category_outlined / Cine, TV y Música
Sound On Sound USASound On Sound USA

Sound On Sound USA

October 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 States
Sound On Sound Ltd
Leer Máskeyboard_arrow_down
12 Números


access_time2 min.
making mistakes

Acquiring the skill to mix a piece of music takes time and practice, and like playing an instrument, you’re never done as there’s always something new to learn. Along the way we all make mistakes, which is how we learn — as they say, the person who never made a mistake never made anything. One of the first things we learn in mixing is that we need some kind of reliable monitoring system, whether it be loudspeakers in a treated room or suitable headphones, that allows us to hear what we’re doing with some degree of accuracy. Once we can hear what we are actually doing, mixing a song becomes a balance between art and science. The science aspect relates to things like levels, headroom, final loudness and, to an…

access_time1 min.
sound on sound usa

EDITORIAL 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 SUBSCRIPTIONS Circulation Manager Luci Harper Administrator Nathalie Balzano PRODUCTION Production Manager Michael Groves Designers George Nicholson Hart Alan Edwards Andy Baldwin Classified Production Michael Groves ADMINISTRATION Managing Director/Chairman Ian Gilby Editorial Director Dave Lockwood Marketing Director Paul Gilby Finance Manager Keith Werthmann ADVERTISING Advertising Manager Paul DaCruz Regional Sales Associate David Carson MARKETING Business Development Manager Nick Humbert ONLINE Digital Media Director Paul Gilby Design Andy Baldwin Web Editor Adam Bull…

access_time2 min.
spitfire take scoring sample libraries to the next generation

Spitfire Audio have launched a new, detailed orchestral library which captures the sound of the 89-year-old, internationally renowned BBC Symphony Orchestra (SO) in its entirety. Recorded in the orchestra’s soon-to-be-decommissioned recording and broadcasting home, Maida Vale Studios, where the SO has been based since 1934, the new library is the culmination of over 80 recording sessions, spread over two years. Work on the project is still ongoing, but the aim has been to create a one-stop scoring sample library with Spitfire’s usual attention to detail, accessed via a single stand-alone cross-platform software instrument or plug-in for all major PC and Mac DAWs. The entire SO is covered, from the 60-piece string section to woodwind, brass and percussion, plus a celeste and harp. More detail is available on the SOS website at…

access_time2 min.
analogue solutions unveil colossus

News has reached us of an impressive-looking mega-synth nearing completion, designed for those who love a synthesizer “as it was in the 1970s — but new, with parts still in production”. Sure enough, Analogue Solutions’ new instrument eschews MIDI and USB, and is almost entirely analogue, barring some necessarily digital elements in the on-board sequencers. Colossus is a large-scale synth (650 x 1700 x 700mm) in a solid metal case edged in hardwood, in the vein of ARP’s 2500 or the EMS Synthi 100, and built to what look like very high standards of engineering and construction. Analogue Solutions acknowledge the visual influence of the EMS Synthi 100 on Colossus, with its twin horizontal 31x31 pin matrices (one for routing CVs, the other for audio), but designer Tom Carpenter explains that…

access_time1 min.
new ones from genelec

Loudspeaker manufacturers Genelec announced three additions to The Ones family of point-source active reference monitors in a launch at London’s Metropolis Studios in early September. As regular readers will recall, the original One was the 8351A reviewed in SOS August 2015 (see https://sosm.ag/GenelecOne), later joined by the 8341A and 8331A at the most affordable end of the range (see https://sosm.ag/GenelecMoreOnes for the July 2017 SOS review). The new speakers all employ the same innovative underlying design concept as the previous Ones, featuring a cleverly conceived combined coaxial tweeter and mid-range driver set in a waveguide occupying the whole front face of the monitors, and equally original LF drivers concealed behind the waveguide. Now there’s a larger model at the top end of the family, which Genelec claim offers the same high…

access_time1 min.
return of the fantom

Roland have announced the latest generation of synth workstations to bear the Fantom name, following the original FA76 Fantom from late 2001, and the subsequent Fantoms S (2003), X (2004), Xa (2005), G (2009), and FA06/08 (2014). Designed for studio or live use, the new Fantom range is available in 61-note, 76-note and 88-note hammer-action models (all with aftertouch), known respectively as the Fantom 6, 7, and 8. The last of these is shown above. Detailed specifications were still sketchy at the time of going to press, but it seems the new Fantoms are 16-part multitimbral and offer a variety of on-board synthesis types, a built-in pattern-based and real-time sequencer and a real analogue filter, plus built-in effects powerful enough to remain assigned to all 16 possible parts simultaneously if required.…