As computers continue to increase in power, so the numbers of roles they can play in the studio increases — and the makers of Audio Architect would have us do our synthesis in software. Kevin Perry finds out if it can really replace those old Moogs and Prophets.
Beyerdynamic's range of microphones has grown at a very healthy rate over the last year or so. We provide a first opinion on their new general‑purpose studio condenser, the MCE90.
Paul White braves the slings and arrows of his outrageous PC in the good cause of testing a MIDI + Audio sequencer designed with the guitarist in mind.
These days, high-end PC soundcards offer much more than mere audio interfacing, incorporating mixing, synthesis, sampling and often powerful onboard processing facilities. Martin Walker finds the features of Creamware's new DSP-powered Music Production Environment' impressive even by modern standards.
Ensoniq were as the forefront of workstation and sampling technology in the '80s, but their recent synth offerings have not kept up with the fashion for controller-festooned techno boxes. The Fizmo, however, updates their take on wavetable synthesis with extensive real-time control.
Is it a bird? Is it a plane? No, it's a new guitar-oriented effects unit from Lexicon. But will it inspire our mild-mannered reported John Walden to turn his Clark Kent chords into guitar (super)heroics?
Having tested the waters with the low-cost CDR630, Marantz are now set to challenge professional compact disc recorders higher up the ladder. Paul White takes the new CDR640 for a spin.
As studios became more and more virtual, musicians begin to miss having real knobs and faders to play with — hence the success of Peavey's original PC1600 MIDI hardware fader box. Six years on, it has just been replaced with a new version.
Yamha scored a big success with their famously blue, knob-endowed CS1x Performance synth, and now they seek to build on this with the silver-grey CS2x — but does the 1-digit increment and change of colour scheme constitute revolution or evolution?
When it comes to emulating acoustic instruments, the modern orchestra probably represents the ultimate challenge. Philip Meehan shows you how to take it on and win.
Ataris can now be picked up at very reasonable prices and, with the addition of some cost-effective software, make useful live sequencing devices. Derek Johnson highlights this and other uses for your ST, and discusses some fast new TOS-compatible machines from Europe.
John Walden exchanges his plectrum for a mouse and suggests some guitar-related Internet sites that might encourage even the more technophobic pluckers and strummers to venture into cyberspace.
Audio software and PC soundcards are offering 20- or 24-bit recording capabilitiy at even more affordable prices — but whether the extra data on your hard disk will actually correspond to better sound quality depends on a host of other factors. Martin Walker tells you what you need to know when deciding if you should make the change.
Although most modern synths come with good bass guitar patches, there's still nothing quite like the real thingplayed well — provided you know how to record it. Paul White examines a few alternative approaches.
These days, a new synth without some form of DSP effects processing is almost unthinkable — but it wasn't always like that. Paul Wiffen traces the introduction of effects on synthesizers and looks at making the most of the early implementations.
Subtle timing nuances play a large part in the feel of much of today's rhythm-based music. Martin Walker bangs the drum about creative use of groovy time-tweaking functions.
Hums, clicks, rustles, chirps, shuffles and creaks. Just a few of the sounds that your recordings could well do without. Paul White has a quiet word about the art of noise reduction.
Seven years ago, teacher, musician and engineer Howard Turner transformed himself into The Studio Wizard and placed an ad offering his services as studio trouble shooter and consultant. It worked like a charm...
A co-founder of US electro-pioneers Information Society, Paul Robb recently scored the new movie form the creators of South Park. He has a new band signed to Virgin and a dance side-project, yet still manages to write award-winning music for TV. Sam Molineaux joins him and his various alter egos in his new Los Angeles studio, Digitalis.
The music biz is a notoriously difficult one, but you might think that at least the people who get paid to work for you are on your side. Sam Inglis says it's even worse than you thought.
Music on the Internet has brought into sharp focus the changes that will need to be made to a global law to ensure the safety of music copyright. Debbie Poyser and Derek Johnson assess the possible impact of new technology.
The Cardigans are the biggest thing to come out of Sweden since, er, Ace Of Base, and their recent hit 'My Favourite Game' represented a successful change of musical direction. Sue Sillitoe tracks down their regular producer Tore Johansson in his Country Hell studio to talk about how the song was put together. Reasearch by Matt Bell.
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