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Digital Subscriptions > MusicTech > May 2019 > IK MULTIMEDIA SampleTank 4 MAX €599

IK MULTIMEDIA SampleTank 4 MAX €599

SampleTank was the first ever ROMpler that tried to emulate every instrument going. So we’re excited to get our hands on the latest, souped-up to the MAX, version 4

Then the original SampleTank was released – and this is showing both its and my age – the dream was to do everything previously done in music hardware, in software, on a computer. By this time, around 2001, computers could do pretty much everything, apart from mimic those huge workstations that could produce every instrument sound under the sun.

SampleTank came out and did it. It was the first of a generation, a romping ROMpler capable of emulating any instrument. Fast-forward nearly two decades and our views on using a computer solely for music production might have changed to re-embrace hardware, but SampleTank is still here and it’s still making a very good case for your cash. Despite everyone going modular-andanalogue mad, it seems there is still a fabulous case for an all-singing, all-dancing application that covers just about every sound you will ever need, in one. The all-new SampleTank 4 Max does all of that, and some…

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About MusicTech

Many, many years ago, when pop music was in its infancy, artists would record at multi-purpose recording facilities that were typically designed simply to capture the live performances of the bands and artists. During the 1960s, when pop music had seized the mantle as the dominant entertainment medium in popular culture, bands such as The Beatles and The Beach Boys grew frustrated by the limitations imposed on them by the technology of the time. Their desire to sonically innovate (not to mention the genius-level work of the producers and engineers they worked with) spearheaded the advancement of multi-track recording technology, as well as several techniques and recording approaches that are still widely used today. In our cover feature, John Pickford examines how much of this classic technology was used – and how we can replicate those approaches today in our own home studios, using very faithful recreations of key kit from decades gone by. Elsewhere this issue, we learn more about the art of stem mastering from London’s Wired Masters; discover how an effective understanding of social media can hep you grow your audience; talk to a range of producers and engineers (including the Grammy-winning Darrell Thorp) and review all the latest hardware and software. I hope you enjoy the issue.