SOUND ON SOUND
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Recording a choir on location presents a number of unique technical and artistic challenges. Hugh Robjohns describes how he approached a recent project.
Yamaha's former sampling flagship, the A3000, represented a novel but very powerful approach to sampler design. The new A4000 and A5000, as Derek Johnson & Debbie Poyser report, maintain the distinctive design ethos, but should provide even stronger competition to the established names.
The latest 7.1 version of Magix's popular recording software adds support for native audio standards including ASIO and VST, as well as some tasty new features such as full plug-in delay compensation.
Most people expect that a digital input or output will simply provide a bit-for-bit copy of the original signal. After all, bits are bits, aren't they? Martin Walker sheds some light on the various things that can go wrong.
In Part 1 (of 2) last month, we finished with the question: 'What is the Quadra? Is it a turkey of the first order, or a misunderstood and overlooked masterpiece?' This month, we'll take a closer look at the instrument itself to find the answer.
Guitarists who use sequencers have been waiting many years for the perfect MIDI guitar. John Walden tries the Parker MIDIFly to see if the wait is over.
Martin Walker considers the possible impact of the Millennium bug on PC musicians.
How much more can Creative cram onto a single PC Soundcard? Paul White finds out.
Digital audio recording on computers has been possible for several years now, but without expensive multi-channel I/O units, the inputs and outputs from computer-based systems have been limited to simple stereo jacks. Now, several inexpensive multi-output PCI I/O cards are coming onto the market. Paul White looks at Emagic's solution, and decides he knows what he likes...
Paul Wiffen made no secret of his fondness for the OSCar in September's issue, and now reminisces about the other great keyboard love of his life — the Elka Synthex, a synth whose reputation and influence far outweighs the number that were ever sold.
Emu's latest swingbeat sample player is home to a colony of wicked sounds for hip-hop, trip-hop and acid jazz fans. Dominic Hawken puts on his space suit to explore this strange new world.
Paul White looks at the many parameters which govern compression, how to improve your recording technique, and how not to throw the baby out with the bathwater.
The complete virtual studio comes a step closer with sophisticated software sampling. Derek Johnson & Debbie Poyser look at a cross-platform program that aims to take sampling out of the rack and onto the desktop.
The launch of yet another 8-in/8-out PCI soundcard might seem little cause for raised eyebrows, but Terratec have a few surprises up their sleeves with the EWS88 MT. Martin Walker prepares to be amazed.
One of the original pioneers of electronic music in Britain, David Vorhaus has remained at the cutting edge of the genre for over 30 years.
Turtle Beach have a reputation for producing some of the best PC soundcards available, and the new loftily-named Multisound Pinnacle and Fiji cards have been eagerly awaited since their predecessors, the high-spec Tahiti and Multisound Classic cards, were discontinued. Janet Harniman-Cook scales new heights...
There are some questions of recording technique which seem to come up again and again. Paul White sets out to answer some of the most common queries on how to choose and use microphones...
Part 2: Gordon Reid concludes his review of Korg's new family of workstations.
The ability to record multitrack audio with 24/96 capability is something you'd expect from any modern MIDI + Audio sequencer. SEKD's flagship software package does this and a whole lot more besides, including 5.1 and two-channel surround mixing and direct CD burning without the need for a separate application. Martin Walker finds out how it's done.
Now that the MIDI outputs of many soundcards are already occupied by playing back high-quality internal synth sounds and multi-channel samples, many musicians are finding that they need to invest in a more comprehensive MIDI interface to service the rest of their synths. Martin Walker provides a little background.