|Sound On Sound - April 1988|
Check out some of the forthcoming and recently released new products from the hi-tech and recording fields.
With features like stereo, mono and separate outputs for external processing, real-time and step-time programming, MIDI compatibility, and interchangeable drum sounds, the budget-priced MD8 should theoretically cost a lot more than it does. Tony Wride sees if it lives up to expectations.
By combining plenty of different sounds with the built-in percussion voices and digital reverb, Roland's MT32 multitimbral expander makes the ideal add-on for any sequencer. But it really takes a software editing program to get the very best out of it. Brian Howarth shows you how.
If you're on the look-out for a compact 16-channel mixer which could do double duty in your home studio as well as on-stage, then the rack-mount M160 will definitely be of interest to you. Ian Gilby checks it out.
Fostex’s SMPTE reading/writing, MIDI syncing, auto-locating, remote transport control unit recently underwent a serious internal re-examination. Ed Jones assesses the newly implemented features and describes their practical application.
The SmpteTrack software for the Atari ST is one of the most expensive ST sequencers around, but is it one of the best? David Mellor dons his pith helmet and hacks his way through the computer jungle to find out.
Our regular column devoted to readers’ hints and tips about their recording equipment, instruments, software and playing techniques.
Last month we gave you advice on choosing a computer for musical applications; as a follow on, this month Mike Barnes provides a comprehensive rundown of available music software for the Atari, Macintosh, IBM PC, and Amiga computers.
As a founding member of Germany’s pioneering electronic group, Can, and a former Stockhausen pupil, Holger Czukay has long been associated with the avant-garde electronic music scene in Europe. His past work includes collaborations with Brian Eno, the Eurythmics and David Sylvian, with whom he has recently completed a new album. Mark Prendergast reports.
Where would Madonna, Giorgio Moroder or Stock, Aitken and Waterman be without sequenced bass lines? Rudi Cazeaux provides some guidelines and practical examples to help you create better bass lines.
The coming of age of the Digital Audio Workstation has implications that go far beyond being simply another item of interest to electronic musicians. Craig Anderton brings us up to date on what’s happening at the top-end of the professional recording world and how it will affect us mere mortals.
As sampling keyboards rapidly reach saturation coverage, is a sampling delay unit which offers 6.5 seconds stereo sampling still a useful tool? David Mellor assesses Bel's new unit in comparison with a more expensive alternative.
This low-cost program for the Atari ST uses Artificial Intelligence techniques to take all the hard work out of programming FM synths and allows you to create new ‘musical’ voices quickly and easily. David Hughes enters the edit zone...
Martin Russ pretends he’s Dick Barton, Private Eye, for the very last time and brings his series to a close with a Guide to MIDI Troubleshooting.
For a company that is usually in the forefront of musical technology development to be so late in introducing their SMPTE/MIDI processor is quite remarkable. Is the Yamaha MSS1 worth the wait, or is it just a case of 'me too' marketing techniques? David Mellor champs at the timecode bit.
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