This page contains a Flash digital edition of a book.
WELCOME


March 2014 Issue 280


MEET THE TEAM


Editor – Jory MacKay jory.mackay@intentmedia.co.uk


Deputy Editor – Jake Young jake.young@intentmedia.co.uk


Managing Editor – Jo Ruddock jo.ruddock@intentmedia.co.uk


Sales Manager – Graham Kirk graham@gkirkmedia.com


Group Head of Design & Production – Adam Butler adam.butler@intentmedia.co.uk


Production Executive – Jason Dowie jason.dowie@intentmedia.co.uk


Designer – Jat Garcha jat.garcha@intentmedia.co.uk


Publisher – Steve Connolly steve.connolly@intentmedia.co.uk


Managing Director – Mark Burton mark.burton@intentmedia.co.uk


Press releases to: pressreleases@intentmedia.co.uk


© Intent Media 2014. No part of this publication may be reproduced in any form or by any means without prior permission of the copyright owners.


Audio Media is published by Intent Media London, 1st Floor, Suncourt House, 18-26 Essex Road, London N1 8LN, England. Editorial tel +44 (0)20 7354 6002 Sales tel +44 (0)20 7354 6000


Audio Media ISSN number: ISSN 0960-7471 (Print)


Circulation & Subscription enquiries Tel: +44 (0)20 7354 6001 email: audiomedia.subscriptions@c-cms.com


Printed by Stephen & George, Wales


I’VE ALWAYS been attracted to the way science fiction films and TV programmes from different eras show their vision of the future. From Gene Roddenberry’s sexed-up, 70s- inspired intergalactic exploration epic, Star Trek, to Ridley Scott’s 80s-themed dystopian future in Blade Runner, and even Spike Jonze’s almost-too-accurate comment on our current addiction to technology in Her, the present has always had a strong presence in our future. But the future is also retro. Our vision of what’s to come is ultimately formed by what has already happened, or what is currently happening. Maybe that’s the reason why we’re so drawn to things that are ‘classic’ and ‘traditional’. If something has already proven its


worth in the past, who’s to say it won’t be just as good in the future? Two announcements in the pro-audio world launched this philosophical train of thought. Wrapped up in the post-NAMM madness, Roland finally


“Our vision of what’s to come is ultimately formed by what has already happened, or what is currently happening.


Maybe that’s the reason why we’re so drawn to things that are ‘classic’ and ‘traditional’”


revealed its Aira range – four new products designed to emulate some of the company’s biggest releases (the classic TR808 and 909, as well as the TB303) with added modern and forward-looking features. Equally as exciting, yet less reported on, was Korg’s announcement of a new, faithful reproduction (hopefully with some similar modern updates) of the ARP Odyssey synth – a staple on albums from Tangerine Dream through to Nine Inch Nails. Korg has even brought in David Friend, one of the founders and past presidents of ARP Instruments, as chief advisor on the project. For sound designers, or just plain old synth heads, these releases cause a bit of a conundrum. Just as we love the idea of capturing classic sounds and are excited by the idea of implementing modern functionality, there’s always a bit of scepticism whenever a company tries to recreate a proven product. As much as we trust the past, we are hesitant to put the same trust in our present selves. It’s the same problem that comes when you look at the aforementioned films and programmes. As much as we try to look to the future and create a vision of things to come, we are sceptical of our abilities and ultimately give in to proven ideas, either from history or from the world around us. So where does this leave us? Are we forever bound to the past? Well, no. While there’s sometimes a debilitating anxiety in trying to create something completely new it’s by pushing through that fear that we carve out our own place in history.


As much as I love the idea of a retro future, I’m more excited by uncharted waters.


Jory MacKay, Editor


www.audiomedia.com


March 2014 03


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51