August 2018 Magazine Contents

In a move that may appeal to fans of the movie Inception, the 1010music Toolbox takes a modular approach to your modular’s modulation...

ADAM’s new T Series makes the company’s signature technology and sound available at a much lower price than ever before.

Peter Hamstead and engineer Tim Steer’s clever all-analogue design effectively enables the end user to create their own take on an overdrive pedal, as it presents a choice of three different clipping circuits...

PA veterans JBL have upgraded their already successful Eon One system with an expanded mixer — and a battery powering option.

Sampling veteran Kirk Hunter’s latest instrument aims to cater for all of your violin needs.

Thanks to Korg, it’s once again possible to walk into a shop and buy a brand-new, full-size ARP Odyssey.

With 64-bit compatibility and VST3 support, Magix’s Sound Forge 12 is ready to face the future.

Meris’s recent repackaging of their Mercury7 500-series unit into a reverb pedal has brought with it stereo operation at both instrument and line levels and a very welcome drop in price.

The Ottobit Jr adds stereo operation, a six-step sequencer, a synth-like resonant low-pass ladder filter, triggered stutter effects, 16 preset memory slots and MIDI I/O to the mono original’s variable sample rate and bit-crushing abilities.

This classy valve mic is redolent of the classic German designs of old, yet comes at a fraction of the cost.

While Lo-Fly Dirt can make things very grungy, it is perhaps more akin to the analogue saturation plug-ins that have become very popular on desktop platforms over the last few years.

Find out how Mytek’s latest reference-level converter stacks up against the competition.

There are several tablet and phone apps to help determine optimum mic array setups for stereo recording, but one I’ve only...

On offer here is a wide range of more abstract ‘wind-flavoured’ sounds — in fact, just about anything other than traditional brass and wind.

Oceania comprises two choirs — men and women — which can be used independently but are at their imposing best when played in tandem.

With the fundamentals covered in previous versions, Studio One 4 branches out to explore new creative possibilities.

Dendrites is a compact filter module consisting of 16 modes, accessed from a central encoder. Each group of low-pass, band-pass, high-pass and phase-shift filters is represented by a different coloured LED...

Rob Papen’s latest synth keeps things simple with single-page operation, but doesn’t compromise on sound.

Film scores from the golden era of jazz were the inspiration for Sonokinetic’s latest sample library.

Fun-size sampling mayhem is the order of the day with the latest Pocket Operators.

More than a mere makeover, this 10th anniversary limited edition processor adds some useful functionality to the original BC1 design.

For their latest plug-in, Universal Audio have revisited one of the consoles that defined the ‘British sound’.

Korg have resurrected a ’60s classic — and completely reinvented it in the process.

Bass Slapper is a stand-alone and plug-in (VST, AU, AAX) virtual instrument that, with just a little bit of practice, will allow you to give the likes of Stanley Clarke, Bootsy Collins or Mark King a run for their money.

Save time and screen space by combining multiple plug-ins into FX Chains in Cakewalk.

Having created the conditions for a successful mix last month, what can you do to fit your vocal in the mix?

K‑pop is a truly global music style, and BTS’s successful assault on the US charts was led by a British mix engineer.

Apple have reinvented Camel Audio’s CamelPhat as the flexible Phat FX in Logic Pro 10.4. We see what it can do.

As these vocal examples demonstrate, Cubase’s Macros enable you to streamline your workflow significantly and save yourself considerable time.

Max For Live’s take on convolution reverb is a versatile sound design tool.

A list of all articles that hold associated media files for August 2018 audio and video examples. You'll find links in...

New features in Studio One 4 make it even easier to add interest to sequenced patterns.

Noise Engineering’s modules have made the leap from Eurorack to Reason rack. We investigate...

Recording an acoustic guitar duo in two separate rooms means great separation, but a lot of work to make the different spaces sound alike!

Sound designer Walter Trarbach and Foley artist Mike Dobson tell us how they created the sound world for this unique musical adaptation of a hit cartoon.

Mono plug-ins in Pro Tools can be used on stereo and surround tracks. We explain why this is useful!

Following a recent nearfield monitor review of mine in SOS — a product, it’s true to say, that I didn’t find entirely...

I’ve not found a way of bypassing an external effect (Boss DD-500) by using automation in Cubase 8.5 Pro. I didn’t want the...

I have a Roland Quad Capture [audio interface], which I’m very happy with. I would like to use the digital inputs in addition to the two analogue inputs. How can I achieve this?

For some live recordings I’m doing later this year I will have to place the mic on the stage front and I need to ensure that vibrations up to the mic are minimised...

For her eagerly awaited new album, Florence Welch teamed up with one of the world’s hottest producers. Emile Haynie and Florence herself describe the making of High As Hope.

When visiting colleges and universities to talk to students, we’re often surprised by just how many tracks get used in some projects, even when only three or four musicians are involved...

Talent and hard work have taken Marta Salogni from dive bars in Italy to working with A-list mixing and production clients in the UK in less than a decade.

Brush up on your listening skills, as we dissect some hits from a recording and production perspective. This month: Rudimental, George Ezra, Drake, Ariana Grande, plus Classic Mix: Cher ‘Believe’ (1998).

I love music. Of course I love music. Why else would I make it and record it and listen to it and write about it? But I also love silence...

Who benefits from wordy and expensive contracts in the world of music for media? Not the musician, that’s for sure.

Many still bemoan the demise of the large commercial studio — but what if music itself was to blame?