|Sound On Sound - September 1991|
Your chance to catch up on whats happening in the whacky world of hi-tech music and recording.
Paul Ireson on this year's International Music Show.
Yet another selection of recently announced new products to whet your appetite!
David Mellor straps on his vintage Stratocaster and plugs into the effects unit of the future.
Despite an outward contempt for technology, Steve Reich has exploited it to create some of the century's seminal works of modern music, and will rely on the latest in digital electronics for his current project. Mark J. Prendergast tries to make sense of it all.
Not content with offering most of the Saber's facilities in the highly affordable Spectrum, Allen & Heath have now produced in the S2 an even cheaper fully-featured recording console. Dave Lockwood tries it on for size.
Following his guide to using the B77, David Mellor offers some basic advice for newcomers to the Sony DTC1000ES.
Hitsound Sampling CDs
Paul Ireson checks out the first three volumes in the Hitsound Sampling CD library: Pure Gold Synth; Old Gold Synth; and Guitar.
Improvements and additions to the SY77 concept have produced a new instrument — the SY99. Martin Russ Looks at Yamaha's new flagship synth.
Success On The Side | Paul Hardcastle
Paul Hardcastle, despite his low profile of late, has been a busy man. Paul Ireson reports.
The second part of the series in which Martin Russ explains how to get the most out of your Atari ST computer.
The Roland Sound Canvas is far more than a successor to the MT32— it's the first of a whole new generation of MIDI instruments, conforming to the General MIDI standard. Special Agent Paul D. Lehrman investigates.
Pro Power At A Nice Price
David Mellor looks at a fully featured sequencing package with a surprisingly low price tag.
Win Opcode software worth over £700!
Hints, Tips & News From The World Of Music Software
More hints and tips from the software manufacturers themselves. This month: C-Lab, Steinberg, and Coda.
Out Of The Closet
Manufacturers, retailers and end users are locked into a culture that produces limited, unimaginative products, writes Pete Shelton.