April 1994 Magazine Contents

Sixteen-part multitimbrality, 32-note polyphony and a respectable set of GM-mapped Tones join some usable and fun auto-accompaniment, and an absurdly low price tag, in a 'home' keyboard that deserves some attention from the studio musician. Julian Colbeck just wants to have fun...

This month, Derek Johnson investigates the GT Pro MIDI studio workstation stand from Cambridge Innovation Systems.

Owners of Sound Tools II digital editing systems can now have access to sophisticated techniques for reducing noise on recordings - thanks to the DINR intelligent Noise Reduction software. Paul White loads it up and looks for a quiet life...

Nick Magnus takes a look at the digital incarnation of Dynacord's popular CLS 222 Leslie Simulator.

Hands On Development came into the field of MIDI-controlled lighting very early, with their sophisticated Limetime controller. Now the Starlite offers even the most fiscally challenged the opportunity to add another dimension to a live performance. Martin Russ seeks enlightenment.

The legendary Kurzweil piano sound is now available in a smaller box and with a lower price tag than ever before - though in the UK it's still significantly more expensive than competing piano modules from other manufacturers. Is it worth the price premium? Derek Johnson finds out.

Some ingenious filtering and noise reduction possibilities combine with four channels of frequency-conscious noise gating to make this new studio processor more than meets the eye. Paul White investigates.

Manufactured in Russia under the auspices of the state plan for 'work creation regardless of demand', the MK219 cardioid microphone is styled with all the panache of an Aeroflot tea trolley — but plug it in and you hear quite a different story, as Paul White discovers...

What can Sony's new effects processor offer that its competitors don't already have? Paul White took the new Sony HR-MP5 into his studio to find out.

Soundcraft's new mixer attempts to combine budget pricing with a level of performance capable of doing justice to the new breed of digital multitrack machines. Paul White finds out how well it succeeds.

Steinberg's Time Bandit is a Mac software package for processing Sound Designer II files off-line, using sophisticated time stretch and pitch shift algorithms. Long-time Sound Designer II user Paul White couldn't wait to get it home...

This inexpensive program lets you add the advantages of pattern-based drum programming to your setup, without abanoning your full-blown sequencer. Brian Heywood gives it a battering...

This month, Paul White checks out the 4th edition of Aspen Pitman's (Groove Tubes) popular Tube Amp Book.

For around the same cost of the equivalent individual pedals, you could buy this intergrated, programmable effects pedal system, which includes an amp simulator for direct recording. Paul White checks it out.

Based on the popular 9030, the Zoom 9050S offers combinations of up to eight simultaneous effects from a repertoire of 55 effect types. Paul White investigates the need for speed.

Martin Russ brings you the latest Apple news and takes a look into his crystal ball. Acronyms and MIDI.

Computer disks are notorious for crashing. Martin Russ suggests some protection against data loss.

Paul Austin referees the first round of the Amiga's biggest ever multimedia battle.

Budget speaker simulators make it easy to get a good guitar sound directly from your guitar amplifier to tape, but you'll need a dummy speaker load if you want to work with your speaker cab disconnected. Paul White shows you how to build one with the absolute minimum of time and expense.

Set the controls for the heart of the bass: Nick Magnus reveals just how low your digital synth can go...

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.

Just when it seems that you don't have the equipment to do a job, you might find that your hi-fi, combined with a little ingenuity, solves the problem. Paul White explains...

MIDI song files have come a long way from just being copies of famous hits, as Vic Lennard discovers.

Brian Heywood delivers another concoction of music-related PC news.

Paul White gives some tips on how to get the best out of your computer sequencer without needing a degree in computer science...

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.

Subtle adjustments of your tempo track is a much overlooked way of changing the mood of sequences. Craig Anderton explains how to do it.

Chris Rea and engineer Stuart Epps talk to Mark Cunningham about the making of Espresso Logic, life at The Mill studios and their approach to recording Rea's work.

Jane Siberry's unique-sounding music has attracted collaboration from musicians such as Brian Eno and fellow Canadian Michael Brook. But she's still in control, as Mark J. Prendergast discovers...

John Dyson is one of the UK's most popular electronic music composers, yet he works with recording equipment that is more state of the ark than state of the art, and his northern pragmatism won't let him give up his day job. Paul White met him at his home studio.

A surprise hit with the independent release of 'Chime' led to a record contract, numerous singles, two successful LPs and worldwide touring for brothers Phil and Paul Hartnoll. Nigel Humberstone catches up with them to talk about good gear, punk ethics and the importance of being spontaneous...

According to producer Pascal Gabriel, product support in the UK can be patchy and often non-existent. However, there are ways in which a producer can help himself — here he explains how...

Mike Lethby takes a look at the background to Soundcraft's popular Going Live series of live sound short courses, and gives a run-down on the events planned for the next course, taking place at the University of Manchester at the end of April.