SOUND ON SOUND
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Is it a home organ-style keyboard? Is it a real synth? Is it a complete crock? Paul Ward explores the Korg Sigma, an instrument with a serious identity crisis...
Martin Russ looks at one aspect of computing that may provide a new outlet for your Atari music-making: CD-ROM.
With a software sampler such as Emagic's EXS24, creating multisampled instruments from your favourite patches on your hardware sound modules needen't be a chore.
As it was, as it is, and as it may be. Martin Russ looks ahead to where musical Macs may be going.
In recent months, SOS's online Mac Music forum has highlighted the difficulty with achieving the same number of channels of audio I/O under Mac OS X and Logic that were possible under OS 9. We investigate the problems and provide some solutions.
Musicians using Mac and PC sequencers often complain about loose MIDI timing. Martin Walker checks out an interface from Steinberg which should solve this problem — at least for users of their sequencing software...
We all know there are lots of compact mixers on the market — but then lots of people need a compact mixer, and SoundTech's 16-channel Quantum Mix is priced for mass appeal. Mike Crofts looks before he leaps.
The proliferation of independent record labels in the USA has increased the demand for low-budget records, and sparked the home music studio market, moving it from spare bedroom demo mill to centre stage. Our man in America, Dan Daley, reports.
BT revitalised the sound of boy band N'Sync, composed some of the most radical soundtracks to appear in mainstream films, and has a good claim to have invented trance. And he still finds time to talk to SOS...
Having nearly made it in the '80s with an awesome sound on a par with Trevor Horn's productions, UK electronic music stalwart Mark Shreeve is back, with his sights set on Hollywood. Jonathan Miller discusses vintage gear, multi-million pound albums, and Samantha Fox.
After looking at the development of and theory behind mLAN, Paul Wiffen continues his series on the new FireWire-based music and audio protocol with a practical look at the effect it will have on the gear in our studios and how we connect it together.
Creating the score for Pirates Of The Caribbean: At World's End required an incredible amount of music technology, and demonstrated why 64-bit computing offers new levels of realism for orchestral sample libraries.
Can the Texas-built Ross RCS1602 compete with the wealth of low-cost UK-built desks? Shirley Gray searches for the answer.
The SOS team are back in London this month to help some high-profile remixers sort out the monitoring problems in their new studio.
Dave Crombie gets to grips with Alesis' Tardis-like synth module and finds out that the inside is a lot bigger than the outside.
Martin Russ looks at the long-awaited new keyboard from Alesis and finds that it takes an alternative approach to just about everything...
It's not a new synth — it's seven! Korg's amazing new Prophecy offers analogue and FM synthesis, and physical modelling, and still costs under £1000. Unsurprisingly, SOS staff have been dying to review one ever since it was unveiled at this year's Frankfurt Musik Messe. Lucky man Gordon Reid won the toss...
Two of Zoom's budget studio effects processors have been re-released with a few modernisations. Are they still relevant in today's market?
Artist, producer and remixer Arthur Baker must surely be one of the seminal figures in electronic music history, with a career that initially took off with the production of Afrika Bambaata's hugely influential 'Planet Rock'. Now he's taking a new direction, as boss and A&R executive of his own record label. Richard Buskin goes all starry-eyed...
Alesis, once the champions of budget effects, drum machines, and more recently the ADAT digital recording system, have now diversified into mixing consoles, amplifiers, and studio monitors, with every sign that the list will continue to grow. Paul White spoke to Alesis' Frank Kelly about some of the new directions the company is taking.