SOUND ON SOUND
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Swedish company Cwejman have recognised that there is no way to build a cheap semi-modular analogue synth for mass-market sale these days (if there ever was). Enter the premium, but meticulously crafted S1 MkII...
We've discussed how to set up your label and integrate it with the UK music business. But how you run it from day to day, and who you employ to help, is up to you. We look at how two own-label bosses manage...
As SOS enters its second century, we look back over the past 100 great issues and chart the changing face of hi-tech music.
Simon Lowther introduces the clan of classic American analogue synths, the Oberheim OBs.
Roland made their name with analogue synths and effects, but by the mid-1980s, they needed to go digital to remain competitive. It was a leap into the unknown for the company, but it ushered in a golden era...
Sam Molineaux discovers an early techno pioneer thriving in the heart of Hollywood; living proof of the maxim 'what goes around comes around'.
Despite having produced a string of successful albums by artists as diverse as Crowded House, Suzanne Vega and Elvis Costello, Mitchell Froom still strives for a fresh approach to each new project and refuses to sit back and sink into a formula. Paul Tingen talks to him.
The SOS team rushes to the rescue of a reader in Somerset suffering from boxy vocals, a weedy mix, and a dodgy tweeter.
Still looking for the best mic/preamp money can buy? Hugh Robjohns unearths some real gems from the USA.
We consider some of the pros and cons of mixing in surround, and hear how experienced surround producers take advantage of the format, and tackle the problems.
Korg's Trinity workstation has, like their earlier instruments, become virtually an industry standard — but far from resting on their laurels, the company have upped the ante still further with the new Triton. Derek Johnson and Debbie Poyser provide an exclusive hands-on review.
In all the fuss about last month's launch of the Triton keyboard, you'd be excused for having overlooked Korg's other new products — the diminutive Electribe EA1 synth and ER1 beatbox. As Chris Carter discovers, you won't be able to ignore them for long...
We conclude our two-part examination into whether the traditional distinction between studio monitors and hi-fI speakers is justified. This month, the power-handling and compression characteristics of our four test monitors come under scrutiny...
This month, David Mellor considers the progression from first studio job to Assistant Engineer.
Alesis made their name with their reverbs, but really came of age with the revolutionary ADAT digital multitrack. Paul White talks to the company's founder and President Keith Barr about the impact of ADAT, and the future of technology in music.
Apart from a few MIDI-supported commands, the Doepfer MS404 is completely analogue — so there are no patch memories, no SysEx, and no storable front-panel settings. Chris Carter explains why you'd nevertheless be mad to overlook it...
In the last year SOS has reviewed no less than 10 examples of the new breed of so-called 'Voice Channels', promising a one-box solution to high quality vocal recordings. Derek Johnson & Debbie Poyser present a brief guide to the models we've looked at, to help you decide which you should go for.
Layla, Darla and Gina are the eagerly awaited multi-channel PCI soundcards from Event Electronics, which promise a complete audio solution featuring eight independent outputs. Martin Walker interfaces with Gina — and falls in love.
When it comes to emulating acoustic instruments, the modern orchestra probably represents the ultimate challenge. Philip Meehan shows you how to take it on and win.
Electronic music pioneer Klaus Schulze talks about the way he'd like to see synthesizer design developing over the next few years.