SOUND ON SOUND
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Many mic preamps are marketed on the strength of the sound they claim to impart to your recordings, but the Event EMP1 is designed to sit as unobtrusively in your signal path as possible, amplifying quietly to itself. Hugh Robjohns investigates...
Having whetted his appetite for MacOS-based software synthsis last issue, this month Martin Russ takes a closer look...
Paul White clocks on for a shift in Focusrite's Tone Factory, the first of the company's new low-cost Platinum range of processors, and discovers the anarchic side of Focusrite.
A quality acoustic piano sound in a 1U rack-mounting package? Paul Ward lifts the lid to see if there are any strings attached...
A few famous names have been co-opted by Korg to contribute to their first extra sound set for the Z1 physical modelling synth. Derek Johnson lends an ear.
Though the FD4 doesn't have a built-in recording drive, it records to a choise of popular types, costs less than £400, and has been designed to be almost as easy to use as a cassette multitracker. David Mellor goes back to basics...
Line 6 claim to have put physical modelling technology into a combo amplifier that any guitarist will feel immediately at home with. Paul White puts their claims to the test.
Paul Wiffen continues to examine transitional synthesis, covering the Wave Sequencing facility, first introduced on the innovative Korg Wavestation, and concluding with Emu's Z-plane technique, which may be regarded as bridging the gap between S&S and today's physical modelling.
Though this Charisma has only two channels instead of eight, it's lost none of the original charm.
While this outboard EQ provides little more than a decent desk EQ in the way of facilities, it does have that distinctive vintage JoeMeek sound at a price that won't break the bank.
Simon Trask previews the Supernova, Novation's most ambitious synthesizer module to date.
Paul White tests the 20-bit Alesis ADAT XT20, to see whether it wil really help us make better recordings or just allows us to record our low-level hum and noise more accurately!
Paul White gets an earful of a new range of quality mics that goes easy on the pocket but doesn't compromise on sound.
MIDI guitar has a long and chequered history, litered with great expectations and expensive failures. Dave Lockwood investigates the latest contender to see if it really is able to bring something genuinely new to the field.
Even a killer rhythm pattern won't make the grade if it's played with lacklustre sounds. In the concluding part of this series, Nicholas Rowland puts on his sound designer's head and explains how you can re-tread your tired timbres...
Paul White listens to Dynaudio's latest powered nearfield monitors and counts the days until he has to give them back.
Paul White tries a simple but useful digital switching system that can be used with s/PDIF or ADAT-format signals.
Digital multitrackers are now nothing new, but this one records to a built-in Zip drive using low-cost 100Mb cartridges. Duke Ashton carries on recording.
In a market already awash with soundcards, it takes a clever company to find a niche that hasn't already been filled. Martin Walker finds out what tricks this new card has up its anti-static sleeve.
If you feel that the average sequencer makes you take off your musician's head and put on your computer programmer's head, take a look at FreeStyle. Derek Johnson is not a number, he's a free man...