SOUND ON SOUND
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Kendall Wrightson signs off as your Mac correspondent with a look at what's in store for '94.
Effects units continue to drop in price while offering more and more features. Digitech's new Studio Twin costs less than £250, but still offers a dual effects mode and MIDI patch control. Paul White is agog.
As much as we'd like to buy all the latest PC software, no-one's coffers are bottomless. Martin Walker looks at some of the many free or low-cost alternatives for the PC musician.
Martin Russ fights the corner for the Apple Mac, surveys the current Macintosh product range, and generally tries to persuade you to buy one!
This month Martin Walker examines the changes in the latest Cubase VST v3.71 update, and finds you yet more musical freeware!
As computer power grows, so an ever-increasing range of studio equipment is becoming available in emulated form, and the latest software instrument to appear is a percussion sampler/sequencer from US company Bitheadz. Nicholas Rowland tests it out.
With hardware almost becoming a 'taboo' word these days, David Mellor investigates what Digidesign's hardware-free recording software can offer the budget-conscious musician.
One of the most exciting developments in sound processing technology this year was the announcement from Sony of a dedicated reverb unit which applied ambience 'sampled' from real acoustic spaces. Now the theory is reality. Hugh Robjohns gets his hands on the DRE S777.
Software samplers are revolutionising studio recording, but can they replace their hardware counterparts in live performance? Jazz keyboardist Django Bates is in the process of finding out...
The latest addition to Waldorf's Microwave family certainly advertises its presence. Paul Nagle finds out if the future's bright as well as orange.
Soundcraft's new Spirit M-series mixers combine analogue simplicity with a useful digital output. Paul White puts the M8 to the test.
With a feature list longer than most people's arms, the EWS64 XL has whetted plenty of appetites. Martin Walker dismantles his PC once again in the search for the ultmate soundcard.
Loop-based sequencing can involve heavy-duty time-stretching and pitch-shifting, but Sonic Foundry aim to change this with Acid, which allows you to mix multiple sample loops while changing their pitch and tempo in real time. Martin Walker applies the Acid test.
Teenager Dylan Mills (aka Dizzee Rascal) captured the headlines in 2003 by winning the UK's Mercury Music Prize with one of the most uncompromising albums of recent times. Dizzee and engineer/manager Cage describe how they made Boy In Da Corner.
The challenge: to remix 10 Depeche Mode albums in surround — while recreating the signature sounds created by the band and some of the worlds greatest producers. As Mute Records Head Engineer Kevin Paul explains, it was never going to be easy!
Is the current craze for all things retro preventing music technology from moving forward? David Mellor assesses the value of retro equipment and sees a vision of a thoroughly modern future.
The Fostex RD8 digital multitrack combines the Alesis ADAT tape format with a wealth of on-board synchronisation and control facilities. David Mellor investigates.
Beyerdynamic have become the first mainstream manufacturer to offer the audio industry a practical digital microphone. Hugh Robjohns investigates the MCD100 to see if it represents the future of recording technology.
String Studio uses Applied Acoustics' physical modelling expertise to (in theory) generate the sound of any string instrument. Good or bad vibrations? We find out...
Since Lamb first came to prominence at the height of the mid-'90s trip-hop movement, Andy Barlow and Lou Rhodes' distinctive blend of electronica and organic songwriting has gone from strength to strength.