July 1997 Magazine Contents

The release of the S20 means that £500 now buys you into the prestigious Akai name — and gets you a supremely easy to use sampler which will perform both on stage and in the studio. Chris Carter goes completely loopy...

A very, very big piano inside a very, very small box: Derek Johnson investigates Alesis' latest impressive conjuring trick.

Pro quality at an affordable price? Hugh Robjohns inspects a preamp with a prestigious name.

Paul White tests one of the few-low cost tube enhancers on the market, from a new name in excitement.

How much more can Creative cram onto a single PC Soundcard? Paul White finds out.

With impressive improvements in power, speed and flexibility, Digidesign's software upgrade for their flagship digital audio production system keeps them ahead of the pack. Paul D. Lehrman wonders where the catch is...

Digital audio recording on computers has been possible for several years now, but without expensive multi-channel I/O units, the inputs and outputs from computer-based systems have been limited to simple stereo jacks. Now, several inexpensive multi-output PCI I/O cards are coming onto the market. Paul White looks at Emagic's solution, and decides he knows what he likes...

Given the size of the Spanish-speaking world, it makes good commercial sense to produce a Latin-style sound module — but only if it's sufficiently authentic to sell to those in the know and sufficiently versatile to be attractive to other musicians simply looking for a bit of spice in their rack. Chris Carter and Joe Ortiz play with fire...

Focusrite's new Green processors are enough to make anyone envious, as Paul White discovered when he had to give them back!

Just a few months ago you couldn't buy a new additive synth; now you can pick from no less than three, and although they're from the same family, there are enough differences to make the choice less than straightforward Derek Johnson adds it all up.

It's small, sleek and extremely covetable. David Mellor opens the box.

Although it also forms part of the all-encompassing digital SoundLink system, Korg's 1212 PCI card offers a standalone, cost-effective option for getting multitrack digital audio in and out of your Mac. Paul White discovers that digital audio recording relies on going through the proper channels...

When it's time for your Mac to start talking MIDI to the rest of your rig, the technology, like the truth, is out there. But should you spend a few pounds, or a few hundred? Mike Collins has the information you need.

Some of the most prestigious names in monitor design are getting into the project studio market. Paul White auditions Quested's new baby powered monitors, affordable enough for the project studio owner and portable enough for the producer on the move.

Paul White turns on the juice and finds it a perfect excuse to get in his monthly 15 minutes of guitar practice.

Roalnd's D50 became the sound of the late '80s. Does it still have a place in the late '90s? Paul Ward takes a trip around LA...

Much hard graft has been put in by electronic instrument manufacturers over the years in an attempt to transfuse the essence of the tonewheel organ into a MIDI-compatible keyboard. Nick Magnus dissects Roland's latest virtual modelling approach, and pronounces the operation a complete success.

Peter Ridsdale gives his personal impressions of cult shareware program Cool Edit.

Waldorf have been cooking up something special for the son of their acclaimed synth dynamo, the Microwave. Paul Nagle gets quite a taste for it...

Given the wide range of studio and synthesis equipment Yamaha make, it's perhaps odd that there's been no serious sampler in their catlogue for almost 10 years. Now, after putting a toe in the water with the well-received SU10 mini-sampler, they're taking the pro sampling plunge once more with the A3000. Chris Carter finds that still waters run deep...

X is Microsoft's favourite letter at the moment, with ActiveX and DirectX both providing improvements in PC sound. Martin Walker explains all.

Sometimes a new PC will be delivered with parts missing, or incorrect ones fitted. Martin Walker breaks down a typical specification into byte-sized chunks, and shows you how to find out what's actually inside the case.

The recent Goodman PDL computer shows proved that music is alive and well in the Atari world. Derek Johnson features a show report, rounds up a bargain shareware collection and generally keeps you up to date with all things in Atari.

Shakespeare had his Dark Lady for creative inspiration, Dante had his Beatrice, Petrarch had his Laura — and you? You've got your PC! Janet Harniman-Cook compares three different interactive composition packages which aim to provide that elusive spark...

To start off this short series on multi-effects programming, Paul White explores the key building blocks found in today's versatile units.

Greg D'Alessio of Opcode Systems offers some hints, tips, and advice for Mac users running Vision, Studio Vision Pro, and Overture software.

Martin Russ goes all virtual this month — with a freeware software synthesizer, plus more on registering shareware.

Fully automated mixing could make your life a whole lot easier, but if you can't get your hands on a suitcase full of banknotes, Craig Anderton has some ideas for achieving similar results at a minimum cost.

Computers have a habit of attracting more than their fair share of unwanted files. Martin Walker shows you how to clear away the cobwebs, and streamline your PC at the same time.

U2 have always striven for a new sound on each of the records they make, and during the sessions for their latest album, their aim was once again 'to construct a new sound for U2 whilst still making them sound like U2'. To this end, they brought in production wizard Flood and Scottish dance artist Howie B and set about new methods of recording. Paul Tingen investigates the art of Pop...

When less-than-satisfactory service from a music store begins to border on the distinctly dodgy, Judy Lemon asks: how do they think they can get away with it?

You've got the talent but you haven't got the gear. Sounds familiar? Christopher Holder visits a production team who decided to do something about it, and are reaping the rewards.

Somewhere in the North-East of England, electronic musician and designer Ron Berry has been applying an old-style analogue modular synth to the creation of a very contemporary phenomenon — physical modelling synthesis. Jonathan Miller finds out how it's done.

Big George Webley recounts some personal experiences of the jingle music business and drops a few hints about how you might get in on the action...