SOUND ON SOUND
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Mike Collins provides some early reflections on TC Electronic's latest reverb unit and effects processor.
Having looked at the history and development of built-in effects on synths over the last decade and a half, Paul Wiffen now explores the practicalities of using them, and how to get the best from the keyboards and modules which contain them.
Many of you were caught out by our 1995 April Fool preview of a fictitious piece of software that could modify the musical style of a MIDI file to create specific emotions in the listener. Now, however, it seems that fact may have caught up with fiction. Martin Walker tries out Ntonyx's innovative Style Morpher.
Korg have been at the forefront of analogue modelling technology, but the new MS2000 is their first instrument to mimic the style as well as the sound of their analogue classics, right down to its incorporation of a virtual patching system. Derek Johnson powers it up.
The TX16W was about to go down in the annals of electronic instrument history as a brilliant-sounding sampler handicapped by a pig of an operating system — until a group of Swedish users took matters into their own hands. Duncan Werner investtigates the ultimate in third-party development.
Julian Colbeck sizes up the new offering from the prolific Korg camp, the latest to use the company's long-running A12 synthesis system. Is it just the same old stuff in the new box, or does the X3R have enough Unique Selling Points to justify its existence?
Robert Alexander pays tribute to the short-lived yet truely revolutionary Prophet 3000 which, like Sequential themselves, vanished almost overnight...
Mike Simmons ties up some loose ends with some words on browser compatibility, a look at other Internet music other than Real Audio, and a brief guide to using frames on your site.
With the promise of improved battery life and more compact designs with no compromise in performance, Intel's Centrino technology should be the answer to the mobile musician's prayers. But does the promise hold true when running the most demanding music and audio software?
Roland have finally released the rackmounting version of their much-vaunted JP8000. And what is this? A mic input? Paul Ward adopts his best Kraftwerk pose for a spot of modern nostalgia.
Built in to the same box as Emu's flagship Proteus 2000 comes the Xtreme Lead 1, a dance-based 64-voice, 16-part multitambral sound module with 32Mb of onboard sampled ROM sounds. But is it as powerful as it is bright? Paul Farrer finds out.
Paul White kicks off a new series for newcomers to MIDI.
With more zones than a one-day Travelcard and an impressive array of physical real-time control options, the keyboard version of Kurzweil's K2500 represents a new frontier in digital synthesis. Paul Ward heads for the border...
Is it a Filofax? Is it a Stylophone? No... it's Roland's answer to Yamaha's portable music Walkstation family. Faster than a speeding bullet, Derek Johnson and Debbie Poyser apply their X-ray vision to the new PMA5.
Martin Russ takes a look at the changing face of technology during the first decade of SOS.
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.
Korg's Electribe grooveboxes presented their analogue-modelling technology in an affordable, dance-friendly format and were a smash success. Now, using the MS2000 virtual analogue synth as a starting point, they're hoping for similar budget triumph with the fun-sized Microkorg...
A number of hi-tech music manufacturers are celebrating important anniversaries this year and next year. In the first of several articles on these companies, we look at the milestone products made by Emu, who drove the sampling revolution in the '80s.
Paul Wiffen made no secret of his fondness for the OSCar in September's issue, and now reminisces about the other great keyboard love of his life — the Elka Synthex, a synth whose reputation and influence far outweighs the number that were ever sold.
The most dramatic overhaul of the Mac OS ever was ignored by most musicians until recently — and rightly, as established music applications and standards no longer run under it. But lately, there have been more and more reasons for musicians to leave OS 9 behind. If you're considering making the switch, read on...