SOUND ON SOUND
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Hard disk recording is a lot to ask of your PC, and however powerful it is, its overall performance may be limited by just one of its components. Martin Walker pinpoints problems so you can plan your next upgrade.
Now that the MIDI outputs of many soundcards are already occupied by playing back high-quality internal synth sounds and multi-channel samples, many musicians are finding that they need to invest in a more comprehensive MIDI interface to service the rest of their synths. Martin Walker provides a little background.
Modern multi-effects units provide all sorts of useful processors in addition to the more usual reverb and delay-based effects. Paul White discusses the extras you might find inside your effects box and how best to use them.
After much ado, it seems MacOS 8 is finally going ahead. Martin Russ brings you the latest Mac-related news and tips.
Almost every recording musician has a great take somewhere that's unrepeatable and marred by hiss, hum or other audio gremlins. Wouldn't it be great if there was some affordable way of restoring such a recording to its former glory? Janet Harniman-Cook discovers that there is...
This month, Paul Wiffen looks at ways of modifying a filter's shape, both in terms of frequency response and over time, and considers the importance of routing in connecting together a synth's various sound-generating and -modifying components.
Paul D. Lehrman took six players, four samplers and a computer, and created a live-performance piece based on the music and words of Frank Zappa. It left the audience delighted — and utterly confused.
Cartoons — they're brilliant! And wouldn't you just love to write the music? Big George Webley puts you in the picture...
Two channels good, four channels better — but 4-channel preamps are thin on the ground. Hugh Robjohns has succeeded in sniffing one out.
Fostex take their stand-alone 8-track hard disk concept onward and upward, turning the well-received D80 into the D90 with some useful and welcome enhancements. Paul White is d-lighted...
Paul White gets a feel for the on-off CD business using HHB's new stand-alone CD recorder.
Just a few months ago you couldn't buy a new additive synth; now you can pick from no less than three, and although they're from the same family, there are enough differences to make the choice less than straightforward Derek Johnson adds it all up.
It's small, sleek and extremely covetable. David Mellor opens the box.
Although it also forms part of the all-encompassing digital SoundLink system, Korg's 1212 PCI card offers a standalone, cost-effective option for getting multitrack digital audio in and out of your Mac. Paul White discovers that digital audio recording relies on going through the proper channels...
When it's time for your Mac to start talking MIDI to the rest of your rig, the technology, like the truth, is out there. But should you spend a few pounds, or a few hundred? Mike Collins has the information you need.
Some of the most prestigious names in monitor design are getting into the project studio market. Paul White auditions Quested's new baby powered monitors, affordable enough for the project studio owner and portable enough for the producer on the move.
Paul White turns on the juice and finds it a perfect excuse to get in his monthly 15 minutes of guitar practice.
Roalnd's D50 became the sound of the late '80s. Does it still have a place in the late '90s? Paul Ward takes a trip around LA...
Much hard graft has been put in by electronic instrument manufacturers over the years in an attempt to transfuse the essence of the tonewheel organ into a MIDI-compatible keyboard. Nick Magnus dissects Roland's latest virtual modelling approach, and pronounces the operation a complete success.