October 1998 Magazine Contents

Paul White tries out something that he wishes had been available back in his intensive gigging days — a box that automatically puts your vocals in tune in real time!

Digidesign's new interface allows Pro Tools users to transfer data to and from ADAT-compatible devices. Mike Collins finds out if it's a Bridge too far...

Sitting in Digitech's Studio range between the S100 and the Quad 4, the new S200 combines the functions of the former withthe ergonomics of the flatter. Hugh Robjohns checks it out.

Emagic have slicked up the popular Logic sequencer line with a few coats of metalic paint and some sparkly new features to match. Paul White goes Platinum with the top of the range.

The last few years have seen a rise in the number of sample-based keyboards and modules dedicated to reproducing the distinctive tones of the Hammond organ in a portable, low-cost, MIDI-friendly package. Nick Magnus checks out the latest keyboard offering from Hammond themselves.

Paul White encounters a budget recording preamp with a colourful pedigree.

JBL's new studio monitor system, the LS32, represents a radical departure in their approach to the design and technology of loudspeakers. Hugh Robjohns lends them his ears...

The Minimoog rides again thanks to Welsh company Moog Music Limited. But how close does it sound to the original? We at SOS knew opinion would be split, so we got five of our regular synth reviewers, all previous or current Mini owners, to give us their views.

Studio Vision has been offering digital audio recording for an amazing eight years, making Opcode a pioneer in this field. Martin Russ sets out to discover whether successor Studio Vision Pro is still keeping up with the times, and finds it visibly improved...

The battle for low-cost valve mic supremacy warms up as Paul White encounters Peavey's new PVM T9000.

There's a new star in the current galaxy of groovy dance-oriented synths, but does it outshine the rest? Derek Johnson and Debbie Poyser investigate Quasimidi's most comprehensive dance music creation tool yet.

Prepare to shed a tear in another near-miss tale of a desirable analogue synth swept aside by the rise of digital technology.

Roland have repackaged their techno-centric Groovebox, the MC505, adding a keyboard and removing some of the performance features. The result is the JX305. But have they thrown out the baby with the bathwater? Derek Johnson finds out...

Yes, it's a Minidisc machine and it's not even a multitrack, just a stereo recorder. Why on earth could you possibly want one in the studio? Dave Shapton explains...

SPL are remowned for producing highly specialised audio processing tools, and their latest product is no exception. Paul White attempts to unravel the mysteries of the Transient Designer dynamics processor.

The upgrade of Cubase to version 4.0 sees the software comprehensively overhauled — and it's available in an optional 24-bit version for the first time. Martin Walker temporarily changes platform for the next stage of the Cubase journey.

The latest addition to Waldorf's Microwave family certainly advertises its presence. Paul Nagle finds out if the future's bright as well as orange.

Superficially, it may look no different from other soundcards, but Yamaha's new DSP Factory is a real TARDIS when it comes to facilities. Martin Walker explores a soundcard that's bigger on the inside than it is on the outside.

Can you get a wall of sound from something the size of a brick? John Walden plugs in his guitar, inserts his earplugs and finds out.

Derek Johnson checks out two ST freebies that could help you to tame your synths..

Although you can go 'under the bonnet' and put together your own PC suitable for MIDI + Audio recording, buying a complete system could prevent many potential problems. Martin Walker gets bundled up.

Just when you thought it was safe to dip your hand in your pocket and buy that ideal studio, Paul White throws digital mixers into the frame.

Nicholas Rowland fades away with a few tips for creating and manipulating MIDI echoes, along with some other sequencing esoterica.

This month, Martin Walker finds that it's good to talk, and uses a PC utility to burn his Akai-formatted hard drive sample collection onto Akai-format CD-R disks.

Continuing his quest for the perfect listening environment, Paul White looks at ways to treat a control room without having to bring in the builders.

Martin Russ looks at some of QuickTime 3's new features, and considers why the 'computer-as-complete-recording-studio' approach isn't always the best one...

Will physical modelling continue to be at the leading edge of synthesis, or are there other methods moving up on the inside tracks? Paul Wiffen winds up the Synth School series with a little crystal ball-gazing.

If you've got a storming vocal on tape you're halfway towards a great production. Paul White offers some tips on perfecting this most important of recording skills.

In the final instalment of our series on the techniques and technology of digital audio, Hugh Robjohns contemplates plugging it all together.

While the fame and fortune of pop stars is frequently short-lived, session musicians can carve out a career lasting many years, making a living through sheer ability and professionalism. Big George Webley goes behind the scenes....

It's the dream of many an SOS reader to have a multimillion-selling worldwide hit with a track recorded in your bedroom — but as Crewe-based Dario G found out, it can create more problems than it solves. Matt Bell finds out how the group came through the turbulent waters of success to produce a fine debut album.

David Ferguson has worked his way up from sampling hoovers on tape to an enviable position as a highly sought-after TV composer. Debbie Poyser & Derek Johnson discovers how he managed it, and find out his views on the way the music-for-TV industry is developing.

It's all in the mind... music, that is. A computer can't begin to make music without a human being... or can it? Paul Hodgson explains the current way of thinking at the cutting edge of research into music cognition.