SOUND ON SOUND
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As ever, Creative Labs' latest PC soundcard promises a lot of features for £200. But does it deliver the kind of performance that musicians need?
Craig Anderton explains how you can use your multi-effects unit to create contemporary short delay treatments.
Nearly two years after everybody else jumped on the Power Mac bandwagon, Mark Of The Unicorn have finally come on board with their flagship sequencer, which will now record and play back audio without the need for external hardware. Has it been worth the wait? Derek Johnson finds out.
Derek Johnson & Debbie Poyser check out a product which offers up to four minutes of sample time, 22 different effects, audio processing and resampling facilities — for £199. If you'd been reading this only a few years ago , you'd have assumed that some digits had been missed off the price...
Computers have always been important in the hi-tech studio for sequencing and, latterly, recording audio. They can, however, be equally useful for publicising and distributing your music, if you're connected to the Internet. Mike Simmons explains the basics of setting up a web site from a musician's perspective.
Derek Johnson & Debbie Poyser test Fostex's new hard disk 24-track. The D2424 may not have quite the feature set of its two main rivals, but the facilities it does have may be very well targeted towards the intended users.
Paul Austin referees the first round of the Amiga's biggest ever multimedia battle.
The sheer power of Emu's three ESI samplers has endeared them to many home musicians on a budget. However, it can be tricky to get the most out of these machines, so here are some power-user tips to help you.
Following on from last month's look at the advantages and pitfalls of analogue and digital tape, and hardware tapeless recorders, Paul White turns his attention to the ways in which computers can be used in audio recording.
Musicians using Mac and PC sequencers often complain about loose MIDI timing. Martin Walker checks out an interface from Steinberg which should solve this problem — at least for users of their sequencing software...
If Cakewalk was a cat, it'd be on its last life by now — but, as Kevin Perry discovers, the long-established PC sequencing package shows no sign of turning up its paws just yet...
It's been an unreserved thumbs-up for Korg's bundle of software synths so far... but will the Legacy Polysix and Legacy Cell scale the same heights in the final instalment of our three-part definitive review?
Paul White tests a mic that's outstanding in its field — without going out and standing in a field.
Those of you who have been keeping abreast of developments in computer-based music are likely to be only too aware of the problems posed by the Windows and MacOS operating systems. You may also know that an alternative exists — but it is worth making the change? Dave Shapton introduces BeOS.
These days, any decent synth or sampler offers plausable orchestral sounds — but there's much more to creating believable arrangements for orchestra than realistic samples. Keyboardist/composer Dave Stewart offers some guidance, passes on some advice from pros, and explains how orchestral samples were used to create an arrangement for the latest Geri Halliwell single.
Miroslav Vitous's orchestral library was the first of its kind, and more than 10 years after its launch, has been reinvented as a self-contained virtual instrument. Is the original still the best?
As the car ad says, "size matters!" and AVI have proved the point with their biggest loudspeakers yet, the Gravitrons. AVI say they're built 'without compromise' and 'regardless of cost'. Hugh Robjohns will see about that...
The earlier parts of this series explained how to set up your label. Now it's time to start looking at ways to get your recorded work out and on sale to the public.
Tascam revolutionised home recording with their cassette-based Portastudio, but haven't yet offered a budget digital version to compete with the Fostex DMT8/D80 and Roland VS880. Now their 4-track MiniDisc-based 564 is almost ready. Paul White gets a sneak preview...
This is the smallest and least costly reverb unit Alesis have ever produced. Paul White finds out whether you can mind the quality and still feel the width!