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Review | Sound On Sound, Apr 1989
Akai S1000PB 16bit Stereo Sample Player with SWM and Workstation Disks
Do you find the idea of sampling your own sounds unappealing? Why not settle for a high quality replay-only sampler like the Akai S1000PB and spend the money you save on more library disks? Paul Ireson checks out the machine and Akai's newly launched set of Workstation and SWM disks.
Review | Music Technology, Feb 1993
Akai's new 3000 Series sampler range - the MT guide
The brand new heavies previewed
Review | Music Technology, Sep 1993
CD-ROM sample player
The CD Side of sampling.
Review | Music Technology, Nov 1992
Akai the new...
Preview | Music Technology, Oct 1988
Akai's popular S900 sampler has appeared on more records and in more studios than you can name. Simon Trask takes an early look at the S900's successor, the 16-bit, 16-voice S1000.
Review | Music Technology, Dec 1988
Following in the footsteps of their successful S900 sampler, Akai's new baby looks likely to set new standards in sampling hardware. Simon Trask's thrilled to bits.
Review | Music Technology, May 1991
Digital Stereo Sampler
Having set the music industry standard in sampling with their S1000, Akai are now taking moving pictures into their stride. Simon Trask gets frame-accurate on the S1100.
Review | Sound On Sound, Dec 1990
16-Bit Stereo Sampler
Akai's S1000 is without doubt the industry standard professional sampler, so why try and improve on the best? Paul Wiffen finds that SMPTE cue listing, AES/EBU real-time output, and built-in effects are a good start (with hard disk recording to follow).
Review | Music Technology, Mar 1993
Leaders of the new school?
Review | Sound On Sound, Jun 1987
Leading The Field?
Casio caused a furore at February's Frankfurt Music Fair when they unveiled the world's first 'affordable' 16-bit sampling keyboard with onboard graphic editing display - the FZ-1. Mark Jenkins visits the Casio factory to bring you a comprehensive preview of this remarkable instrument.
Review | Music Technology, Jun 1987
This is it. A 16-bit sampling keyboard for the price of a 12-bit one, with digital synthesis tacked on as a bonus. Jim Burgess gives his verdict in our exclusive review.
Review | Music Technology, Mar 1990
With two-minutes of sample time, Casio's FZ20M would seem to be an instant contender for any serious sampler's shortlist - but size isn't always everything, as Vic Lennard discovers.
Review | Sound On Sound, Aug 1989
Casio have added a SCSI interface to their FZ10M, made the hard disk optional, and called it the FZ20M. Paul Ireson investigates this born-again sampler.
Review | Music Technology, Aug 1990
After much pre-publicity, Cheetah's first venture into the world of samplers is here. It's 16-bit stereo, reads S900 disks and is reviewed by Vic Lennard.
Review | Sound On Sound, Feb 1990
The ADS sampler has the look and feel of a German sports car - expensive, no-nonsense, and high performance. Craig Anderton takes it for a test drive.
Review | Music Technology, Aug 1988
Digital Sound Production Workstation
The latest version of E-mu's popular Emulator sampler incorporates stereo 16-bit sampling and a hard disk drive. Chris Meyer can't believe his ears.
Review | Music Technology, Jan 1993
Advanced Sampling Recorder
Bit of this, bit of that
Preview | Music Technology, Aug 1988
It's nearly three years since Ensoniq struck it rich with the Mirage sampler. Simon Trask previews Ensoniq's new sampler and asks "can they repeat their success with the EPS?"
Review | Music Technology, Oct 1988
It's been a while in the pipeline but Ensoniq's successor to their popular Mirage sampler is up and running. Simon Trask checks out the latest "peoples' sampler".
Review | Micro Music, Jun/Jul 1989
Paul Wiffen takes an exclusive look a Ensoniq's latest offering in the field of sampling
Review | Music Technology, May 1989
Rather than keep the module-addicts happy with a rack version of their EPS sampler, Ensoniq have incorporated some attractive improvements into their EPS-M - like quadrupling its memory. David Bradwell liked it so much he bought it...
Review | Music Technology, Feb 1991
Digital Sampling Workstation
After a recent change in UK distribution, Ensoniq look set to increase their popularity with this upgraded version of their EPS sampler. Simon Trask likes what he samples.
Review | Sound On Sound, Jun 1989
A rack-mount version of the EPS was something Ensoniq swore they would never produce, but they have finally bowed to public pressure. Paul Wiffen looks at the extra memory, extra outputs and SCSI applications, and concludes it has been worth the wait.
Review | Sound On Sound, Feb 1988
The ability to load new samples whilst playing is only one of many performance-related features which make the 20-voice EPS stand out from the current crowd of sampling keyboards. Craig Anderton reveals the others...
Review | Sound On Sound, Sep 1986
THE ULTIMATE SOFT MACHINE
The Fairlight (in its previous Series II guise) was/is probably the most famous computer musical instrument in the world. Everybody knows the name, but few really know what its true capabilities are. Now there is a new breed of Fairlight, far more powerful and far more sophisticated than the old one ever was - the Series III. Richard Elen takes a look at the mind-boggling potential of this Rolls-Royce of sound sampling/synthesizing machines.