SOUND ON SOUND
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Does Tascam's new digital recording console have what it takes to lure buyers away from the more established names? Paul White finds out.
The flexibility of Yamaha's popular O-series digital mixers means that there are as many ways to use them as there are owners. Paul White passes on some tips from both Yamaha insiders and professional users.
The first of Roland's eagerly awaited digital mixers, the VM3100 is an obvious spin-off from the mixer section of Roland's VS1680 digital multitracker. But it still packs a lot of functionality into a tiny space — and the basic version is the cheapest digital mixer yet!
Digidesign's latest Pro Tools MIX card offers even more power than last year's PT24, providing higher plug-in performance and improved mixing and processing capabilities — and there's a new software version with some useful enhancements. Mike Collins weighs up the pros and cons.
The SU700, Yamaha's entry into the 'groove sampler' stakes, is derived from their A3000 studio sampler and inherits some of its sibling's most impressive features — including adventurous effects and imaginative sample-manipulation facilities — while adding quite a few tricks of its own. Derek Johnson and Debbie Poyser go loopy.
Roland's eagerly awaited new flagship VS workstation builds on the success of the VS1680 and VS1880, offering a massive range of features including 24-track, 24-bit and 96kHz recording, a 64-channel digital mixer, up to eight stereo effects processors, 24-voice phrase sampling, and an enhanced graphical output for a VGA monitor.
US software and hardware innovators Opcode have come far since their first MIDI-only sequencer in the late '80s; the latest descendent of that program, Vision DSP, incorporates 24-bit audio recording and compatibility with VST plug-ins. Bob Dormon focuses on the new features in this latest Vision...
Despite the synth-spangled history of the company, it's been many years since a Roland product ruled the high-end keyboard roost, and 2001's Fantom workstation failed to change this. However, there's much more to the new Fantom S than one extra letter...
What if an instrument could combine the realism of a sampler with the complete control over its sounds that only a true synth can offer? That's what the long-awaited Hartmann Neuron claims to do. We put it to the test...
Elizabeth Parker is one of Britain's best-known composers of music for television, and is renowned in the business for her ability to complete projects to the tightest of deadlines. Sam Inglis visits her unique personal studio to find out how she does it...
There are now several PC MIDI + Audio sequencers available that provide real-time EQ and effects via plug-in software — but it can be difficult to assess just what works with what, and whether your PC is powerful enough to run the plug-ins you'd like to use. Martin Walker investigates.
Multi-channel PC soundcards are arriving in droves, but this one is rather different, and incorporates a potential 128 tracks, using unique hardware technology. Martin Walker channels his efforts.
The ball of S&S synthesis had been thrown, and most of the big names in synthesis caught it and ran with it, scoring some notable goals in the process. Paul Wiffen continues his chronicle of modern synthesis with a look at the state of play from the late '80s to the present day.
The recession of the early '90s was difficult for many companies — but not Roland. Diversifying still further from their roots as a maker of synthesizers and organs, they emerged stronger, encompassing almost every area of hi-tech musical instrument manufacture.
Hugh Robjohns tries out the very first production unit of the AW4416 — Yamaha's eagerly awaited combination of O-series digital mixer, hard disk recorder and sampler — and finds even more than he bargained for...
Tascam's MX2424 hard disk recorder aims to provide professional 24-track digital recording features at an affordable price, combining the simplicity of tape recorder-style operation with the flexibility of computer editing. Paul White finds out how well it achieves these aims.
Sony's surprise entry into the project-studio digital console market looks set to establish a new benchmark for ease of use and operational flexibility. Hugh Robjohns checks out the new DMX100.
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.
Paul D. Lehrman took six players, four samplers and a computer, and created a live-performance piece based on the music and words of Frank Zappa. It left the audience delighted — and utterly confused.