SOUND ON SOUND
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The 110‑degree spread of the ORTF array avoids the centre being louder than the rest of the stereo spread as the microphone patterns overlap, but does this also introduce a high-frequency roll-off?
The ADAM A8H onboard DSP uses an integrated 24‑bit/96kHz A‑D converter. How does this work if I’m already using higher sample rates in the DAW? Are we no longer hearing the interface conversion?
Rating: ★ ★ ★ ★ ★ 5/5 Stars. The creators describe the core idea of Lighthouse Piano as “a felt piano, without the drawbacks”, a rather humble description for a breathtakingly beautiful library.
Rating: ★ ★ ★ ★ 4.5/5 Stars. EPS Zither comprises nine instruments aiming to blend the zither’s Eastern European folk roots with more sophisticated textures and sound design elements.
Rating: ★ ★ ★ ★ 4/5 Stars. Quiet Music already offer a range of sample‑based instruments, but SacredTones is more like a platform for meditation or contemplative sound design.
Rating: ★ ★ ★ ★ ★ 5/5 Stars. VSL have re‑entered the Space Race with a major upgrade of Big Bang Orchestra.
Shure’s popular family of studio mics gets a dark reboot — and a new sibling.
Sonible’s latest ‘pure’ plug‑in aims to take the pain out of level riding.
When it comes to remote Atmos collaboration Source‑Connect 4.1 is currently the only game in town.
ADAT‑equipped audio interfaces are a blessing if you need more channels, but the choice can be overwhelming. We round up some of the best eight‑channel offerings.
There’s more than one way to comp the perfect take in Studio Pro...
With Xiu Xiu, Berlin‑based American artist and producer Jamie Stewart has for over two decades been at the vanguard of experimental‑leaning indie rock.
A classic effects unit is reborn in plug‑in form.
Why choose between different saturation plug‑ins when you can blend between different sounds to taste?
What if someone were to lavish money, time and considerable engineering know‑how on improving Neumann’s highly revered cutting‑lathe EQs — could they really be improved? The answer is a resounding “yes!”
Zero‑G have reimagined their Morphology library as an instrument for ‘Evolving Soundscapes and Dream Synths’.
AI music generation services are trained on a vast library of existing music. We explain how the process works, and what you can do to keep your own tracks from being assimilated.
Twenty‑five years is a long time in software, but NI’s Absynth is still with us, still green and still a force to be reckoned with.
Looking back into history led me to a musical genre that had indie‑rock familiarity, whilst opening up a world of blissed‑out ethereal soundscapes that I never knew were possible!