SOUND ON SOUND
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Less than a year after refreshing their eight-channel preamp design, Audient have released another. What makes this one different?
Audient’s new interface aims to keep the quality of its predecessor whilst streamlining the features and cutting the price.
Barefoot’s newest monitor may be their most affordable to date, but the company’s meticulous design ethos is evident throughout.
The stagebox/mixer format has become hugely popular of late. Does Behringer’s affordable take on the concept deliver the goods?
With so much choice on offer, picking the right brass library for your music can be tricky. Our comprehensive product guide shines a spotlight on the current contenders.
Efficient management of Cubase’s Workspaces can be a great help when you need to work quickly.
Once again allowed to use the Sequential name, Dave Smith’s latest instrument is a tribute to a genuinely classic synthesizer.
One of the most misunderstood subjects in pro audio is control–room nearfield monitoring: the dos and don’ts, the problems and suggested remedies.
Greg Price has spent nearly 20 years at front of house for some of the biggest names in rock, and now his company believe they’ve perfected the art of live recordings.
The Forte offers stage-piano immediacy combined with the deeply programmable synthesis that we’ve come to expect from Kurzweil.
It’s hard to believe that Sound On Sound is now 30 years old! When the magazine started in 1985 MIDI was still a new technology, but software sequencers sync’ed to tape via SMPTE were soon to change the landscape of recording beyond recognition...
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We investigate the creative potential of Mid-Sides processing in Live.
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If your loops lack flavour, Sugar Bytes’ innovative slicing plug–in might be just the special sauce they need!
The Travis Waltons: How do you develop a mix strategy for a song when you don’t understand what the artist intends?
Combining dynamics processing with Logic Pro X’s reverbs and other plug-ins can produce some very creative ducking effects.
How exactly does one review a backpack in a music technology magazine? I mean, when it comes to lugging your music gear...
TV composers won’t change the world — but the fact that we’re needed at all can be significant.
As studios have had to adapt to new business models, so have the people who design them.