October 1997 Magazine Contents

Got the jitters? Aardvark's external sync unit could be the answer. Mike Collins investigates.

The Nanosynth is a pygmy on the outside but a veritable Watutsi on the inside. Derek Johnson cuts a swathe through the undergrowth in search of tiny treasure...

£300 is becoming a crowded price point for well-specified effects units, but Art nevertheless hope to stand out with their new Effects Network. Martin Walker decides whether it has what it takes to muscle in on the competition.

Paul White tests what must be the ultimate small monitor, but finds that you pay for it in pounds — both fiscal and gravitational.

It may say v1.6 on the box, but the latest version of BIAS's Mac-based audio editor is stuffed with enough new features to warrant a version 2.0 tag. Paul D. Lehrman scales new heights.

The Masterport system consists of dedicated multitrack software and a high-quality card, allowing you to avoid the compatibility problems that can arise when software and hardware from different manufacturers are run together. Janet Harniman-Cook thinks it's the cream of the crop.

Got lots of analogue synths? This could be your one-box solution to bringing them into the world of MIDI. Chris Carter gets converted.

I don't know about your studio, but the back of my MIDI rack looks like the rat's nest from hell, and a lot of that is down to...

Paul White studio tests a compressor whose main claim to fame is that you can't hear it working. Is transparency merely an attribute of the Emperor's new clothes, or is this unit something rather special?

Low‑cost patchbays are pretty much commodity items nowadays, and ever since P...

Commercial physical modelling synths first appeared in 1994, but until now, nobody has produced one that offers truly multitimbral operation together with decent polyphonic performance. Korg's new Z1 does — and for well under £2,000. In this, the first UK review of the finished instrument, Goron Reid laughs wildly and plays lots fo chords — because he can.

Paul White plumbs new depths with KRK's recently introduced active sub-bass package, designed to turn their nearfield monitors into full-range systems.

Microtech Gefell's first multi-pattern mic is graced with the kind of looks which could assure it classic status — as long as its sound lives up to its stunning appearance. Paul White lends an ear.

High-quality equalisers have the magical property of allowing you to tweak tonal content, while themselves remaining practically invisible to the ear. Hugh Robjohns checks out a contender from an American company new to the UK market.

If you want to get on with recording, rather than arguing about who needs what foldback, why not let the musicians mix their own? Martin Walker finds he's all mixed up...

If you're tempted to try out the whole Spectrum of bass sounds, Peavey have updated and old favourite, and Nick Rowland has the lowdown...

The DC16 is an assignable control surface ideal for use both with gear and software, and with digital audio systems such as Pro Tools. Mike Collins just loves being in control.

If you need an easy-to-use controller keyboard Roland's latest mid-ranger master could be the one for you. Nicholas Rowland takes a spin down the A33.

Writing audio CDs is getting easier and easier, especially with this new release for the PC from Sonic Foundry. Martin Walker rubs two files together and goes for the burn.

Tape saturation is the latest thing to get the physical modelling treatment. Can two high-powered DSPs, however, really achieve the same effect as a strip of rust being dragged over a magnet? Paul White investigates.

The latest upgrade to WaveLab Verson 1.6 includes CD writing in its arsenal. Martin Walker loeads up and dives in...

With their new 606 delay, Symetrix have attempled to combine today's technology with the user interface of yesteryear. Paul White finds out how well they've succeeded.

The demand for Roland's TB303 remains very strong, given that the 'fad' of the acid line continues unabated. No surprise, then, that Dutch boffins Syntecno have updated their 1996 TB303 clone to make it even more attractive. Christopher Holder limbers up his tweaking finger.

Now that digital equipment is arriving in project studios, a patchbay becomes a worthwhile purchase. Mike Collins goes back to his routes...

Martin Russ feels the need for speed, and reminds readers of the often overlooked benefits of using macros...

Cakewalk's Robin Kelly passes on some hints and tips designed to help users of the popular Cakewalk Pro Audio PC audio sequencing package get the best from their software.

The ST platform is still plentifully supplied with cheap and cheerful music programs. Derek Johnson delivers an update.

Great songs are 1% inspiration and 99% perspiration. Big George mops his brow and takes it to the bridge...

Paul White looks at how MIDI can be used to turn static effects into dynamic ones.

Martin Walker dons his white lab coat and explains the advantages of knowing a little more about DOS and the Command Line Interface.

This month's clutch of software and hardware problems are mainly of the SCSI variety. Martin Walker deactivates a few suspect devices.

Throughout the '80s, additive synthesis was the Holy Grail for synth purists; many machines aspired to it, but only one achieved it successfully. Paul Wiffen explains how additive works and looks at the various implementations, including the newly updated Kawai version.

Paul White offers a little practical advice on the application of signal processing during recording and mixing.

Innovative musicians, DJs, entrepreneurs, technology intellectuals, artists... Jonathan More and Matt Black mix up more than just records to make Coldcut. Derek Johnson & Debbie Poyser meet up with the Ninjas to talk zentertainment and audiosyncrasies...

For millions of people worldwide, rai musician Khaled is not just an artist, he's a phenomenon. Paul Tingen catches up with the elusive Algerian, and two of his many producers, to get the full story.

Guitarist/composer Michael 'Jakko' Jakszyk has enjoyed an unpredictable musical career, comprising near-bankruptcy, fame and fortune with Level 42, and some disastrous but entertaining skirmishes with record companies. Here, he talks to Dave Stewart about the making of his unique autobiographical CD The Road To Ballina.

Robin Morley explains why he thinks musicians should stop showing off and get on with making some tunes...

In these days of synths that stay in production for just a couple of years before being discontinued, respect is due to a keyboard design that's survived more than half a century of changing musical fashion and is still going strong. Hammond-lover Rod Sparks pulls out all the stops to bring you a personal organ odyssey.