SOUND ON SOUND
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Roland's new entry-level performance synth is a full-length yet lightweight synth-action keyboard with ready-to-go sounds derived from recent JV and XV expansion boards. Nick Magnus investigates the RS9's family tree.
The SPV355, launched in the late '70s, was intended to allow the pitch of instruments such as guitars and saxophones to control analogue synth sounds — which it does with varying degrees of success. Fortunately, it has other tricks up its sleeve, as Chris Carter explains.
Musicians using Mac and PC sequencers often complain about loose MIDI timing. Martin Walker checks out an interface from Steinberg which should solve this problem — at least for users of their sequencing software...
Tascam's versatile US428 combines the duties of audio interface, preamp, MIDI interface and MIDI fader surface at an attractive price, and has generated a lot of interest from musicians. Derek Johnson & Debbie Poyser test it with the Mac, while John Walden reports on the PC situation.
More and more musicians are trying to escape the sterile confines of modern commercial studios in favour of their own creative environments. Brendan Perry's highly individual recording space is uniquely suited to his eclectic style, as John Walden reports.
Many 'classic' analogue synths are getting on for 30 years old now, yet they are still highly sought after. Hugh Robjohns reports on a company that specialises in finding and fixing vintage electronic instruments.
Martin Walker evaluates a program that bridges the gap between the limitations of typical bundled CD-writing packages and fully fledged audio editors.
Producer and engineer John Leckie is renowned for his work with English pop legends such as John Lennon, The Stone Roses and Radiohead. Recently, however, he left behind the comforts of Abbey Road to record one of Africa's best-known singers on location in Senegal.
Dave Shapton exposes Microsoft's plans for Windows XP copy protection, and explains why he thinks digital mixers are on the way to becoming all-purpose control surfaces.
Can a virtual analogue synth inspire the same affection as its genuine analogue counterpart? Paul Nagle thinks not...
They say small is beautiful, and nowhere is that idea better illustrated than in the tiny attic studio belonging to Rose Rylands, recent graduate of the BA Creative Music Technology degree course at University College Scarborough.
The world is full of manufactured pop bands, but the innovation of the TV show Popstars is to turn the manufacturing process itself into entertainment. Sam Inglis talks to the producers behind the resulting smash hit single.
Wouldn't it be nice to have two PCs — one for office or games use and the other optimised for music? As Martin Walker explains, multiple booting may allow you to achieve the same effect without splashing out on a new computer...
If you're an Atari owner who would also like to work with other computers, you may not have to lose access to your favourite Atari applications. Derek Johnson offers some platform-crossing suggestions.
Paul Wiffen has a sleep problem, sees the mLAN light, and rounds up the best of the Frankfurt launches for Apple musicians.
Some questions we get asked are just too general to receive a specific reply. Mike Senior shows you how to come up with some answers of your own.
Paul White evaluates a new active monitor designed to deliver professional studio accuracy at a home-studio price.
This month we look at how to fix vocal tuning and timing, as well as showing how the recent Logic v4.7 upgrade improves working with Emagic's EXS24 virtual sampler.
This month's Cubase Technique introduces more features of the Interactive Phrase Synth, offers some handy hints on merging MIDI Parts, and provides some words of bitter experience on creating your own instruments in Steinberg's LM4 drum machine.
This month Robin Bigwood concludes his look at MOTU's RAM-based recorder POLAR, and explains how to get software instruments working with Digital Performer via FreeMIDI and OMS.