"I have been a reader of Sound On Sound for as long as I can remember. The amount of enlightening information, the intelligence of the writing, the beautiful print quality, and the personable stories make it as useful as the audio tools it covers. I'm a huge fan.”
Jacquire King, engineer, mixer, producer, Grammy Award winner (Kings of Leon, Norah Jones, Tom Waits, Modest Mouse).
"Besides the excellent interviews and fascinating, in‑depth recording and mixing articles, I can always depend on Sound On Sound for complete, unbiased reviews of the latest pro‑audio gear. And they use all my favourite fonts!”
Bob Clearmountain, engineer, producer and mixer, Grammy Award winner (Bruce Springsteen, The Rolling Stones, Paul McCartney, INXS).
"I never miss an issue of Sound On Sound. There isn't a magazine I look forward to receiving in the mail as much as SOS! It's the best way for me to keep up with new products. I've learned a lot from reading about all of the secrets of the engineers and producers. Thanks SOS!”
Greg Kurstin, songwriter, musician, and producer, Grammy nominee (Lily Allen, Pink, Britney Spears, Donna Summer).
"Sound On Sound is the best resource for engineers, mixers, producers, etc, PERIOD!!! Sure, you can go online and get a lot of information nowadays, but how cool is having everything you could want at your fingertips in one magazine?? The product reviews are exceptional and the articles very insightful. In 'Inside Track: Secrets on the Mix Engineers,' I'm able to see how some of my peers work and get inspired by some of their techniques. I also enjoy 'Classic Tracks,' where I can read about the process of how some classic songs came together.”
Manny Marroquin, mixer, Grammy Award winner (Usher, Kanye West, Alicia Keys, Shakira).
PS. "I love the magazine as well; I read it every month!” — Erik Madrid,
mix assistant to Manny Marroquin.
"I want to congratulate Sound On Sound on their 25th anniversary. Magazines like SOS have meant a lot to me since I was a kid wanting to learn everything about the music industry. I would read cover to cover about how big-name producers made their music, get tips and tricks, and of course stay on top of the latest gear. Sound On Sound is a truly great magazine and can inspire and motivate up and coming musicians.”
Mikkel Eriksen, Stargate songwriting and production team, Grammy Award winner, (Rihanna, Ne‑Yo, Béyonce, Mary J Blige).
Jack Joseph Puig, mixer, producer, Grammy Award winner (Rolling Stones, U2, Mary J Blige, Black Eyed Peas).
"As a Canadian living in Switzerland for a few years, Sound On Sound became my window to the European pro audio world. I read each issue cover to cover. It always had a wealth of information on audio products and recording techniques. I particularly enjoyed the interviews with acclaimed engineers I already respected and admired. Years later, to find myself featured in the magazine was a complete thrill.”
Kevin Churko, songwriter, engineer, mixer, producer (Ozzy Osbourne, Bryan Adams, Slash, Shania Twain).
"I love the inclusiveness of Sound On Sound. From the dreaming bedsit beginner to the jet‑set producer of superstars, they're all in SOS. Congratulations, especially to Paul and Hugh, on 25 years of foam tiles, tea and Reflexion filters!”
Guy Sigsworth, songwriter, musician, producer (Seal, Björk, Madonna, Alanis Morissette).
"Sound On Sound has been an amazing source of inspiration for me over the years… Being able to read first‑hand accounts of how masters of production and mixing have crafted their hits has been invaluable, as have all the technical tips and gear reviews. I couldn't do without it. Here's to another successful 25 years… Happy Birthday!”
Fraser T Smith, songwriter, musician, engineer, mixer, producer (Tinchy Strider, Craig David, James Morrison, Nelly Furtado).
"I receive SOS every month — it's the only technical magazine I read. I really like the historical articles: you always choose to feature an interesting artist, who isn't too obvious a choice.”
Yann Tiersen, artist and film composer (Amelie soundtrack).
"In this crazy and rapidly developing world of music technology and recording, Sound On Sound is a prominent beacon guiding the way for both established professionals and anyone anxious to get started in the field. It's the magazine that separates the men from the boys, by being consistently highly informative, uniquely unbiased and right on the cutting edge: my personal #1 go‑to source of information.”
Jochem van der Saag, arranger, engineer, mixer, producer (Seal, Michael Bublé, Whitney Houston, Andrea Bocelli).
"I discovered Sound On Sound magazine when I lived in NY in 1992. I was a real fan of the engineer interviews. Today SOS is still my reference concerning equipment and professional music technology news.”
Veronica Ferraro, mixer, Grammy nominee (David Guetta, Rihanna, Wyclef Jean).
"One of the most enjoyable elements of mixing is never knowing all there is to know. I always learn something new when I read a copy of Sound On Sound! It keeps me informed and I love reading about how other engineers work. In the daily‑changing world of digital, Sound On Sound is the best way to stay current. Their writing and editorial staff is as good as it gets. Congratulations on 25 years at the top. I anxiously await my next 25 years of issues.”
Dave Pensado, mixer, Grammy Award winner (Christina Aguilera, Maria Carey, Black Eyed Peas, Elton John).
Peter Mokran, producer, mixer (Quincy Jones, Janet Jackson, Flaming Lips, Natalie Cole).
"My favourite SOS articles are the ones about how the old guys made such fantastic-sounding records with a rusty magnet, some tape and a wild imagination. Production and engineering are sometimes made to appear mystical, but SOS strips that away and shows you that it's really about simply trying to capture a feeling in the best way.”
Phil Thornalley, songwriter and producer, Grammy Award nominee (Natalie Imbruglia, Pixie Lott, The Cure).
"I can honestly say that Sound On Sound's review of a certain speaker some years ago prompted me to spend ages tracking down this piece, and consequentially my listening habits were forever altered going forward. Sound On Sound: ignore it at your peril!”
Rich Costey, engineer, mixer, producer, Grammy Award winner (Fiona Apple, Muse, Foo Fighters, Arctic Monkeys).
"With the speed of change happening in the music production world, it's good to know that outlets like Sound On Sound exist to keep us completely up to date on new software, technology, and production techniques. The stellar editorial and the breadth of coverage is unparalleled. Congrats on 25 amazing years!”
Milan Kovacev, Director of Interactive Marketing at Berkleemusic.
"Heartfelt congrats to the SOS team on 25 stellar years covering the huge changes in music production. I'm constantly amazed at the consistent level of excellence of your fine magazine. Where so many others have faltered, Sound On Sound has remained the definitive source for expert music technology information — with its unique and always relevant blend of the technical, the musical, the historical and the humorous (very important!). In my book, SOS is the 'gold standard' of music tech publications, because I always learn something new whenever I read it. So here's a sincere THANKS for all the great issues in the last quarter century!”
Eric Persing, Sound Designer, founder of Spectrasonics.
"Sound On Sound is my lifeline to music technology. Every month I buy and consume the info it supplies. Without it I would still be using the synths and recording tools I used when I appeared on the cover of the first issue. Not because I was trying to be cool, but simply because without it I may never have moved forward”
Midge Ure, artist (Slik, Ultravox, Live Aid).
"Sound On Sound magazine burst onto the scene as a colourful and intelligent publication that approached the subject with new energy and enthusiasm. And, more importantly for me, in a manner that spoke to the musician as well as the technician. It was exactly what was needed and I became a fan. (And not just because the magazine's name was borrowed from my own 'Red Noise' band's album title!)
After all these years, Sound On Sound magazine continues to educate and inform me. I read each issue with interest and it keeps me up to date with the latest developments. Congratulations to a great magazine and the terrific team of people who bring it to us each month. Here's to the next 25 years!”
Bill Nelson, artist, producer (Be-Bop Deluxe, Red Noise).
"Sound On Sound is informative from cover to cover, and I always read it. I always learn something from reading the interviews, and I rely on the new gear reviews. I look forward every month to the next edition.”
Cenzo Townshend, mixer, winner of Producers Guild's Best Mix Engineer for 2009 and 2010 Awards (U2, Editors, New Order, Franz Ferdinand).
Chris Lord‑Alge, mixer, Grammy Award‑winner (Green Day, U2, Celine Dion, James Brown).
This month's in-depth video interview features Grammy-winning producer Scott Jacoby. He welcomes us into his own Eusonia studios in New York to show how he created a ‘60s-inspired track for the former Ronnettes lead singer.
You are in good company!
“I admire Sound On Sound as the survivor amongst the professional media"...
In this month's video interview we meet a living legend of the audio industry, Mr Rupert Neve himself. Over 25 minutes, we talk transformers, software modelling, and get the story of how he created the world's first high-Q equaliser.
In 1939, Shure revolutionised the music industry with a microphone so successful that it is still in production today!
Secrets Of The Mix Engineers: Dave O’Donnell
The art of music production lies in serving the song — and working with James Taylor, Dave O’Donnell felt that modern production trends would hinder his aim of capturing emotive performances.
Pioneer Of Electronic Music & Digital Synthesis
A visionary in the field of electronic music, John Chowning invented FM synthesis and set up CCMRA, one of the world’s most influential research centres.
Recording Yo-Yo Ma
Engineer Richard King has brought the art of ensemble recording to new heights in both classical and folk/pop spheres.
Throbbing Gristle’s highly individualist approach to music extended as far as making their own instruments and, ultimately, their own genre.
Secrets Of The Mix Engineers: Andy Selby & Bernie Herms
A combination of technical wizardry and old-school craft helped Bernie Herms and Andy Selby bring Josh Groban’s Broadway album to life.
Mixing Bowie, NIN & Katy Perry
Pete Keppler’s career has seen him mix shows for some of the biggest artists in the world. We asked him how it all happened.
Jolyon Thomas: Producing Are You Satisfied?
The success of Slaves’ debut album depended on producer Jolyon Thomas finding a way to bottle their raw live energy.
As one of the world’s leading mastering engineers, Vlado Meller has enjoyed great success — and his share of controversy.
Hailed as the first British acid house single, A Guy Called Gerald’s sublime ‘Voodoo Ray’ has since become a classic in its own right.
Bill Gould: Recording Sol Invictus
Recording and producing your own music is always a challenge — especially if, like Faith No More, your previous albums have been done by the best in the business!
Secrets Of The Mix Engineers: Shawn Everett
In the making of Alabama Shakes’ Sound & Color, producer Blake Mills and engineer Shawn Everett had almost unheard–of licence to experiment — and took full advantage.
Oasis’s 1996 gig at Knebworth marked the end of an era for point–source PA. We asked the people who made it happen what has changed since.
Andrew Barnabas & Paul Arnold
How do you write music for a TV show you haven’t seen yet? It helps if you can draw on years of experience composing for video games...
Built in the '50s as the broadcast headquarters for the GDR’s state radio, this complex is home to some of the world's most breathtaking recording studios. Watch our video tour...
Alexis Taylor, Joe Goddard & Mark Ralph: Recording Why Make Sense?
Down in Hot Chip’s bunker-like basement studio HQ in Hoxton, the five members of the London band are coaxing strange sounds from an array of analogue synths.
Secrets Of The Mix Engineers: Derek Ali
Kendrick Lamar’s To Pimp A Butterfly is one of the most ambitious hip-hop albums of recent years. Derek Ali was Lamar’s right-hand man during its making.
Matthew E White, Trey Pollard & Natalie Prass: Spacebomb Studios
Spacebomb Studios’ old-school production values and teamwork have made Richmond, Virginia one of the hottest recording locations in the USA.
Inside Track: Secrets Of A Mix Engineer
Bob Dylan’s album of Sinatra covers is an unlikely triumph. So good, in fact, that it didn’t need mixing!
Working with super–producer Jacquire King was a dream come true for James Bay. In a unique interview, King explains how he oversaw the recording of Bay’s hit debut album.
Back To The Ark
Reggae fan Daniel Boyle painstakingly researched the equipment Lee ‘Scratch’ Perry used in his groundbreaking Black Ark studio — then made an album with the dub legend himself.