SOUND ON SOUND
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Sibelius Software have won over the classical music community with their well-regarded score-writing software. Can their new G7 package do the same for guitarists?
Paul White looks at the different ways in which the leading enhancers produce their results, and offer some practical advice on where the various types work best.
The latest MIDI and percussion combination from Akai is the first not to feature Roger Linn's signature, although it clearly takes its inspiration from those that do. But Paul Wiffen discovers that, although this unit adds a feature he's been waiting 10 years for, it's missing the high price tag of its predecessors.
As the 'dot com' business world's first flush of enthusiasm for the Internet fades, is a deeper understanding of the web's greater potential about to emerge? Dave Shapton speculates.
The latest in Emu's range of style-specific sound modules is bright purple, stuffed with 32Mb of 'street' sounds, and bristling with urban attitude. Paul Farrer takes a closer look.
This month sees a positive flurry of new software, ranging from full-price releases to freeware. Martin Walker sifts through the latest offerings.
Although the Ion is already well-respected for its sound quality, its synthesis architecture is also surprisingly flexible. We show you how to get the best from this little beast in your studio.
You might expect Bjork's eclectic repertoire and capricious temperament to make the task of arranging and sequencing her live shows a nightmare. As Paul Tingen discovers, however, for Guy Sigsworth, that's half the fun...
Despite looking back fondly on his days as a pioneering member of groundbreaking electronic group Tangerine Dream, Chris Franke has been a solo artist for over half a decade, and has made a name for himself both in the world of film scoores and as a businessman. Ashok Prema talks to the man they call " the sequencer king".
Opcode's new Overture notation program has been called "dtp for music" and aims to bring the arcane art of music notation into the age of user friendliness. derek johnson finds it's worthy of note...
The Virus TI promises to bridge the divide between hardware and software instruments, and create a world of Total Integration, while still offering the classic Virus sound. Is it a hard reality, or have Access gone totally soft?
Paul Farrer's name has been a fixture in SOS for several years, but these days he's best-known as the theme tune composer for top BBC TV quiz show The Weakest Link. Paul White asks the questions...
For over 10 years, Chris and Cosey have been treading their own idiosyncratic musical path, changing with the times but still maintaining their individual and influential style, and continue to find a worldwide audience. Derek Johnson visited them in their personal Studio.
It's not only the distinctive looks of the legendary Oberheim synth that the designers of OBMx have borrowed; they've also incorporated its legendary sound quality into a '90s MIDI synth made in the true analogue mould. Dave Crombie wonders if it's too good to be true...
With prices for an original Roland TB303 as high as £1000 on the open market, it is unsurprising that the last two years have seen a number of manufacturers attempting to emulate the 303 in a cheaper, MIDI'd form. Martin Russ checks out the latest pretender to the throne...
Native Instruments' latest plug-in combines up to 1024 bands of vocoding with frequency-domain effects and a neat granular synth.
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.
Guitarists who use sequencers have been waiting many years for the perfect MIDI guitar. John Walden tries the Parker MIDIFly to see if the wait is over.
Viewed by many musicians as the modern standard in computer-based score-writing software, Sibelius has an impressive pedigree and reputation. Following the success of three releases on the Mac and Windows platform, can it maintain its simple user interface as the powerful feature-set continues to expand?