Future Music is the essential guide to success for the modern producer. Discover everything in the pages of your Future Music digital magazine – from interviews with some of the world’s top producers and DJ’s, to practical tutorials that will help you take your production to the next level.
Computer Music’s goal is to help its readers create great music with a PC or Mac. Each month find easy-to-follow tutorials for all sorts of music software, unbiased reviews of the latest products and answers to technical questions.
Get ready for a large collection of insider tips, covering a very diverse set of synthesizers. We invite you to discover and be surprised and inspired. And don’t forget: Most of these secrets can be adapted to any synth. Included software: your own virtual MPC 2000XL, Voltage Modular BEAT Edition by Cherry Audio, NoiseAsh Action Phaser, WA Production Sphere Delay, BEAT Roehrich 12AX7 and 11 Gigs of sounds & samples! Find a full list of the content below.
A Computer Music magazine subscription is the complete guide to making music with a computer. There are millions of potential musicians out there and this magazine will help them get the right software and hardware and show them how to use it. Technology is now at a stage where computer users can complete virtually every musical task in the computer domain. Computer Music magazine subscription enables computer owners to develop their musical interest and expertise.
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.
We often dedicate a lot of FM to discussing the specifics of sound design, production and mixing, all of which are complex and varied disciplines worth studying and exploring, but none are of any use without an actual song to work with. To quote one of this month’s featured artists, Lewis Thompson, “the production should support the song”. While Thompson is often working with pop vocalists, the principle is true even for the most experimental, minimal or ambient tracks – unless you’ve a core song worth developing, no amount of mixing or mastering skill can paper over a lack of ideas. This issue we’re tackling the principles of songwriting from an electronic musician’s perspective, with tips and techniques along with deep dives into the theory behind a classic tracks from Frankie Knuckles, Deadmau5 and Floating Points.
We have British Electric Foundation on the cover of this month’s Electronic Sound and our lead feature is the story of BEF’s debut album, ‘Music For Stowaways’. It begins at The Human League’s HQ in Sheffield in late 1980, with Martyn Ware being ejected from the band and Ian Craig Marsh deciding to leave with him. What followed was a whirlwind year, with Martyn and Ian releasing ‘Stowaways’, initially only on cassette, and at the same time hooking up with Glenn Gregory and getting to work on Heaven 17’s ‘Penthouse And Pavement’ album. “We wanted to present this notion that you were entering our universe,” says Martyn. “We were creating an alternative fantasy existence, because the real world – I mean, I was living in a two-bedroom council house – had no glamour to it. At all.”
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