Movies, TV & Music
Future Music

Future Music May 2019

Future Music delivers the technique and technology behind the hits. Packed with inspiration for today’s modern musician there’s reviews of hot new gear, tons of tutorials to help you get the most out of your hardware and software, and exclusive In The Studio features where the stars take apart their tracks. Our Zinio edition does not include the DVD but DOES INCLUDE the full samples and tutorial files to download. Full details inside. Download does not include In The Studio With video. This digital edition is not printable.

United Kingdom
Future Publishing Ltd
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13 Issues

In this issue

1 min.
future music

Editor Si Truss, simon.truss@futurenet.com Reviews Editor/Online Content Manager Simon Arblaster, simon.arblaster@futurenet.com Managing Editor Kate Puttick, kate.puttick@futurenet.com Art Editor Phil Cheesbrough, philip.cheesbrough@futurenet.com BIG THANKS TO… Jono Buchanan, Joe Rossitter, Danny Turner, Bruce Aisher, Roy Spencer, Oli Bell, Ben Wilson, Marie Staggat, Ye Rin Mok, Joe Branston, Richard Ecclestone, Jon Musgrave, Mark Gyver, Adam Lee, Catherine Hood, Olly Curtis, Robbie Stamp, Neil Godwin, Tom Jones MARKETING Direct Marketing Executive: Will Hardy PRODUCTION & DISTRIBUTION Production Controller: Fran Twentyman Production Manager: Mark Constance Printed in the UK by: William Gibbons & Sons Ltd on behalf of Future CIRCULATION Head of Newstrade: Tim Mathers INTERNATIONAL LICENSING Head of Print Licensing: Rachel Shaw, licensing@futurenet.com MANAGEMENT Chief Content Officer: Aaron Asadi Brand Director, Music: Stuart Williams Content Director: Scott Rowley Head of Art & Design: Rodney Dive Group Art Editor: Graham Dalzell…

1 min.
outboarding school

There are a few reasons that vintage effects processors still remain hugely sought after today. There’s their characterful sound for one thing, as well as association with thousands of classic records. Let’s be honest, there’s also the fact that they look very cool, and a rack of vintage outboard can add a whole lot of credibility to your studio. There’s more to their appeal than all of that though. Through years of use, out of both necessity and dedication, engineers have figured out how to precisely tweak and exploit the topology of these units, to the point that they can be used almost like instruments. Look at the famous Pulteq boost/attenuate trick, or the ‘all buttons’ compression mode of the 1176. These are more than simple effects settings – they’re unique…

1 min.

AMBIENT SOUNDS PT.1 ’90s Ambient (562 samples) Ambient Dawn (490 samples) AMBIENT SOUNDS PT.2 Majestic Bells & Mallets (444 samples) Spring Reverb & Tape Delay (533 samples) ATMOSPHERES & BACKGROUNDS Atmospheric Beds (369 samples) Noise, Crackle & Hiss (512 samples) Sounds of the City (371 samples) CLASSIC SYNTHS PT.1 Analogue Polys (625 samples) SH Collection (500 samples) CLASSIC SYNTHS PT.2 Analogue Poly Chord Hits (342 samples Classic Synths: ’80s, ’90s, ’00s (678 samples) Hardware Arps (511 samples) CREATIVE DRUMS Cyborg Beats (514 samples) Lo-Fi Sampling (555 samples) Obscure Drum Machines (517 samples) Overloaded Beats (889 samples) ESSENTIAL DRUMS 808 and 909 (39 samples) Ultimate Cymbals (503 samples) Ultimate Kick Bundle (505 samples) Ultimate Snares & Claps (676 samples) Vintage Drum Machine Hits (548 samples) FX & TRANSITIONS PT.1 Filter Fun (496 samples) Gates ‘N’ Sidechains (287 samples) Total Transitions (260 samples) FX & TRANSITIONS PT.2 Destroyed synths (519 samples) Sci-Fi FX (501 samples) HIP-HOP, FUNK & SOUL Cosmic Soul (386 samples) Funk Keys (279 samples) Hip-Hop Drum Machines…

4 min.
ni unveil more details of massive x

It’s no exaggeration to say that Native Instruments’ Massive X is one of the most eagerly-awaited plugin synths in history. Announced in 2018 alongside the Komplete 12 bundle, we were initially told that it would be released in February of 2019, but this date then slipped, and detail has been scant. Now, finally, that detail is starting to arrive, thanks to the new Massive X Lab blog series on Native Instruments’ website. In coming months, this will cover all aspects of Massive X – design, oscillators, filters, preset design, etc – but the starting point is a general overview. As you can probably see, the Massive X interface is a big departure from the original Massive and, arguably, much clearer. There are nods to its predecessor, though, such as the ‘saturn rings’.…

1 min.
could softube parallels be your new favourite softsynth?

Softube have released a new softsynth called Parallels with two main philosophies; to sound great and be instantly inspirational. It's built around two main sound sources, working in parallel, which can be then modulated with five different sources, filtered by three analogue-modelled filter types – state-variable, vactrol LPG, and resonant peaks – and fed through five different effects. The sound sources derive from meticulous, high quality recordings of some of the most sought-after synths ever made and even some that never made it into production. Instead of simply recreating the waveforms, the designers took 15-second snapshots of evolving sounds from each instrument, which can be played back from any point, with what Softube call wavescanning. Modulation and sequencing come from a variety of sources including envelopes, LFOs, an onboard step-sequencer, along with…

1 min.
propellerhead promise better vst performance with reason 10.3

The addition of VST plugin support to Reason 9.5 was definitely a big deal, but things didn’t go as smoothly as Propellerhead hoped. Users began to report “poor and erratic” performance when using third-party synths and effects, so some investigation was required. It turns out that the problem wasn’t easily fixable; in fact, it meant that a lot of Reason’s audio rendering code needed to be rewritten. However, this has now been done, and the result is Reason 10.3. This promises to put VST performance “on a par with other DAWs”, with early testing indicating improvements ranging from 5% to 260% when using a buffer size of 512. Propellerhead are defining ‘bad performance’ as issues like audible artefacts, and other things that stop you making music. It’s not a case of simply…