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Partners In Rhyme

Interview | Music Technology, Feb 1992

Felton Pilate's success spans "traditional" funk to the rap revolution - just now he's writing, producing and playing keys for Hammer. Nick Batzdorf raps tech with the Hammer man.

Delaying Tactics

Feature | Topic: Effects Processing | Electronic Soundmaker & Computer Music, Nov 1984

Having fun with digital delays.

Editorial

Editorial | Polyphony, Feb 1976

Raising The Standard

Review | Sound On Sound, Mar 1993
Akai S3000 and S2800 Samplers

Graham Gouldman

Interview | Home & Studio Recording, Apr 1986

Graham hasn't been idle since his 10CC days. Paul White talks to him about his new musical venture... Wax.

Modern classic

Group: Control Room

Review | The Mix, Feb 1995
E-MU Classic Keys

Analog Keyboard expander

Cheetah MD16

Review | Music Technology, Mar 1991
Drum Machine

Possibly the most requested review in recent years, Cheetah's MD16 drum machine is finally here and ready for inspection. Simon Trask gives it a good beating.

Digidesign Audiomedia LC

Review | Sound On Sound, Sep 1993
Digital Audio Board For The Mac LC

Black Magic

Interview | Music Technology, Oct 1987

The beat doesn't come much harder than from this respected London funk outfit. In the wake of their debut LP Tim Goodyer gets the hard facts about rhythm from a box.

Sounding Off

Opinion | Sound On Sound, Dec 1988
Use your Ears!

Regular contributor Martin Russ climbs onto the soapbox this month with a plea to use our ears!

Peavey DPM3 SE & DPM SX

Review | Music Technology, Aug 1991
Digital Synth & Sampling Interface

Since entering the keyboard market with the DPM3, Peavey have expanded the range and power of their gear. Simon Trask checks out Peavey's "upgradable" philosophy.

Chip Parade - Part 5

Feature Series | Topic: Electronics / Build | Electronic Soundmaker & Computer Music, Jan 1984

More on CEM

Sequential Studio 440

Review | Music Technology, Feb 1987
Sampling Drum Machine/Sequencer

After last month's In Brief preview, Paul Wiffen gets his hands on a first production model of Sequential's new all-in-one drum machine, sampler and sequencer. Is it the master of all trades?

Akai S1100

Review | Sound On Sound, Dec 1990
16-Bit Stereo Sampler

Akai's S1000 is without doubt the industry standard professional sampler, so why try and improve on the best? Paul Wiffen finds that SMPTE cue listing, AES/EBU real-time output, and built-in effects are a good start (with hard disk recording to follow).

Metal Beat

Interview | Electronic Soundmaker & Computer Music, Feb 1985

SPK began by hammering away at anything from the scrapyard but now generate their metal beat on the Fairlight. We investigate the method in the mayhem.

Opcode MAXplay

Review | Sound On Sound, Aug 1992
MIDI Utility Software

MAXplay opens a window on a world of MIDI applications, including MIDI analysers, harmonisers, editor/librarians and much, much more. Kendall Wrightson investigates.

Selected ambient words

Group: Mixing It!

Interview Audio | The Mix, Sep 1994

360 Systems Keyboard

Review | One Two Testing, May 1984

We hold a sample

Track Record: The Art Of Noise

Group: Recording World

Feature | Topic: Classic Tracks | International Musician & Recording World, May 1986
Peter Gunn

Jim Betteridge plays 'Hunt the Aled Jones sample.'

Drum Programming - Part 8

Feature Series | Topic: Drum Programming | Sound On Sound, Dec 1992
A Series By Warren Cann.

Special K

Review | In Tune, Dec 1985
Kinkade's hot semi

The Musical Micro

Feature | Topic: Computing | International Musician & Recording World, Jul 1986
Take It From The Top

Tony Mills with more up and downmarket software

AKG D330BT and D202

Review | Electronics & Music Maker, Feb 1982

Boss DSD2

Review | Electronics & Music Maker, Oct 1985

A modest newcomer to the sampling arena is Boss' DSD2 pedal. Paul White finds out if it's capable of more intelligent iterations than 'hangover'.

Showing Out

Editorial | Music Technology, Feb 1987

Another winter, another spate of musical instrument shows. They mean a lot for business, but what do they mean to music as a whole?

 

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