Music Technology - June 1988
Will Digital Audio Tape bring digital clarity to domestic tape recording or will the major record companies use it to impose restrictions on what you can do with recordings you've already paid for?
P&O dispute continues... famous defector dies... Swindon declares independence and invades Bolivia... Read all the latest news in Music Technology. Every month.
Pete Waterman's views on sampling and plagiarism come under attack and a different breed of keyboard hero is championed by readers with a grievance to air.
When even the Samaritans can't help... In MT's regular question-and-answer comer, our regular one-man panel of experts solves more desperate readers' dilemmas.
Yamaha's WX7 MIDI wind controller has already attracted the attention of professional sax players like Courtney Pine. Man Jumping saxophonist Andy Blake gets his second wind.
In the second part of his piece on sampling the human voice, Tom McLaughlin discusses making up vocal multisamples and how to solve the problems you can expect to encounter.
Programmable Automation Computer
A powerful and expensive automated MIDI mixing system attracts the attention of Chris Many. But how much should you have to pay for automation, and what should it do for you?
The scope of MIDI control has expanded beyond that of simply allowing one synthesiser to control another. Chris Meyer explains how you can now shape a whole mix using the five-pin DIN plug.
Three Wize Men
Getting philosophical about the new British hip hop. Tim "homeboy" Ponting raps with Wize man DJ Jemski about sampling, sequencing and bringing the drum kit into hip hop.
For everyone who's ever wished they could play their favourite synthesiser patch from a grand piano, Yamaha have the answer. Simon Trask discovers that old and new technology can co-exist in harmony.
Roland follow up their successful S50 sampler with a more highly-specified rack-mount alternative that includes sample display capabilities. Bob O'Donnell monitors its performance.
Since Yamaha popularised FM synthesis, a lot of attention has been paid to digital technology. Lorenz Rychner explains how a lot of this technology still uses analogue programming techniques.
Four years on from the successes of The Flat Earth, Thomas Dolby has moved to LA for his follow-up LP, Aliens Ate My Buick. Tim Goodyer discovers that aliens have a lot to say.
E-mu enhance their popular Emax sampler with a built-in 20 Meg hard disk and two new methods of sound synthesis. But how successful is the sampler-as-synthesiser? Bob O'Donnell takes it to the max.
From his involvement in the infamous Frankie Goes To Hollywood sessions, Andy Richards has become an accomplished producer and programmer in his own right. Nicholas Rowland listens to a rationalisation of technology.
Check out this month's selection of readers' patches from users of Yamaha's DX21, Casio's CZ1 and Ensoniq's ESQ1 synths.
Kawai's latest synthesiser combines samples with sounds created using additive synthesis. Simon Trask investigates what could be a new dimension in synthesiser technology.
Software for the Atari ST
Tired 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.
Man Jumping sticksman Simon Limbrick talks about tuned percussion, sampled percussion and technology on the stage. Nicholas Rowland tunes in to the rhythm of technology.
Software for the Atari ST
A powerful sequencer for a less than overpowering price? Simon "loadsamidi" Trask discovers the slimmed-down version of Master Tracks Pro might just be Passport's passport to mass popularity.