Signal Processors

Hugh Robjohns checks out the new hardware incarnation of Antares' award-winning microphone-modelling software.

Hugh Robjohns twsts Millennia's flagship STT1 recording channel which offers elements of their entire product line all in one ultra-flexible box.

Paul White and Mike Senior walk down three roads to filtery wierdness for cash-strapped musicians.

With Sony's flagship sampling reverb processor you can now sample the acoustic signature of any space you want. Hugh Robjohns nips down the village hall to check it out.

Paul White checks out a new emulation of vintage tape echo, and tries not to mention Hank Marvin...

Paul White steps back in time with the Line 6 DM4, and revisits fuzz boxes through the ages.

Paul White enjoys the creative potential of Alesis' distinctive and highly affordable new interactive effects processor.

Paul White further explores the secrets of successful compression, and explains how to use advanced techniques for mastering your mixes.

Modern digital effects units always include emulations of analogue effects such as tape delay and flanging — but none of them ever seem quite like the real thing. Paul White explains how these vintage effects worked, and offers insight into how our modern attempts could be made more accurate.

The latest addition to Eventide's acclaimed Ultra-Harmonizer range, the DSP7000, looks set to keep them at the forefront of digital effects technology. Hugh Robjohns checks out the machine that redefines the state of the art.

The characteristic sound of vintage valve equipment is well known, but interest is now growing in early op-amp designs too. One example is the Trident Series 80 console from the 1970s, which has recently been reincarnated in the form of the Oram S80 Producer Box. Hugh Robjohns relives those heady days...

Paul White tests TC's new multi-mode approach to dynamics, and finds that it's as easy as CCC.

Paul White lives life to the max with the new Waves L2, a mastering limiter with all the trimmings.

Paul White looks at different gain-control elements and their effect on audio.

Is it an amp simulator? Is it a multi-effects unit? Is it a mastering tool? John Walden tries out the Boss VF1 and is surprised at how much jumps out of the box.

In the final part of his short series on pushing back the boundaries of effects processing, Paul White explores many different applications of audio filters, as well as exploring the possibilities of granular synthesis.

Paul White might have more voice channels than he can find voices, but after using the new SPL Channel One, he gets the overwhelming urge to add another one to his armoury.

Most people are familiar with basic reverb, delay and modulation effects, but what lies beyond? In the first part of a new series, Paul White explores the twilight zone of effects processing.

At last, an easy way of consistently getting a polished, 'produced' bass guitar sound in your recordings! Dave Lockwood tests a physical modelling processor that bass players and engineers alike will welcome.

Electrix's new babies may look like Day-Glo '50s Bakelite radios, but they are in fact an innovative pair of pint-sized studio processors. Paul Farrer gets out his magnifying glass...

Drawmer's 1969 model, developed with US pro audio dealer Mercenary Audio, seeks to offer the facilities of their acclaimed 1960 valve-based processor, but with a more American sound.