SOUND ON SOUND
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Yamaha have taken a weighted keyboard from their latest digital pianos, added high-quality piano samples and Motif sounds, and thrown in a playback sequencer and arpeggiator, and master-keyboard facilities. Left to simmer, the S90 is the result...
This sophisticated new digital editor is up against such established software as Sound Forge and Samplitude Studio. Janet Harniman-Cook assesses whether Steinberg have built on their status in the sequencer field with a successful PC wave editing program.
Kurzweil's latest workstation is very much the product of evolution, rather than revolution. Paul Ward finds out whether it's keeping pace with the rest of the synth world...
The sheer power of Emu's three ESI samplers has endeared them to many home musicians on a budget. However, it can be tricky to get the most out of these machines, so here are some power-user tips to help you.
Mike Oldfield's new album was inspired by the writings of Arthur C Clarke and features an interactive CD-ROM section. Paul White asked the composer about the artistry and technology behind the project.
Tony Taverner's career spans decades and encompasses a huge list of top-drawer credits. Christopher Holder heads to Sensible Studios, where Tony acts as manager, to extract a few pearls of wisdom.
Paul White discovers that it's good to talk, especially when you have some help from Digitech.
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...
With the recent re-release of Loops & Reels, plus a new live album, Peter Hammill found time to talk to Paul Tingen about obscurity, crudeness, ADATs, and their place in his music today.
We conclude our look at synth pioneer Don Buchla's extraordinary new 200e modular synth.
With another major transition occurring in the Mac world this year, it's time to consider the real ramifications of moving from Power PC to Intel-based Macs for musicians and audio engineers.
Paul White finds he has a crush on the Smart Research C2 compressor — but at what cost?
Reason's Combinator device isn't all about creating new sound sources and storing live setups — it also provides the means to build new and imaginative effects units.
![Figure 1: [top] The output from an envelope follower. Figure 2: [bottom] A more sophisticated envelope follower.](https://dt7v1i9vyp3mf.cloudfront.net/styles/teaser_large/s3/imagelibrary/s/synth1_2-0800-0C0zNIUAttbB6Ff8M6IKO1uI8Z34UeVi.gif)
Gordon Reid introduces the synthesis modules that allow you to create a number of commonly used 'random' effects, and their close relatives — analogue sequencers.
By the time you read this, he could be clutching his first Oscar for his soundtrack for the historic blockbuster Elizabeth. David Hirschfelder discourses with Richard Buskin about the art, science and pyschology of scoring for the moving image.
When it comes to emulating acoustic instruments, the modern orchestra probably represents the ultimate challenge. Philip Meehan shows you how to take it on and win.
New drum machines are few and far between these days, but as Nicholas Rowland discovers, this one has a lot to offer even in a world full of computer sequencers.
Music technology has opened up all sorts of exciting possibilities for mixing loops with live instruments on stage, if you know how to hook everything up.
Korg shook the hi-tech recording world in 1988 with the introduction of the M1 workstation. With their new Trinity range, Korg are attempting to update the workstation concept for the 1990s. In the first instalment of this two-part review, Gordon Reid assesses how they have fared.
You've got the talent but you haven't got the gear. Sounds familiar? Christopher Holder visits a production team who decided to do something about it, and are reaping the rewards.