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.
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.
Arboretum's latest Hyperprism suite of effects and processors offer no less than 29 modules, at an average price of less than £10 each. Janet Harniman-Cook gets plugged in.
Gordon Reid is bitten by the memory of a brilliant, but deeply flawed trio of Italian synthesizer designs that could have been the last word in affordable analogue.
The DDP takes the five dynamics processes you're most likely to want, turns them digital, and squashes them into a 1U studio workhorse box for under £600.
The streamlined '90s exterior of Emu's Audity 2000 claims to hide a virtual modular hybrid, harking back to the company's own lost '70s analogue megasynth.
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.
If you've £250 to spare and a reverb-shaped hole in your studio, Lexicon would like you to fill it with their latest budget processor, which offers 20-bit converters, a digital output as standard, and the famous Lexicon Ambience effect.
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.
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 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?
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.
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.
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...
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.
Just when you thought you'd got your cholesterol down, it's nothing but chips again. MARTIN WALKER wades through the new CPU options, and uninstalls some more software.
Hardware development is still going for Atari computers: now STe users can buy a new processor accelerator that brings faster operation and internal hard drive to STe computers, for relatively modest cost. Derek Johnson feels the need for speed...
Martin Russ looks forwards and backwards this month, with visits to the limits of Mac-Time, the year 2000, MacOS 10, and a modern version of yesterday's analogues.
Getting your studio organised doesn't necessarily mean investing in expensive studio furniture or being a DIY whizz. Derek Johnson & Debbie Poyser explain how they made the most of their space, and pass on some hints and tips for a tidier life.
Last month, Paul Wiffen looked at how virtual synthesis can emulate analogue synths whilst going beyond their hardware-based limitation. Now he looks at its applications for imitating and exceeding older instruments such as electric piano and organ.
Though you might not realise it, the audio industry has employed data reduction strategies since the earliest days of digital systems. Hugh Robjohns explains the concepts and explodes some myths.
'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...
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...
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.
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