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Review | Sound On Sound, Aug 1987
Software for the Atari ST
If you own an Atari ST computer and either a Yamaha DX100, 21 or 27, then you should be interested in what David Hughes has to say about this low-cost librarian/editor software from Syndromic Music.
Review | Sound On Sound, Mar 1988
David Hughes tries out three new low-cost companions to the Alesis Microverb - the Micro Enhancer, Micro Gate, and Micro Limiter. Are they the Accessit range of the Eighties?
Review | Sound On Sound, Apr 1988
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...
Review | Sound On Sound, Aug 1988
Steinberg's Pro24 sequencer for the Atari ST has been around for over two years now, and has firmly established itself as the 'industry standard' ST sequencer against which all others are judged. Just when it looked like being overshadowed by some of its competitors, Steinberg released Version 3.0 of the program complete with some significant new features and enhancements. Pro24 owner David Hughes deliberates over the upgrade.
Review | Sound On Sound, Sep 1988
On the Emax Hard Disk Sampler
Unlike some samplers, Emax has stayed the course since its introduction over 18 months ago and has developed into a mature, well groomed specimen. Having released a Hard Disk version of the machine almost a year ago, Emu Systems have recently given Emax yet another lease of life with their Spectrum Synthesis upgrade, which turns the sampler into a powerful additive synthesizer. David Hughes tries it out
Review | Sound On Sound, Oct 1988
There can be few effects devices around as prestigious and as desirable as those made by Lexicon. Now, with the release of the LXP1 16-bit processor, the classic Lexicon sound becomes truly affordable. David Hughes tastes the quality...
Review | Sound On Sound, Mar 1989
Looking for an editor to help you plumb the depths of your LA sounds? David Hughes uncovers a real gem of a program for the Atari ST that makes light work of editing Roland D10, D20, and D110 synths, and can even be used with the MT32.
Review | Sound On Sound, May 1989
Yamaha TQ5 Expander
Stylish or ugly, don't let the TQ5’s unconventional casing distract you from the fact that with its 8-track integral sequencer and digital effects, this 4-operator FM expander packs a pretty powerful punch for the money. David Hughes reports from his ring-side seat.
Opinion | Sound On Sound, Jun 1989
Hard Disks & Hard Facts
Systems programmer and musician David Hughes reveals the hard facts about hard disks.
Review | Sound On Sound, Aug 1989
The new heir to the ST sequencer throne?
After a change of name and a long wait, Steinberg's successor to Pro24 is finally here. Has it been worth the wait? David Hughes thinks so...
Review | Sound On Sound, Sep 1989
Designed by musicians for musicians, The Digital Muse’s long-awaited MIDI sequencer for the Atari ST offers 99 tracks, real-time multitasking operation, ultra-fast screen redraws, and a host of comprehensive features with which to make music. So does it live up to expectation? David Hughes finds out...
Interview | Sound On Sound, Dec 1989
Turning digital dreams into reality
Ian Boddy is one of this country's foremost independent 'electronic music' composers. David Hughes talks to him about the recording of his new CD 'Odyssey'.
Review | Sound On Sound, Jan 1990
Another ST sequencer? David Hughes looks at the Gajits Sequencer One, and finds out how it measures up to the competition.
Review | Sound On Sound, Mar 1990
The recent launch of Yamaha's new flagship synth, the SY77, seems to have somewhat eclipsed the arrival of its sibling, the TG55 tone generator. Rightly or wrongly, the TG55 has taken something of a backseat whilst its big brother hogs most of the limelight. David Hughes assesses its star potential.
Feature | Topic: Education, Recording Studios | Sound On Sound, Apr 1990
Local community arts centres often house some sort of sound studio, and these can be the only way interested members of the public gain first-hand experience of recording and hi-tech equipment. David Hughes reports on one such North-East based facility.
Review | Sound On Sound, Jun 1990
Combining some of the best features of Dr.T's KCS sequencer and Tiger editor, along with a handy auto-scoring utility, this 12-track 'entry level' program packs an awful lot of power for its low price. Game warden David Hughes tracks it down.
Review | Sound On Sound, Jul 1990
David Hughes lends an ear to three well-priced CDs full of synthesizer and drum machine samples.
Review | Sound On Sound, Sep 1990
Despite the technological revolution that has changed the way almost everything else in music is produced, you still need a singer to record vocals — or do you? David Hughes looks at a sample CD that opens the door to a new way of laying down backing vocals.
Review | Sound On Sound, Nov 1990
How do you learn your favourite songs? Sheet music? Records? Tapes? No way, Jose. Today's musician uses MIDI song files. David Hughes reviews songs-on-disk from hands on MIDI software.
Review | Sound On Sound, Nov 1990
With Cubase and Notator fighting it out at the top end, Steinberg appear to have left Pro24 to defend its once dominant position in the mid-priced ST sequencer market. Now reinforcements are available with the release of Cubeat, a cut-down version of Cubase. David Hughes takes it into battle.
Review | Sound On Sound, Dec 1990
Is it really possible to get more music out of a program than you put in? David Hughes looks at software that takes auto-accompaniment and makes it work for the musician.
Review | Sound On Sound, Dec 1990
Steinberg's flagship sequencer, Cubase, has seen two major revisions since we first reviewed it. David Hughes looks at what's new.
Review | Sound On Sound, Aug 1991
David Hughes checks out the DSP16, the most affordable of Digitech's new crop of effects units.
Group: On The Record
Electronic music is one area where independent status is the general rule. Ian Boddy is one of the UK's foremost electronic musicians, with a label he set up especially for his own releases. David Hughes gets the full story.