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Passport Master Tracks ProReview | Sound On Sound, Oct 1987A MIDI Control Program for the MacintoshPassport were one of the first US companies to offer music software for any computer. Richard Elen wades through the extensive features offered by their first music software release for the Apple Macintosh - a MIDI control program called Master Tracks Pro. |
Roland TR626Review | Sound On Sound, Nov 1987Rhythm ComposerThe TR505 was a runaway success at the budget end of the market, but it lacked one important ingredient - separate voice outputs. The TR626 rectifies the matter whilst offering even more features - 30 PCM drum/percussion sounds, 8-note polyphony, sync-to-tape, and MIDI control of nearly all its parameters. Mark Badger investigates. |
Dr T's X-OrReview | Sound On Sound, Dec 1991Universal Patch Editor/LibrarianDr. T's universal patch editor/librarian makes the journey from Atari to Mac picking up a host of new features en route, as Kendall Wrightson discovers. |
WelcomeEditorial | Sound On Sound, Mar 1989 |
Re-samplingFeature | Topic: Sampling | Music Technology, Mar 1988Don't delete those unsatisfactory samples until you've tried resampling them. Tom McLaughlin explains how you can turn a bad sample into a good one. |
Making Records - Part 2Feature Series | Topic: Mastering, Tape, Vinyl, CD, DAT | Home & Studio Recording, Feb 1985MetalworkPart 2 deals with that crucial part of the record making process - the metalwork stage. |
OvertonesFeature | Topic: Live | One Two Testing, Nov 1985Gig Tacticsare bands forgetting how to play live |
C-Lab CreatorReview | Sound On Sound, Nov 1987Martin Russ loops the hours away with Version 1.2 of this new MIDI sequencing package for the Atari ST computer from Germany's C-Lab. |
The Hard EdgeFeature | Topic: Digital Audio, Digital Audio Workstations, Recording | Music Technology, Aug 1993Direct-to-disk recording explainedMT's guide to the theory and practice of the tapeless studio |
The Transcontinental Midi Songwriting ShuffleFeature | Topic: Computing, Sequencing | Sound On Sound, May 1989MIDI Composition via ComputerThe tale of two songwriters on opposite coasts of America, using different computers and musical instruments, writing and producing a single without face-to-face collaboration until the final mixdown. Al Hospers reveals what happened. |
Sample ShopReview | Sound On Sound, Jan 1993 |
MusigraphReview | Music Technology, Jun 1988Software for the Atari STTired of using pencil and paper to write out your music? Fancy a hi-tech fix for your next composition? Ian Waugh scores a line (or five) with a new graphics-based music notation package from French company SARO. |
Tannoy Little RedsReview | Home & Studio Recording, Mar 1985 |
Wind SynthesizersReview | Sound On Sound, Dec 1987Having explored the history and development of wind synthesizers in our September issue, record producer and wind player extraordinaire John L. Walters compares and contrasts the Akai EWI and Yamaha WX7. Are they the instruments that wind players have been longing for? Find out inside. |
4T/FX and d2d EditReview | Music Technology, Aug 1993Software for the Atari FalconFrom D2D2U - tapeless recording on the Falcon |
Shape of Things to ComeNews | Sound On Sound, Jun 1989News of some products to be released at the coming APRS exhibition, Acorn's new low-cost Archimedes computer, Akai's digital multitrack, and more. |
Clue DataReview | Sound On Sound, Nov 1985Beyond the razor-blade: HHB's innovative CLUE system provides an answer to the digital editing dilemma. Paul Gilby pieces together the story. |
Get On The Right TrackFeature | Topic: Mixing, Recording | Home & Studio Recording, Mar 1985Leading new wave synthesist Ian Boddy explains the way he uses 'track sheets' when undertaking a recording. |
MB Electronics Jecklin Disc plus MicrophonesReview | Music UK, Dec 1983The OSS System (Optimum Stereo Signal)Dr. Jecklin Disc meets Mr. Hyde (alias Nobby Line). New M & B Stereo Mike System On Trial |
Practically MIDI - Part 4Feature Series | Topic: MIDI | Sound On Sound, Dec 1987What is a MIDI Merger and why do you need one if you use a computer-based MIDI sequencer? Martin Russ helps BT's funding by receiving long telephone calls from frantic MIDIphiles. |