SOUND ON SOUND
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The ASRX, Ensoniq's entry into the world of all-in-one sampling and sequencing workstations, has just received a major upgrade and a fresh lick of paint. Chris Carter finds out whether the improvements justify its new 'Pro' label.
Listen to the music while you read constructive comments from MPG (Music Producers Guild) members on SOS readers' submitted recordings.
As the name suggests, FXpansion's utility allows VST effects and Instruments to be used in Pro Tools, but how well does it really work?
We explain how to transfer projects between DAWs that speak OMF, and look at some clever envelope tricks.
When it comes to mixing, there are no rules, and all engineers and producers have their own preferred approach. We kick off this 'Mixing It' special feature with a look at how the professionals mix it.
Not all Atari programs are completely serious. This month Derek Johnson discovers one that could give your band a name and a lot of laughs.
If you feel that the average sequencer makes you take off your musician's head and put on your computer programmer's head, take a look at FreeStyle. Derek Johnson is not a number, he's a free man...
The latest technological advances in reverb design have yielded expensive hardware units that can 'sample' the sound of real rooms. Now Audio Ease's Altiverb brings the same convolving technology to the Mac — at a fraction of the cost.
Sample libraries with virtual-instrument wrappers are nothing new, but Ueberschall's new Liquid Instruments have an extra twist — the front end is derived from Celemony's Melodyne, offering you complete freedom to change the pitch of the phrases in the library.
Listen to the tracks while you read what the Doctor thought of another batch of lucky SOS readers' demos.
We investigate a new DXi option that makes vocal manipulation as easy as editing MIDI data. Plus the usual haul of Sonar power tips...
Between the extremes of the broad brushstrokes of subtractive synthesis and the painstaking detail of additive, there have existed many hybrid styles of synthesis combining the speed of the former with the precision of the latter. Paul Wiffen traces the development of this middle ground through its successes and heroic failures.
It's a great concept — a keyboard synth that can run computer plug-ins. Open Labs have created one by putting an entire PC inside a keyboard. But is it a recording revolution, or an overpriced processor in a fancy case?
The latest version of Cakewalk's flagship sequencer brings it into the world of surround sound, makes it easy to work with folder tracks and multiple takes, and adds one of the most comprehensive Freeze functions available on any DAW.
Although Native Instruments' Reaktor has offered sampling options for some time, it's taken the company a while to produce a dedicated software sampler: Kontakt. Can it make headway in what has become a crowded market?
Although never a commercial success, the Only One's 'Another Girl, Another Planet' has proved to be massively influential; and nearly 30 years after its original release, it's finally getting the recognition it deserves.
He may be the East Coast's biggest name in hip-hop production, but DJ Premier still creates his tracks with an ancient Akai MPC60 and S950 sampler.
Creating the score for Pirates Of The Caribbean: At World's End required an incredible amount of music technology, and demonstrated why 64-bit computing offers new levels of realism for orchestral sample libraries.
Resynthesis promises to combine the realism of a sampler with the flexibility of a synth. A great idea, but no-one has really made it work — until now...
If you thought home keyboards were all about cheesy organ presets and bossanova backbeats the chances are you are just like Paul Farrer, but as he takes the wraps of Yamaha's new baby and rotates his baseball cap by 180 degrees he is astonished to find that he was completely and utterly wrong...