Following the success of their first mixer, the 8-buss Eurodesk, Behringer have scaled down the concept to take on the crowded 4-buss market. Paul White checks it out.
In recent years, samplers have become almost exclusively rackmount devices, widely used as production workhorses, but less so by the gigging musician. With the release of their first keyboard sampler in several years, Emu are hoping to change all that. Paul Wiffen heralds the return of the performer's sampler.
Expandable and user-friendly, Ensoniq's new synth module favours preset sounds and effects over editing and programming options. Julian Colebeck asks how the Mr Rack stacks up.
As an exercise in lateral thinking, re-patching your studio is a delight. As an actual prospect, it's somewhat more daunting. Paul White plugs into a programmable patchbay and lets his fingers do the walking...
With more zones than a one-day Travelcard and an impressive array of physical real-time control options, the keyboard version of Kurzweil's K2500 represents a new frontier in digital synthesis. Paul Ward heads for the border...
Beethoven's amanuensis it might not be, but for dancey doodlings, you won't find a better scratchpad than the Roland MSQ700 'multitrack digital keyboard recorder'. Steve Howell reassesses the sequencer that dared not speak its name...
Cubase, in its many guises, has established itself as an industry standard on Apple and Atari platforms, and now looks set to be the benchmark by which other PC sequencers will be judged. Kevin Pawsey investigates what Steinberg has to offer the score-producing musician.
When your dilatory digits can't hit those chords on cue, MIDI sequencing can seem the only solution. As Paul Ward discovers, however, now you have a flexible new friend...
The home and project studio mixer market is currently dominated by British and American manufacturers. With the release of the RM800 desk, Yamaha are clearly hoping that some of the success of their top-end digital mixers will percolate down to the middle market. Derek Johnson finds out whether the RM800 has what it takes.
Paul White looks at the many parameters which govern compression, how to improve your recording technique, and how not to throw the baby out with the bathwater.
Thanks to Evolution's Music Creator systems, it's never been easier or cheaper to turn your PC into a powerful MIDI sequencing tool. Brian Heywood gets creative...
If, like Erasure, you're all fingers and thumbs, an arpeggiator can make inspirational note sequences a cinch. For this versatile synth function, however, that's only the beginning. Paul Ward blisses out on glissandos...
Just because you've moved over to Mac or PC for making music, it needn't put your Atari on the scrapheap. Colin Owen explains how, with the right MIDI interface, your Atari can become a powerful editing tool.
There may be a famine of new applications for the Atari, but there's a positive flood of utilities. Ofir Gal offers some tips on how to turbo-charge your Atari. New products, multi-tasking, NVDI and MagiC v4.
Orphaned in childhood and now suffering a PC brain-drain, the Amiga needs all the help it can get. So, could tracker programs like OctaMED v6 be the platform's saviour? Paul Overaa asks whether the future's IFFy...
The remarkable success of the Drake Music Project is proving that where music technology is concerned, disability is no handicap. Mark J. Prendergast joins the levellers...
Once the artist, their record company and A&R manager have agreed the balance sheet, there are still artistic questions to be resolved. This month, continuing his look at working as a team, David Mellor explains how producer, arranger, programmer and session musician can live together in perfect harmony...
Regular SOS contributor Mike Collins blows the trumpet for the Apple Macintosh, whilst sounding a note of caution to those musicians considering the Mac as a work platform today...
This duo can take the credit for an amazing range of TV themes and scores, but how did they get into such a fiercely competitive industry in the first place? Paul White learns about the ratings game...
For most of us, computers in the studio are part and parcel of the digital revolution. Not from where avant-garde composer Paul Schutze is standing. Paul Tingen discovers a new perspective...
Continuing our occasional series of reports from long-term users of studio equipment, this month Brian Heywood talks to two producers about their Soundscape digital recording system, and how they used it to put together a hit track.
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