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The Supernova modelling workstation earned a pile of accolades for its excellent 'analogue' sounds, superb multitimbral effects, and its user-friendly, knobular interface. But Novation have now withdrawn the original and replaced it with the Supernova II. Can something so good get better still?
The characteristic sound of vintage valve equipment is well known, but interest is now growing in early op-amp designs too. One example is the Trident Series 80 console from the 1970s, which has recently been reincarnated in the form of the Oram S80 Producer Box. Hugh Robjohns relives those heady days...
Ever imagined what a guitar with a resinator body would sound like with a humbucker-style pickup, played at the 12th fret through a Marshall stack? John Walden creates just such a virtual instrument, with the help of Roland's VG88 V-Guitar System.
Many musicians recording with teir computer find that they need to buy — and wire up — separate mic preamps, guitar preamps and monitor mixers as well as their soundcard. Martin Walker tries out a products that aims to combine all of these elements in one system.
Looking like a 23rd-century Minimoog pumped full of anabolic steroids, Yamaha's sequel to the hugely successful DJX offers more of the same sampling, sequencing and performance features. Paul Farrer doesn't want to rock, DJX — but it's making him feel so nice...
This month Dave Shapton reports on the latest in broadcast video, from the International Broadcasting Conference in Amsterdam, and predicts how these innovations will be used by musicians as promotional tools. He also takes a look at the future of software-only video editing.
Can an Englishman's home be both his castle and his studio — or is it better to keep business and pleasure apart? Jay Kay of Jamiroquai clearly feels that building his own facility has paid off. Sue Sillitoe heads for his Chillington studio in Buckinghamshire to find out more...
Sound On Sound's May 2000 SAE/MPG competition offered readers the chance to win a recording session in a London studio with a top producer. Tom Flint talked to the lucky winners about the recording of their demo — and to producer Steve Levine, who took on the job of transforming it into a potential chart-topper.
How can an electronic band produce exciting, spontaneous, unpredictable and visually engaging perfomances? And if they do, is it really possible to capture the experience of being there in a recording? Rick Smith and Karl Hyde of Underworld believe they have the answers, as Paul Tingen discovered.
In the final part of this two-part Net Notes about broadcasting your audio and video on the Internet, Dave Shapton discusses error correction and quality control, helps you to prepare for your webcast and suggests some solutions for broadcasting live events.