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"Is it actually overpriced or is there something I'm missing?": Why is the Teenage Engineering OP-XY so expensive?
By Adam Douglas published
Teenage Engineering provoked the wrath of the synth community with the release of its $2299 OP-XY. We take a look at why people are so enraged, why the device is priced so highly, and whether it's actually worth the cash
Kenny Wayne Shepherd on covering Hendrix, his fistful of Dumbles and the secret to great overdrive
By Jonathan Horsley published
Shepherd's tone on Dirt On My Diamonds Vol 2 is smoking hot, reference quality blues-rock, but like any master chef, it's all about the ingredients and how you use them
Why Billie Eilish's When We All Fall Asleep, Where Do We Go? is a modern masterpiece
By Andy Jones published
Billie's debut was recorded using mostly Logic stock plugins and a cheap set of Yamaha monitors
Exploring the history and techniques of the pioneers that brought static sounds to life
By Roland Schmidt published
The extraordinary history of adding movement to flat sounds will inspire you to give your music direction and drive.
Can AI mix better than a real mix engineer? We put iZotope's AI-powered Neutron 5 to the test to find out
By Stuart Adams published
We put the the recently updated Neutron 5's AI-assisted mixing up against an experienced human to find out if it could stand up to the real thing
Exploring the origins and evolution of the ambient techno genre
By Roland Schmidt published
“A friend left music quietly playing for Eno while he was in hospital, which was thought to have inspired his initial idea for Music for Airports”
“The quest for clarity and loudness can only go so far”: Bibio on his career-long fascination with tape recording, budget samplers and vintage pedals
By Matt Mullen published
Stephen Wilkinson talks us through the studio techniques behind the latest edition of his Phantom Brickworks project, the gear behind his biggest song and his enduring quest to unite lo-fi and hi-fi
How modulation effects work and how to use them
By Roland Schmidt published
Phasing and flanging are often confused. We ask why - and demystify!
“Every time we go to the modular we lose hours in the studio - it’s a wormhole!”: Sasha on his neoclassical second act
By Jim Ottewill published
The original superstar DJ drops some essential advice for aspiring producers and talks us through his ambitious Dolby Atmos score for the immersive Da Vinci Genius exhibition
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