• Art et Architecture
  • Aviation et Bateau
  • Business et Finance
  • Auto et Moto
  • Presse people
  • Comics & Manga
  • Artisanat
  • Culture et Littérature
  • Famille et Éducation
  • Mode
  • Cuisine et Vin
  • Forme et Santé
  • Maison et Jardin
  • Chasse et Pêche
  • Jeunesse
  • Luxe
  • Presse Masculine
  • Film, Télé et Musique
  • Actualité et politiques
  • Photographie
  • Science
  • Sports
  • Tech et Jeux Vidéo
  • Voyages et Plein air
  • Presse Feminine
  • Adulte
Film, Télé et Musique
Electronic Musician

Electronic Musician July 2019

The new ELECTRONIC MUSICIAN is a “must have” resource for anyone who makes music, plays music, and shares music. Every issue includes "gig tested" product reviews on music gear, tons of how-to's, and interviews with today's stars revealing the secrets of their songwriting approaches and audio-production concepts.

United States
Future Publishing Limited US
Lire plus
5,73 €(TVA Incluse)
28,74 €(TVA Incluse)
12 Numéros

Dans ce numéro

1 min.
beyond bach

Orchestral sounds tend to get a bit of a bad rep in music production cirlces. Sure, everybody loves the swell of strings beneath a classic house track, but many modern electronic producers tend to assume that strings, brass and woodwinds are purely of interest to stuffy old concert goers and old-fashioned composers. In the software realm too, many assume that orchestral sample packs are all huge, expensive and imprenitrably deep, with little to offer those that aren't working in screen composition or top-level studio production. Recent years, however, have seen the arrival of an increasing number of sample-based instruments that aim to correct these misconsceptions. Models such as EastWest’s Composer Cloud subscription, NI’s affordable Symphony Series, or Spitfire Audio’s free Labs range are all making quality orchestral sounds more accessible to…

1 min.
electronic musician

www.emusician.com FOLLOW US twitter.com/EM_Magazine facebook.com/ElectronicMusicianMagazine instagram.com/electronicmusicianmag CONTENT Editor Si Truss simon.truss@futurenet.com Content Director, Music Scott Rowley scott.rowley@futurenet.com Art Editor Steve Dawson steve.dawson@futurenet.com Editor keyboardmag.com Jon Regen kbwebeditor@gmail.com Editors at Large: Geary Yelton, Mike Levine, Francis Preve, James Russell Contributors: Jono Buchanan, Jon Regen, Francis Preve, Joe Rossitter, Jerry Kovarsky, Michael Ross, Dave Clews, James Russell, Ronan Macdonald, Scot Solida, Jon Musgrave, Marty Cutler Cover image: Used with thanks to Spitfire Audio FUTURE MUSIC GROUP BUSINESS Chief Revenue Officer Luke Edson luke.edson@futurenet.com Advertising Director Jonathan Brudner jonathan.brudner@futurenet.com Advertising Director Mari Deetz mari.deetz@futurenet.com Advertising Director Jason Perl jason.perl@futurenet.com Advertising Director Scott Sciacca scott.sciacca@futurenet.com MANAGEMENT Chief Content Officer Aaron Asadi Commercial Finance Director Dan Jotcham REPRINTS AND PERMISSIONS For article reprints please contact our reprint coordinator at Wright’s Reprints: 877.652.5295 Please direct all subscription orders, inquiries, and address changes to: 888.266.5828, outside the US 978.667.0364, emmag@computerfulfillment.com Back Issues are available for $10 each at 800.289.9919, 978.667.0364, emmag@computerfulfillment.com…

3 min.
pioneer dj unveils the squid multi-track sequencer

With its TORAIZ range, Pioneer DJ has spent the last few years moving beyond its traditional club-centric remit with a run of products aimed at studio producers and live musicians. So far, TORAIZ products have included a sampler, the SP-16, as well as the Dave Smith-powered AS-1 monosynth. Now Pioneer DJ is adding one more product to the range — a standalone hardware sequencer. Named SQUID (derived from SeQUencer Inspirational Device), this latest tool is a 16-track polyphonic step sequencer, capable of outputting MIDI, CV, clock triggers and DIN sync. Its interface is focused around a grid of 16 backlit pads that can be played live or used to input sequencer step. Each of the 16 tracks can be programmed with up to 64 patterns, each with a maximum of 64…

1 min.
behringer unveils its first eurorack case

European synth brand Behringer first announced plans for its Eurorack line over a year ago. Since then it’s teased a forthcoming line-up of 40 modules. Now Behringer has properly revealed the first member of its Eurorack family — the 104 skiff case, which is expected to be available at the end of May. This 104 HP non-powered case will house Behringer’s future Eurorack modules, as well as any other 3U modules from other manufacturers. With its dark aluminum chassis and wooden end panels, some eagleeyed synthesists have already commented on its similarity to Moog’s existing 104 HP case. But the potential biggest draw here is the price, with the Eurorack 104 being available for €75, around two thirds the price of Moog’s equivalent.…

3 min.
synthplex 2019

When it comes to electronic music, there’s no shortage of annual synthesizer centric events. From Knobcon to Superbooth to Ableton Loop, technologically savvy musicians have multiple international events to find other members of their tribe and check out the latest gear and innovations. So when Grammy-winning electronic composer Michael Boddicker announced that he’d join the fray with his boutique California event, Synthplex, it instantly piqued the interest of both synth fans and industry insiders alike. Debut events can be a tricky proposition, in terms of both promotion and enticing big name artists and manufacturers to participate on a maiden voyage — in a collection of vast ballrooms at a suburban Los Angeles hotel. But for Synthplex, Boddicker’s bet paid off in a big way. Synthesis behemoths like Roland and Spectrasonics dominated…

4 min.
soft opinions

As one of Electronic Musician’s cadre of Editors At Large, James is responsible for keeping his finger on the pulse of the music software world, reporting on the latest developments in plugins and DAWs. He also takes a more irreverent look at music software as co-host of Appetite For Production Podcast, and is often to be found creeping about on Twitter: @rusty_jam Here’s a confession, and it’s something that shouldn’t be a confession: I do most of my work using headphones. Yes, I have to work with an artificially large stereo width; yes, I have to go without the low-end power of sub bass to compare my music to other people’s; and my left and right feeds are entirely isolated. But on the other hand, no, I don’t have to sit in…