SOUND ON SOUND
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The Hafler brand name has been around since the '70s but isn't yet well known in the UK project studio market. All that could be about to change, courtesy of the TRM range of nearfield active monitors and subwoofers. Hugh Robjohns mixes and matches.
Classic studio signal processors such as the vintage Urei 1176 limiting amplifier impart a unique sound while keeping levels under control, but are rare and expensive. Purple Audio have an answer in the form of the MC76 — an old idea revisited. Hugh Robjohns does the time warp again...
Recognising that there are millions of synth-hungry guitarists out there, manufacturers have been trying for years to develop products which would appeal to them. Norm Leete traces the history of Roland's innovative GR range of guitar synths and controllers.
ADAT is dead, long live the ADAT XT. Paul White reports on the rebirth of a classic.
During a fleeting visit to SOS headquarters, Paul White managed to soften up DOD/Digitech's Product Development Manager, Randy Thorderson, with a tasty curry before pumping him for info about products and future developments.
Now that more computers are equipped with Universal Serial Buss connections, musicians have started to demand compatible peripherals. Martin Walker tries out one of the first to arrive, a simple interface dedicated to piping digital audio in and out of USB machines.
Downloadable music is on the move in more ways than one, with new developments in portable players and online delivery streaming onto the scene. But what do all these changes mean for musicians? Simon Trask assesses the situation.
dsTEC's eye-catching new analogue mono is bad — but in a good way. Chris Carter reaps the wages of Syn.
Derek Johnson opens up the latest effects box from Ensoniq and finds that they do sometimes do things by halves!
Alesis reverbs seem to get ever-more cheap and cheerful. But can low price and simplicity go hand in hand with studio-quality performance? Paul White finds out.
Soundscape's new range of PCI cards offers a unique combination of features, including latency-free, DSP-assisted routing and mixing, the freedom to combine VST plug-ins and DSP-based effects, and multi-client driver support for all host-based Windows recording applications.
The traditional ways of attracting the attention of record companies are becoming ever more difficult to pursue, and if you don't have a well-connected manager, you might think that you don't stand a chance. As Robin Morley found, however, a little ingenuity and industry knowledge can do a lot for you...
If you're still under the impression that the Celeron is a type of vegetable, now's the time to find out more. Martin Walker plugs in some new processors.
The SampleCell II PC card can turn your humble PC into a fully-featured, 32-voice sample replay unit with eight individual outputs. Brian Heywood investigates.
Since 1999, Bob Moog's Big Briar company has been making analogue filters and effects pedals based on his original Moog module designs. Now there's a central control unit, so that you can use them all together as a complete processing system.
Michael Anthony takes us back to the mid-eighties, when MIDI was in pre-school playgroup, and manufacturers built synths that couldn't decide if they were analogue, digital, or both...
Paul White puts Mackie's new 1202 VLZ next to his original 1202 and discovers more changes than you might expect.
Derek Johnson & Debbie Poyser find out how you can use the Internet for promoting, distributing and selling your music, and for getting it heard by the right people.
The recording studio inside the virtual world of the computer is real enough, but sometimes you have to treat it with care to get the best from it. Paul White offers a few tips on the subject.
Digidesign's Pro Tools is undoubtedly a powerful system, and a hardware control surface such as the Gallery Production Palette can really help to unlock that power. Mike Collins just loves being in control...