SOUND ON SOUND
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Paul Austin looks on as the Amiga's ultimate direct-to-disk sampling system finally gets the software it deserves...
Having surfaced from the depths of the previous instalment, Steve Howell takes a deep breath and plunges back into his explaination of some of the modulation possibilities afforded by modular analogue synths...
Do you have countless disk boxes, and definite problems finding that song file you started last month? Vic Lennard explains why you should consider a hard drive, especially at the current low prices...
This month, Brian Heywood presents his round-up of the MEMS show, and takes a look at Media Vision's Memphis multimedia upgrade.
Although much more widely used than ever before, the multitimbral ability of electronic instruments to produce several different sounds at the same time is still not always fully exploited. Paul Wiffen traces the evolution of this powerful feature.
Martin Russ talks you through what to do when you've just bought a new piece of hi-tech gear.
In a packed column this month, Martin Russ looks at MIDI machine control, FreeMIDI, the Mac serial port, and even manages to mention the latest Apple news. He kicks off with a look at Performer 5.0.
Sean Kenny is an experienced programmer, and has devised a method for emulating guitar strumming using a sequencer. Though the methods described here relate specifically to C-Lab/Emagic Notator and Creator, they could be adapted for use with other sequencing packages.
Recording the spoken word requires a slightly different approach to recording vocals, and intelligibility takes over from musicality as the prime consideration. Paul White spreads the word.
Expressive sequencer parts for monophonic instruments like bass and wind can be difficult to achieve — unless you understand how bass and wind players approach their instruments and how your sequencer's facilities can help you do the same thing. Craig Anderton explains.
Genelec are better known for their medium and large-sized pro studio monitors, but as Paul White discovers, their new mini active monitor could be tailor-made for the smaller private studio.
Kurzweil's flagship synth was introduced to wide acclaim in 1992. Last year, sampling was added to its list of capabilities, and now the first of the long-awaited ROM expansion boards is available. Tim James listens in and wonders if it might be time to give up his violin lessons...
Lexicon's new Vortex effects processor takes the concept of video morphing and applies it to audio effects. Paul White takes it for a spin.
Want that Mesa Boogie guitar sound for a fraction of the usual price — and from a foot pedal? Vic Lennard plugs in his trusty Strat...
Exploring Twiddly Bits, a collection of musical fills, riffs and embellishments played by leading session musicians and stored in MIDI file format.
Exploring the Milli Keyboard interface.
The Oberheim Matrix 1000 analogue synth module recently enjoyed a relaunch, resplendent in a new cream livery. Self-confessed Matrix 1000 owner Paul White extols its virtues and exposes its vices.
Born-again Vision user Mike Collins runs down the new features in the latest version of Opcode's pro Mac sequencing package, and reveals why he now believes it's the standard to beat...
The first album from this chart-topping pianist and chanteuse was a million-seller; her second looks set to continue the trend. Ian Gilby was invited into the Craven home studio to discuss the enduring appeal of MOR.
Headlining the biggest electronic music festival in Europe was a US composer almost unknown in the UK. A contemporary of synth pioneer Don Buchla, Suzanne Ciani enjoys enourmous success in America, yet such recognition has eluded her so far this side of the Atlantic.