SOUND ON SOUND
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The latest version of this popular audio sequencer sees Emagic's answer to competitor Steinberg's VST built-in effects. But there's rather more to this significant upgrade than that, as Paul White reports.
Chris Rea and engineer Stuart Epps talk to Mark Cunningham about the making of Espresso Logic, life at The Mill studios and their approach to recording Rea's work.
Roland's eagerly awaited multimedia Windows sound package competes head on with the Sound Blaster Pro and Turtle Beach sound cards well known to PC musicians. Brian Heywood finds out how the newcomer measures up.
This inventive American has graduated from aiding and abetting producer Mitchell Froom in his sonic escapades to full production duties on a variety of live and studio albums. Paul Tingen talks to a devotee of binaural recording who's more than just a dummy head.
Taking a compact DAT machine out and about can gain you some unique recordings, but can also present you with some unique problems.
At the January NAMM show in 1987, Roland launched their D50, which mixed synthesis and sampled sounds in one package, a compbination which has remained popular to the current day. Paul Wiffen examines how S&S evolved into the most widespread form of sound generation on the market.
On an annual pilgrimage to UK Electronica, Jonathan Miller met with leading exponents of the electronic music genre. Lightwave, together with ex-Tangerine Dreamer Paul Haslinger, headlined the 1992 event in what proved to be an exciting collaboration.
Julian Colbeck sizes up the new offering from the prolific Korg camp, the latest to use the company's long-running A12 synthesis system. Is it just the same old stuff in the new box, or does the X3R have enough Unique Selling Points to justify its existence?
Associating sounds with MIDI datafiles is not difficult, but does require some initial setting up. If your sequences never seem to sound the same as they did last time, Martin Walker may have the answers.
There's more to vocoders than 'Mister Blue Sky' — and with the vocoders available on some current multi-effects processors, creative vocoding is now available to almost anyone.
Punk, bass player, pioneer, mystic... Paul Tingen meets a musician who lives life at breakneck speed, and isn't afraid of the dark.
Huge disk drives are becoming the norm for PC musicians, but there's more to installing them than plugging in and turning on. Martin Walker talks you through the hard part.
ISDN is a term that you will have certainly have come across in the pages of SOS over the last few years, but perhaps without really knowing what it does and how it works. Hugh Robjohns explains the relevance of this international digital telecommunications network to the modern musician.
Paul D. Lehrman took six players, four samplers and a computer, and created a live-performance piece based on the music and words of Frank Zappa. It left the audience delighted — and utterly confused.
A co-founder of US electro-pioneers Information Society, Paul Robb recently scored the new movie form the creators of South Park. He has a new band signed to Virgin and a dance side-project, yet still manages to write award-winning music for TV. Sam Molineaux joins him and his various alter egos in his new Los Angeles studio, Digitalis.
Given the wide range of studio and synthesis equipment Yamaha make, it's perhaps odd that there's been no serious sampler in their catlogue for almost 10 years. Now, after putting a toe in the water with the well-received SU10 mini-sampler, they're taking the pro sampling plunge once more with the A3000. Chris Carter finds that still waters run deep...
Somewhere in the North-East of England, electronic musician and designer Ron Berry has been applying an old-style analogue modular synth to the creation of a very contemporary phenomenon — physical modelling synthesis. Jonathan Miller finds out how it's done.
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.
Regular maintenance can not only ensure that your analogue recorder gives years of reliable service, but can also immeasurably improve the quality of the recordings you make with it. Hugh Robjohns retires to the test department and meets the challenge head-on...
Dennis Miller concludes his short series on computer-based synthesizers by looking at some hybrid software/hardware synthesis systems, and introducing the powerful software synth language CSound.