SOUND ON SOUND
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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.
The C-Lab Falcon MkX has flown through its CE tests and finally landed in the UK. Ofir Gal checks the spec and assesses the new machine's chances of taking off.
Conventional wisdom states that you can't 'fix it in the mix', but that doesn't mean you cant' try! Paul White discusses a few practical salvage techniques in the first part of this short series.
Martin Russ surveys his dying Mac IIsi and ponders the purchase of a new model. Will he go for leading-edge Power or a last-generation bargain?
When using effects, it's all too easy to add noise to your mix — and it's not always the fault of your effects unit. Paul White offers a few practical tips for achieving quieter mixes.
On its release in the late '80s, the SQ80 had to slug it out with Roland's D50 and Korg's M1, and didn't come out on top, at least as for sales were concerned. Steve Howell takes a look at an early and underrated workstation that still has a lot to offer.
Paul White tests a pair of US-built studio monitors designed to combine tonal accuracy with affordability.
This Italian master keyboard may be completely dumb soundwise, but it's pretty clever in other departments. Derek Johnson and Debbie Poyser just love being in control.
Always ready for some off-road action, Paul White scrambles for his XLR adaptors and test drives LA Audio's latest incarnation of the 4x4.
It's not often that plug-in cards merit the same attention as the equipment they plug into, but these add-ons are capable of transforming Lexicon's PCM80 effects processor into a completely different beast, as Paul White discovers.
The battle for control of the affordable digital multitracker market has intensified in 1996. Paul White puts Fostex's latest weapon, the rackmounting D80, to the test.
Paul White nervously opens Pandora's box — and realises that instead of being the mythical source of demons and sorrows, it's just Korg's new compact guitar multi-effects processor...
Prefer a Mackie compact mixer with faders? then the 1402VLZ could be just what you're looking for. Paul White checks it out.
As a child, Norman Fay was cruelly cheated of the thing he wanted most — a Memorymoog. Never one to bear a grudge, he reviews Moog's most unruly synth with the benefit of hindsight.
Now that Sound Designer II no longer provides sampler support, the way is clear for an improved version of the veteran Alchemy software. Mike Collins thinks it's worth its weight in gold.
Inquisitor-General Paul White puts Samson on the rack, but finds few guilty secrets.
It may be Swiss, but there's nothing cheesy about the idea of a synth that lets you rekindle your rusty analogue programming skills. Paul Nagle dons his boots and goes hiking through the peaks and troughs of the ProTone's analogue waveforms...
Studiomaster's new desk joins the long list of other contenders in the crowded 8-buss mixer market. Unlike many of its competitors, however, the Classic 8 is a split console, and includes MIDI muting and a meter bridge as standard. Is this enough to encourage musicians to settle for Studiomaster? Paul White finds out.
Now that Waldorf have released their 4-pole filter as a stand-alone unit, giving your digital synth an analogue spin is as easy as popping it in the microwave. The result, as Paul Ward discovers, isn't always fast food.
Few people would deny that there's nothing like a real acoustic piano — but they're not always the most practical of instruments. Paul Ward looks at an electronic alternative that could be the answer.