Table of contents for Autumn 2024 in Future Music

Welcome to the latest Future Music, which I must acknowledge with a heavy heart will be the final issue of the magazine. FM first launched more than 30 years ago in the autumn of 1992 and it’s been my privilege to serve as that magazine’s editor for almost a third of that time. Like many of you, my first encounter with FM – and its sister publication Computer Music – came during my formative years when I was first trying to get my head around the baffling world of making electronic music; long before I knew my phase distortion from my ring modulation, when a ‘compressor’ seemed like a mysterious, baffling device that managed to make everyone else’s tracks sound better than my own personal attempts. Since the early-’90s, Future…

THIS YEAR’S WINNERS of the Oram Awards – recognising women, trans, non-binary and gender expansive artists who are pushing the envelope of creativity in sound, music and related technology – have been announced. The winning five artists were named as Dali de Saint Paul, The Silver Field, Hanna Tuulikki, Lola De La Mata and xname. Each of the selected winners receives a grand in bursary funding and access to the Oram Awards’ mentoring programme. The awards, developed in partnership with The Radiophonic Institute and PRS Foundation, is the namesake of audio pioneer Daphne Oram, one of the founding members of the BBC Radiophonic Workshop, creator of the Oramics machine and some even say, a proto-techno-musique-concrète foremother. It’s in Oram’s boundary-pushing spirit that today’s nominees continue to push the envelope, with this…

Working under the alias Photay, LA-based producer Evan Shornstein records music that brings polarities together; fusing acoustic instruments and electronic sounds, he evokes the natural world through technological means. In his world, IDM breakbeats sit comfortably next to live drums and the human voice crackles with a synthetic fuzz; in fact, Shornstein’s latest project, Windswept, started its life with a synth patch inspired by the howl of the wind. With this sound and concept as his theme, Shornstein crafted nine songs that elevate synth-focused beatmaking with the exploratory spirit of jazz. “A few years ago I started recording music during a period of high springtime winds,” he says. “I found myself falling under the spell of this deep, unpredictable and often overwhelming force… After several gusty seasons, a whole album…

ALBUM OF THE MONTH Floating Points, Cascade Ninja Tune IN RECENT YEARS, Sam Shepherd – aka Floating Points – has been a difficult artist to pin down. Originally emerging out of the UK dance music scene in the heady days of post-dubstep eclecticism, his recent projects have increasingly seen Shepherd looking beyond the confines of electronic music; expanding his live show to incorporate a full band of accomplished musicians, collaborating with the late Pharoah Sanders on a stunning jazz LP and, most recently, scoring Mere Mortals, a piece created with the San Francisco Ballet. Conceived as a sort of follow-up to 2019 album Crush, Cascade is a welcome return to Floating Points’ dancefloor roots. Opening track Vocoder sets the template for what’s to come, a combination of rave-ready vocal loops…

IT’S TEMPTING TO think that the only requirement when it comes to the latter stages of sprucing a mix, ready for its final bounce, is to pay attention to the treble end. Yet mixes require equal attention paid to all frequency bands. When you hear a mix which sounds properly balanced, this is in part due to the huge care paid to the mid-range, which expands from just above the fundamental frequency of kick drums and basslines though to the meat of low treble and the fizz and sparkle which comes further up. This area, from approximately 200Hz to 1kHz can be further broken down into bands – low mid-range, mid-range, upper mid-range etc. This range provides the meat and ‘substance’ of a mix, without which the bass won’t sound…

The dynamic range (difference between the loudest and quietest passages) of a piece of music can really affect how the listener reacts to it. Classical music is a superb example – the wide dynamic range of an orchestra allows soft playing to become incredibly loud and impactful in an instant. However, as the human ear naturally prefers louder sounds to quieter ones, most modern music sacrifices dynamic range for overall loudness by using processing such as compression and limiting to reduce the dynamic range, increasing overall average loudness (RMS) levels. This can make the music stand out more initially but, when overused, typically makes it fatiguing to listen to over an extended period of time – and less impactful to boot. Use dynamics processing sparingly, but if you are looking…

It’s easy to forget that the sounds you’ve assigned to a reverb or other effects bus within a mix are also generating their own frequency content. Most people assign a reverb and flick through parameters and presets to find something which sounds good. But you can go further, ensuring that you put the sound of reverb as much under the microscope as you would a sound you programmed from scratch. If that top end of a reverb is working well, great; but do you need the sound of all of the mid-range it’s producing too? Similarly, if it’s working well through most of a vocal part, are you going to ignore the way it explodes every time it encounters a moment of sibilance in the lead vocal? Hopefully not –…

Expressive performance is a topic of debate today. For hundreds of years, we’ve made do with instruments like pianos, and more recently electric pianos, and we haven’t spent much time complaining about what they can’t do. The best musicians don’t mind limits – they stick within them and work out how to turn limits to their advantage. But there’s been a growing number of manufacturers who believe that musicians are ready to be liberated. To these companies and people, musical notes as ‘on/off switches’ is not enough, and the keyboards and MIDI controllers we’ve come to know are now due an overhaul. The collective solution put forward to this creative drought? MPE. The ‘MIDI Polyphonic Expression’ protocol allows for an expanded version of MIDI to carry more information than just…

1 Ableton’s more recent in-built synths are equipped with MPE. In Wavetable, for example, we can tab over to MPE on the right-hand side. The whole editor here acts like a modulation matrix of a sort, treating four input properties as modulators, with an amount set for how much each affects its target. 2 Velocity acts very much like it does on any traditional synth, with the striking force modulating certain parameters. On this patch, it’s linked up to Amp and Filter Cutoff, which is all very standard so far. You can apply a negative amount to have the inverse effect on a destination. 3 Let’s head to another patch, Dark Swarm, which has two controls linked to its Slide position – that is, the vertical position of a finger…

THE 1176 – by UREI or Universal Audio, take your pick – is one of the most revered pieces of studio gear. The peak limiter/compressor was released in 1968 by Bill Putnam who had been replacing the older tube technology in his range of compressors and preamps with the then all-new solid-state transistor technology. In fact, the name came after Putnam introduced the FET transistor technology into his 175B/176 tube compressor, the resulting ‘1176’ being a cut-down version of the original. The 1176 featured all-new Attack and Release controls (though these provide their fastest times with the knobs turned right – contrary to most modern compressors), with the Attack time going right down to 20 microseconds. It also famously provided four compression ratio buttons: 4;1, 8:1, 12:1 and 20:1. We…

IK MULTIMEDIA HAS unveiled an update to its mixing and mastering software T-RackS that brings eight new processors, sidechaining, workflow enhancements and a mastering console to the new edition. T-RackS 6 now boasts 60 modules covering mixing, mastering and effects processing. Modules can be used as standalone plugins or incorporated into modular mixing chains via the T-RackS host plugin and Mastering Console. Included in the list of eight new processors is an upgraded version of Master Match, IK’s referencing and analysis plugin. Master Match X will apply intelligent auto-mastering based on both internal and external reference tracks, matching parameters such as EQ, compression and limiting to any master you’d like to emulate. T-RackS’ Channel Strip plugin has also been updated, with Channel Strip X packing EQ, de-essing, transient shaping and dynamics…

THERE’S A MINEFIELD of potential EQ mistakes that can really affect the sound of your overall mix. One common one is overzealous use of high/low-pass filtering on individual channels within a mix – typically, it’s desirable to use high/low-pass filters for removing unwanted frequencies, freeing up headroom within the mix and increasing clarity of individual elements. This can be a great technique if applied carefully using gentle filters, however many digital EQ plugins offer much steeper filter types which can make the individual elements of the mix sound too separate. A good rule of thumb is to use 12dB/oct or 18dB/oct filters for high/low-pass work as they offer the best compromise between removing unwanted frequencies and retaining a cohesive, musical sound. Paying careful attention to what frequency the filters are…

1 Here you’ll see a typical mastering chain being built from start to finish. This is being performed in Logic Pro using a combination of stock Logic plugins. This setup demonstrates one possible combination you could use and doesn’t attempt to give you the definitive mastering chain setup. It’s best to try and experiment with your own plugins and play with the order of them to get optimum results. 2 The first processor used here is Logic’s Compressor used in the SSL-style Vintage VCA mode. Using a single band compressor across the entire mix in this way should help to give you a more cohesive sound and gel the instruments together in an organic fashion. You don’t need much treatment here, even a few dBs of gain reduction should help…

MOST OF TODAY’S instruments are MPE-compatible. The standard isn’t loved by every musician, artist or producer, but it has become a standard expectation for most synths released today. It’s worth noting a few of the developers who are bringing good MPE-capable synths to market, including those sold by Roli itself: Cypher, Equator and Strobe, which were first introduced by FXpansion a decade or so ago. Arturia has thrown its shoulder into MPE with their flagship Pigments synth, and you’ll also find MPE capability in Audio Damage’s Quanta 2 synth. Many other options are out there for getting your multi-fingered polyphonic wiggling on. In the hardware synth world, it’s slightly less common to see MPE implementation, but it’s on the rise. Using MPE functions in Preparation 2 1 In Physical Audio’s…

IS IT UREI or is it Universal Audio when it comes to the 1176? It’s actually both and to understand this, you need to get your head around the rather complex story of Bill Putnam’s company history. But to get that across we’d need a book as Putnam Senior has been associated with, or owned, lots of vintage companies including Universal Audio, United Recording Electronics Industries (that’s UREI), Universal Recording Corporation, Studio Electronics and Teletronix. Anyway, fortunately, all you need to know is that when the 1176 was released in 1968, the Universal Audio name was used, but the UREI name was dominant so also added to the branding on Revision D of the unit, although the UA name was dropped at Revision H. So already we have both names…

Trent Reznor holds a special place in the heart of every production nerd. Experimental, innovative, commercially successful, and totally uncompromising – his body of work has influenced everyone from David Bowie, Korn, 5 Seconds of Summer, and Lil Nas X. Not artists you usually hear mentioned in the same sentence, but then Reznor’s work seems to cross any number of boundaries. With a career spanning the early days of sampling up to the current cutting edge of digital production, Reznor’s evolution from menacing industrial rock frontman to film-scoring savant holds lessons for anyone interested in the emotional potency of music production. Now, with the announcement that Nine Inch Nails will be providing the soundtrack for the upcoming film, Tron: Ares, it seems like a good moment to look at what…

Back in 2018, Moog released its first proper analogue polysynth in decades – the Moog One. Available in both 8 and 16-voice iterations, the One was a beast of a synth that combined classic Moog analogue elements with digital processing and copious modulation tools. For all that was impressive about the One though, with a price that started at upwards of £5,000 for the 8-voice version, it was out of reach of many musicians – which possibly influenced Moog’s decision to discontinue it. In its place we now have Muse – a new flagship at the top of Moog’s synth line. While Muse maintains much of what the Moog One had to offer, including eight analogue voices, a multi-timbral design – reduced from three to two timbral layers – and…

Oblivion Sound Lab - Night City for TAL-U-No-LX, $19 OBLIVION SOUND LAB has featured in these pages before, and I have to confess to becoming a fan of both its soundbanks and plugins. The brand also has a great visual eye which, whilst making no difference in terms of sound, does a great job of conveying the aesthetic space of its sounds and streamlined usability of the plugins. In terms of the latter, my favourites are its Simmons-influenced Hex Drum and OSL Multi Chorus (and its free sibling the Juno-flavoured OSL Chorus). Retro future The focus here though is on 86 new patches for the TAL-U-No-LX, TAL’s excellent virtual take on the Roland Juno-60 polysynth. OSL did a great job of recreating the very broad palette of the Juno-106 factory…

Ableton Live from £259 Full review: FM407 Live 12’s generative tools offer a mass of creative fun, and the recently released 12.1 update adds an excellent drum sampler and vocal processor into the mix. Reason Studios Reason £499 Full review: FM412 The latest version of Reason overhaul’s the DAW’s sequencer workflow and adds impressive new synth and delay devices. Bitwig Studio from £49 Review FM411 Arguably the most forward-thinking DAW around. V5.2 adds three new EQs and an overhauled compressor. Tracktion Waveform Pro from $119 Review FM345 Waveform is stuffed full of creative tools and useful workflow ideas. Logic Pro £199 Review FM411 V11 adds AI-aided keys and bass, along with in-DAW stem separation and a new ‘instant warmth’ plugin. Universal Audio Luna free Now available for free for all Mac and…

FANS OF KV331 Audio’s SynthMaster have had to wait a long time for the plugin to tick over from version 2.x to 3, but it’s finally happened. Said to have been in development for many years, this revised edition of the company’s flagship instrument has a new modular architecture that enables you to work across 16 layers per plugin instance, with each of the layers containing up to 16 modules, 32 modulation sources and six insert effects. There are 900 new factory presets available, and SynthMaster 3 is also able to load presets from both SynthMaster One and SynthMaster 2. On the oscillator side, there are new granular and VAnalog modules, while the effects section has been bolstered by a waveshaper and three new types of filter (phaser, formant and…

Back in the days of recording using analogue gear such as tape recorders and mixing consoles, it was crucial to get the gain structure right as running signals too cold would give a high signal to noise ratio, meaning that the noise present in the equipment being used was too loud compared to the actual signal being recorded. Equally, running signals too hot in the analogue domain can introduce unwanted distortion, giving unpleasant end results when aiming for a clean, crisp sound. Although modern DAW software offers over 140dB of headroom with virtually no noise floor, it’s still vital to apply the same principles that studio engineers have been using for decades in order to make the most of that headroom. A common mistake made by lots of producers in…

01 To add width, first look at which sounds can be panned out to the sides. Panning just one sound out to one side may upset the balance of your mix’s width; counteract it by panning another sound in the opposite direction. 02 Elements such as running hi-hats or FX sweeps sound great when you get their stereo position swirling with a bit of auto-pan. While your DAW’s stock device will do, advanced autopanners like Soundtoys PanMan give you deeper control over the width and pan angle of the pan motion. 03 Often, you’ll want to use reverb to place sounds in an obvious virtual space, and this will add width as a byproduct. To maintain a sound’s ‘dryness’, try gently fading up an extremely short reverb, designed to act…

If you’re an electronic music fan who spends any time on YouTube, you’ve most likely been served up a recommendation for DJ Boring’s Winona. This dreamy lo-fi house cut, named after its sample of an interview with actress Winona Ryder, became an underground hit back in 2016, making DJ Boring - also known as Tristan Hallis - a permanent fixture in everybody’s sidebar, and placing him at the forefront of a new wave of house producers that conjured big feelings out of low bit-rates. In the years that followed that, Hallis’ transition from bedroom producer to globe-trotting DJ has inspired a shift from introspection to euphoria, expanding the scope of his sound beyond the lo-fi aesthetic and towards hands-in-the-air bangers that’ll move a crowded dance floor, without sacrificing the emotion…

WE’VE JUST FINISHED looking at Roli’s own synths, which work great with the company’s dedicated hardware, but what happens when you use the myriad plugin synths by third parties – the ones we all know and love already. How has MPE functionality been implemented in these? Most instruments will have been made or retro-fitted with MPE in mind. Plugins that pre-date MPE, such as Serum, have facilities to enable MPE in their settings, and basic MPE properties can be implemented. Plugins that came out after MPE are usually better at supporting the protocol, with at least some functionality built in from the start. However, this doesn’t mean that every MPE synth will have dived as deeply into MPE control as one that has MPE as its main focus like Roli’s. It’s…

01 We’ll start by using a Waves CLA76 to level vocals and it’s important to note that there won’t be any exact settings as vocals can vary so much, but a slow release and middling attack can be a good starting point with a high ratio to home in on the results but reduce this for more subtlety. 02 These are popular settings – Attack at around 3 and Release around 5 – to bring vocals out a little more in a mix, with the Ratio set at 4. Note we’ve switched to the Blacky on this one but the Bluey is just as good for vocals. These are known as the Dr Pepper settings as they were used on a Dr Pepper ad! 03 For more instant fun, try…

NIN, The Becoming One of The Downward Spiral’s underrated gems, The Becoming pairs an infectious groove with ever-increasing sonic intensity, all underpinned by a discordant sample taken from cult flick, Robot Jox. “We had some weird wailing women like, ‘Ooooo-ohhhhh-ooohh’!” Reznor told Revolver in 2020. “With that looping under the whole song… it just helped you feel, like, ‘Fuck this song! Ugh! Turn it off!’ And that’s what we wanted.” Marilyn Manson, Dried Up, Tied And Dead To The World Alongside his formidable ’90s output, Reznor took time away from NIN to co-produce another of the decade’s most successful industrial rock albums, Marilyn Manson’s Antichrist Superstar. While the two rockers would part ways in a much publicised spat after the album’s release, Reznor’s fingerprints are all over the album; with frayed…

Oberheim TEO-5 £1,499 Full review: FM413 Inevitable comparisons to the Take-5 aside, TEO-5 does deliver enough of its own character to make it one of the best mid-priced polys around. Moog Muse £2,999 Full review: FM414 A worthy new flagship for Moog’s synth line to replace the behemoth Moog One. Muse has its weak points, but it’s also the purest, most characterful poly that Moog has made in recent memory. Groove Synthesis 3rd Wave £3,279 Review FM406 Simply one of the most powerful synths, wrapped up in an easy to use design. Arturia PolyBrute 12 £3,463 Review FM410 The PolyBrute was already fantastic, but this update puts it up there with the best, most forward-thinking synths out there. UDO Super Gemini £3,595 Review FM408 One of the best performance synths on the…

Moog Labyrinth £599 Full review: FM412 Despite a few misgivings about the hardware design, Moog’s latest semi-modular is one of the most unique and inspiring synths of recent times. Moog Spectravox £599 Full review: FM411 One of the latest addition to Moog’s range of semi-modular instruments, Spectravox can function as both a filter bank and an analogue synth-come-vocoder. Intellijel Cascadia £2,025  Review FM401 Merges different synthesis types and houses them in a format that works extremely well. Bastl Softpop SPII £445  Review FM393 Softpop offers vast tonal options and great sequencing, connectivity and portability. Korg Volca Modular £190 Review FM342 A West Coast synth in a compact package. Give in to its experimental ethos for endless fun. Moog Matriarch £1,979 Review FM355 Matriarch is very inspiring, has the classic Moog…