You are here

Who Chose The Magazines Name?

For everything after the recording stage: hardware/software and how you use it.

Who Chose The Magazines Name?

Postby sthum » Mon May 30, 2011 3:47 pm

.


As a matter of interest.... Who was it that chose the name of the SOS magazine and how did it come to be?

I've been wanting to ask this question for quite a while now, so please... put me out of my misery!



Sthum.......




.
sthum
Regular
Posts: 205
Joined: Wed Jun 04, 2008 11:00 pm

Re: Who Chose The Magazines Name?

Postby Exalted Wombat » Mon May 30, 2011 3:55 pm

Do you know what "sound on sound" WAS?
Exalted Wombat
Jedi Poster
Posts: 5644
Joined: Sat Feb 06, 2010 12:00 am
Location: London UK

You don't have to write songs. The world doesn't want you to write songs. It would probably prefer it if you didn't. So write songs if you want to. Otherwise, dont. Go fishing instead.


Re: Who Chose The Magazines Name?

Postby desmond » Mon May 30, 2011 4:24 pm

Probably named by Ian Gilby, I'd guess.

"Sound On Sound" was what multitracking was originally called, you'd layer a new recording on top of an existing recording, often using two tape machines - hence, Sound On Sound, a studio recording term.
User avatar
desmond
Jedi Poster
Posts: 6499
Joined: Tue Jan 10, 2006 12:00 am

mu:zines | music magazine archive | Latest: MT Dec 90
Needed: SOS April 1993. Can you donate your copy to complete the early SOS archive?


Re: Who Chose The Magazines Name?

Postby . . . Delete This User . . . » Mon May 30, 2011 5:08 pm

also as a tribute to the work of bill nelson i think

and yes, SOS was founded by , and is still owned by Ian Gilby, who chose the name
. . . Delete This User . . .
Frequent Poster
Posts: 2368
Joined: Sun Jun 22, 2008 11:00 pm

Re: Who Chose The Magazines Name?

Postby Martin Walker » Tue May 31, 2011 9:22 am

Yep, all perfectly true

sthum -if you want to read more about the history of the magazine, take a look at its Wikipedia page:

http://en.wikipedia.org/wiki/Sound_on_Sound


Martin
User avatar
Martin Walker
Moderator
Posts: 9688
Joined: Wed Jan 13, 2010 8:44 am
Location: Cornwall, UK

Steampunk & Synth News | Mad Scientist Mode


Re: Who Chose The Magazines Name?

Postby sthum » Tue May 31, 2011 2:59 pm

.





Thank You All!

I can rest easy now.

It is a very cool name.... Well done Ian Gilby!!



Sthum.....



.
sthum
Regular
Posts: 205
Joined: Wed Jun 04, 2008 11:00 pm

Re: Who Chose The Magazines Name?

Postby desmond » Tue May 31, 2011 3:00 pm

"At the time of its launch, text for the magazine was edited on BBC Model B computers and pages were physically pasted together with wax."

Ah... good old days... ( ! )
User avatar
desmond
Jedi Poster
Posts: 6499
Joined: Tue Jan 10, 2006 12:00 am

mu:zines | music magazine archive | Latest: MT Dec 90
Needed: SOS April 1993. Can you donate your copy to complete the early SOS archive?


Re: Who Chose The Magazines Name?

Postby Forum Admin » Tue May 31, 2011 3:54 pm

sthum wrote:.

As a matter of interest.... Who was it that chose the name of the SOS magazine and how did it come to be?

Hi,

I can't take all the credit, as it was a joint naming decision by myself and my brother, Paul. You may find this 15th anniversary Leader article that I wrote sheds some light on the early years.

http://www.soundonsound.com/sos/15years/intro.htm

We were playing Bill Nelson's Red Noise album "Sound-On-Sound" from 1979 all the time we were conceiving our magazine in 1985 after resigning from Music Maker Publications where we innovated on Home Studio Recording magazine before we left and Paul White moved up from Technical Editor to Editor role and renamed the mag Home & Studio Recording.

One day, I may write a book all about it, and our industry, as there are tons of insightful, awkward, fun and gruesome moments in the SOS story.

Sound On Sound was a overdub technique -- copyright of TEAC (I think) -- which I used on my Akai DS4000 2-track reel-to-reel to record demos back in 1973. We also liked the SOS = "asking for help" angle, and what confirmed to us that the SOS name was the right one, was when my brother and I had left a meeting with Link House publishers of Studio Sound in Croydon, who invited us in May 1985 to pitch our idea for a revolutionary colour magazine to them.

After the pitch bro and I sat in the local Pizza Hut befre driving back to Cambridge, and heard back to back tracks from Abba (SOS) and The Police (Message In A Bottle with the lyric line: "Sending Out An SOS") -- we went home that evening, put on Bill Nelson's CD and looked at our long list of over 30 magazine titles... the choice seemed to leap into our consciousness and the decision was made.

Glad you're interested, and enjoying the magazine.

Best wishes,
Ian Gilby
User avatar
Forum Admin
Moderator
Posts: 1826
Joined: Mon Jul 21, 2003 10:00 pm
Location: A bomb-proof bunker deep in the fenlands of Cambridgeshire, UK

Proud recipient of a Blue Peter badge in 1967 (with letter from BBC TV editor Biddy Baxter).


Re: Who Chose The Magazines Name?

Postby Folderol » Tue May 31, 2011 8:09 pm

If I remember right, the method used was to switch off the erase head and use a lower bias on the record head so you partially erased the existing signal as you put the new material on top. Quite literally sound on sound. Sort of worked but tended to be noisy and the underlying signal lost treble content.
User avatar
Folderol
Jedi Poster
Posts: 4620
Joined: Sat Nov 15, 2008 12:00 am
Location: Rochester, UK

Save paradise, Pull up a parking lot!


Re: Who Chose The Magazines Name?

Postby Hugh Robjohns » Tue May 31, 2011 11:12 pm

Yes, some systems worked that way. However, I think many machine with a 'sound on sound' function -- including the Tascam and Akai machines mentioned (I had an AKai DB4000 myself) -- actually bounced material from one track to the other, mixing in new material as it went.

Hugh
User avatar
Hugh Robjohns
Moderator
Posts: 16927
Joined: Thu Jul 24, 2003 11:00 pm
Location: Worcestershire, UK

Technical Editor, Sound On Sound


Re: Who Chose The Magazines Name?

Postby hollowsun » Wed Jun 01, 2011 3:13 am

They did.

In SOS 'mode', you recorded onto the right channel. To overdub, that right channel was then fed to the left channel along with anything else coming in at the input. To overdub further, the left channel (with the two 'layers') was fed to the right channel along with anything else coming in at the input. And so on, ad infinitum, until the noise levels built up and the first recordings you made earlier were so muffled as to be inaudible.

Even if your tape machine didn't specifically have that feature, you could achieve the same by wiring the machine's left output to the right input and vice versa (as I did on my old Sony TC377).

But it could also be achieved with two tape machines....

Record onto tape machine 1 (in glorious stereo!) then, using a small mixer, feed that recording to tape machine 2 and, as tape machine 1 is playing, record an overdub to tape machine 2. So now tape machine 2 has two 'layers' (in glorious stereo). With a bit of repatching on the mixer, do the same so that tape machine 2 is now being recorded onto tape machine 1 with another overdub. And so on, back and forth, adding overdubs.

It sounds incredibly crude (and it was!) but it was all that was available and if you had your wits about you, you could work around the inadequacies...

For example, adding loads of top end to the early recordings so that the muffling wasn't so apparent after several SOS overdubs/transfers.

Of course, no drop-ins or anything so you had to get it right or rewind and start again so you had to be able to play and instrument and you had to mix as you went. You had to be extremely inventive, ingenious, creative and resourceful.

And people complain these days because they 'only' have 64 or 128 tracks of pristine 48kHz/24-bit recording and a zillion tracks of MIDI sequencing through shedloads of plug-ins, many of them free, in DAWs that cost less than one stereo reel-to-reel back in the day!! Image

If I was designing a music technology course, I'd be tempted to not allow any student access to a modern DAW (hardware or software) until they'd done three months on mono SOS with a single tape machine, three months of stereo SOS with two tape machines, then a further three months with a 4-track MTR and the final three months of the first year with 8, 16 and 24 track MTR with a real desk. That way, they'd learn to be creative and inventive and resourceful, think on their feet, improvise and compromise, learn how to use (and abuse) gain stages and routing and mixing on the fly and so forth and none of this 'fix it in the mix' nonsense - get it right at source, work with limitations, make creative decisions early on (and live with them) and so forth. The (ahem) 'qualification' they came out with would still be useless but at least they'd be better prepared for the real world!

But that's tweedy old fogey, old school me!
User avatar
hollowsun
Frequent Poster
Posts: 2122
Joined: Thu Jan 20, 2005 12:00 am

Re: Who Chose The Magazines Name?

Postby John Willett » Wed Jun 01, 2011 7:19 am

Hugh Robjohns wrote: -- actually bounced material from one track to the other, mixing in new material as it went.

Hugh


I did this in the early 1980's in digital, with a single Sony PCM-F1 unit and two F1 Betamax transports.

It was written up in "Music Week" at the time as (they say) I was the first to release an album digitally recorded in this way.
User avatar
John Willett
Jedi Poster
Posts: 4074
Joined: Tue Mar 07, 2000 12:00 am
Location: Oxfordshire UK

John
Sound-Link ProAudio
Circle Sound Services
President - Federation Internationale des Chasseurs de Sons


Re: Who Chose The Magazines Name?

Postby ConcertinaChap » Wed Jun 01, 2011 8:10 am

Interesting thread but I didn't think I'd have anything to contribute to it until the Akai recorders were mentioned. I had an Akai 4000ds (£69 back in 1971) which didn't have a sound-on-sound facility. Me and my brother got the same effect by sticking sellotape over the erase head.

I've still got it up in the loft somewhere. Course it doesn't work very well ...

CC
User avatar
ConcertinaChap
Frequent Poster
Posts: 3537
Joined: Tue Jul 19, 2005 11:00 pm
Location: Bradford on Avon

Making music: Eagle Alley ... Recording music: Mr Punch's Studio  


Re: Who Chose The Magazines Name?

Postby Folderol » Wed Jun 01, 2011 9:11 am

Oh dear, I guess it's too late for Jim now, but logic should really carry a government health warning. Once you start playing with it you get sucked in. It's taken me years to recover from my addiction and i still get odd twinges

Unless you really need high speed, I always recommend going totally 4xxx series. Much less critical on layout etc, and you can use un-stabilised supplies anywhere between 3 and 15V.

BTW a crude but effective switch de-bounce consists of a series 100k resistor and shunt 100nF cap feeding one of the inputs of a 40106. This sort of thing is also commonly used to provide a degree of static protection for inputs that may be 'floated'.
User avatar
Folderol
Jedi Poster
Posts: 4620
Joined: Sat Nov 15, 2008 12:00 am
Location: Rochester, UK

Save paradise, Pull up a parking lot!


Re: Who Chose The Magazines Name?

Postby Folderol » Wed Jun 01, 2011 9:13 am

@Hollowsun

You forgot one

Getting a recording of a tune played on single instrument, and cutting and splicing it to make a completely different tune.

I made 'Three Blind Mice'
User avatar
Folderol
Jedi Poster
Posts: 4620
Joined: Sat Nov 15, 2008 12:00 am
Location: Rochester, UK

Save paradise, Pull up a parking lot!


Re: Who Chose The Magazines Name?

Postby desmond » Wed Jun 01, 2011 9:22 am

When I was a tiny lickle thing I "borrowed" my dad's tape deck and my sister's boom-box so I could do sound-on-sound bounces between them...
User avatar
desmond
Jedi Poster
Posts: 6499
Joined: Tue Jan 10, 2006 12:00 am

mu:zines | music magazine archive | Latest: MT Dec 90
Needed: SOS April 1993. Can you donate your copy to complete the early SOS archive?


Re: Who Chose The Magazines Name?

Postby Exalted Wombat » Wed Jun 01, 2011 9:25 am

hollowsun wrote:If I was designing a music technology course, I'd be tempted to not allow any student access to a modern DAW (hardware or software) until they'd done three months on mono SOS with a single tape machine, three months of stereo SOS with two tape machines, then a further three months with a 4-track MTR and the final three months of the first year with 8, 16 and 24 track MTR with a real desk. That way, they'd learn to be creative and inventive and resourceful, think on their feet, improvise and compromise, learn how to use (and abuse) gain stages and routing and mixing on the fly and so forth and none of this 'fix it in the mix' nonsense - get it right at source, work with limitations, make creative decisions early on (and live with them) and so forth. The (ahem) 'qualification' they came out with would still be useless but at least they'd be better prepared for the real world!

Don't forget the mandatory class on making quill pens for the Creative Writing course :-)
Exalted Wombat
Jedi Poster
Posts: 5644
Joined: Sat Feb 06, 2010 12:00 am
Location: London UK

You don't have to write songs. The world doesn't want you to write songs. It would probably prefer it if you didn't. So write songs if you want to. Otherwise, dont. Go fishing instead.


Re: Who Chose The Magazines Name?

Postby hollowsun » Wed Jun 01, 2011 12:39 pm

Exalted Wombat wrote:Don't forget the mandatory class on making quill pens for the Creative Writing course
That would be week one, you silly boy! Get it over and done with.

Besides which, they'd need something to mark the tape with for the whole of year 2 would be spent learning to splice tape!
User avatar
hollowsun
Frequent Poster
Posts: 2122
Joined: Thu Jan 20, 2005 12:00 am

Re: Who Chose The Magazines Name?

Postby . . . Delete This User . . . » Wed Jun 01, 2011 4:49 pm

Folderol wrote:Oh dear, I guess it's too late for Jim now, but logic should really carry a government health warning. Once you start playing with it you get sucked in. It's taken me years to recover from my addiction and i still get odd twinges

Unless you really need high speed, I always recommend going totally 4xxx series. Much less critical on layout etc, and you can use un-stabilised supplies anywhere between 3 and 15V.

BTW a crude but effective switch de-bounce consists of a series 100k resistor and shunt 100nF cap feeding one of the inputs of a 40106. This sort of thing is also commonly used to provide a degree of static protection for inputs that may be 'floated'.

someone's been on the funny juice again haven't they Will?

methinks you meant to post that elsewhere....
. . . Delete This User . . .
Frequent Poster
Posts: 2368
Joined: Sun Jun 22, 2008 11:00 pm

Re: Who Chose The Magazines Name?

Postby Folderol » Wed Jun 01, 2011 5:54 pm

How the 'ucking hell did that get here. I thought the forum had just eaten it

I swear there is an evil anti-life roaming around looking for ways to screw everything up.

{mutter} {mutter}
I'll try to repost it where it's supposed to be!
User avatar
Folderol
Jedi Poster
Posts: 4620
Joined: Sat Nov 15, 2008 12:00 am
Location: Rochester, UK

Save paradise, Pull up a parking lot!


Re: Who Chose The Magazines Name?

Postby Zukan » Thu Jun 02, 2011 9:00 am

Will, you gotta chill with the fungii m8......
User avatar
Zukan
Moderator
Posts: 6170
Joined: Thu Sep 11, 2003 11:00 pm

Samplecraze   Stretch That Note Masterclasses


Re: Who Chose The Magazines Name?

Postby Folderol » Thu Jun 02, 2011 6:07 pm

Zukan wrote:Will, you gotta chill with the fungii m8......
I swear there's not mushroom here
User avatar
Folderol
Jedi Poster
Posts: 4620
Joined: Sat Nov 15, 2008 12:00 am
Location: Rochester, UK

Save paradise, Pull up a parking lot!


Re: Who Chose The Magazines Name?

Postby turbodave » Sun Jun 05, 2011 9:44 am

Can I add that I have always seen the Mancunian angle in the title of the mag ...as in sound (good, solid) on sound. Mancunian to Mancunian..."How ya doin?"
Mancunian replies "sound!"

Dave
User avatar
turbodave
Frequent Poster
Posts: 1616
Joined: Thu Apr 24, 2008 11:00 pm
Location: derbyshire uk

My head hurts!


Re: Who Chose The Magazines Name?

Postby sthum » Sun Jun 05, 2011 8:48 pm

.



Thanks Ian and congrats on a truly great magazine!!


Sthum.......




.
sthum
Regular
Posts: 205
Joined: Wed Jun 04, 2008 11:00 pm

Re: Who Chose The Magazines Name?

Postby James Perrett » Mon Jun 06, 2011 2:10 pm

hollowsun wrote:
Of course, no drop-ins or anything so you had to get it right or rewind and start again so you had to be able to play and instrument and you had to mix as you went. You had to be extremely inventive, ingenious, creative and resourceful.


I must admit that I would sometimes break the no drop-ins rule. Sometimes it worked while sometimes you ended up with a momentary drop out.

hollowsun wrote:
If I was designing a music technology course, I'd be tempted to not allow any student access to a modern DAW (hardware or software) until they'd done three months on mono SOS with a single tape machine, three months of stereo SOS with two tape machines, then a further three months with a 4-track MTR and the final three months of the first year with 8, 16 and 24 track MTR with a real desk. That way, they'd learn to be creative and inventive and resourceful, think on their feet, improvise and compromise, learn how to use (and abuse) gain stages and routing and mixing on the fly and so forth and none of this 'fix it in the mix' nonsense - get it right at source, work with limitations, make creative decisions early on (and live with them) and so forth. The (ahem) 'qualification' they came out with would still be useless but at least they'd be better prepared for the real world!

Actually I would certainly miss out the 4 track stage and probably the 8 track too. I find that you have to spend too much time thinking about the recording process with 4 or 8 tracks. I was perfectly happy doing sound on sound with a 2 track Revox and could produce results that were much better than other people trying to use more tracks.

James.
James Perrett
Moderator
Posts: 5816
Joined: Sun Sep 09, 2001 11:00 pm
Location: The wilds of Hampshire

JRP Music - Audio Mastering and Restoration.
http://www.jrpmusic.co.uk



Who is online

Users browsing this forum: alexis and 2 guests