SOUND ON SOUND
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Sony's new mid-priced multi-effects unit boasts four-channel operation, 200 preset effects algorithms, comprehensive user programming capability, and great sound quality to boot. Hugh Robjohns spins that dial...
Times change. When announced in 2001, the Chameleon, a reprogrammable DSP unit, looked out of date compared with the software studio concept. But with piracy rife, and software companies being bought out everywhere, the idea of reprogrammable, unhackable hardware now seems quite timely...
Akai's new 24-track recording and mixing workstation continues the expansion of their DPS multitracker concept with technology derived from the company's renowned post-production machines.
Derek Johnson and Debbie Poyser explore a well -specified virtual monosynth from newcomers Koblo.
Yamaha's soundcard is a synth, a mixer and an effects unit in one. Martin Walker finds plenty to talk about.
Users of Emagic's Logic sequencer have been itching to get their hands on the latest version 5 and Logic Control, the company's dedicated moving-fader control system. Has it been worth the wait?
The M3X is the first product from Macbeth Systems, the Scottish company founded by former DIY analogue synth enthusiast Ken McBeth. Will all turn out well, or is the M3X destined for a tragic end?
In the sequel to his article last month about being a session musician, Big George takes a look at what it takes to be a successful programmer.
What can Sony's new effects processor offer that its competitors don't already have? Paul White took the new Sony HR-MP5 into his studio to find out.
Emu's synths may have broken no new ground since the 1999 launch of the Proteus 2000, but the new 2500 plays to their strengths, offering the best of their sound library, plus excellent sequencing and real-time control capabilities, at a very attractive price.
Cubase SX 3 is the latest incarnation of one of the best-known brands in sequencing software, offering many new features and tying up the loose ends from previous generations of Cubase. But with increased competition, most notably from Apple and Cakewalk, can Steinberg maintain their cross-platform advantage?
In an age of ever‑growing polyphony, Studio Electronics, best known for their vintage synth rebuilds, have returned to first principles — to create the first analogue monosynth for almost a decade. So how does this MIDI‑equipped modern classic measure up to its vintage forbears?
To get the maximum quality from audio sample CDs, you need to transfer the sound data to your PC in the digital domain. Martin Walker explains why the process isn't always as easy as you might expect.
Last month, Paul Wiffen looked at how virtual synthesis can emulate analogue synths whilst going beyond their hardware-based limitation. Now he looks at its applications for imitating and exceeding older instruments such as electric piano and organ.
The high quality converters and resonant filter imbue the 16-bit Emax II with a musicality and sonic character second to none.
Sound On Sound's first decade has been graced by synths that were revolutionary, synths that were fascinating, synths that were seminal, and synths that were simply loved. Julian Colbeck takes a personal look at 10 of the best from synthesizer history.
Last month Big George looked at what demos actually are. This month he tells you how to prepare for recording one and avoid wasting lots of time, tape, and money.
Paul Wiffen continues to examine transitional synthesis, covering the Wave Sequencing facility, first introduced on the innovative Korg Wavestation, and concluding with Emu's Z-plane technique, which may be regarded as bridging the gap between S&S and today's physical modelling.
Building on the theory of what makes up the sound of timpani, this month's Synth Secrets reveals how to synthesize realistic kettle drums using a Korg MS20 and a Yamaha DX7.