Sound On Sound UK April 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.

United Kingdom
Sound On Sound Ltd
4,06 €(VAT inclusa)
30,51 €(VAT inclusa)
12 Numeri

in questo numero

3 min
wants vs needs

Over 10 years ago I started a leader column by saying: “The cold reality is that the musical hardware and software available five years ago almost certainly already did everything that a talented engineer/ producer actually needed to create great recordings.” OK, a few more genuinely useful polishing tools have become available over the past decade, but in reality, what developments in technology since then have actually improved the quality of your final projects? As I pointed out in a leader column written some years before even that one, the real divide between pro recordings and home projects comes down to musical ideas, playing skills and the space used to make the recordings — the technology needed to record them was perfectly adequate even back when everything was 16-bit. As…

11 min

Hear at last: Ocean Way’s RM1-B Some products are announced immediately before shipping, others have a rather longer gestation period — like the aesthetically stunning stainless-steel RM1-B large-format ribbon mic from Ocean Way Audio. It might seem familiar; it has appeared in the SOS news pages before, following an outing at AES Los Angeles in 2016, and was even filmed at that show by the SOS video crew (the original news item and video can be seen at However, the prototype mic exhibited there was never widely released as seen; original designers Cliff Hendricksen and Allen Sides subsequently embarked on a long programme of design improvements, refining the interaction between the magnet and the ribbon, and making the mic sturdier to prevent damage when shipping. Mechanical improvements have also been made…

1 min
ssl six £1199

PROS • The most affordable SSL yet! • A genuine mini SSL in terms of technical performance, features and capability. • Thoughtfully flexible and versatile design with masses of mic gain available. • One-knob channel compressors and adaptable EQ on mic/line inputs. • Effective DI inputs with plenty of gain and headroom. • 12-channel summing bus with G-series bus compressor. • Talkback channel can be employed as additional mic input, complete with the listen-mic compressor. CONS • USB or digital interfacing options would have been nice. • No input polarity reverse switches. SUMMARY The most affordable SSL ever, this is an impressively well-built mini-console. Its well thought-out and versatile capabilities should make it very attractive indeed for a wide range of small-scale but quality-conscious applications. If paired with a decent audio interface, the SiX could double up as both a high-quality analogue…

19 min
solid state logic six analogue mixing desk

To many, the large-format SSL mixer represents the very quintessence of the recording console. But although still a very important part of SSL’s business, the market for such consoles has changed — the majority are probably now sold to educational institutions and very well-heeled personal studios, rather than commercial music facilities. Smaller project studios now drive much higher volumes of pro-audio gear sales, of course, and these typically have very different requirements. SSL have catered for this market for quite some time, with several more affordable, compact, but very high-quality mixers and outboard designed for contemporary DAW-based workflows. More recently, however, SSL embarked in an interesting new direction, with their impressive Fusion Stereo Analogue Processor (reviewed in SOS December 2018). This was a novel product for SSL, not only because it…

14 min
polyend/dreadbox medusa synthesizer & sequencer

The driver behind any collaboration must surely be to play to the strengths of those involved. In today’s example this means a blend of Polyend’s digital technology with the analogue skills of Dreadbox. I was already acquainted with the latter, having previously enthused over the Erebus synth, so I was keen to discover what Polyend brought to the table — literally in this case, since the Medusa is a tabletop synth, sequencer and controller rolled into one. The synth engine features six oscillators (three analogue, three digital), an analogue filter, five LFOs and five envelopes, while the sequencer boasts up to 64 steps of notes and synth parameters. There are three voice modes, one of which is a sort of ‘paraphonic plus’ where chords of up to six notes can be…

1 min
polyend/dreadbox medusa £879

PROS • A versatile blend of analogue and digital synthesis. • Paraphonic, capable of up to six-note chords. • A different type of synth playing surface. • Grid storage of parameter modifications is wonderful. • Step sequencer includes parameter recording. • Solidly made. CONS • The sequencer is basic and rather menu-bound. • The pads are small and not the most responsive. • MIDI spec could be improved. • Some aspects feel unpolished; the divide of duties between Notes and Grid modes feels awkward. • Shared controls, so less immediate than it might be. SUMMARY The Medusa is a powerful and often subtle hybrid synth whose killer feature is the ability to store up to 64 complete sets of parameter tweaks in every patch. Also acts as a control surface and sequencer.…