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AudioTechnologyAudioTechnology

AudioTechnology Issue 132

If you’re serious about audio then AudioTechnology is your magazine: whether it be the inside story behind the world’s great albums or the best-sounding concert productions, videogame sound, software tips, reviews of the latest gear, opinion and news – AudioTechnology has you covered.

Country:
Australia
Language:
English
Publisher:
Alchemedia Publishing Pty Ltd
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7 Issues

IN THIS ISSUE

access_time3 min.
ed space

THANKS LIKE SOME KINDA MAHARISHI: GOODBYE & GOOD LUCK MARK 12 years. That’s how long I’ve had the privilege of contributing to AudioTechnology in one way or another. Six years steering the ship. I should have left myself more time to write my last editorial, but why change now? I’ve got nothing poetic to say, no insightful sign off. I just wanted to say, ‘Thank you!’ Thanks for subscribing to a print magazine just because you love music and audio enough to read about how it’s put together. Thanks to Chris and Phil for having me. Thanks for letting me loiter around your front of house tents and monitor positions. Thanks for answering all of my questions and being so gracious about it. Thanks for showing off your amazing studios and allowing me to uncover all the blood,…

access_time3 min.
what’s on

DAMIEN GERRARD’S The year was underway so quickly it hardly felt like the engineers had a break at all. Sessions were even running between Christmas and New Year for the first time in a while. Notable artists coming through in January included: Spike Vincent finishing some vocals for his new release; Crosson band working on the new album to be mixed in Germany where they have achieved commercial chart positions; Daxton remixing some acoustic tunes for a ‘best of’ acoustic compilation; Big Merino mixing a new single Hummingbird; Youth Band winners Deafening Silence from the Randwick battle of the bands tracking their debut release; Peter Colquhoun continued work on his new project with some great slide guitar courtesy of blues man Mick Hart; drummer/producer Mick O’Shea brought in Sydney band Bounty…

access_time13 min.
general news

MICROFREAK IS SUPER FREAKY $549 | www.arturia.com Nothing ‘me-too’ about this new Arturia release. Say hello to the MicroFreak, Arturia’s first digital hardware synthesizer. Combining the best of both worlds, MicroFreak includes a multi-mode digital oscillator with an Oberheim SEM-inspired analogue filter. Seven of the oscillator modes are the result of a collaboration between Arturia and Eurorack specialists Mutable Instruments, and hence let users control the sound of its Plaits module in the comfort of an all-in-one hardware synth. One of the most striking features of MicroFreak is its PCB keyboard. Despite having no moving parts, it’s pressure sensitive and, according to Arturia, lightning-fast, and also offers poly-aftertouch, making the ‘Freak a more than capable MIDI polyphonic expression controller when connected with USB-MIDI. At its price, MicroFreak is a worthy “my first…

access_time2 min.
native instruments s88 mk ii hammer-action midi controller

For anyone who’s invested in the Native Instruments ecosystem, the king of keyboards is undoubtedly the new S88 MkII. Its NI’s answer to many a musician’s demand for a full-sized hammer-action keyboard controller that plays like a grown-up piano. Like its smaller unweighted synth action siblings, the S88 MkII is a purpose-built dashboard for driving NKS-compatible instruments via the Komplete Kontrol platform. You’ll see from our review of the S49 MkII in Issue 125 that the S Series boards are a dream to use thanks to the blazingly fast workflow and those beautiful colour screens. Deep DAW control is available for Maschine, Logic ProX, Ableton Live, GarageBand and more. The primary point of difference on the S88 MkII is the weighted Fatar keybed which promises an improvement over the S88 MkI. It…

access_time5 min.
arturia pigments software synthesizer

Pigments is a surprising first for Arturia. The company ostensibly built a reputation on its realistic software recreations of vintage synthesisers, and it’s carved out a name for itself in the hardware synth realm with the Brute collection. So why has it taken this long to develop a software synth of its own creation? Perhaps because it already has a wealth of ‘flavours’ covered in its V Collection series, Pigments is less about mastering a particular style of synthesis and more about giving the modern creative a ridiculous range of options. Having spent a little while with Pigments, it certainly takes the cake as Arturia’s most impressive all-in-one synth instrument. You’d be forgiven if you felt a little overwhelmed the first time you laid eyes on Pigments. It’s a busy GUI with…

access_time14 min.
hit man

“Songs are like tornadoes,” mused Louis Bell. “They come out of nowhere and can cause some damage, but you don’t really know when they’re coming. Songs take everything around them, spin it together and turn that into a storm. It affects people, but when you’re in the eye of the storm — just creating — you don’t notice. Then after the dust settles you look at what you’ve created and go: ‘What did I just do? Was it something special, or was I just destroying stuff?’” In the last three years, songwriter and producer Bell, has been wreaking his own havoc. The ‘damage’ done includes eight tracks on Post Malone’s debut album Stoney — including the massive hit Congratulations — and all tracks on Malone’s mega-selling Beerbongs & Bentleys, which harboured…

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