I'm going to let you into a secret that could put our entire industry out of business — but trust me, that won't happen...
Joe Matera, Obsidian Kingdom, The Flickers.
Have cheap delivery formats destroyed music's value?
The Mix Review in Sound On Sound This month we analyse hits from Biffy Clyro, Armin Van Buuren and Duke Dumont, and take a look back at a classic mix, Sinead O’Connor’s version of “Nothing Compares 2 U”, from 1990.
Former SOS member and ex-editor of Guitar Buyer magazine David Greeves shares his thoughts on striving for record perfection.
Zooropa * Fractal * James Parker * The Ridings * Mundane Sands * Give Chase * Anton Evans * Coral Caves * Lads O' The Fair * Floodplains
Paul White welcomes the development of tape emulation plug-ins.
Why would you use one? There are plenty of perfectly good recordings made in garden sheds, bedrooms and basements!
This month we listen to Big Big Train, We Happy Few, Gorman, Trace and John Gomm
• Matt Cardle 'When We Collide'
• Bruno Mars 'Grenade'
• Ellie Goulding 'Your Song'
It's April, so what has Paul been dreaming up this year?
Adele 'Someone Like You', Black Eyed Peas 'The Time (Dirty Bit)', The Ting Tings 'Hands', Rihanna 'What's My Name'
This month, Mike Senior vents his frustrations about the use (and censorship, thereof) of profanity in pop music.
Gerry Griffin * Sun Travellers * Genie Cosmas * Jon Gomm * Turndown Elliot * Kyshera
This month, Editor In Chief Paul White wonders why some recordings sound great and others sound so poor...
Back in the era of analogue tape and non-automated analogue mixers, you could walk into any studio and — other than perhaps trying to figure out the patchbay — start recording and mixing.
Do Bakelite knobs have a place in the virtual world?
This month our selection includes albums from Junkfoxx, Retrodog, Marcus Reeves, My Youth, Pete Thomas & The Horns A Plenty, The Wicked Whispers, Into The East and Adamrake.
This month we analyse Bing Crosby's 1947 Christmas classic "White Christmas” as well as a number of contemporary commercial hit record productions.
Is it just me or have today's software GUI designers been turned by the dark side?
Is it about time we got rid of lossy audio formats for music delivery?
Create an account