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Sound On Sound USA

Sound On Sound USA

January 2020

Sound On Sound is the world's best recording technology magazine, packed full of in-depth, independent product tests, including music software, studio hardware, keyboards and live sound (PA) gear. Every issue also includes SOS's unique step-by-step tutorial and technique columns on all the leading DAW programs, as well as insightful interviews with leading producers, engineers and musicians.

País:
United States
Língua:
English
Editora:
Sound On Sound Ltd
Ler Mais
ASSINATURA
US$39,99
12 Edições

NESTA EDIÇÃO

2 minutos
are loops cheating?

Many of us use rhythm loops in our compositions, but at what stage does relying on them become cheating? After all, products such as Apple Loops offer not only rhythms but also complete musical phrases, bass lines, vocal segments and so on that you can stitch together into complete tunes without ever composing an original note of your own. There’s no copyright issue when combining Apple Loops or other licensed commercial products to create finished tunes, but does it still feel like your composition? The answer is, inevitably, somewhat vague and depends on the perspective of the user. The same question used to be asked of sampling in general, but I have to confess that I sometimes find loops very useful. Just a tiny segment taken from a loop can be…

1 minutos
sound on sound usa

EDITORIAL Editorial Director Dave Lockwood Editor In Chief Paul White Technical Editor Hugh Robjohns Features Editor Sam Inglis Reviews Editor David Glasper Reviews Editor Matt Houghton Reviews Editor Chris Korff Production Editor Nell Glasper News Editor Matt Bell SUBSCRIPTIONS Circulation Manager Luci Harper Administrator Nathalie Balzano PRODUCTION Production Manager Michael Groves Designers George Nicholson Hart Alan Edwards Andy Baldwin Classified Production Michael Groves ADMINISTRATION Managing Director/Chairman Ian Gilby Editorial Director Dave Lockwood Marketing Director Paul Gilby Finance Manager Keith Werthmann ADVERTISING Advertising Manager Paul DaCruz Regional Sales Associate David Carson MARKETING Business Development Manager Nick Humbert ONLINE Digital Media Director Paul Gilby Design Andy Baldwin Web Editor Adam Bull…

17 minutos
news

Osmose — keyboard technology takes a giant leap There’s always been something slightly unsatisfactory about controller keyboards. Even top-of-the-range models, decked out with ribbons, continuous encoders, trigger pads and aftertouch, often fail to replicate the immediate, intuitive expression available to skilled players of simple acoustic instruments like violins or acoustic guitars. And even the best keyboard controllers, in the hands of the most expressive players, can be let down by the sounds to which they’re mapped; after all, the number of hardware control methods is irrelevant if they’re not assigned to samples or sounds that respond to those controllers. But now the expressive possibilities available to keyboard players have taken a great leap with the announcement of Osmose, from French company Expressive E. At its most basic, Osmose is a 49-note keyboard…

12 minutos
softube console 1 fader control surface

For as long as software mixing has been a thing, there have been things to make it less like software mixing. A pointing device isn’t necessarily the best means of adjusting hundreds of parameters, often simultaneously, so all DAW software supports alternative controllers such as fader surfaces, jog/shuttle wheels, rotary encoder banks and so on. However, the problem for any manufacturer making these devices is that ‘support’ means different things in different DAWs. Older standards such as MCU and HUI are reasonably universal, but offer only limited control, while others such as Eucon are proprietary. Add to the mix the need to control parameters in third-party plug-ins, and the fact that there are significant operational differences between DAWs, and you have a situation where it’s almost impossible to create a generic…

1 minutos
softube console 1 fader $699

PROS • Looks and feels good, with nice faders — and 10 rather than eight of them. • Alternative Fader modes that operate on Console 1 plug-in parameters let you do much more than just balance levels. • Pairs very nicely with the original Console 1, but can be used without it. CONS • Less useful in DAWs such as Pro Tools where it can’t control the host program’s faders and sends. • No jog/shuttle wheel. • Power supply is required and has an annoyingly short cable. SUMMARY Console 1 Fader has been a long time coming, but it reflects the careful thought and attention to detail that is Softube’s trademark. A very well thought-out companion to the original Console 1, it’s much more than just a fader controller.…

1 minutos
closed daws

You might be wondering why Console 1 Fader can’t adjust mixer channel volume and pan within Pro Tools or Logic, since these applications do support generic protocols such as HUI and MCU. The answer, as I understand it, is that Console 1 Fader needs a way of synchronising actions that affect a mixer channel fader with actions that affect the Console 1 plug-in on that channel, and this isn’t part of either the HUI or the MCU spec. So, although there’s nothing in principle to stop Fader’s faders from fading faders in the Pro Tools mixer, it would be impossible to ensure that its plug-in-specific controls were addressing the same channels.…