SOUND ON SOUND
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In this special two-part feature, Gordon Reid tells the amazing story of Yamaha's ultra-rare GX1 analogue megasynth — and how one ended up in his living room!
A versatile form of surround sound technology, more commonly referred to as 'immersive sound´, developed and marketed by Dolby Labs and introduced in 2012 with the Disney/Pixar film, Brave. While mostly employed for film and television content, it is increasingly being used in music productions, identified as 'Dolby Atmos Music'. DTS:X is a broadly similar rival technology.
The most obvious improvement compared to conventional 5.1 and 7.1 surround sound formats is that Dolby Atmos adds height channels — speakers in the ceiling — which greatly enhances the sensation of being enveloped with sound, hence the 'immersive' moniker. However, the underlying technology is also considerably more advanced as it combines conventional (static) channels of surround sound with 'object-based' audio content which can be directed to any speaker (or to move between speakers) by metadata encoded with the audio. It is this feature which provides the content creators with enormous flexibility over where individual sounds are placed and moved within the mix, in addition to a conventional 'bed' of surround sound.
Moreover, Dolby Atmos decoders are designed to map the source audio content dynamically to the connected sound system accommodating virtually any number and layout of loudspeakers, or even just to stereo earphones, maintaining the best possible impressive of the intended immersive sound stage (using binaural encoding in the case of stereo earphones).
Martinic have announced that CLAP versions of all of their plug-ins and software instruments are now available.
Bogren Digital’s latest release provides a collection of guitar cabinet impulse responses captured by renowned metal producer Tue Madsen.
SOS presents an ongoing collection of informative articles where each month a music producer and/or sound engineer reveals how their favourite recorded instrument or sound treatment was created, miked up, programmed and captured for posterity.
Acustica Audio have released Arctic, a free mix bus processing plug-in which combines compression, limiting and saturation.
Cubase’s Sampler Track is capable of making surprisingly playable backing vocals.
Producer and mix engineer John Feldman details how he got his favourite vocal sound on the Used’s 2002 debut single.
With hit albums for Dave, Wizkid and now Stormzy, Brazilian‑American mixer Leandro Hidalgo is at the top of his game.
We explore a few ways to share your Logic Pro projects with collaborators.
These gadgets might not be the most glamorous devices, but at some point in your recording adventures you’ll probably find you need each and every one.
Modular Profile: Finlay Shakespeare
The founder of Bristol‑based developer Future Sound Systems, Finlay Shakespeare is a...
Pro Tools offers some powerful features for quantising both MIDI and audio.
I’m planning to get a Cloudlifter to plug into an iRig Pre HD, which I connect to an iPhone for recording my acoustic songs with a Shure SM7B mic...
I enjoyed the review of Caveman’s AP1 acoustic pedal in the October issue [www.soundonsound.com/reviews/caveman-audio-...
With a bit of fine‑tuning, Reaper can help you edit long podcasts at pace!
Join us as we delve into the hidden mysteries of the Kong drum machine.
For Spike Edney, touring with one of the biggest bands in the world has meant keeping up with the very latest in stage keyboard technology.
Just how do professional engineers tackle the earliest stages of their mixes, and can the rest of us learn anything from their approach?
Britain’s most high‑profile rapper has made his most ambitious album yet — with a little help from his friends.