Bits & bobs

As well as the usual crop of samples (this month in SPL, WAV and AVR formats) there is a feast of public domain and shareware sample programs for the ST. First up on the conveyor belt is Sam2Disk, a direct-to-disk sampling/sequencing program that uses the Stereo Replay, Replay 16, or Mastersound cartridge for its hardware. Depending on which cartridge you have, you can sample in 8 or 16 bits, stereo or mono, and up to 32kHz, although higher rates are available on the registered version. Other limitations on the demo version are that the samples can only be up to 31k in size. To use Sam2disk you do need a reasonably fast (and reasonably empty) hard drive to store and retrieve the samples from.

The software itself is very straightforward. There are two main pages, the first of which displays all the sampling options, the sample currently being recorded, and an input monitor oscilloscope. You can select to record a sample, play it back, or monitor the incoming signals from the buttons on the front panel. The second page displays the sequencing editing options, where the samples can all be combined to create a finished piece. Sam2Disk works on all STs, in medium and high resolution.

NSQ (or Nearly Synthesiser Quality, which is considerably harder to remember), is a soundchip synthesiser than outputs your creations to SND sample file format. Most of the sounds you get out of the ST's chip will be beepy, or incredibly grungy, but with a little effort, you can turn your ST into a potent sound source, producing some fine pad sounds, percussive hits, and weird effects. The program also uses MIDI inputs to play the samples back. Soundkey is a program along the same lines as NSQ, except with this program you haven't the option to save your ST splodge to a sample. You do however have some useful synthesis parameters, plus the use of the computer keyboard to audition sounds. If you have an external sampler, then there is nothing to stop you whipping off a few hundred kilobytes worth of ST bleepomania for use in your music. But even if you don't use it seriously, it's still good fun!

This is the reason behind the inclusion of this final utility. If you have ever sighed with despair when your poor old STe wastes the potential of the DMA chip by bleeping its errors at you, rather than reciting Monty Python like Macs and PCs do, then GBell is the essential fix-all for you. You just need to copy the .PRG file to your AUTO folder on your boot disk (the floppy disk you use to boot up with, or the C:\ partition on your hard drive) and then edit the accompanying INF file to tell the program where your alternative system beep samples are. The accompanying documentation should tell you all you need to know to get started. This also applies to the setting up and loading, and the registration details of all the software on this month's Re:Mix CD-ROM.

For the PC this month we have a demo version of the Pianist software (see the review elsewhere in Toolbox), plus a collection of samples in WAV format.

To run the Pianist, double click on Go.exe from within the File Manager on Windows; this will automatically install the program on your hard drive. Obviously, you'll need a sound card, else it will be the quietest version of Beethoven you've ever heard (or rather not).

There are absolutely bucketfuls of music data files (MIDI files, samples and MODs) for the Amiga this month, to demonstrate the Sounds Terrific CD-ROM by Weird Science. The MIDI files, MODs, and samples can also be loaded into a PC or Atari, so long as you have compatible software.

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Bigtime blunder

I wonder how many of you spotted last month's deliberate mistake on the phone number for Akai samples from Big Time Productions? No prizes sadly, but for those of you who confused the Wolverhampton Chinese Laundry, the correct number is: (Contact Details).

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Patching up the monarchy

I thought I was in for a treat when Danny handed me this to review. The Patchking is a fully featured editor for my favourite four-operator synth which runs as an accessory, and allows me to do what Steinberg in their infinite wisdom had never allowed me to do; edit my beloved DX11 from within Cubase. Steinberg's own editors will allow files to be sent to your synth from Satellite, but they only support six operator FM synths and much as I love the DX7, it is the DX100, DX21, DX11 and TX81Z which are in more use by the techno tribe. For their ease of use, great bass sounds and multi-timbrality, they are very popular. So it was with great excitement that I unwrapped Patchking's universal editor, hoping that as an accessory it would enable me to fulfil my dream of sending patches out to the DX while Cubase was running.

Patchking works equally well as an accessory to Cubase as its more natural partner, Breakthru. Although it doesn't use a GEM interface, anyone familiar with Breakthru will soon feel at home in Patchking's intuitive environment. While running as an accessory, the only thing it won't do is request a dump from your synth while there's a sequencer active. As this was part of what I was looking for, I was a little disappointed, but that's not to denigrate Patchking's capabilities. I had a complete dump of the DX11's voice and performance patches with a simple click of the top menu button, marked 'RX'. All of this in the minute it took for the DX to transfer the contents of its memory. I was happily programming my way through a whole bank of new sounds in no time. Anyone who is familiar with FM synthesis should have no problem navigating the architecture of their synth, using Patchking's well-written routines and clear, informative screen displays. Clicking on an individual sound in a bank will send that sound out to your DX, and it's also possible to edit the DX's voices while a sequence is running.

With software developers on the continent leading the way in developing music applications, it's good to see a British firm coming up with the goods. Patchking is easily the most fully featured editor I have come across for the DX series yet, and the program is available for other synths too, the Kawai K4 and Roland MKS-70 amongst them. All you do is load a new configuration for your synth and away you go. More of this please! RB

More from: Software Technology, (Contact Details).

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That's cheating isn't it?

It's all very well your creativity taking a holiday now and then, but it does seem to take off at the most inopportune moments. Fortunately for the STfm (not STe compatible), there are two programs available from the Public Domain to help relieve the strain of being left behind on the tarmac. ByteOven is a four part algorithmic music generator that works via MIDI. It is very simple to operate; there are only two editable parameters, tempo and time signature, but for its simplicity, it is very effective. The notes do seem to have a musical coherency about them, and the end result, depending on your choice of MIDI intrument and patches, can be quite satisfying. Of course, you can send the MIDI output from the ST to another sequencer, and record all the data ready to edit and incorporate into a song later on.

Kaos is a far more random-sounding music generator. It only plays on one MIDI channel, but has far more controllers than ByteOven. in that you can actually draw in the notes to play, so creating a more structured sequence. You also have control over the spread, length, and sequential patterns of the notes, although there is a fractal setting which seeds the screen with a multitude of dots. The musical result is perhaps not as good as that of ByteOven's, and will probably take more massaging to get to work in the context of a song, but there are moments of excellence amongst the jumble. It is just a shame that these programs don't work on the STe!

Available from: FloppyShop, (Contact Details).

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Dear John

note for TX81Z
I first encountered this editor about a year ago through Newtronic, and was very impressed then by its well-written interface and almost bug-free operation. That was version 2.10, now we're up to version 2.55 and I can't find any bugs! Yes, I am pleased to report this version fixes what was the last minor irritating bug for me.

On Yamaha 4-operator synths most of the parameters are the same, and so voices can be exchanged between the TX81Z, the DX21, 27, 100 and 11 with ease. The only real difference is that the DX series boasts a pitch envelope generator, which the TX81Z does not. Most editors written for the TX81Z ignore this fact, with the result that voices sent out to another Yamaha 4-operator synth sound very strange, as all the values in the three-stage PEG table for rate and level are reset to zero. Not unnaturally, this produces either a complete lack of sound, or a very low-pitched rumble.

John's editor has fixed this, and generally seems to have improved the MIDI transmission routines, with transfers being effected faster and smoother than before. Editing is very clear and easy, with a nicely written graphic display, and the Editor also fills a very useful librarian function, by being able to load two banks at a time and swap voices with each other.

There is also a performance editor, which is just as transparent to use as the voice editor, making this one of the best editing packages for Yamaha 4-operator synths. Twenty-three banks of new sounds are included on the disk, making it a very attractive package. RB

Available from: New Age PDL, (Contact Details).

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Atari shows off

Proving that there is still more mileage in the ST and Falcon than some sceptics would have you believe, the Atari show held on the 11th December in Hammersmith, London, was thronged with enthusiasts and serious users alike. This, and the Bristol show held the day before, has certainly been the most successful, according to Neal O'nions who co-organised the event, and also chaired a seminar on the future of Atari.

During the seminar, speculation was confirmed of a new TOS version for the Falcon due out in 1995, plus news of C-Lab's successful bid to purchase the licence from Atari, to manufacture and market the Falcon. Paul Wiffen of Digital Village, who was chiefly responsible for this idea, spoke briefly about plans not only to improve the hardware for better sound recording, but also for other applications such as video and DTP.

Also, news of ST Format's purchase of ST review magazine was announced, making it the only ST-based magazine currently available, following the recent closure of ST User. On the stands, Compo were offering ridiculously priced STFMs, STEs, and reconditioned SM124 monitors, plus their usual upgrade service. PD and Shareware products were being sold and displayed by Merlin, Goodmans, and 16/32 Systems, all of which also had on offer a range of commercial titles, computer consumables and peripherals to buy too.

System Solutions had an absolutely huge display of their increasingly vast range of hardware add-ons and upgrades for the ST and Falcon, inlcuding CD-ROM drives (and discs), hard drives, and custom cases like the desk topper, plus all their software titles too, including NVDI v3.0 (now true type and SpeedoGDOS fonts compatible) and MagiC multi-tasking system. Apex had on their stand a particularly exciting new true colour graphics and animation program, capable of mulitple real-time frame capture (from video), as well as a number of post-processing and drawing tools.

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Postbox Patching

If the joys of editing sounds on your Korg M1 have eluded you, because you have impaired your eyesight squinting at the letter box-sized screen, then the huge full-screen of an Atari high-res monitor is indeed a sight for sore eyes.

The M1 Editor is completely run from GEM, which means you can have accessories open and enjoy multi-tasking operations (software permitting). It's also completely icon-driven, with friendly menus and so forth. The editor has pages corresponding to all of the main function buttons on the M1; a program and combi mode, where the current library is listed, edit program and combi modes, a global parameters box, drum mapper, plus a sequencer editor which you can actually use with any MIDI device.

Editing the sounds is so much easier using this program, as all the parameters are available to you on the same page, except for the effects. Due to the huge graphic display of the algorithm set-ups and so on, it merits a page of its own. And should your inspiration for sound creation dry up faster than beer at an office Christmas party, despite the big screen, the editor has a computer-created voice function. This means that you have to do no work at all, save one thing: decide what sort of voice you would like it to create from a menu of various dishes such as piano, brass, percussive, or pure random, the latter producing some often very odd results.

The only drawback this program has is in its loading and saving of voices and banks to and from disk. It is an awfully confusing ritual (at least until you get the hang of it). The M1 editor is shareware, and for your fee you get a printed manual, plus free upgrades. It is certainly a program worth a lot more than the disk it's copied onto, and is highly recommended!

More from: Goodmans, (Contact Details).

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Sounds terrific

Libraries of samples and MIDI files are all very well, but to get a really impressive amount of files on floppy disks would mean a barrowload of the things.

Fortunately, some clever chap decided that you could put computer data on CDs; hence the CD-ROM, with its vast storage capabilities. 17 bit software have a range of CD-ROMs for the Amiga (and PC compatibles) including a double CD-ROM full of music utilities and sound files.

The first of the two CD-ROMs in the Sounds Terrific set contains samples in IFF, WAV, and SND format. There are over 6Mb of 'vocal' samples in SND format alone. The remaining crowd of SND samples are bundled into other distinguishable (and for that matter helpful) categories including sounds, instruments, movies, and aliens, the latter giving rise to some very bizarre noises indeed. The WAV samples are heaped less helpfully into alphabetical folders, each with a liberal dosage of Star Trek excerpts. Actually, there is a whole folder full (approximately 4.6Mb) of Star Trek the Next Generation samples.

With so many samples to choose from, it's hard to single out a choice few. However, it is worth noting that the quality of some of the files is perhaps not up to professional standard, but then again, this could be one of the CD's unique selling points. The samples drawers are indeed a Pandora's box of potential litigation, but they're as interesting as they are illicit. Some samples will just have you clutching your sides with laughter (the several renditions of Dr McCoy's "I'm a doctor, not a..." phrase are particularly amusing).

There are also twenty-six volumes of MIDI files, arranged into alphabetic drawers. All are set up to be played via a GM MIDI synth (complete with program changes), and vary from the abysmal through to the lavishly arranged. The most useful files are the ones that are just sketches or patterns which can be incorporated into your own arrangements.

If you have a CD-ROM drive for your Amiga (and you aren't using your PC to access the files), then an array of music and sounds utilities are at your disposal too. These include the PD version of Octamed, plus a number of other tracker programs, sample editors and players, as well as a selection of MIDI utilities. For the PC, a few command line sample convertors are included, which is useful.

The second CD contains absolutely hundreds of megabytes of tracker (or MOD) files. Once again, the files are all arranged into alphabetic drawers, which isn't as helpful as the first CD's arrangement of MOD files into music types, but this doesn't really matter. There are some absolute classics on this CD-ROM, all collectively representing a zillion hour's work by some presumably very tired people. Largely, all the MOD files are pleasant enough to listen to. but they are also an Aladdin's cave of ideas and samples.

The Sounds Terrific CD-ROM is an extensive archive of musical data, all ready and prepared for you to get creative with, and all for the price of Star Trek video or two (£19.99 plus 75p p&p). The only reason not to buy it is that it will take at least a fortnight to get through it all.

More from: 17bit Software, (Contact Details).

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World of Amiga '94

Seemingly in an attempt to outdo the glamour of Live 94, this year's World of Amiga show which took place between the 9th and 11th of December featured a veritable jamboree of entertainment, including live dance/drama performances, an arcade, various rides, and even the chance to have your photograph taken with father Christmas. A whole feast of mail order companies attended, one of which were Silica Systems, with many show specials on machines, upgrades, and on software. The Commodore International User Group were also booked in attendance, offering anyone with an Amiga (or for that matter a plus/4 or C64) advice and a chance to join their worldwide Commodore penpal network.

HiSoft had a stand displaying their new Aura sampler for the A600/A1200 (read the review in this month's issue), plus the unveiling of their new Squirrel SCSI-2 interface that allows connections of up to seven SCSI devices, and various CD-ROM drives, both of which ought to prove exceptionally popular, given the market for CDs at the moment. Rombo also had a very impressive stand, with their latest hardware and software video-digitising titles for both the Amiga and PC.

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Aura sampler

With yet another new sampling cartridge for the Amiga vying for my attention, I'm turning into a bit of a sea-dog, with a cartridge in every expansion port. Sceptism aside, the new Aura sampler from Hisoft AVR is another well-refined effort at introducing the Amiga to 12 and 16-bit sampling technology, but with the novel attraction of using the PCMCIA slot for its connection.

After the opening pleasantry of affixing sticky feet to the bottom of the cartridge and making the necessary back-up copies, time to slot the Aura sampler into the PCMCIA socket. I must admit that I was hesitant about this, as the card went in somewhat nervously. But at least it frees the serial port (where other sampling cartridges tend to reside) for printing. It is also easier to have a cartridge of this size hanging off the side of your machine, rather than out of the back.

Wobbly sockets aside, the Aura sampler is one fine piece of plastic, capable of sampling in both 8 and 16-bit, in mono or stereo, and up to an incredibly crisp and clean, but memory-hungry 60KHz. The hardware features a pair of RCA (or phono) inputs, a pair of outputs (also RCA type), and another set of inputs specifically designed for mixing the outputs from the Amiga's own audio sockets. The reason for this is that Aura uses the Amiga's own sound hardware to replay any 8-bit files. It also inadvertently saves on mixer tracks, which is always welcome as far as I'm concerned.

Before taking a sample, you can set up what type of file it is you want to record, using the new sample window. An indicator shows how much memory space you have left to use in the current window. Clicking on the sampler button accesses the sampling functions. No surprises there. It also displays two 'oscillator' windows (for left and right) which graphically represent any incoming sound source. Switching to monitor allows you to listen to the incoming source via the sampler's outputs. Unfortunately, there aren't any audio or keyboard trigger options for sampling; the only way to sample is by clicking on the record button.

Once you have a sample in RAM, the fun really begins. A multitude of editing facilities are then available to completely ruin what was a perfectly good sound. The usual cut, paste, and insert functions can be accessed from either the pull-down menu, edit button, or usefully using a selection of keyboard shortcuts.

More entertaining than affixing the sticky feet is applying some effects to your sample. The effects and mixed effects buttons along the control panel open up a wealth of completely programmable processing capabilities, including echoes, reverb, odd synthesis functions like pitchbending and modulation, and a terrific sounding phaser. Some of the effects, in particular the tube effect, ramp, and echo, all need a bit of work before they sound at all useable, and the pitch shifting seems occasionally to cause glitches in the sample (but not always). By and large, however, the effects can do some really good things to the sample. The bounce function is also quite novel, giving your sample a swishing auto-pan effect.

The mixed effects combine two processing tools in some of the most bizarre mixes available. One-of the best here is tube with modulation, which gives the impression of the sound being pulled through a mangle. You can audition any of the effects either to the sample in RAM. or to the incoming signal before applying them.

Should you accidentally apply an effect to a sample, or do anything else equally stupid or deserving of the mess you're likely to make of your work, there is an undo function. It works by saving the sample before you make any alterations to it, so it isn't perhaps as useful for people running the program without a hard disk, as it takes a while to save. But you can switch it off in the preferences menu. Just as well, or a simple cut and paste on a huge sample might otherwise take all week!

Clicking on the filters box allows you access to the, er, filters, plus a 3D FFT display of the sample. Across the bottom of the waveform mountain range is a bar on which you can select the frequency at which your filtering applies. High, low, band stop, and band pass filters can be amalgamated. There are two other EQ-type functions in the edit page. You can choose to increase the bass or treble content of your squiggle, but I would be cautious when doing so, particularly with samples that are already loud, as it tends to distort. You can also round the edges of roughness with the smooth sample, which acts as a sort of compressor.

Other edit functions include volume adjust (by percentage), fade in and out, and a compressor which squashes the size of your sample by a ratio of 2:1, 4:1, or 8:1. which decreases the sample size, but also loses some quality. Aura also has a MIDI function that allows you to play back samples set up in a keygroup via an external keyboard. By far the nicest function in Aura 'though, has nothing to do with sampling; a palette option allows you to completely change the colour scheme of your working environment, which is a very nice touch.

Although I remain sceptical about the physicality of the cartridge, with regard to its connection to the computer, and its less than robust looks, the quality of the output is unsurpassable. Both the software and the well constructed manual, with its glossary of terms and introductory tutorial, are a joy to use. For £99.95. it is perhaps a bit more expensive than your average Amiga sampler, but then again, the Aura sampler is certainly a cut above the rest.

Available from: Hisoft, (Contact Details).

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MIDI jellyroll blues

If you're looking for something a bit more musically challenging than the usual pop song covers that you get on GM music disks, then perhaps some of the Pianist program music is what you need. There are already more titles in this series than you could shake a stick at, including specific genres of piano playing, from jazz to New Orleans, and classical to ragtime, as well as some versions for guitar too.

You can actually run the Pianist on the PC with other programs. This way, you can set the program up to play a number of pieces, and then run off and finish some word processing or something. The 'playlist' can be made up of a number of categories, including composers, period and mood (where you can choose a set of pieces according to your disposition).

In addition to simply playing back files, you can also indulge in a spot of Mastermind-cry with the built-in trivia quiz. There are enough questions to keep you out of mischief for some time, so you won't be able to cheat by having the same question too often. If the embarrassment of low scoring on the trivia is too much to bear, then you can do a brief spot of research within the program, on the biographies and explanations of the music and their composers.

Although the music is all meant to be played with a piano sound, a General MIDI patch editor is included in the program that lets you change the instrument to whatever you like. Mozart's Sonata in A sounds really odd when it is played with a glockenspiel, or even more bizarre, by a sitar. The GM editor also allows you to transpose, pan, and add chorus or reverb effects to the performance.

The Pianist is perhaps just an elaborate MIDI file jukebox, but it does have many interesting additions that make it more useful than this. For example, the MIDI files are not just limited to being played within the pianist software itself. If you have a MIDI file-compatible sequencer you can load them into there too, to use in your own arrangements. The biographies and reference material are also really good, particularly if music is an area where your Trivial Pursuit question answering is seriously flawed. Indeed, as a sort of interactive encyclopaedia of pianists and their work, the Pianist, its second volume, and all of its other versions (jazz, blues, ragtime, and guitar) are invaluable. But most importantly of all, it's good fun to use.

Also available on Mac and ST disk priced £49. Arbiter Pro MIDI, (Contact Details).

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Join the club

A new user group specifically for PC musicians will be forming in January 1995, providing help, informations and general chatter about all things related to music on the PC. An annual fee of £20 entitles you to a membership package, plus a bi-monthly newsletter, with news of special offers and demonstration evenings, plus reviews and all that paraphernalia.

For more information contact: PC Music Club, (Contact Details)

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Ambient generation

Doing anything on the PC is inevitably going to lead to an unfeasibly large headache at some point or other, so rather than having a nervous breakdown, perhaps you ought to be massaged by some temperate ambient music instead. Koan Plus is an ambient music generator capable of creating evolving music using your soundcard or MIDI device. It is the playback-only version of Koan Pro, and comes complete with a library of pre-written musical perambulations to try out. An audio CD of the tracks is also included, and fits alongside the disk and manual in a neatly devised CD jewel case.

Koan Plus works very much like a normal CD player, with all the necessary transport functions, plus a playlist of the files, and all library information on the piece currently being played. There are four modules to the program; the main control part, the player, an analyser (a MIDI busy LED graph), and the viewer (the library), each of which can be switched off when not in use.

The music that Koan generates can certainly be deemed as ambient, or non-invasive at least, with lots of layers of seemingly fragmented sounds and harmonies coagulating to provide a rich synthesised swish. The whole program works using GM; the files are set to replay using a GM sound source, and the controls (reverb, chorus, pan, and main volume) all conform to the GM (or certainly GS) standard. Using the controls you can make adjustments to the output of the music. The best function on Koan Plus is its ability to save the played files as MIDI files, ready to export or cut and paste into your own sequences. Actually, combining the audio signal from the CD and the MIDI file together produces some really odd results too.

Apparently there are more volumes available to buy, and whilst they are good, and fun to use, I would rather make my own (using Koan Pro) than listen to someone else's.

Available from: SSEYO, (Contact Details)

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Making waves on the Mac

There's a veritable army of software developers out there, all out to dazzle you with the fruits of their labours. The freeware merchants could be considered more of a volunteer force, while shareware advocates are a touch more mercenary; doing battle with your conscience so that you'll eventually cough up the readies they request. On this month's Mac portion of the CD we encounter both armies, and so you are obliged to read their blurb and act accordingly. Either way, you get to try out some software for free!

Guitar Tuner 2.0
Guitar Tuner allows anyone with a sound input to tune an instrument. It works on colour or monochrome monitors, and if you've got a microphone, then all you have to do is play. The notes of each string are already laid out, and tuning up simply moves a line towards the note. Once in tune, the line is highlighted and you can move on to the next string. A fun thing to do is practise your scales. Can you hit a perfect A? Guitar Tuner will tell you. At last your tone-deaf friends will have to admit that they really should give up singing and play drums instead!

SoundBuilder 2.0
If sound editing is your bag, then Sound Builder allows you to record, cut, copy, paste and even reverse sections of audio. You can import a variety of sounds including Windows WAV files, and then save them to another format. The waveforms are graphically represented so that all editing procedures are easy and intuitive. It's not the most glamorous looking program, but it is freeware!

Sound-Trecker 2.0.1
Those of you in Amiga-land are already familiar with the joys of making music using MOD files. Now, Mac users can join in the fun with Sound Trecker. This program allows you to play files in the MOD format on a Mac. MOD files contain sampled sounds and song data pertaining to how those sounds are used. So, rather than eating up loads of hard disk space by sampling a whole track, songs are created using these short samples which are then used and/or tuned according to the MOD file play-back data.

This version of Sound Trecker only plays back these files. They appear on bulletin boards, and can be downloaded if you're suitably equipped.

SoundApp 1.2
SoundApp is a program of the 'drag and drop' variety. A whole host of sound formats can be played back using SoundApp, even MOD files! You can then convert them into to SND resource samples too, but that's not too economical. However, you can compress existing sounds and change the sample rate to suit. There's a help menu, and a load of keyboard shortcuts are listed in the 'Preferences' section. It's most definitely a Sound 'App'ning program and unusually funky for freeware!

SoundMachine 2.1

Well, well, how do they think up these names..? Anyway, SoundMachine is a good-looking versatile program. You can drag and drop files onto it, reverse, loop, and cue them up. A range of playback parameters exist, and you can even play MOD files... but with a difference. This time you can hear the samples that are used, rather than the song. Try it out the ALTPLNET.MOD file in Sound Trecker. If you try this, then SoundMachine will probably default to something unsuitable, so all you get is distortion. Play it again with 2's complement format at around 11 kHz (you can use 'balloon help' to navigate your way around). You'll get some digital grunge at first — but that's just the song data — followed by the samples themselves. Bob D

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Sample CD reviews

Workstation

(Volume one)

This CD opens with 24 stereo drum loop tracks, all of enormous length (more than a minute anyway), and all with various effects applied to them. Presumably, the epic sizes of the loops are so that they can be woven into a mix live, although their length is also useful for direct-to-disk recording. The best breaks are those entitled 'boom' and 'quest'; the latter combining an overdose of flange with a sprinkling of percussive bells.

Next in the queue are three groups of JD800 synth sounds. Unfortunately, all of the samples (some 150 of them) have been spread across just three tracks, and all all subjected to very abrupt endings making sampling tricky. Still, the likes of 'tambox', and 'oud' make all the sifting around the CD with the search button all worthwhile.

More choice timbres can be sought amongst the three batches of Proteus World samples. These include both synth textures ('desert dawn' and 'spirit catch' are two that leap out) and real instruments, such as 'suling', a very soft flute voice, and a series of sitar and banjo twangs.

The loops are perhaps not as exciting as they might be, and repeating them after the instrument section in shorter, mono versions doesn't help. But I dare say they benefit more from being on vinyl than on CD. However, the diverse selection of synth and real instruments are worth the very modest asking price alone. DM

Price: £11.00 CD, £7.00 LP Available from: D-Zone Direct, (Contact Details).

Loopisms

(Volume four)

With the rise and rise of jungle, it was inevitable the first sample CDs would appear with loops for the genre. Although most original jungle beats were sped-up loops taken from reggae, ragga and dub plates, a large amount of new loops are appearing as practitioners of the art get more proficient at programming them.

The loops on this CD are long. Most come in at about a minute, and provide plenty of variation if you want to piece together your own grooves. Presenting the loops this way, rather than as individual one, two or four-bar variations does require a good trigger finger, but if you're into jungle you've probably got the necessary adrenaline.

The samples are also stored on the CD in Akai format on tracks 55, 56 and 57, so CD3000 owners will be able to load them straight into RAM. The beats are all kickin', and may even encourage me to overcome my in-built prejudice against using drum loops. There's also a goodly collection analogue sounds, mostly bass bleeps and twangs, and more than enough rich pad sounds to produce an ambient jungle classic. All the analogue timbres are produced from the ubiquitous TB303, a Matrix 1000 or Juno 106 so there are no turkeys here. That's except for the cover, adorned by Beavis and Butthead. Reference is made to the moronic duo in titles such as duh? and huh? but their influence appears to have been subliminal, as I couldn't detect either of the boneheads' actual vocals anywhere. Jungle Massive, Beavis And Butthead versus General Levy anyone? RB

Price: £11.00 CD, £7.00 LP Available from: D-Zone

Charlie Morgan

Master Drums 2

Mr Morgan, sticksman by appointment to Elton John and a host of other rock 'n' roll celebs, is fast becoming a bit of a sample-CD icon. First we had Master Drums, his original collection of rock and pop patterns, then there was The Premier Collection, and then Past Masters.

Now we've got Master Drums 2. The title suggests some sort of sequel to the original release, but the reality is rather different. Whereas the first Master Drums featured what Charlie himself describes as 'standard' patterns, the follow up is a more personal, more improvisational affair. Simply recorded at a small out-of-town studio, these sessions have feel and guts where some of the patterns on the original tended to sound a little forced or stilted.

There's more variation too, with all 80 patterns being presented in a 15 bar configuration incorporating a one-bar start fill, a four-bar groove, further fills and grooves, and a one-bar stop fill. After each complete pattern, you get a brief reprise in the form of an edited two-bar groove loop, which is useful.

Stylistically we are still firmly in pop and (especially) rock territory, which won't please everyone. Yet Charlie's playing is funkier than most rock drummers, and most of the patterns swing along quite nicely, thank you. DG

Price £54.95

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Steve Stevens

Guitar Sample CDs tend to fall into two categories. There are discs of egotistical doodling from session players who give little thought as to how their widdling might creatively be used by programmers. And there are discs recorded by programmers who are as adept at guitar playing as the Government is at covering up sleaze.

This CD is neither. For a start it comes from the East-West stable, which is normally a sign of studio flexibility, not to mention recording quality. And for seconds, Stevens is an accomplished if (in Europe, anyway) tragically unhip axeman whose session credits include Billy Idol's 'White Wedding', Michael Jackson's 'Dirty Diana' and the soundtrack to Top Gun. (See what I mean?) Fashion aside, the important thing is that while Stevens does his worst with his Eddie Van Halen guitar, up in the control room there are engineers and programmers who understand why people buy sample CDs in the first place, and steer the session accordingly.

Thus we get all the tasteless, over-the-top pop and HM guitar screams, slashes and chops we would expect, but packaged in such a way as to make them usable on recording projects of just about any kind. While many of the sounds are positively dripping in effects (these are not the kind of sounds you can even achieve dry), not all of them are as loud and overbearingly proud as you might think.

In fact, Stevens turns out to be a good bit more subtle and versatile than his CV would have you believe. After the screaming and the shouting comes a series of ethereal ('though still clearly guitar-derived) moods, followed by some weird electric sitar chops, and finally a beautifully recorded and very complete package of acoustic flamenco guitar hits. DG

Price £69.95

Available from: Time+Space, (Contact Details)

X-Static Goldmine 2

Every now and then you get a sample CD which rises above the rest, not because of the inherent quality or creativity of its audio, but because of the way it's arranged and presented. X-Static Goldmine 2 is a case in point.

Like the rest of the X-Static Goldmine series, the disc hails from Stockholm, which is not the most promising of sources. But forget Roxette, this CD is as phat and funky as they come and, more than that, it's incredibly phlexible.

Briefly, this is how it works. Each pattern is proffered initially as an eight bar loop comprising four different variations of two bars each. Then come five further one bar patterns, known as sub loops. These may bear little or no relation to the initial pattern in terms of style, arrangement or sound, but the crucial thing is that they are at exactly the same tempo. After that you get seven individual drum hits from the initial loop, so that you can tinker with the original pattern, or add hits to the variations in order to make them blend sonically with the earlier pattern.

There are 21 loops presented in this way, all in a style which can broadly be describished as hip hop-ish, though that's by no means the only kind of music in which they will work. These loops are only the start 'though. Also included on the disc are 48 simple patterns known as 'Intermix' loops recorded at six different BPMs and combined together to form 'Phat' loops just to give you an idea of what can be achieved.

Whizzing backwards and forwards between all these possibilities is a tad timeconsuming, which is why the collection is also available on CD-ROM grooves and a free audio disc, so that you can pre-audition samples before loading them into precious sampler RAM. DG

Price: £54.95

Available from: Time+Space (Contact Details)