SOUND ON SOUND
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Paul White examines one of Drawmer's MX budget range of units to see whether corners have been cut, and discovers that some corners have actually been added!
There's nothing more disruptive to music-making than an unstable PC. Fortunately, there are many utilities and diagnostic tests available to help you resolve your problems.
In the first part of a two-part series, Gordon Reid charts the rise of EMS and their creation of the world's first self-...
Software and hardware developments have made the 'studio in your PC' concept increasingly attractive, but many prospective users are put off by concerns about sound quality, timing, and the difficulty of adapting existing sample libraries. Many of these issues need no longer cause difficulty, however, as Martin Walker explains...
Since 1999, Bob Moog's Big Briar company has been making analogue filters and effects pedals based on his original Moog module designs. Now there's a central control unit, so that you can use them all together as a complete processing system.
When it comes to computer audio editing, the user interface is extremely important. Having physical controls to grab hold of has already give Ensoniq a lot of advance publicity for their Paris hard disk recording system.
The JX10 was Roland's 'final analogue statement' before the advent of their ground-breaking D50. Derek Johnson reveals the good, the bad and the ugly aspects of this supersynth, now available on the secondhand market for less than a third of its original asking price.
Software samplers are not new, but until now they have only existed as stand-alone applications or sequencer-specific plug-ins. Paul Sellars investigates Steinberg's HALion, which offers close integration with Cubase VST, but can also be used as a VST-format plug-in from other sequencers.
Take a powerful PC. Add a clever bit of programming, a soundcard and some samples, and you have the reality software synthesizer. Not a revolutionary concept, but wait until you hear the sounds! Martin Walker picks himself up off the floor.
Superficially, it may look no different from other soundcards, but Yamaha's new DSP Factory is a real TARDIS when it comes to facilities. Martin Walker explores a soundcard that's bigger on the inside than it is on the outside.
Part 1: You wouldn't dive into a swimming pool if you couldn't swim, so why do so many musicians seem content to plunge into a music business they know nothing about — and which can be just as hazardous? Songwriter David Bibbey decided to educate himself in the business of music by talking to the people who really matter. EMI Music's Brian Jackson was the first to get the Bibbey treatment...
Is it a synth, a sequencer or a sampler? The answer to all three questions is an emphatic 'yes', as Paul White finds out when he takes the E4XT Ultra into his studio.
SOS pay a visit to more avid readers to investigate their home/project studio.
These days, high-end PC soundcards offer much more than mere audio interfacing, incorporating mixing, synthesis, sampling and often powerful onboard processing facilities. Martin Walker finds the features of Creamware's new DSP-powered Music Production Environment' impressive even by modern standards.
A successful DJ-turned-remixer/producer, Justin Robertson has also found fortune with collaborator Roger Lyons as Lionrock. Now the Sherlock Holmes-obsessed duo have relocated to their own studio, Moriarty's Cavern, and have a new side project, Gentleman Thief. Tom Flint gets an elementary education...
Yamaha's former sampling flagship, the A3000, represented a novel but very powerful approach to sampler design. The new A4000 and A5000, as Derek Johnson & Debbie Poyser report, maintain the distinctive design ethos, but should provide even stronger competition to the established names.
Many musicians with computer-based studios don't need lots of inputs and outputs, but that doesn't mean they're happy to put up with poor audio quality and design compromises of consumer soundcards. However a new type of affordable, high-quality soundcard is now emerging to meet this need. Martin Walker puts two or the leading candidates to the test.
Bored with ordinary commercial studios, The Cure decided to cut loose for their latest album, and set up their latest recording facility in a Tudor house in the country. Nigel Humberstone visited the band on location to discuss the technology that made the move into the country possible, and the group's working methods.