With 32 inputs available in remix mode, MTR reckon their 16-8-2 mixer has got what it takes to woo customers away from the ever-popular Seck 1882. But is its in-line design as easy to use? Gareth Stuart reports.
Offering 256 tracks, direct screen manipulation of events, and the facility to alter any type of data whilst your sequence keeps playing, RealTime looks set to make a big name for itself very quickly. Martin Russ took a real shine to it - will you?
With a Macintosh computer and Digidesign's new CD-quality digital audio system, you can cut, splice, and create extended remixes to your heart's content. Paul D. Lehrman discovers what it is like to go tapeless in the studio.
In the dog-eat-dog world of professional recording studios, the Strongroom has proved that you don't necessarily need an SSL mixing desk to stay in business! Paul Calderon pays a visit to this thriving centre of creativity.
What price a reputation? The Revox brand name is well established and very well respected, but the new model C278 8-track costs a lot more than the Fostex and Tascam equivalents. David Mellor asks whether it is worth the extra.
Proving that hi-tech tools are not the sole preserve of pop musicians, Richard Gonski, Music Director of the Electric Symphony Orchestra, tells how he and Francis Monkman took Mozart's Piano Concerto In C Minor, K.491, and sequenced the whole work using C-Lab's Notator.
PART 9: It is easy to list all the glamorous' items required for a home studio - synths, sampler, mixing console, tape machines, etc - but the small things are important too. In this final part of the series, David Mellor gathers together all those essential bits and pieces.