SOUND ON SOUND
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When Emu launched their flagship Proteus 2000 sound module last year, they promised a further range of cheaper 'P1K' modules which would cater for special needs, but be expandable to full Proteus 2000 spec. The first of these modules to appear aims to recreate the classic Hammond tomewheel organ sound. Nick Magnus is impressed.
Recording a choir on location presents a number of unique technical and artistic challenges. Hugh Robjohns describes how he approached a recent project.
As a child, Norman Fay was cruelly cheated of the thing he wanted most — a Memorymoog. Never one to bear a grudge, he reviews Moog's most unruly synth with the benefit of hindsight.
The Roland Promars helped to usher in a new era of microprocessor-controlled analogue synthesizer, but has subsequently been all but forgotten. Gordon Reid remembers the world's only 'Compuphonic' monosynth.
Boss of the highly successful and determinedly independent Mute Records, Daniel Miller is one of the UK music industry's unsung stars. Bill Bruce celebrates 20 years of Mute with the man himself, looking back on such highlights as his work with Depeche Mode — and takes a rare tour of Miller's superb home studio.
After a spell away from project studio consoles, Allen & Heath return with a magical new contender. Martin Walker conjures up some thoughts on the WZ20:8:2.
As Lexicon introduce new processors to replace the acclaimed PCM80 and PCM90, Paul White takes a look at how these classic units have been further improved to create the PCM81 and 91.
In this final part of our series looking at the alternative systems available for recording and mixing, Paul White outlines his own system and the reasons for building it that way.
Does a standard PC take up too much space in your studio? Red Submarine's Mini-Sub system packs all the performance of a full-sized desktop PC into a diminutive Micro-ATX case.
In a synth market dominated by the Japanese and American manufacturers, it's a pleasant surprise to be looking at a synth made in Sweden — especially when it's as technologically advanced as the Nord Lead. Gordon Reid sees red...
When is the professional signal level no longer standard? When you want to connect to digital equipment! Hugh Robjohns explains the mysteries of exchanging signals between analogue and digital domains.
Native Instruments' Kontakt has become one of the most popular software samplers since its release in 2002, and the new version, with its many excellent new features, should keep it near the top of the heap.
In these days of sampling, DSP and physical modelling, you might think that building your own electronic instruments would be a daunting prospect. According to Reed Ghazala, however, it's a piece of cake — you don't even need to know how they work. Sam Inglis finds out more.
We answer one of the most common queries from those just starting out with home recording.
Reverb is vital for most types of modern music production, so it's no surprise to find that many sequencers provide a variety of reverb plug-ins. But what do all those different parameters do?
Ten years after the K5, Kawai return to the technology which gave them the most successful implementation of additive synthesis ever, and include something of everything else they've learnt in the meantime. Paul Wiffen wonders if it all adds up...
Waldorf's flagship keyboard synth has been available for months — but until very recently, it was so unfinished that it was scarecely reviewable. Since April, Gordon Reid has stuck with it, painstakingly noting the improvements that have come with each system software upgrade, until finally, with the synth standing at OS version 1.13, enough features are working to justify a full SOS review.
A record producer's career is seen as glamourous and exciting, but what does the job actually entail? Over the next few months, David Mellor will be talking to top producers about the whole process, from initial concept to final pay cheque. This month he looks at the different types of record producer in the music business.
It's certainly borrowed (for the purposes of this review), and it's unquestionably blue, but is it old or new? Synth Guidance Counsellor and long‑time K2000 owner Paul Ward checks out Kurzweil's VP makeover of this legendary workstation.
Following on from their Freebass TB303 clone, FAT's new PCP Procoder is another take on a classic instrument of the past — that mainstay of many a disco, electro, and Kraftwerk track, the analogue vocoder. Chris Carter absolutely refuses to make silly robot voices with it.