SOUND ON SOUND
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Electronic drum kits have a bad reputation; straight away you think of nasty, pinging syndrums and unrealistic samples. But they've come a long way since the days when hexagonal red-rimmed drum pads ruled the roost, as we find out...
TV music composer David Lowe tells Paul White how a British Airways World commercial took him halfway around the world — and back...
MIDI interface, audio interface, effects processor, hardware control surface for software MIDI + audio sequencers... Edirol's USB-based U8 promises to be all of these. John Walden investigates.
Knowing the right microphone for the job, from the huge variety of types and models available, is an essential skill for anyone who records regularly, and can make the difference between sub-standard and spectacular results. Follow our essential guidelines to ensure you always make the optimum choice.
With MIDI playing an ever greater part in music production, there's a danger that the art of using microphones will be lost. Paul White describes the valuable techniques of miking acoustic instruments — something he recommends every studio user should learn.
As with any recording system, the first goal of recording on a PC is to preserve as faithful a copy of the source sound as possible. Achieving this, however can be a complicated business. Martin Walker goes back to basics.
10 years on from the Vintage Keys module, Emu are looking to repeat its success, this time with 128-note polyphony, 32 MIDI channels and 32MB of sample ROM. But is it a fine Vintage, or past its best?
After poor sales of an album that dealt with death, Mr E and his Eels returned with a beautiful-sounding, poignant, and often funny record about life, recorded mainly in the basement of E's house. Matt Bell talks to E and his collaborators about how the album was made.
As PCs grow more powerful, native-processing systems appear to offer very impressive features. Nevertheless, as Martin Walker explains, there is still a strong case for using dedicated audio hardware, as evidenced by Soundscape's powerful R.Ed system.
As ever, Creative Labs' latest PC soundcard promises a lot of features for £200. But does it deliver the kind of performance that musicians need?
As well as being an SOS contributor since the early days, Paul Wiffen is the manager of a music store specialising in hard disk recording. Eighteen months ago he previewed the Falcon 030 for SOS, and now, after a year on the market, he assesses the impact it has had and examines some of the rumours which are floating around.
Emu's latest swingbeat sample player is home to a colony of wicked sounds for hip-hop, trip-hop and acid jazz fans. Dominic Hawken puts on his space suit to explore this strange new world.
Ever imagined what a guitar with a resinator body would sound like with a humbucker-style pickup, played at the 12th fret through a Marshall stack? John Walden creates just such a virtual instrument, with the help of Roland's VG88 V-Guitar System.
Looking like a 23rd-century Minimoog pumped full of anabolic steroids, Yamaha's sequel to the hugely successful DJX offers more of the same sampling, sequencing and performance features. Paul Farrer doesn't want to rock, DJX — but it's making him feel so nice...
In these days of virtual instruments and fully featured software sequencers, why should you even consider spending £2000 on a cumbersome hardware synth workstation? If the workstation is as well thought-out as Yamaha's new Motif, perhaps you should.
Korg's Electribe family of instruments aims to combine cutting-edge dance sounds with an easy-to-use interface. Nicholas Rowland meets the latest member, the ES1 desktop sampler.
The C-Lab Falcon MkX has flown through its CE tests and finally landed in the UK. Ofir Gal checks the spec and assesses the new machine's chances of taking off.
Waldorf's dream machine is finally off the drawing board and in the real world, and looks sure to set synth players' hearts beating a little faster.