SOUND ON SOUND
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Martin Russ looks at the long-awaited new keyboard from Alesis and finds that it takes an alternative approach to just about everything...
Amongst the black rackmount boxes and sleeky anonymous keyboards, one new hi-tech instrument stands out, as much for what's inside it as for its appearance. SOS brings you the exclusive first look at the latest incarnation of physical modelling technology, korg's adventurous new Wavedrum. Review by Julian Colbeck.
SOS visits another reader's home/project studio.
The SU700, Yamaha's entry into the 'groove sampler' stakes, is derived from their A3000 studio sampler and inherits some of its sibling's most impressive features — including adventurous effects and imaginative sample-manipulation facilities — while adding quite a few tricks of its own. Derek Johnson and Debbie Poyser go loopy.
Spectral Audio's internet homepage includes a large graphic, stating, rather menacingly, 'Rave or Die'. Christopher Holder meets the new Syntrack monosynth and decides death can wait.
This month, Big George persuades more famous musicians and arrangers to give you the benefit of their hard-won wisdom.
Paul White examines one of Drawmer's MX budget range of units to see whether corners have been cut, and discovers that some corners have actually been added!
For the benefit of those adding a MIDI sequencer to their multitrack tape facilities, Paul White explains the various synchronisation options.
Paul Austin looks on as the Amiga's ultimate direct-to-disk sampling system finally gets the software it deserves...
These days, high-end PC soundcards offer much more than mere audio interfacing, incorporating mixing, synthesis, sampling and often powerful onboard processing facilities. Martin Walker finds the features of Creamware's new DSP-powered Music Production Environment' impressive even by modern standards.
Delay, originally called echo, is one of the oldest artificial effects, yet it can still be one of the most impressive — if used with care. Paul White explains the potential problems and how to avoid them.
Modern digital effects units always include emulations of analogue effects such as tape delay and flanging — but none of them ever seem quite like the real thing. Paul White explains how these vintage effects worked, and offers insight into how our modern attempts could be made more accurate.
The Korg DDM110 was one of the first digital drum machines to reach the mass market. Paul Sellars rediscovers its distinctive, punchy sound and revels in the simplicity of its programming...
Elizabeth Parker is one of Britain's best-known composers of music for television, and is renowned in the business for her ability to complete projects to the tightest of deadlines. Sam Inglis visits her unique personal studio to find out how she does it...
The first album from this chart-topping pianist and chanteuse was a million-seller; her second looks set to continue the trend. Ian Gilby was invited into the Craven home studio to discuss the enduring appeal of MOR.
Paul White digs out his patch leads and powers up Allen & Heath's new general purpose, 4-bus console.
Belgian company Lassence are seeking to gain recognition as a small modular synth manufacturer with their new patchable µVentury II system. But there's plenty of competition in the homegrown analogue market these days. Does the µVentury II have what it takes?
Which PCI slots you use for your expansion cards can make the difference between a music computer that runs flawlessly and one plagued by clicks, pops, crackles and interference.
There's little use spending money on fancy mics, processors and plug-ins if your speakers are badly placed and your room's frequency response has more peaks than the Himalayas! So here we'll be looking at practical ways to improve your recording and listening environments.
The SOS team visit reader Dave Stevens' home studio to sort out a chesty vocal sound, investigate a mystery digital buzz, and hand out some mastering tips.