Hello, and welcome to the second edition of SOUND ON SOUND, your new monthly hi-tech music and recording magazine. Judging by the deluge of phone calls and letters we received after the first issue appeared on the nation's bookstalls last month, you seemed to 'like' what our magazine had to offer both in terms of its editorial coverage and its visual appeal. Most of you even managed to catch the promotional advert transmitted on Channel Four's 'The Tube'. What an encouraging start!
We're putting a great deal of effort into making SOUND ON SOUND a high quality, stylish magazine, full of superb features, for we believe the time has come to show you today's synthesizer and recording equipment in the best possible light, to help you better understand and appreciate their use.
Each and every issue of SOUND ON SOUND will concentrate on the practical aspects of recording, playing and programming the full range of today's (and tomorrow's) hi-tech products and placing them within a recording context. Special emphasis will also be given to MIDI hardware/software and its applications in the creation of modern music - whatever the style. We've been fortunate to secure the writing skills of practitioners of the programming art such as Paul Wiffen and the much respected Jay Chapman, whose Talking MIDI series commences with this issue. We'll regularly have special interviews with leading artists, producers and recording engineers that reveal how they compose, record and perform their work.
The magazine has an intentional practical bias to its subject matter and wherever possible we'll discuss how you can use equipment in a recording environment and show what it is capable of. The features on Creative Mixing With MIDI Controlled Effects and the Akai Sampler in this edition serve as good pointers to the direction the editorial shall take each month. There's little point, we feel, in wasting valuable pages going over the same old ground when it comes to reviewing pieces of equipment. At the end of the day, the emphasis given to product specifications in reviews (what an inappropriate term that is anyway!) should never overwhelm coverage of the applications. After all, if a machine can give you the sound you've longed for, you're hardly going to be dissuaded from buying it (or hiring it for that matter) simply because of an inferior spec. Or are you?
Which brings me nicely to the topic of feedback. However much we endeavour to produce the best possible magazine each month in the time available, we can only ever hope to reach the heady heights of magnificence with your help. Music should be a shared experience; so too should knowledge. We are prepared to listen to anyone's point of view. So, let's communicate!
Finally, with Sound On Vision, we've devoted the latter pages of the magazine to coverage of the audio aspects of the Audio-Visual field - for so long the poorer relation. The very recent appearance of affordable devices capable of being synchronised to a SMPTE timecode are already beginning to expand the previously rather limited use of multitrack sound in this area. There's no doubt that the MIDI/SMPTE link-up will have profound effects on the way music for films, and music in general, is produced and recorded in the near future. The CTS Studio Four report on page 74 is living proof of just that. And with both Fostex and Tascam having SMPTE-based recording products of one sort or another waiting in the wings for imminent release, the revolution has commenced...
Editorial by Ian Gilby
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