Emu's multi-coloured assault on the sound module market continues with the Planet Earth, which houses a brand new set of ethnic and world sounds. Confirmed tree-hugger and Emu preset basher Paul Farrer takes time out from boiling a mixed-lentil casserole to check it out...
Korg's new music workstation combines the synthesis, multi-effects and sequencing capabilities of the Triton with a new performance-based interactive music generation system — one that goes way beyond traditional arpeggiators and auto-accompaniment sections for sophistication and versatility. Simon Trask is SOS's KARMA policeman...
Roland's new entry-level performance synth is a full-length yet lightweight synth-action keyboard with ready-to-go sounds derived from recent JV and XV expansion boards. Nick Magnus investigates the RS9's family tree.
The SPV355, launched in the late '70s, was intended to allow the pitch of instruments such as guitars and saxophones to control analogue synth sounds — which it does with varying degrees of success. Fortunately, it has other tricks up its sleeve, as Chris Carter explains.
Musicians using Mac and PC sequencers often complain about loose MIDI timing. Martin Walker checks out an interface from Steinberg which should solve this problem — at least for users of their sequencing software...
Tascam's versatile US428 combines the duties of audio interface, preamp, MIDI interface and MIDI fader surface at an attractive price, and has generated a lot of interest from musicians. Derek Johnson & Debbie Poyser test it with the Mac, while John Walden reports on the PC situation.
Gates are far more than just problem-solvers for reducing spill and noise. They can be used to add punch to drum sounds, put rhythmic interest into sustained parts or even as mixing automation.
Wouldn't it be nice to have two PCs — one for office or games use and the other optimised for music? As Martin Walker explains, multiple booting may allow you to achieve the same effect without splashing out on a new computer...
If you're an Atari owner who would also like to work with other computers, you may not have to lose access to your favourite Atari applications. Derek Johnson offers some platform-crossing suggestions.
This month we look at how to fix vocal tuning and timing, as well as showing how the recent Logic v4.7 upgrade improves working with Emagic's EXS24 virtual sampler.
This month's Cubase Technique introduces more features of the Interactive Phrase Synth, offers some handy hints on merging MIDI Parts, and provides some words of bitter experience on creating your own instruments in Steinberg's LM4 drum machine.
This month Robin Bigwood concludes his look at MOTU's RAM-based recorder POLAR, and explains how to get software instruments working with Digital Performer via FreeMIDI and OMS.
In part 2 of this series, Oli Bell offers advice on choosing a sampler for modern styles, finding and using samples from the Internet, and deciding which sample CDs to buy.
Martin Walker muses on whether there is really any such thing as a bad soundcard, and extends some helpful advice on how to make sure you get the right one for your needs.
Gordon Reid builds on the acoustic theory of wind and brass instruments he introduced last month, and explains how to produce a convincing analogue trumpet sound.
With music professionals at the helm and software from Emagic, Tonos.com is another way for musicians to collaborate online. Mark Wherry makes some connections.
More and more musicians are trying to escape the sterile confines of modern commercial studios in favour of their own creative environments. Brendan Perry's highly individual recording space is uniquely suited to his eclectic style, as John Walden reports.
Many 'classic' analogue synths are getting on for 30 years old now, yet they are still highly sought after. Hugh Robjohns reports on a company that specialises in finding and fixing vintage electronic instruments.
Producer and engineer John Leckie is renowned for his work with English pop legends such as John Lennon, The Stone Roses and Radiohead. Recently, however, he left behind the comforts of Abbey Road to record one of Africa's best-known singers on location in Senegal.
Dave Shapton exposes Microsoft's plans for Windows XP copy protection, and explains why he thinks digital mixers are on the way to becoming all-purpose control surfaces.
They say small is beautiful, and nowhere is that idea better illustrated than in the tiny attic studio belonging to Rose Rylands, recent graduate of the BA Creative Music Technology degree course at University College Scarborough.
The world is full of manufactured pop bands, but the innovation of the TV show Popstars is to turn the manufacturing process itself into entertainment. Sam Inglis talks to the producers behind the resulting smash hit single.
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