SOUND ON SOUND
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Modern PC soundcards can deliver excellent audio performance, but are sometimes held back by the computer itself. Martin Walker shows you how to squeeze out the last drop of performance.
Edirol's latest audio and MIDI interface fills another niche in the increasingly competitive market for USB devices.
The successor to the MRS1044 has more of everything - tracks, inputs, sounds - at a very similar price. But with new fierce competition, is there still room for a Zoom?
Why does software always crash irrecoverably when you are at your busiest? And why are technical support lines unable to help you when you need them most? We offer some advice on how to avoid phoning them in the first place...
Can this digital mixer perform equally well in both recording studio and live sound worlds?
Having upgraded their D16 to the D1600, Korg have now revamped the 12-track D12 to the D1200. So where does Korg's latest offering stand in the competitive digital multitracker marketplace?
The M2000 takes much of the technology behind its Danish manufacturer's professional flagship, the M5000, and re-packages it with less flexibility but a much lower price tag. Paul White finds out whether it's barking up the right tree.
We take a look at a variety of audio-related techniques, from the staples of soundbite editing to DP5's new Soundbite Volume feature.
Digidesign's Session digital recording software has now made the transition from Apple Macintosh to Windows-compatible PCs, a feat made possible by the simultaneous release of the company's first PCI-format digital I/O card, the Audiomedia III. Paul White checks out both.
Computers helped former BBC engineer Clive Williamson and his band Symbiosis through all the stages of CD production, right through to finished discs and artwork. In the first of a two-part series, he explains how he brought digital technology and traditional musicians together to create atmospheric ambient music.
Every once in a while a key product is developed that transforms music. To mark our 25th Anniversary, we list the most influential products to emerge during SOS's first 25 years.
This recording workstation is the most affordable and portable of the VS series, but it still lets you record, mix, and master all in the one box.
This month we help reader Simon Fitzpatrick to bind his synthesized, programmed, and acoustic sounds together into a cohesive mix.
With their latest recording tool, Tascam aim to entice hobbyists away from their cassette multitrackers and onto their computers.
In recent years, samplers have become almost exclusively rackmount devices, widely used as production workhorses, but less so by the gigging musician. With the release of their first keyboard sampler in several years, Emu are hoping to change all that. Paul Wiffen heralds the return of the performer's sampler.
Korg have redefined the workstation synth many times, and each time it has become harder to see how they could better their previous achievements. The Triton Extreme is a bold new colour, but does the rest of it measure up?
If you're looking for 8-track hard disk recording in a hardware unit that behaves just like a tape recorder, but with all the benefits of digital recording, you owe it to yourself to check out the Vestax HDRV8. Paul Wiffen reminds you that you should never judge a book by its title.
Drawmer's 1960 series leaps into the digital age with the launch of the 1962, which combines a specially designed low-noise preamp, variable tube coloration and audio-sweetening tools with an optional 24-bit output stage. Paul White celebrates the year of the tube.
Is an all-in-one mixer, MIDI controller and audio interface the perfect solution for digital DJs and live laptop artists?
Faced with the unfinished album sessions on analogue tape and a studio full of PCs and digital gear, Brian Heywood gets a chance to find out how flexible modern equipment really is.