Sound on Sound

Sound on Sound
Title	Sound on Sound
Editor	Paul White
Editor title	Editor-in-Chief
Frequency	Monthly
Category	Music technology
Company	SOS Publications Group
Firstdate	October 1985
Country	United Kingdom
Language	English

Sound on Sound is a British monthly magazine and online publication focused on music recording, audio engineering, and music technology. It covers recording techniques, studio equipment, software, mixing, mastering, synthesizers, and live sound, combining product reviews, tutorials, interviews, and studio profiles. The title has become a reference for practitioners and enthusiasts across the recording, production, and electronic music communities in the United Kingdom, the United States, and internationally.

History

Sound on Sound was founded in 1985 by Ian and Paul White and launched in London during a period of rapid change in music technology, coinciding with the rise of digital synthesizers such as the Yamaha DX7 and the popularization of MIDI-enabled instruments like the Roland D-50. Early issues documented transitions from analogue consoles and tape machines such as the Studer A800 to digital multitrack recorders including the Sony DASH and the introduction of the Akai MPC series. Throughout the 1990s, the magazine chronicled the impact of digital audio workstations exemplified by Pro Tools, the adoption of plug-in formats such as VST and Audio Units, and the growth of home studios using interfaces from Focusrite and MOTU. In the 2000s and 2010s, coverage expanded to include software instruments from Native Instruments, workflows around consoles like the SSL 4000, and developments in immersive audio standards such as Dolby Atmos. The publication has weathered industry shifts including consolidation of major manufacturers like Yamaha Corporation and Roland Corporation and the emergence of online specialist sites and forums.

Editorial Content and Features

The magazine publishes in-depth product reviews of hardware and software from manufacturers such as Universal Audio, Neve, Genelec, Adam Audio, Ableton, and Steinberg. Technical articles often explore recording techniques using equipment from Shure, AKG, and Sennheiser; mixing and mastering practices referencing engineers who worked on projects for Abbey Road Studios and Sunset Sound; and synthesis tutorials covering devices from Moog Music and Korg. Regular features include studio builds profiling engineers and producers associated with labels such as Warp Records and Island Records, interviews with figures tied to acts like Radiohead and Daft Punk, and comparative tests of interfaces by vendors such as RME and PreSonus. The magazine also runs series on signal processing using plug-ins from Waves Audio, FabFilter, and iZotope, and articles addressing acoustics with products by Auralex and measurement tools from ARTA.

Contributors and Editorial Staff

Sound on Sound has drawn contributions from a range of journalists, technicians, and producers. Regular writers and technical editors have included industry veterans who also lecture at institutions like Guildhall School of Music and Drama and the Royal Academy of Music. Guest columnists have included recording engineers and producers noted for work with The Beatles-era studios, modern pop acts on labels such as Columbia Records, and film composers connected to facilities such as Air Lyndhurst Studios. The editorial team has maintained contacts with trade organizations and exhibition promoters behind events like NAMM Show, AES Convention, and Music Producers Guild Awards to secure previews and interviews. The founder-editors have overseen editorial direction while commissioning specialists in synthesis, acoustics, and live sound.

Circulation and Distribution

Initially distributed in the United Kingdom through newsagents and subscription, the magazine expanded distribution networks into North America, Europe, and Australasia via international distributors and subscription services used by retailers such as Barnes & Noble. Circulation peaked during the transition from print to integrated online offerings, servicing readers in studio hubs such as Los Angeles, Nashville, and London. The periodical has navigated the decline of print advertising tied to major trade shows and manufacturers like Yamaha and Roland by diversifying into digital subscriptions and bundled advertising with events such as the Glastonbury Festival and regional trade fairs. Logistics involve partnerships with printers and postal services operating across the European Union and transatlantic shipment routes.

Digital Presence and Multimedia

Sound on Sound maintains an extensive website featuring the full archive of articles, searchable reviews, and audio demonstrations hosted alongside product galleries from brands like Korg and Novation. The site complements print issues with video interviews, studio walkthroughs filmed at locations such as Metropolis Studios and tutorial series demonstrating DAWs including Logic Pro and Cubase. The publication also operates podcasts and social media channels to engage audiences on platforms associated with media companies like Spotify and YouTube, and runs webinars and live panels at conferences including AES and NAMM. Partnerships with software vendors enable downloadable project files for DAW sessions illustrating workflows for instruments from Native Instruments and sampler libraries by Spitfire Audio.

Influence and Reception

Sound on Sound is widely cited by producers, educators, and engineers as an authoritative source on equipment and technique, with recognition from industry groups and frequent testimonials from figures affiliated with studios such as Electric Lady Studios and labels like XL Recordings. Reviews have influenced purchasing decisions for studios investing in consoles from API, microphones from Neumann, and monitoring systems from Genelec. The magazine’s in-depth articles are referenced in curricula at music technology departments within institutions like the Berklee College of Music and the Royal College of Music, and its coverage of technological shifts is noted in histories of electronic music that discuss innovations by companies including Fairlight and EMS. Various industry commentators and readers regard the title as a standard-bearer for independent specialist journalism in the field of music production.

Category:Music magazines Category:British magazines Category:Magazines established in 1985