SOUND ON SOUND
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Using SoundFonts with your AWE32 or AWE64 soundcard makes them totally open-ended — if you want a new sound for MIDI use you just sample one. Martin Walker guides you through the wonders of personalised SoundFont creation.
Korg's new music workstation combines the synthesis, multi-effects and sequencing capabilities of the Triton with a new performance-based interactive music generation system — one that goes way beyond traditional arpeggiators and auto-accompaniment sections for sophistication and versatility. Simon Trask is SOS's KARMA policeman...
Most US synthesizer manufacturers followed the now all-too-familiar corporate history of rapid growth in the 1970s followed by acrimonious dissolution in the 1980s. What happened to Octave, however, was a little different...
To start off this short series on multi-effects programming, Paul White explores the key building blocks found in today's versatile units.
When Roland announce a new synth, endowed with a new breed of synthesis, it's time to sit up and take notice. The 'Analogue Modelling' JP8000 appears to offer the power and flexibility of digital control applied to analogue-type sounds. Can it be too good to be true? Paul Ward tries to stop tweaking long enough to tell us.
There are now several PC MIDI + Audio sequencers available that provide real-time EQ and effects via plug-in software — but it can be difficult to assess just what works with what, and whether your PC is powerful enough to run the plug-ins you'd like to use. Martin Walker investigates.
Most of us can set up a suitable vocal reverb treatment, but what's the best way to deal with all those synthesized and sampled instruments? Paul White offers a few suggestions.
This unique hybrid eight-bus mixing desk brings a welcome alternative to the established options.
Philip Meehan fondly remembers his first love — a keyboard with the voice of an angel, the mind of a genius, and the body of a heavyweight boxer in a big black coat.
The Vac Rac modular valve processor is built like a tank and has the colour-scheme of a battleship — but what can it do for your sound? Hugh Robjohns investigates the marriage of over-the-top engineering and traditional tube technology.
As promised, Paul Austin concludes his look at the big guns in Amiga multimedia.
Brass and reed instruments present some challenging problems to the recording engineer, whether played by soloists or sections. Hugh Robjohns offers some hints and tips.
It may not be well known, but it is sought-after. Simon Lowther relates the history and mystery of an early 48-note polyphonic analogue synth and its well-connected family.
Nothing beats the feel of a superb live performance captured on tape... but exactly how do you go about it? SOS's Demo Doctor and live recording veteran John Harris considers what you need to get that classic gig onto multitrack tape.
Martin Russ delivers another bulletin from another Mac music world. Hypercolourcard!
Commercial physical modelling synths first appeared in 1994, but until now, nobody has produced one that offers truly multitimbral operation together with decent polyphonic performance. Korg's new Z1 does — and for well under £2,000. In this, the first UK review of the finished instrument, Goron Reid laughs wildly and plays lots fo chords — because he can.
Unlike the vintage equipment it emulates, Rebirth is getting more sophisticated all the time. Derek Johnson & Debbie Poyser catch up with the latest version.
Most budding engineers will, at some time, have to tackle a performer who wants to sing and play the guitar at the same time. Mic type and placement can make a big difference to the quality of the result obtained, as Hugh Robjohns explains..
Continuing their tradition of themed rackmount modules, Emu have unleashed a 128-voice virtual orchestra in a box. A virtuoso endeavour or virtual insanity?