SOUND ON SOUND
Audio Examples to accompany the Cubase bass workshop in SOS September 2025.
These audio files accompany my article titled The Drum Squash Mic Trick, published in SOS September 2025, and demonstrate the potential benefits of adding a fifth ‘squash’ mic to a basic four-mic setup on acoustic drum kits.
This third article of our stereo mini‑series explores how to manipulate the perspective obtained from coincident mic pairs.
Mastering is not an extension of mixing. It requires its own skill set — and, above all, a philosophy of “first do no harm”.
Get the most out of your multi‑output instruments in Studio One.
Experienced American producer Bill Schnee picks the 1978 track 'Never Even Thought' from Colin Blunstone as the sound he's most proud of creating in the studio.
Pro Tools’ MIDI capabilities continue to evolve.
Explore the world of bass synth sound design with Cubase’s Retrologue and HALion Sonic.
Aviram Barath’s musical direction inspired rapper Loyle Carner to work with a live band for his hit album hopefully!
As well as giving you access to a vast range of loops and one‑shot samples, SOS For Artists offers some cool tools for finding, auditioning and manipulating them.
Before plates and springs, the great studios of the ’50s and ’60s created magical ambiences through a mix of science and inspired guesswork.
When opting for a more minimal approach to drum miking, a compressed omni mic beneath the snare can pay dividends...
Logic Pro contains a multitude of tools to help you analyse and transcribe music.
To illustrate the differences, strengths and weaknesses of different stereo mic arrangements I have made a series of demonstration recordings.
These audio examples accompany our August 2025 workshop on Cubase 14: Play Probability & Velocity Variance.
There is nothing ordinary about the success of Alex Warren’s breakthrough hit — or its signature sound, created by producer Adam Yaron.
Whether it’s existing releases or new tunes, SOS For Artists can help you get your music out... well, pretty much everywhere!
If your beats are static, your melodies predictable, or if you’re just plain out of ideas, perhaps it’s time to introduce some random elements?
Could the humble mouse be the only Pro Tools controller you need?
Our second instalment draws on the work of Alan Blumlein, to explain how we can audition and evaluate different stereo‑miking techniques.