Not many people would have the courage to give up a lucrative career in the jingles business in order to record and release their own CD. But that's precisely what Simon Renouf has done, and this is his story...
Most editing software is more user-friendly than digital parameter access, and more suited to the demands of editing complex digital synthesizers than traditional analogue controls. Greg Truckell investigates.
From the home organ division of the Japanese giant comes a box which wipes the floor with anything that Yamaha’s Professional Keyboards division can currently produce. Paul Wiffen reveals the secret of the black box...
The prospect of a high-spec sample player bearing the Emu name, but costing 'under £1000', had musician's waiting with baited breath for its appearance. Now Proteus is here, and Paul Ireson breathes a sigh of relief as he finds that it was worth the wait.
PART 3; David Mellor looks at how the requirements of different types of music for TV and film can dictate the sophistication of your synchronising capabilities, and at how machine synchronisation works in practice.
Good quality microphones can be a real asset to any type of studio, but if you want the best tools you should be prepared to pay the price for them. Gareth Stuart considers the worth of Beyer's top of the range condenser mic.
If you have a large number of disorganised patches and an unruly MIDI network, then Xor is made for you. It is designed to make sound management and working with MIDI instruments easier. Martin Russ finds out if the claims are true.
The Tokyo Expo is normally a fairly low-key domestic affair, but this year several major new products were unveiled for the first time ever. Our man in Japan, Paul Wiffen, was there to report on some of the hi-tech instruments that will be vying for your money in the coming year; including Yamaha's new mega-synth, the SY77