September 1994 Magazine Contents

The X2 console forms the centrepiece of an Alesis studio that is becoming increasingly up-market and professional. Paul White checks out the new desk and finds that, despite its apparently high cost, it really does have a lot to offer to the more demanding user.

Designed according to a 'secret recipe', Behringer's new budget stereo image enhancer is set to widen everyone's recording horizons (and their stereo images). Does it deliver the goods? Paul White finds out.

To get the most out of your pre-MIDI synths, you need to bring them into the MIDI age. Kenton's long-awaited Pro 4 provides a host of interfacing possibilities and is capable of controlling up to an astounding 10 different devices simultaneously. Derek Johnson connects up.

Convincingly reproducing the effects of rotating horns and speakers in software inside a 1U rackmounting box is a challenge to the designer. Bringing it in under £300 is an achievement. Gordon Reid examines the latest incarnation of a keyboard effect that's come full circle...

The Korg PolySix gave Roland's Juno 6 (and Later the Juno 60) some stiff competition back in the early eighties, and is enjoying a revival of popularity today. Nick Magnus takes a retrospective look at this analogue favourite, and gives some advice on purchasing one today.

It's not only the distinctive looks of the legendary Oberheim synth that the designers of OBMx have borrowed; they've also incorporated its legendary sound quality into a '90s MIDI synth made in the true analogue mould. Dave Crombie wonders if it's too good to be true...

Though still a small name in the crowded UK mixer market, Phonic are gaining a reputation for building affordable desks with lots of features. Shirley Gray test-drives their latest console, a four-buss model with studio and live applications.

Derek Johnson checks out the new flagship of the Sound Canvas range.

76-note master keyboards at under £500 are relatively thin on the ground. Derek Johnson takes a look at the Korean-made contender for your cash.

After last month's test-drive of Yamaha's top-of-the-range-QY300 music sequencer, Martin Russ now takes its baby sibling, the QY8, for a spin around the block.

As well as being an SOS contributor since the early days, Paul Wiffen is the manager of a music store specialising in hard disk recording. Eighteen months ago he previewed the Falcon 030 for SOS, and now, after a year on the market, he assesses the impact it has had and examines some of the rumours which are floating around.

Peter Buick has been living with Cubase Audio for the Atari Falcon since its inception. Here he reveals all about his relationship with the system, ask whether it is the ultimate marriage between MIDI sequencing and tapeless recording — and tries to save you a few months of frustration (and a divorce) along the way.

The Windows music software scene is thriving. Brian Heywood reflects on its effects on the rest of the music software market, and examines some new arrivals in more detail.

Vic Lennard fires up his sequencer and looks at the latest bunch of MIDI files...

This month, Martin Russ brings you not only the latest Apple News, but the full low-down on QuickTime 2.0 and SampleSearch. Rumour also has it that he's been moving in breathtakingly high circles at the APRS, don't you know...

Irritated by the pop-fixated production values of small commercial studios, Per Villez decided to attempt a jazz recording session at home, using minimal equipment to produce master-quality results. Here he explains how he went about it on his own terms.

Paul Austin brings you the latest Amiga news hot off the wire.

We've got so used to DI'ing keyboards that miking up an amp is something that never occurs to some people. Paul White explores the benefits of getting out the mics and plugging in the amp.

Touring with Pink Floyd is not, as you might imagine, like a quick gig down the Bull and Gate. There's a tour budget of around £70 million, and the efforts of hundreds of people go into making each concert truly spectacular. In this exclusive, Mike Lethby talks backstage to some of the men who keep the Floyd on the road.

Daniel Lanois has followed up a career producing acclaimed recordings for the likes of U2 and Peter Gabriel with two solo albums which have earned him equal respect as an artist in his own right. Paul Tingen talked to him about the changing directions in his own music.

From a garden studio in Wales, Danny Chang scores multi-million pound animated productions for TV companies throughout Europe. Paul White talks to him about the gear and techniques involved in writing music for cartoons.

This month, we turn Production Lines over to the classical fraternity, with some words from classical producer Joanna Leach.

Nigel Lowis has made his name producing female soul vocalists like Dina Carroll and Judy Cheeks, but his skills also include songwriting and remix work. Sue Sillitoe joined him at Sarm West, his home from home, to talk about songs, synths and success...