Sound On Sound UK September 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

2 min
thanks for the memory

I’ve had a couple of sample-based instruments to review lately, and both have weighed in at over 50 gigabytes each. Given my non-spectacular Internet speeds this has meant leaving the studio powered up all night just to get the download. Some downloads will at least pick up where they left off if your Internet drops out, but others require you to go right back to the start. Equally challenging is the process of finding drive space to store them all, which got me wondering why these things have to be so big. My first experience of samplers was with the early Akai S-series instruments, which loaded from floppy disks that couldn’t even hold as much as one megabyte each. That meant the samples had few if any velocity layers and were…

14 min
making waves: abbey road studio 3

Waves’ Abbey Road Studio 3 plug-in is a monitoring tool that accepts audio from your DAW in stereo or 5.1 or 7.1 surround and outputs two-channel binaural audio. Waves claim it sounds exactly as though you’re sitting in the sweet spot by the SSL 9000J console in the control room of the legendary Studio 3. You have a choice of virtually monitoring through three speaker systems, which the plug-in simply labels ‘near’, ‘mid’ and ‘far’ but which are based on measurements taken of the three monitoring systems most commonly used in the Studio 3 control room: respectively, a pair of ATC SCM25 nearfields, B&W 800D speakers in a switchable 5.1 or 7.1 configuration, and Studio 3’s famous Quested Q412 system. A monitoring aid rather a mixing plug-in, Abbey Road Studio…

7 min
warm audio wa-84 small-diaphragm capacitor microphone

Warm Audio have a simple but very effective business model based around recreating vintage studio hardware on a budget. Their range encompasses affordable copies of classic compressors, EQs, mic preamps and now microphones, of which the latest is an homage to one of the great studio workhorses. Introduced in 1966, the Neumann KM84 made history by being the first ever phantom-powered microphone. It soon established itself as a popular choice not only in recording studios but also in broadcasting, thanks to its excellent sound and unobtrusive physical presence, and remained in Neumann’s catalogue until 1992. Like rival systems from Schoeps and AKG, Neumann’s KM series was modular. The KM body contained the impedance converter, balanced line-driver circuitry and output transformer, with a switchable -10dB pad, and could accommodate one of three capsule…

3 min
know your kms

Neumann have applied the designation ‘klein mikrofon’ — literally, small microphone — to quite a few different models over the years, and there’s some potential for confusion in the history of the KM84 and its relatives. The first series of KM microphones used the AC701 miniature valve as an impedance converter, and employed distinctive metal-skinned capsules with a characteristically bright sound. These were the omni KM53, cardioid KM54 and multi-pattern KM56, all now highly prized by vintage mic aficionados. The more conventional gold-sputtered Mylar diaphragm later used in the KM84 made its debut in the KM63, KM64 and KM66, also based around the AC701, while the final valve model in the series was the U64, which paired the KK64 cardioid capsule with a Nuvistor valve, and is generally less well regarded. As…

6 min
cinematic studio brass sample library

To quote the Star Trek: Enterprise theme song: “It’s been a long road, gettin’ from there to here...” Two years after its intent was announced, Cinematic Studio Brass (CSB) joins the Cinematic Studio Series of instruments. In keeping with their existing ensemble strings, solo strings and piano libraries (CSS, CSSS and CSP), Alex Wallbank and his team recorded this collection at the Trackdown Scoring Stage in Sydney. With its unashamedly Hollywood-style agenda, can CSB hold its own in an already crowded, cinematically flavoured market? Let’s find out. Kit Of Parts CSB offers nine NKI patches, comprising five solo instruments (Trumpet, Horn, Trombone, Bass Trombone and Tuba), three section patches (2 Trumpets, 2 Trombones, 4 Horns) and a Full Ensemble patch — always useful for working up basic parts, pads and big tutti…

1 min
handy hacks

One obvious way to obtain a three-instrument section is to load (for example) both the 2 Trumpet and Solo Trumpet presets, playing on the same MIDI channel. For a four-trumpet section, load another Solo Trumpet, tune it down by a whole tone or more, and duplicate its part to another track transposed up by the same amount. Mind you don’t transpose any keyswitches in the process, though! The same trick works with the Horns and Trombones too. A similar approach can be used to extend the lower range of instruments — this is especially useful for extending the range of the Bass Trombone and Tuba down to a low C, so they can match the low C of the strings’ Contrabasses. Those bottom notes don’t seem to suffer timbrally from…