SOUND ON SOUND
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Prism Sound's Orpheus interface brings the company's highend digital conversion technology within reach of the project studio owner for the first time.
Groove Tubes' latest trio of microphones offer a choice of diaphragm and circuit designs at competitive prices. Paul White examines the sibling rivalry...
Can you really make a complex, DSP-packed mixer that even musicians with no engineering experience can use? Line 6 think they can...
Mackie have updated their MR range of affordable powered speakers, endowing these Mk2 versions with new drivers and re‑voiced amplifiers. We put them to the test...
Monitor controllers can offer a handy solution to monitor level control in the mixer-less studio. SM Pro Audio's M-Patch 2 offers a whole lot more...
Newmann (no, that's not a typo...) are a small British company aiming to make affordable high-quality mics with a vintage flavour. It's a laudable aim, but have they achieved it?
This new infinite-baffle 2.1 monitoring system incorporates some unusual technology, including cabinets cast from aluminium-zinc alloy. But do these innovations translate into a cutting-edge sound?
M-Audio's latest foray into the mic market combines a striking retro look with the warmth of a valve and the versatility of switchable polar patterns.
Blue Sky have earned a strong reputation for their sealed-cabinet speakers, but in their latest model they’ve opted for a ported design. How do the newcomers compare with their infinite‑baffle cousins?
Can you really mix a live show without any physical controls? If you have a DL1608 and an Apple iPad, it seems you can...
Line 6 were amongst the first to create realistic-sounding modelled guitar amps and effects. Does their latest offering keep them at the front of the pack?
No expense has been spared in the design of Lynx Studio Technology's latest soundcard, which adds 192kHz capability to remarkable sound quality, bringing it into real competition with high-end, stand-alone converter boxes.
Tannoy’s Reveal monitors have long been popular among home‑studio owners on a budget. How does the baby of the new range compare with the competition?
Akai's MPC has been with us for 20 years now — an incredibly long time in music production. So is the latest addition to this venerable range, the MPC5000, a worthy bearer of its standard?
I'm looking for something to record my latest project with. I currently own an Apple iMac running OS X Tiger, and the main program I use for recording is Apple's own Soundtrack. I'm thinking of upgrading at some point to Logic Pro 8, but for the moment I'm with Soundtrack. I have eight Audio Technica mics for the drum kit and I'm really looking to record through a mixer into Soundtrack (Logic in the future). However, I still want to be in control of individual mic levels after I've recorded within Soundtrack or Logic, even having those individual mics on different tracks.
Behringer’s new digital mixer and snake system are impressive on paper, but how do they fare under real-life gigging conditions?
For their new TwoTwo range, PMC decided to work from the ground up, redesigning their famous transmission line and building new drivers from scratch. Has it all paid off?