Clavia's latest product is something else; an affordable modular hardware synth whose selection of modules and signal routing is user-definable in software, offering the synthesist staggering scope for sound design. In the first of this two-part review, Paul Nagle cross-modulates his joy input with Rapture envelope and goes into self-oscillating ecstasy...
Paul White tries out a compressor that looks like a cross between a portable CD player and a Stealth soap dish, but discovers the sound is much bigger than the package.
The S100 offers half the innards of Digitech's Studio Quad, but sells for half the Quad's price. Hugh Robjohns finds out whether it does everything by halves...
As well as providing eight independent sets of MIDI connections, the Unitor 8 features comprehensive synchronisation facilities and even supports video timecode. Paul White explores the Ins and Outs of it.
Paul White previews a new digital conversion technique designed to provide high-resolution sounds without the need for extravagant sampling frequencies.
Paul White tests an integrated 8-track digital studio package, no larger than a drum machine, that comes with just about everything you'll need to make high-quality recordings.
It was 1973 and everyone was playing Minimoogs, and ARP Odysseys. So why did the Keio ORGan company produce a little synthesizer with the most unorthodox controls imaginable, call it the MiniKORG 700, and try to convince the keyboard cognoscenti that it was worth buying? Gordon Reid explains...
Although it's less than a year old, Opcode's highly useful Studio 64X multi-port MIDI interface and patchbay has been redesigned to incorporate even more features (including a wide range of synchronisation facilities), and has re-emerged from its refit as the Studio 64XTC.
Oram are not a company to do things by halves; their Octasonic, as the name suggests, features a whopping eight channels of professional-quality mic amplification. David Mellor finds it's eight times a preamp....
If you like your music production tools hip, knob-laden and all in one box, you're probably drooling over the MC505. Derek Johnson gets into the groove.
Any Digital Audio Workstation that was first introduced in 1992, and which is still not only going strong today, but benefiting from major software updates, must be doing something right. Martin Walker takes a long hard look at SADiE.
Is the RX8 the latest sporty model from Mazda? No — actually, it's a keenly priced 8-buss mixing desk from Soundtracs. Christopher Holder secures the first test drive.
Throughout the years, Tannoy have determindly supported their dual-concentric driver concept in the fierce cut and thrust of the monitor marketplace, and the 600A is their latest mid-priced champion. Hugh Robjohns enters the fray...
Technics' new flagship keyboard is the company's most sophisticated offering yet — and the first keyboard to provide a full-blown colour LCD screen. But is it really an instrument for today's musician, or has the 'home' keyboard concept had its day? Simon Trask colours in the dots with the KN5000.
TL Audio's Ivory range of affordable valve-based processors continues to expand. Big game hunter Paul White strikes (c)amp and bags the lates two in the herd... (SOS wishes to point out that no elephants were harmed during the writing of this review.)
If all the ivories do when you tickle them is laugh, you might be interested in an alternative method of getting MIDI information into a sequencer. Martin Walker wails, blows and plucks in the interests of non-keyboard players everywhere.
If you liked the look of last year's Minidisc-based digital 4-track machines, but need more tracks, look no further. The Yamaha MD8 manages 8-track recording and palyback, but is still priced at just under a thousand pounds. Martin Walker suddenly finds less need to bounce.
Setting up your gear for low noise and minimum distortion needn't be a nightmare. Martin Walker gudes you through the process, and shows you how to stand tall, even without headroom.
If you're serious about cutting noise from your studio, you'll have to explore the mysteries of studding and neoprene rubber. Paul White explains that it's not quite as exciting as it sounds...
Between the extremes of the broad brushstrokes of subtractive synthesis and the painstaking detail of additive, there have existed many hybrid styles of synthesis combining the speed of the former with the precision of the latter. Paul Wiffen traces the development of this middle ground through its successes and heroic failures.
If you're the proud owner of a new PC, and want to make music, there are plenty of ways to get started, and you may be surprised at just how good the results can be. Martin Walker makes sure your shopping list is short but sweet.
The type of microphone you choose for a given task can have a profound effect on the quality of the resulting recording. Paul White sorts out the dynamics from the capacitors.
With his fame and status as a world-class musician and recording artist, Eric Clapton can afford to spend as much time as he thinks necessary honing his next release. Richard Buskin talks to engineer Alan Douglas about the lengthy sessions and changes of heart surrounding the recording of the new Clapton album, Pilgrim.
Sound On Sound caught up with M People's Paul Heard, before the band headed off on their European tour. Christopher Holder puts aside his preconceptions to learn about songwriting, production, musicianship and family sedans.
After nearly 30 years working with computers in the fields of recording and broadcasting, Roger Jackson has realised he is suffering from a problem a lot of SOS readers will sympathise with; his love affair with computers is coming to an end. But breaking up, as someone once remarked, is hard to do...
The classical and pop music worlds collide in the person of Ryuichi Sakamoto, with even his latest ambitious orchestral work due for remixing by a team of DJs. Paul Tingen explores the attraction of opposites...
Tony Taverner's career spans decades and encompasses a huge list of top-drawer credits. Christopher Holder heads to Sensible Studios, where Tony acts as manager, to extract a few pearls of wisdom.
SOUND ON SOUND
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