SOUND ON SOUND
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The PreSonus Studio 192 offers a great deal of functionality for its price. Is this the time to jump aboard the USB 3 bandwagon?
This neat new hybrid product appears to be defining its own market niche, but can it really be all things to all people?
Digitech's VTP1 seeks to outpace the competition in the crowded valve mic preamp market by offering built-in 4-band EQ and a digital output. Paul White sees how it runs...
Emu's range of soundcards offers an unprecedented level of flexibility, DSP power and sound quality for the price — with the added bonus of a very impressive software sampler.
With digital and analogue inputs, these small speakers from newcomers Infrasonic promise a lot for the money. Can they outperform their budget price tag?
When the Korg Trinity was launched more than a year ago, the list of expansions it would be able to host seemed too good to be true. Now they're all finally available, Paul Wiffen takes stock of the options.
The Apollo 16 is an audio interface designed to bring UA's Powered Plug-in processing into the heart of a larger studio setup.
Line 6 give their PodXT the Pro treatment, adding comprehensive I/O and flexible output configurations to their successful modelling processor.
The ISA preamp range has graced professional recording facilities the world over — but this classy single-channel model is within reach of the home and project studio.
The eight-track digital recorder has become a standard building block at virtually every level of the recording industry, and a wide range of tape and hard disk-based devices is available. Now Yamaha have extended the choice with a machine built around a 640Mb magneto-optical drive. Hugh Robjohns takes it for a spin...
Focusrite's new preamp offers variable input impedance and an optional multi-channel A-D converter board.
High-quality mic recordings and PC soundcards don't normaly go together all that well, but this could be about to change with Aardvark's new audiophile breakout box.
It's been nearly four years since Lexicon last produced an audio interface. Does their new USB-based Omega system have what it takes to challenge the likes of Digidesign, Edirol and M-Audio?
Roland's entry into the market for mid-priced digital mixers introduces some interesting innovations, including the separation of the control surface from the inputs and the processing rack. Hugh Robjohns puts it to the test.
Sample rate converters are hardly the stuff that dreams are made of, but if you're an ADAT owner, the AI-1 digital interface opens up a whole new bag of possibilities, as Paul White discovers.
We get our hands on Fostex's latest affordable digital recorder — and the company's first ever stand‑alone digital mixer.
The latest entry into the world of portable stereo recorders comes from a company better known for their cameras and accessories.
Apogee claim that their new interface is the result of 25 years of research into digital audio — so we have high expectations for it. Find out whether the Symphony lives up to them.
How have the RADAR's makers iZ kept their flagship multitrack digital system relevant in today's world of software recording?