|Music Technology - January 1987|
Why doesn't Britain, home of so much that is good in modern music, have a central institute
for music technology development?
Latest facts and figures from the world of musk technology. Remember you read it here first.
MT readers give their views a thorough airing - and nobody is safe.
MT's own team of Agony Aunts prepare to cock a friendly ear in the direction of your technical problems.
What made 1986 a memorable year for our team of writers.
After the disaster that was the Linn 9000, why would anyone want to build another combined sampling drum machine and sequencer. Rick Davies has the answer.
MIDI-to-CV converters don't come much cheaper - or more flexible - than this one. Tim Goodyer tests the latest addition to Tantek's ever-expanding rack.
Add-ons for small computers are getting more and more professional in their facilities, their quality and their presentation, as Chris Jenkins discovers.
The Japanese fight back in the battle to design cheap digital reverb, with an all-preset rack-mounting machine for under £350. Don Goldstein has the details.
Chris Jenkins again, with a new program that lets Commodore owners look inside the Yamaha-licensed FM sound chip. A DX7 for sixpence?
Dan Goldstein and Paul Wiffen go down and out in Beverly Hills - and drop in on America's biggest recording convention along the way. Within its walls, a quiet revolution is taking place...
For Spectrum and Amstrad Computers
The would-be Fairlight killer comes under scrutiny at last. Ian Waugh reports on an ambitious add-on for Spectrum and Amstrad micros.
You almost certainly haven't heard of him, but this man is one of the most inventive composers, arrangers and producers in modern Japan. Tim Goodyer listens to what he has to say.
SAS Electronic Piano
Structured Adaptive Synthesis (SAS to you) comes to a piano that costs less than £2000. Simon Trask combs the area for compromises.
Polyphonic Sampling Keyboard
Put six S612 modules in a box, stick a keyboard on it, add some new features, and you've got
Akai's contender in the budget sampling keyboard stakes. Simon Trask takes notes.
When one of the world's most famous grand-piano manufacturers starts getting involved with digital sequence recording, the world had better take notice. Simon Croft reports.
Polyphonic Sampling Keyboard
An exclusive, in-depth report on the machine that promises to bring Emulator quality to the masses. Paul Wiffen, Emulator fan, finds out if the promises are fulfilled.
Percussion Voice Expander
Nick Rowland takes sticks to Simmons pads - and finds a whole load of tuned percussion sounds appearing at the other end. Will drummers start putting xylophonists out of work?
The Luxury Gap boys pat themselves on the back after recording their fourth album, 'Pleasure One'. Tim Goodyer finds out how it was done, and discovers the threesome may soon be playing their first-ever concerts.
What do you get when you cross brilliant musicianship, technological wizardry and one of the brightest line-ups in modern jazz? Answer: Steps Ahead. Interview by Liz Rose and Leslie Fradkin.
Getting the Most from Mono Mode
You may have your heart set on a specific MIDI guitar controller, but do you know which kind of synth voice unit to combine it with? Rick Davies offers some interactive advice.
Computer Music System
Noel Williams compares Hybrid Technology's latest BBC music add-on to its predecessor, the Music 500. Is it the friendlier beast its designers claim it to be?
Four-track Cassette Machine
It's like a Porta One, but bigger, with more input channels, more features, and a correspondingly higher price-tag. Paul White casts a critical eye.
The section where MT readers submit their own synth sounds. Featured machines this month include the Korg Poly 800, Roland Alpha Juno 2 and Yamaha DX7.
...Is one of the producers responsible for the new wave of guitar-based pop. Paul Tingen finds he has plenty to say about modern music technology, not all of it favourable.
The concluding episode, and Paul White explains how the processing secrets already revealed can be applied to make a complete mix. No more staring at the faders in despair...
Europe's most forward-looking centre for music technology development is alive and well and flourishing in Holland. Ron Briefel pays it a visit, and comes away suitably impressed.