SOUND ON SOUND
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Emagic's inexpensive analogue synth emulation for Logic Audio and Micrologic AV comes under scrutiny from Paul White.
MIDI interfaces come in many different shapes and sizes, with most slotting inside the PC. External interfaces, however, such as those made by MOTU, can offer certain advantages, as Martin Walker discovers.
Quality mic preamps, 24-bit/192kHz operation, timecode sync... Tascam's upwardly-mobile new recorder is going places.
Designed to integrate with Cubase, and featuring new preamps and compressors, Yamaha's N-series digital mixers have been causing quite a stir. Could the N12 be the centrepiece of your project studio?
In 2004 it looked like game over for Waldorf, but the German company are back, with a hardware synth that more than lives up to their former reputation...
As Boss introduce their tiniest ever portable studio, we discover just how much can be packed into such a small box...
After seven years, one of the most successful digital consoles has been completely overhauled, improving the sound quality and ergonomics, and catering for new high-resolution and surround-sound formats.
In the second part of our coverage of Korg's new collection of software instruments, we turn our attention to the virtual MS20, and the MS20-shaped hardware controller. Just how well do these renditions compare to the original?
Korg have redefined the workstation synth many times, and each time it has become harder to see how they could better their previous achievements. The Triton Extreme is a bold new colour, but does the rest of it measure up?
Arturia's 'hybrid instrument' teams a custom keyboard with their massive synth patch library plug-in. Is this the way forward for hardware/software integration?
Is there still a place for the workstation in the computer dominated studio of 2008? Korg certainly think so, and they're making a compelling case with their brand-new, touchscreen-equipped M50, offering much of the power of the acclaimed M3 for around half the price. Our world exclusive review digs deeper...
Digidesign's D-Command and D-Control represent perhaps the most ambitious attempt yet to integrate recording and mixing systems. Do these Icons symbolise the future of digital audio workstations, or are they merely expensive control surfaces for Pro Tools?
With the addition of digital audio, version 4.0 of this popular, PC-based sequencing package isn't so much a cake as a chocolate gateau. Janet Harniman-Cook takes a walk in the Black Forest...
Like many DAW manufacturers, Digidesign offer their own convolution plug-in as an add-on for Pro Tools. We explain how to get the best from TL Space.
Theoretical figures and manufacturers' measurements may suggest that the latency of your soft synths is negligible — but that's no use if their timing is all over the place when you actually play them. Our real-world results give you the true picture.
Kenton's latest take on their affordable hardware control surface concept eschews the faders of previous Control Freaks in favour of 16 knobs. And it manages to be cheaper than the fader versions...
Exceptional A-D and D-A conversion, digital audio interfacing in multiple formats, plus Firewire connectivity make this high-end workhorse something for any studio owner to aspire to.
Did you know that you can make Sonar fit your working methods like a glove, via its many customisation options? Here's our guide to just a few of the most useful.
Host-based programs allowing you to build your own synthesizers from virtual modules have been around for a while. Thanks to DUY, Pro Tools TDM and HD owners can now join in the fun.
If you want more of everything digital, why not try 24-bit recording at a 96kHz sample rate? Martin Walker is floored as his dynamics increase in leaps and bounds.