The latest version of Behringer's Composer dynamics processor appears to provide all the facilities anyone could ask for, with a separate expander/gate, compressor and limiter for each of its two channels.
Over the years many musicians have got started with a low-cost Creative Labs soundcard, but the latest upmarket Soundblaster Live! model is even more tempting. Martin Walker checks out the specs.
Pro Tools is virtually an industry standard for music production and post-production, even though its powerful mixing and signal processing capabilities have previously only been fully accessible through a computer screen. The recent introduction of Digidesign's own ProControl addresses that problem. Hugh Robjohns just loves being in control...
Italian firm Generalmusic have made their reputation in the home keyboard market, but their new Equinox is an extremely well-specified professional workstation.
Designed to interface the Kurzweil K2000/K2500 synths directly with digital recording equipment, the DMTi also has a role as a general-purpose digital format convertor. Hugh Robjohns checks it out.
Midiman have a reputation for niche products at reasonable prices, and their latest, SAM, could do a number of useful jobs in the ADAT-based studio. Bob Dormon makes the connections.
Most US synthesizer manufacturers followed the now all-too-familiar corporate history of rapid growth in the 1970s followed by acrimonious dissolution in the 1980s. What happened to Octave, however, was a little different...
Offering an integrated MIDI + Audio sequencer and hardware controller with motorised faders, StudioMix mimics some of the features of high-end digital audio workstations — but at under £800, how good can it be?
With almost 20 self-contained digital multitrackers on the market, either new or second-hand, it can be hard to decide which one is for you. Debbie Poyser & Derek Johnson discuss the options and round up the available models.
Most MIDI sequencers now include some notation facilities, however, these fall some way short of the needs of the scorewriting professional. Arranger and conductor Mike Crofts checks out one of the few dedicated scorewriting programs.
Last month, Gordon Reid reviewed the babies of the Technosaurus range, the Microcon synthesizer and Cyclodon sequencer. This month, he tackles their (very) big brother, the Selector modular synthesizer...
Waldorf's long-awaited Q synthesizer is now shipping, but without many of the features it will ultimately possess. Gordon Reid takes a hands-on look at what's here now and what's to come.
Multiple inputs and software-based mixers allow both audio and MIDI signals to travel some convoluted routes inside the PC. Martin Walker untangles his virtual cables to how best to get them out at the other end.
This month sees Martin Walker meeting the men from Microsoft, burning CDs faster, listening to new SoundFonts and testing out utility software. Does he ever sleep?
Paul White comes up with a few tips for using the processing power of your computer audio sequencer to turn one or two voices into a complete backing ensemble.
Studio management software, Cubase mixer maps, sounds and editor/librarian programs for a range of older synths are all up for grabs as an Atari developer posts his previously commercial work for free on the Internet. Derek Johnson tells you what's available and keeps an eye on the Atari news scene.
The piano comes in a variety of forms and is used in many different roles as part of ensembles and as a solo instrument. Many engineers regard the piano as the hardest instrument to record. Hugh Robjohns offers some practical hints and tips for getting the right sound.
Tracking down the information you need on the Internet can be a joy or a nightmare, depending on whether you're idly browsing or desperately searching for a small specific piece of information. In this month's Net Notes, Martin Walker passes on a selection of basic tips to make browsing easier.
In Part 1 of this (63-part) series exploring the world of subtractive synthesis, Gordon Reid goes right back to basics. What are waveforms and harmonics, where do they come from, and how does the theory relate to what we actually hear?
It seems everybody is talking about the millennium bug, but a far greater threat to the operation of our studios is already ticking away inside our effects units and synthesizers. Paul White gives a battery health warning.
In order to become a professional music recording engineer, you have to start at the bottom and work up. But in such a competitive business, how do you even get in at the bottom? David Mellor explores various possibilities.
Miriam Stockley is one of the premier session singers in the UK; but it's taken her until now to record an album of her own. She talks to Sue Sillitoe about recording the album in her new home studio.
Catatonia's rise from indie obscurity to pop dominance seems unstoppable and, with the first single from their new album, they're even targetting Radio 2 listeners. Matt Bell talks to producer Tommy D about the track's transformation from Akai DPS12 demo to Top Ten hit.
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