SOUND ON SOUND
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There's nothing more irritating than having a perfect take ruined by unexpected audio glitches. Martin Walker investigates the possible causes and suggests ways to improve matters through system software settings.
Derek Johnson visits the Atari Computing Convention, and finds that there's life in the old dog yet... Sound Pool Native DSP Mastering Suite; Atari Computing Convention.
Every songwriter sometimes goes through times when the inspiration just seems to dry up, and the perspiration doesn't seem to be working. Debbie Poyser offers some tips to help you out of them.
Paul White bypasses his mixer and goes directly to tape with Drawmer's new mic/line/instrument input channel.
Emu's APS system takes the company into soundcard territory, but with a comprehensive spec that even includes studio-quality mic amps. Martin Walker tries out this all-in-one experience.
Fostex's new portable digital recorder uses virtual tracks to expand its potential and proves that 24 into eight really does go. Bob Dormon does the maths...
HHB and Harbeth have collaborated to produce a high quality active studio monitor at an attractive price. Paul White listens in.
Sophisticated effects and audio processing have become pretty standard on professional synths and keyboard workstations. The Kurzweil K2500's capacities in these respects, however, were looking a little dated until now. Paul Lehrman plugs in the new KDFX expansion board.
After the general guidelines on the approach and attitude you should adopt to a computer based audio system last month, Paul Wiffen gets down to the nitty-gritty of spec'ing your system and setting it up for minimum hassle and maximum results.
Since coming to prominence through his work with the KLF, Spike Stent has become one of the most sought-after mixers in the world. Paul Tingen visits him in his new purpose-built London studio to talk about the role of the specialist mixer.
Boss of the highly successful and determinedly independent Mute Records, Daniel Miller is one of the UK music industry's unsung stars. Bill Bruce celebrates 20 years of Mute with the man himself, looking back on such highlights as his work with Depeche Mode — and takes a rare tour of Miller's superb home studio.
FM synthesis was the success story of the mid-'80s, and synth based on its principles, like Yamaha's DX7, sold by the bucketload — until affordable sample-based synths arrived at the end of the decade. Now, with their new FS1R, Yamaha have updated the technology for the late '90s.
Users of computer-based recording systems often feel restricted by the limited degree of physical control available when it comes to mixing, especially when compared to a traditional setup centred around a hardware mixer. Mike Collins tries out a new system from Mackie which aims to improve matters.
A new utility from Musitek claims to turn printed dots and lines into something non-score reading musicians can get to grips with. Janet Harniman-Cook gives it the once-over.
Imagine a sampler with almost unlimited memory that doesn't cost a fortune, and runs on a PC using a standard soundcard. Martin Walker installs Gigasampler, and prepares to be amazed.
Paul White tries the latest incarnation of an old friend and discovers that beneath the new paint job, little has really changed.
Roland's latest high-end arranger is the company's first for three years, yet it looks strikingly similar to its predecessor. Does it have anything new to offer in an increasingly sophisticated market? Simon Trask arranges some time with the G1000...
Acoustic design is usually a combination of guesswork, intuition and very hard maths. Paul White tries delegating it to his PC instead.
Spirit's 328 is a digital mixer designed to retain the intuitive feel of an analogue desk. Paul White takes the controls, while Hugh Robjohns explores the 328's comprehensive digital interfacing.