SOUND ON SOUND
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Long awaited and much anticipated, Novation's digitally-modelled analogue synth module is the company's most ambitionus offering yet.
Paul White studio-tests Sennheiser's new range of affordable vocal microphones to see if they really can give the established models a run for their money.
Paul White meets the junior member of Alesis' family of Type II 20-bit ADAT recorders.
Line 6 announce a software upgrade for their physical modelling guitar amplifier. Paul White plugs in, turns on and checks out the reborn AX2.
The new SP808 has little in common with its namesake, the TR808; one was an analogue rhythm unit, the other is a feature-packed sampler, multitrack digital audio recorder, synth and remix tool. Clearly, Roland are hoping that some of the 'hi-tech classic' status of the TR will pass to the new SP.
Sam Molineaux discovers an early techno pioneer thriving in the heart of Hollywood; living proof of the maxim 'what goes around comes around'.
Do you ever wonder who's responsible for the waveforms and sound patches in your favourite synth? If it's a Korg keyboard, then the answer might be Steve McNally, one of the team of sound developers.
The AD8000 is a high performance 8-channel, 24-bit A-D converter which can cope with an array of different digital audio formats, either in its basic form or with the addition of one of several optional cards.
Dave Lockwood tests this hi-tech guitar system which seeks to replicate the sound of many of the most coveted vintage and modern amplifiers on the market, with full digital multi-effects thrown in, and all in a convenient, portable, combo format.
Paul White tests Sony's diminutive powered monitor designed for desktop music and multimedia work. Can such a small box deliver the goods, and is the performance worth the price?
Multichannel PCI-card based digital audio recording systems are increasingly common these days, but not all of them focus on the quality of the onboard converters to the extent they should. Dave Shapton checks out a new card from far-sighted digital problem-solvers Aardvark that promises not to throw out the baby with the bathwater.
Paul White finds out whether Tannoy's new Reveals have anything to hide...
'That Martin Walker', you probably think as you leaf through your new SOS, 'he must be very happy man. He's always getting to look at the very latest music software — and for free!' But no, he's complaining about it. Here's why...
Paul White and Dave Lockwood strum up a few tried-and trusted methods of improving your studio guitar sound.
TC Works transfer more of their expertise to DirectX PC software with a set of interfaces that let you squash, tone up, and space out your audio with a mouse. Martin Walker gets clicking.
Renowned producer and remixer Pascal Gabriel is back with a stylish new recording project, Peach. With a hit in the states behind them and the inclusion of a Peach track in the film Sliding Doors, widespread recognition can't be far away. Bill Bruce meets Pascal and production partner Paul Stretham at their Strongroom studio to talk technology, and finds them going back to their fruits...
Your computer sequencer can do bewitching things with simple ingredients, creating the impression that you're a musical wizard even if you're just a one-finger pianist. Nicholas Rowland works some MIDI magic...
Following on from last month's look at the advantages and pitfalls of analogue and digital tape, and hardware tapeless recorders, Paul White turns his attention to the ways in which computers can be used in audio recording.
In the fourth instalment of our series on the techniques and technology behind digital audio Hugh Robjohns looks at digital tape recording formats.
To get the maximum quality from audio sample CDs, you need to transfer the sound data to your PC in the digital domain. Martin Walker explains why the process isn't always as easy as you might expect.