SOUND ON SOUND
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Paul White experiences the delights of this all-digital, automated mixing environment where unwieldy cable harnesses and tiered patchbays are the thing of the past.
The Hafler brand name has been around since the '70s but isn't yet well known in the UK project studio market. All that could be about to change, courtesy of the TRM range of nearfield active monitors and subwoofers. Hugh Robjohns mixes and matches.
This digital processing unit promises a whole new level of realism from acoustic guitar pickups. Although primarily aimed at live performance, could it be a serious option for the studio too?
After more than 20 years making uncompromising industrial records, pioneering German band Einstürzende Neubauten escaped a creative and financial crisis through an Internet project which allowed their fans to influence the recording of their latest album.
The classical and pop music worlds collide in the person of Ryuichi Sakamoto, with even his latest ambitious orchestral work due for remixing by a team of DJs. Paul Tingen explores the attraction of opposites...
The Supernova modelling workstation earned a pile of accolades for its excellent 'analogue' sounds, superb multitimbral effects, and its user-friendly, knobular interface. But Novation have now withdrawn the original and replaced it with the Supernova II. Can something so good get better still?
Now that more computers are equipped with Universal Serial Buss connections, musicians have started to demand compatible peripherals. Martin Walker tries out one of the first to arrive, a simple interface dedicated to piping digital audio in and out of USB machines.
dsTEC's eye-catching new analogue mono is bad — but in a good way. Chris Carter reaps the wages of Syn.
The attractions of making and recording music on a laptop computer are obvious, but choosinga laptop can involve you in performance compromises and compatibility problems. Here's what you need to consider if you are thinking of going mobile.
Steinberg's VST Instrument technology allows software synths to be fully integrated into any VST 2.0-compatible host software, such as Cubase VST. The first major releases to arrive are both recreations of established analogue classics. Martin Walker tries them out.
Paul White gets inside Focusrite's new compressor to find out what really makes it tick.
The Nord Modular offered a classic blend of flexible software and well-designed hardware in 1998. But can the improved G2 keep up with the soft synths of 2004?
Martin Russ delivers another bulletin from another Mac music world. Hypercolourcard!
The Korg DDM110 was one of the first digital drum machines to reach the mass market. Paul Sellars rediscovers its distinctive, punchy sound and revels in the simplicity of its programming...
What if you could access the sound and controllability of a range of the best-known classic analogue compressors and EQs, from a single rackmount box, in the digital domain? Two advanced processors from Sintefex aim to offer just this ability.
One of the PC's plus points is its adaptability to a variety of tasks depending on the extra hardware installed in it — and the soundcard used can make or break it as a musical tool. In this two-part series, Brian Heywood takes a look at the various types of soundcard available.
John Walden exchanges his plectrum for a mouse and suggests some guitar-related Internet sites that might encourage even the more technophobic pluckers and strummers to venture into cyberspace.
When Martin Walker decided it was time to buy a removable SCSI hard drive for his sampler, he fondly imagined that it would be a centralised storage solution for both samples and MIDI data from his PC, streamlining song organisation and making sample management easier. Enter reality...
Hot on the heels of their astonishing new Prophecy monophonic synthesizer, Korg are already near completing work on their next range of workstations, entitled Trinity. Gordon Reid was allowed a sneak preview of the next generation...
The German team behind the inexpensive MARS have been responsible for several SOS-reviewed products in the past, although the MARS is the first under their own brand name Vermona. But is it more of a Trabant than an Audi?