SOUND ON SOUND
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.
Martin Russ brings you the latest Apple news, benefits from an Opcode World Tour, reveals all about the new Power Macs, and passes an instant wallpaper music recipe...
All too often we don't really pay much attention to the way our equipment looks until we come to sell it — but as Paul White shows, it only takes a few minutes of TLC to give your gear a complete facelift.
Sequencers are great for mechanical grooves — but that's only half the story. As Craig Anderton explains, MIDI sequencers offer tremendous expressive capabilities to those who take advantage of controller editing, logical edit, randomisation, and other common features.
The Windows multimedia revolution grinds on... This month Brian Heywood looks at a couple of products that may help you find a multimedia heaven with the PC. Logitech Soundman Wave & Lyrrus G-Vox.
A large, painstakingly assembled sample library is of little use if it's so badly organised that you can't separate your tablas from your trumpets. Dave Stewart gives some tips to help you make your library a model of accessibility.
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.
Interested in having access to your very own PD library — on a single disk? Vic Lennard meets up with the Atari GEMini CD-ROM.
Paul Austin referees the first round of the Amiga's biggest ever multimedia battle.
When setting up a studio, the temptation is to make do with the existing wiring — but this can lead to problems with hum and interference, as Paul White explains.
Paul White explains that although we may do most of our work using samplers and sequencers, the art of drum miking is just as important as it ever was.