SOUND ON SOUND
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The latest version of this powerful modular software synth adds Mac support at last, includes many new modules, uses less CPU power than previous versions and has a much simplified user interface. What's not to like?
Production music's sub-standard image means that many composers and producers ignore it, despite its commercial potential. Extreme Music are a London-based company who are trying to change the perception of library music.
Not content with modelling guitar amps, Line 6 have now turned their attention to the guitars themselves.
You know what you want your computer to be capable of. So how do you decide what combination of CPU, memory and hard drives will make this possible?
You can't beat a live player — at least as far as Mike Vernon, blues producer and head of the Code Blue record label, is concerned...
Martin Russ talks you through what to do when you've just bought a new piece of hi-tech gear.
Blur's latest album has taken the band 18 months to make, commuting between London, Devon and Morocco. Somehow, producer Ben Hillier also found the time to produce new records by Elbow and Tom McRae...
This month, Martin Russ turns traitor and investigates an alternative to the MacOS.
Magma's ingenious PCI Expansion Chasses attach to portable computers via PCMCIA and allow you to run PCI audio, video and SCSI cards. Paul Wiffen tries out the latest model, which works with current Apple Powerbooks as well as PC portables.
Continuing his in-depth explaination of the Logical Edit functions of Cubase in Easy Mode, Paul Sellars looks this month at the role of the Processing stage settings, in conjunction with the Filter and Function operation, before moving on to the greater complexities of Expert mode...
Autechre's own take on techno is so far from the mainstream that the duo, Rob Brown and Sean Booth, can scarcely understand why anyone shares their tastes. The fact is that they do, in their thousands. Christopher Holder heads to Sheffield to work on his studio tan.
From the same team that brought you Virtual Guitarist, Groove Agent has had an impressive upgrade, and is now claimed to work better under non-Steinberg hosts. We put it through a proper multi-platform test.
Can an expensive valve microphone preamp like this one really make that much diference to the quality of your recordings?
Pro Tools moves up a bit (or eight) and Mackie's dedicated hardware controller for the system finally arrives. Mike Collins gets an advanced viewing.
GEM have made all kinds of keyboards, from organs to home keyboards to synth workstations. Their latest incorporates physical-modelling technology, samples of famous instruments, effects, and plenty of real-time control options to form a 320-note polyphonic monster.
Gordon Reid tries out Philips' updated dual-deck CD recorder, and finds that a number of improvements have now made the machine more useable in the studio.
Martin Walker finds out what's new in Windows Millennium edition and explores the latest version of Native Instruments' Pro-five VST Instrument, renamed the Pro52.
Can new technology really emulate vintage equipment, or do you have to use vintage parts? Paul White test a modern compressor that claims chameleon-like abilities to emulate classic compression sounds.
There's no gain without pain. Martin Russ experiences the joys and agonies of a new computer — the Apple Power Mac 7300.
Paul White looks at how real reverberant spaces affect the perception of sounds within them, and shows you how your digital reverberation unit can simulate this process.