Lexicon Studio
Combining the famous Lexicon reverb sound with the latest hard disk recording technology, the Lexicon Studio system should win many admirers. Martin Walker falls in love.
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Combining the famous Lexicon reverb sound with the latest hard disk recording technology, the Lexicon Studio system should win many admirers. Martin Walker falls in love.
SPL's acclaimed Vitalizer design has always been a bit harder on the wallet than other maufacturers' models — until now. Derek Johnson plugs in their new enhancer for the rest of us...
The AE200S use metal-coned drivers throughout, but does this technology offer any advantages over more conventional designs? Paul White investigates.
Paul White checks over the latest incarnation of an old friend.
SoundBlaster cards no longer need to rely on a complete set of GM sounds crammed into 1Mb of ROM now that SoundFonts allow up to 28Mb of RAM expansion. Martin Walker feels the quality of Time Signature's new collection.
History is littered with people who proclaimed that the latest musical development was 'just not music' — Mozart, rock & roll, and techno have all come under fire in the past. Paul Nagle would normally be the first to decry such conservative musical attitudes, but some of the latest developments in music technology have got him worried; the end results just don't seem, well, like music anymore...
Although Craig Armstrong has been building strong writing and arranging credits since the start of the '90s with such artists as Massive Attack, Madonna, Suede and U2, it's only in recent months that he's come to the fore as a solo artist in his own right, with his new album The Space Between Us. Paul Tingen notches up some Frequent Flyer miles to talk to him.
Some people view GM modules as the chartered accountants of their racks, but believe it or not, there are ways to make them interesting. Paul White and Martin Walker club together to make your GM synth roar.
Despite their success in most other areas of music technology, mixers have never been Alesis' strong suit. With their new compact model, Paul White thinks that they may just have come up trumps.
In the third instalment of our series on the techniques and technology of digital audio, Hugh Robjohns turns his attention to digital audio error detection and correction — and some of the problems associated with them!
Derek Johnson ventures once more into the bizarre world of Atari software...
Martin Russ realises the worth of Metadata, and brings glad tidings of profitable Apples...
Sony's proposal for a next-generation CD format — the Super Audio CD — promises a great deal in terms of sound quality and compatibility. But will it be enough to succeed in a confused and fragmented market place? Hugh Robjohns examines the new format.
Confusing, isn't it? Where once the only recording option was tape, you can now put a whole studio inside a desktop PC or opt for an all-in-one recording and mixing hardware solution. Then again, you could stick to tape, or buy a separate hard disk recorder. In the first of this short series, Paul White examines the choices.
Paul White examines the basic principles of acoustic treatment in order to help you improve your recording and monitoring environment.
Unexpected crashes happen to all of us — even SOS PC gurus! Martin Walker tells a tale of troubleshooting, and falls for Steinberg's new Freefilter.
Paul White forgets his Ps and Qs to concentrate on his Ss and Ts while trying out Drawmer's new MX-series de-esser.
Physical Modelling and Virtual Synthesis have been buzzwords for several years now, especially when it comes to imitating analogue synthesis. But what are their advantages and disadvantages, and how do they work? Paul Wiffen explains.
Still looking for the best mic/preamp money can buy? Hugh Robjohns unearths some real gems from the USA.
The TLM103 is, of course, a complete impossibility — it has supposedly been designed to a project studio price whilst retaining the qualities of Neumann's top-flight, large diaphragm U87.