SOUND ON SOUND
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If you plan on splashing the cash on a DI box of the highest quality, this versatile red box should definitely be on your audition list!
How often should you release music — and what should you release when?
These new plug‑ins combine classic SSL sound with Sonible’s AI assistance.
Steinberg’s mobile DAW gets ever closer to the desktop experience.
Bigger isn’t always better in the world of live sound!
We put Studio Pro’s new AI‑powered note extraction to the test.
Emmally Parsons, aka e.m.arson, is a British producer and musician who blends sampling, electro‑acoustic instrumentation and sonic manipulation in extraordinary ways.
Waldorf’s tiny wavetable wonder packs classic DNA into a portable package.
Improvisation is something we’re all capable of, even if we’ve been conditioned over time to reject it, or never had the chance to explore it in the first place.
These three audio files demonstrate the techniques described in the Cubase workshop in the April 2026 issue of SOS.
These audio files accompany the April 2026 Mix Rescue feature in Sound On Sound magazine.
Easy and quick orchestral arrangements are very much the order of the day as Sonuscore’s The Orchestra Complete reaches its fourth incarnation.
Bryce Young, founder and president of Warm Audio discusses how the company began and how it quickly built a reputation for producing affordable studio gear inspired by classic vintage designs.
Music producer Ben Hillier reflects on working with Elbow, Blur, Depeche Mode and Nadine Shah, sharing insights on feel, creativity and making records from his distinctive straw-built studio.
The United States Of America released a single album of uniquely experimental music in 1968. Decades later the rest of the world began to catch up to what was almost a lost classic of the psychedelic era.
Professional producers Chevy One and Gareth Young talk to Julian Rodgers about the advantages of a hybrid hardware and digital studio setup.
James Richmond and Julian Rodgers dive into the world of modular synthesis, explaining what it is and how it fits into both studio production and live performance.