SOUND ON SOUND
24 tracks? Pah! How about a whopping 24 notes? Steve Howell concludes his series on the modular system of yore by taking a look at the somewhat capacitorially-challenged analogue sequencer...
Sampled piano aficionados know the particular problems involved in constructing a good loop of this essential instrument. Craig Anderton passes on a personal solution.
Paul Austin auditions the ultimate in Amiga sequencing — Bars&Pipes Professional 2.5.
Most of us can set up a suitable vocal reverb treatment, but what's the best way to deal with all those synthesized and sampled instruments? Paul White offers a few suggestions.
In a packed column this month, Martin Russ looks at MIDI machine control, FreeMIDI, the Mac serial port, and even manages to mention the latest Apple news. He kicks off with a look at Performer 5.0.
Having surfaced from the depths of the previous instalment, Steve Howell takes a deep breath and plunges back into his explaination of some of the modulation possibilities afforded by modular analogue synths...
Expressive sequencer parts for monophonic instruments like bass and wind can be difficult to achieve — unless you understand how bass and wind players approach their instruments and how your sequencer's facilities can help you do the same thing. Craig Anderton explains.
Although much more widely used than ever before, the multitimbral ability of electronic instruments to produce several different sounds at the same time is still not always fully exploited. Paul Wiffen traces the evolution of this powerful feature.
You don't have to stick to library samples all the time, and you needn't spend hours creating your own. Paul White reveals a few short cuts.
Sean Kenny is an experienced programmer, and has devised a method for emulating guitar strumming using a sequencer. Though the methods described here relate specifically to C-Lab/Emagic Notator and Creator, they could be adapted for use with other sequencing packages.
Do you have countless disk boxes, and definite problems finding that song file you started last month? Vic Lennard explains why you should consider a hard drive, especially at the current low prices...
Martin Russ talks you through what to do when you've just bought a new piece of hi-tech gear.
Paul Austin looks on as the Amiga's ultimate direct-to-disk sampling system finally gets the software it deserves...
Recording the spoken word requires a slightly different approach to recording vocals, and intelligibility takes over from musicality as the prime consideration. Paul White spreads the word.
This month, Brian Heywood presents his round-up of the MEMS show, and takes a look at Media Vision's Memphis multimedia upgrade.
The modular, analogue synthesizer, owned by few and coveted by many, is a extraordinarily flexible beast. Many of the effects made possible by the lumbering monsters, however, can also be emulated using far more modest instruments, as Steve Howell explains.
Having addressed your studio mains wiring, you can now turn your attention to the connections between your equipment. Paul White explains the undoubted benefits of a patchbay system.
As promised, Paul Austin concludes his look at the big guns in Amiga multimedia.
A chip update is an easy way to gain new features for your studio gear - but if you don't install the replacement correctly, you could end up with anything from temporary frustration to a massive repair bill. Craig Anderton provides a step-by-step guide.
Despite the onslaught of the computer sequencer, hardware sequencers are still alive and well and producing music in many a studio. Jon Cotton, a long-time user of Roland's MC50/500 series, passes on some hard-earned hints and tips for getting the most out of your microcomposer.