Sound on Sound

This is the one where the skill pays off cleanly.

Why does soldering dominate here when crimping is technically superior? Hugh Robjohns at Sound on Sound put it well.

Soldering is a familiar, well-established, relatively easy to learn technique that uses commonly available, low-cost tools.

Decades of proven reliability in the field, and it can be repaired easily in the field with standard tools and skills.

um so this is cool this largely they kind of popularized it in a lot of ways and and some of them ken townsend specifically um kind of claimed that they had invented it um because townsend like when they had this idea um built transformer boxes in order to accomplish it in a lot of ways um but They weren't the first to do this.

Sound on Sound's history of direct injection notes that Joe Meek had been recording bass directly as early as the late 1950s, and Motown was routinely recording electric bass direct by the mid-1960s.

Not the first.

Joe Meek, that's, I guess, not too surprising, is it? No,

Um, those two for me.

And another one that was really poignant for me, uh, and still is to an extent, is Sound on Sound magazine.

Do you get the Sound on Sound in the States?

Yeah, yeah, we get that here too.

Yeah, you do?

Yeah.

Yeah.

Sound on Sound magazine is, is a fantastic resource.

Hello and welcome to the Sound on Sound podcast channel about electronic music and all things synth.

I'm Rob Puricelli and in this episode I talk to Alison Tavel about her film Resonator.

Born ten weeks before the passing of her father, Alison grew up knowing little about him but did know that he had invented a synthesizer of some description.

Thank you.

Thank you for listening, and be sure to check out the show notes page for this episode, where you'll find further information along with web links and details of all the other episodes.

Before you go, make sure you visit the Sound on Sound podcast page at soundonsound.com forward slash podcasts, where you can explore all the other great content playing across the other channels.

I'm Rob Pericelli, and this has been a failed muso production for Sound on Sound.

Why not check out our other podcast channels? This month on our recording and mixing channel, Marcus Ledley talks to Susie Cross about his new book, Field Recording, a practical guide exploring techniques and equipment for capturing sound in the field.

While early tracks relied on the high-energy driving rhythms of two-tone ska, Our House is full of complex pop composition and modal mixture.

Producer Clive Langer noted in Sound on Sound that the track had a unique beat where the snare drum landed perfectly in the open space, reminiscent of classic tracks like The Kinks' You've Really Got Me.

Furthermore, the track featured a lush string arrangement by David Bedford, marking the very first time Madness integrated a full string section into their work.

This brilliant harmonic contrast creates something warm, celebratory and deeply melancholic.

And what he didn't know wasn't worth knowing.

He used to write for Sound on Sound magazine.

He'd get, um, prototypes of equipment from Roland and Behringer to test out-

Mm

like men's health or some shit.

Because I've been in like, you know, Sound on Sound and all that kind of stuff.

Yeah, now you want to do this.

I used to

Not that they thought it.

Baby Daddy, in an interview with Sound on Sound, described this song as a breakdance song on the album.

Of course, it's a very Scissor Sisters take on breakdancing.

I'm not sure you're going to be wanting to spin on your head anytime soon, although perhaps they are not the best critiquers of their own work.

Okay.

And you just kind of move, uh, and you keep on, you know? I'm, I'm speaking with Sound On Sound, and so I think I have some British lexicon in my, uh, in my brain now.

[chuckles] If you were to distill it down, w- what-- And we'll talk just about mixers now.

What's one thing that you think they overlook when you talk to them where they're not aware of?