SOUND ON SOUND
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The latest Kontakt-based guitar instrument from Native Instruments has been developed with a focus on songwriting.
We test Behringer’s take on an underrated Korg classic.
Do the automation features in DAW software make old‑school console automation redundant? We canvass opinions from big‑name mix engineers.
Mix engineers used to prefer hardware to software because it sounded better. Is that still true? And if not, is there still a reason to use it?
Diode‑based compressors can be delightful but also rather noisy. True to its name, the Zen promises a more peaceful approach...
Working on tape with the Red Hot Chili Peppers forced Ryan Hewitt to revisit old‑school mixing skills — and find ways to adapt modern techniques to the analogue domain.
For Norwegian engineer, producer and record label boss Morten Lindberg, immersive audio begins at source.
Meet Mavis, Moog’s affordable semi‑modular with more than a few tricks up its sleeve.
Extreme close miking can be an aesthetic choice or an uncomfortable necessity. Either way, it’s important to know how to get it right.
Film composer, theatre composer, TV composer, ballet composer... Why be one when you can be them all?
AudioBox Go from PreSonus proffers pocket‑sized portability.
Roland add another classic polysynth to their Boutique range.
Engineer Shuta Shinoda faces the SOS nine-question treatment...
One of the audio industry’s largest manufacturing groups, Focusrite, is taking the lead in tackling green issues.
For the first time ever, Universal Audio’s acclaimed plug‑ins are available in a native format.
Warm Audio’s assault on the vintage mic market continues with this impressive take on an Austrian classic.
The OC16 makes Austrian Audio’s impressive CKR capsule available at a new low price.
We get to grips with Cubase 12’s new Audio To MIDI Chords feature included in Pro, Artist and Elements.
Could this modern tape delay prove to be even better than the real thing?
Twenty years on, the Octopre concept remains as strong as ever.