox's Xbase 09 was a clever and eye-catching modern alternative to an expensive vintage Roland TR909 drum machine. Now the Xbase sounds, plus more, are back, in a rackmount module designed for those who prefer to program drum patterns using their own sequencer. Chris Carter airs a few opinions.
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.