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Sound On Sound UKSound On Sound UK

Sound On Sound UK July 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
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12 Números


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going mobile

As regular readers may have gathered, I’m not very good at relaxing holidays, so I always take a basic laptop-based studio setup with me. I’ve pared this down to a 13-inch MacBook Pro with an SSD drive, a couple of memory sticks, small headphones and a compact, two-channel audio interface. For live sound gathering I have a Panasonic flash recorder that outperforms the Revox A77 I started out with in just about every way possible, yet it is about the same size as a two-bar Kit Kat. Jam Origin’s MIDI Guitar software lets me write MIDI synth parts using a guitar rather than a keyboard, and the single microphone I need for odd occasions doesn’t take up much space. Of course this might still seem somewhat old-school to our younger…

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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/subs 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 ADVERTISING adsales@soundonsound.com Group Sales Manager Robert Cottee Classified Sales Luci Harper MARKETING marketing@soundonsound.com Business Development Manager Nick Humbert…

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Gamechanger Audio up and running with Motor Synth One of the sensations of May’s Superbooth show in Berlin was undoubtedly the Motor Synth, a truly different hybrid digital, electro-mechanical and analogue synth whose tones revealed a gnarly analogue character but with seriously distressed digital overtones, all overlaid with a nasty industrial patina. Latvian manufacturers Gamechanger Audio use eight digitally controlled electromotors, rotating them in a magnetic field to create specific audio frequencies which are then amplified by pickups attached to each motor. Moreover, attached to each rotating motor are special reflective discs, each bearing a representation of different basic audio waveforms. Each of these can be read by dedicated UV sensors as the disc spins and be converted to an audio signal at a frequency corresponding to the rotation of the discs…

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austrian audio oc818 & oc18 capacitor microphones

When studios embraced phantom power and moved away from valve microphones, two large-diaphagm capacitor mics became ubiquitous. Versions of both are still in production: but whereas the Neumann U87 is still recognisably the same mic today, AKG’s C414 has been through numerous redesigns. Each iteration of the 414 has improved its technical specifications, but many would argue that something more valuable has been lost along the way. The current C414 XLS may boast state-of-the-art self-noise figures, LED indication of polar pattern and other mod cons, yet it’s the very early C414s that fetch astronomical prices on the second-hand market. The reason lies with the core component that defines a microphone’s performance: its capsule. Feeling The Pressure Originally developed for the C12 and used in early versions of the C414, AKG’s ‘brass ring’ CK12…

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polar exploration

Austrian Audio’s open-source PolarDesigner plug-in is available as a free download from their website, in all the usual Mac OS and Windows native formats. It’s intended primarily for use with the OC818, but should work with any microphone that allows back-to-back cardioid capsules to be captured separately — obvious candidates include the Lewitt LCT 640 TS, Sennheiser MKH 800 Twin and Pearl ELM-A, as well as the Townsend Labs Sphere modelling microphone. In fact, the functionality of Polar Designer overlaps to some extent with that of the Sphere system’s plug-ins, though there is no attempt here to model the characteristics of other microphones. The OC818’s polar pattern is already near-continuously variable between figure-8 and omni, courtesy of Bluetooth control, but the PolarDesigner plug-in takes this several stages further. It allows the…

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austrian audio oc818 & oc18 £879/£599

PROS • Lovely rich, open sound. • Excellent value for money. • Stylish appearance and good build quality. • Consistency of manufacture should mean all AA mics are closely matched for stereo use. • PolarDesigner and Bluetooth pattern control offer interesting possibilities with the OC818. CONS • Can’t easily be used with a third-party shockmount. • Connecting the second cable for use with PolarDesigner obstructs the clip somewhat. SUMMARY In the OC18 and OC818, Austrian Audio have combined old-school expertise with clever innovation to deliver really special large-diaphragm studio microphones at a compelling price.…