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Sound On Sound UKSound On Sound UK

Sound On Sound UK

August 2019

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.

Country:
United Kingdom
Language:
English
Publisher:
Sound On Sound Ltd
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12 Issues

IN THIS ISSUE

access_time2 min.
work smarter

We hear a lot said about ‘The Internet of Things’, mostly in the context of the ’Smart Home’, for which you can already buy expensive gizmos that let you turn on your lights or your heating from your phone rather than walking across the room to flip a switch. This in some ways is a shame, as doing the job manually provides what is probably much-needed exercise, and may also help avoid just a little bit of repetitive strain injury from constantly thumbing a phone screen. My daughter has a robot vacuum cleaner that she can set cleaning the house when she’s on holiday in an entirely different part of the world, again by using her phone, but we’re told that the real revolution will happen when household appliances communicate…

access_time1 min.
sound on sound

ADMINISTRATION admin@soundonsound.com Managing Director/Chairman Ian Gilby Editorial Director Dave Lockwood Marketing Director Paul Gilby Finance Manager Keith Werthmann PRODUCTION graphics@soundonsound.com Production Manager Michael Groves Designers George Nicholson Hart Alan Edwards Andy Baldwin Classified Production Michael Groves SUBSCRIPTIONS subscribe@soundonsound.com www.soundonsound.com/subscribe Circulation Manager Luci Harper Administrator Nathalie Balzano EDITORIAL sos.feedback@soundonsound.com 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 ONLINE support@soundonsound.com Digital Media Director Paul Gilby Design Andy Baldwin Web Editor Adam Bull www.soundonsound.com https://twitter.com/soundonsoundmag https://facebook.com/soundonsoundmag ADVERTISING adsales@soundonsound.com Group Sales Manager Robert Cottee Classified Sales Luci Harper MARKETING marketing@soundonsound.com…

access_time14 min.
light fantastic: lumi by roli

ROLI have been impressing us with innovative controller designs since the launch of their otherworldly Seaboard Grand four years ago (see the review in SOS September 2015 at https://sosm.ag/sep15roli). Their latest product offers all the depth and innovation of their previous products, but channelled in a very different direction. As its name suggests, it’s all about light. Each of the LUMI controller keyboard’s 24 keys comes alive in a riot of colour when you power it up, thanks to super-bright variable LEDs situated underneath — so each key can be a completely different colour. This simple idea is used to excellent effect to assist a major part of LUMI’s target market: those of any age who are learning to play the keyboard. LUMI ships with a proprietary iOS or Android music…

access_time30 min.
moog one polyphonic synthesizer

As befits a large beast, the Moog One had a long gestation period but, when it appeared last year, it immediately evoked comments along the lines of ‘my favourite synth of all time’ from people who had never seen or heard it except on Youbook and FaceTube. Mind you, their enthusiasm was forgiveable because people had been clamouring for a successor to the Memorymoog for more than three decades. Was it worth the wait? There are two models: an 8-voice version and an otherwise identical 16-voice version. Each voice is based primarily upon three analogue oscillators plus noise, followed by three analogue filters and an analogue amplifier. Each also has extensive digital modulation capabilities including three loopable contour generators, four LFOs and multiple FM pathways. Any number of voices can be…

access_time1 min.
moog one £5999/£7799

PROS • It looks and feels like the top-quality instrument it is. • It’s a joy to program and play. • All analogue synths should sound this good. • Like kidneys, grannies come in pairs. No-one is going to miss one of them. CONS • It’s a work in progress with many significant areas of operation still to be addressed. • The noise from the fans will cross it off some potential users’ wish-lists. • It’s not priced for the faint-hearted. SUMMARY It’s deep but not intimidating, and it’s a joy to program and play. It’s not cheap, but I’m not sure whether there has ever been another analogue polysynth quite like it. Provided that Moog sort out the issues discussed here it’s destined to be a classic, potentially the stuff of legends.…

access_time2 min.
talking to the outside world

The One’s rear panel is replete with 26 inputs and outputs including the Main L-R and Subsidiary L-R outputs, all of which require quarter-inch TRS (balanced) cables for optimum results. Next to these you’ll find four TRS quarter-inch audio signal inserts plus two external audio inputs with XLR/quarter-inch ‘combi’ (mic/line) and quarter-inch (line) sockets. Analogue control is provided by two quarter-inch CV inputs, a sustain/sostenuto pedal input and two expression pedal inputs that can be used as additional CV inputs. Signals presented to these can be directed to any or all of the three Synths simultaneously, with multiple destinations programmed in the modulation matrix, and you can determine the minimum and maximum voltages received in the range ±5V. (I would have preferred ±10V to maintain compatibility with a wider range of…

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