AI and Music Tech in 2026 - Sonarworks Survey

Phil Ward talks to Julian Rodgers about the fundamental challenges of loudspeaker design, from cabinet construction and bass response, to impedance, directivity and point-source designs. They explore how cost, materials, DSP and advances in driver technology determine the compromises involved in creating accurate studio monitors. Chapters 00:00 - Introduction 01:03 - Why Speakers Sound Different 03:19 - The Impedance Of Air 04:19 - How Cost Determines Outcome 09:19 - Bass Response Challenges 12:03 - The Benefits Of Porting 14:52 - Different Cabinet Designs 17:22 - Point Source 22:29 - Research And Design Changes 28:02 - Development Time 33:55 - Digital Technologies 39:47 - Favourite Speaker #MordauntShort #Genelec #PMC #Amphion #AsciLab #PURIFI #ATC #LAcoustics #AdamAudio #KiiAudio #DutchAndDutch #HOLOPLOT #PSIAudio

Marcus Leadley talks to Suzie Cross about his new book, Field Recording: A Practical Guide, exploring the techniques, equipment and creative approaches to capturing sound in the field. From microphones and denoising to electromagnetic and underwater recording, Marcus shares practical insights from more than 40 years of experience. Chapters 00:00 - Introduction 00:47 - Reasons For Writing The Book 03:04 - A Background In Field Recording 05:36 - Commonly Used Microphones 07:05 - Discovering Hidden Sounds 08:38 - Different Microphone Use Cases 13:04 - Digital Denoising Tools 14:25 - Using The Sounds In Compositions 16:03 - Making Creative Decisions While Recording 19:25 - Electromagnetic Detectors 25:04 - Underwater Recording With Hydrophones 29:18 - Managing Unpredictability 30:52 - Allowing For The Unexpected 32:36 - Analogue Pitch Shift And Time Stretch 36:19 - Contact Microphones 40:27 - Where To Hear Marcus' Work Marcus Leadley Biog Marcus Leadley is a field recordist, sound artist, composer, curator and academic specialising in field recording, soundscape composition and environmental sound. He is Head of the Electronic Music Studios at Goldsmiths, University of London, where he teaches experimental sound and Sonic Arts. His research interests include phonography, soundscape composition, acoustic ecology and ecoacoustics, and his artistic practice includes field recordings, soundscape compositions, installations and collaborative projects. Marcus has been creating work based on field recordings since 1997 and also teaches field recording and soundscape composition through online courses and practical field trips. Before moving into academia, he worked as an engineer, producer and music technology journalist, managed commercial studios in Australia and edited Guitar & Bass magazine. He holds an MMus in Studio-Based Composition and a PhD in Sonic Arts. https://www.marcusleadley.com/ https://www.crowood.com/book/field-recording/ https://www.facebook.com/marcus.leadley Suzie Cross Biog Suzie Cross is an award-winning creative producer and multidisciplinary artist whose work explores connections between people, places and the natural world. Her practice spans sonic art, eco-acoustics, immersive installations, film, projection, poetry and electroacoustic composition. Her film Newland: New Vision for a Wilder Future, made with Dave Lynch, won Best Climate Film at the 2021 Research in Film Awards and led to an invitation to speak at COP26. A Clore Fellow, Suzie was awarded the Cultural Leadership Fellowship for Global Environmental Impact in 2018. She is Artistic Director of the Land Lines research project at the University of Leeds, Sound Artist in Residence at Manchester’s Mayfield development, and helps run SynthFest UK for Sound On Sound. She is also a member of the Frozen Music Collective, exploring neurodiversity and the relationship between the human brain and technology. https://suziecross.wordpress.com/ https://www.instagram.com/suzieloves432/ https://x.com/TheSuzieCross Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Lincoln Grounds joins Julian Rodgers to discuss guerrilla recording techniques, exploring how a focus on authentic performances, unconventional spaces and adaptability can matter more than technology and complex setups when creating compelling recordings. Chapters 00:00 - Introduction 01:09 - Definition Of Guerilla Recording 05:59 - Not Over-Indulging In Tech 11:14 - Getting A Good Performance Quickly 16:18 - Recording Bands In Their Own Element 19:50 - Working With Spill 30:18 - Headphones And Clicks Where Needed 33:10 - Post Production Techniques

Eddie Bazil explores a range of advanced effects techniques, using practical audio examples to demonstrate how creative combinations of delays, reverbs, harmonisers, flangers and phasers can add depth, movement and texture to your productions. Chapters 00:00 - Introduction 02:43 - Example 1: Multi-Tap Delay 05:43 - Example 2: Granular Resynthesis 08:10 - Example 3: Wrapping Reverbs 12:21 - Example 4: Adding Frequencies With A Harmoniser 16:10 - Example 5: Flangers For 3D Motion 20:43 - Example 6: Flanger, Phaser and Reverb #EventideUltraTap #SoundtoysCrystallizer #IKMultimediaCSRPlateReverb #AcusticaAudioRICE #EventideH949Harmonizer #BlueCatFlanger #InitialAudio808Studio2 #SoundtoysPhaseMistress #GForceM-tronProIV #EventideBlackhole Eddie Bazil Biog Eddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands, including Art Of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra, and many more. By his 20s, he was working as a sound designer for Akai, Roland, Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie began developing libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Rob Papen, Arturia, and Propellerheads. During this time, he trained in music production. He soon gained several prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer, and was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. This led to him offering educational workshops and classes, and becoming a contributing creator and Forum moderator for Sound On Sound. Recently, he was invited by the Recording Academy to become a professional member, approved educator, and mentor for their member base. Eddie now concentrates on providing private sound design and mixing/production tuition, and creating content for Sound On Sound magazine. https://eddiebazil.co.uk/

In this episode, Eddie Bazil breaks down the different types of EQ, explains their most common uses in mixing and production, and demonstrates how they shape and enhance sound with practical audio examples. Chapters 00:00 - Introduction 00:48 - What EQ Is And Different Types 01:33 - Active And Passive 02:45 - Linear Phase And Minimum Phase 03:46 - High-Pass and Low-Pass Filters 04:36 - Example 1: Using Synth Filters 06:47 - Common Functions Of EQ 07:27 - Example 2: Shaping A Kick Drum 10:31 - Example 3: Rebalancing An Acoustic Guitar 13:48 - Selecting The Right EQ Shape 15:55 - Managing Redundant Frequencies 18:15 - Example 4: Rebalancing A Mix #PultecEQP-1 #XferSerum #BozDigitalTransgressor2 #EventideSplitEQ #SonibleEntropyEQ+ #SSLNativeXSaturator #SSLValveComp #TokyoDawnTDRArbiter Track Credits Example 2: from 'Puppet' by John Walden. Example 3: from James Perret. Example 4: from 'Another Way' by forester. Written, performed and produced by René Schneeberger. https://foresterdnb.bandcamp.com/music https://open.spotify.com/intl-de/artist/2BtzZiEDaReXLveskYtYkm https://soundcloud.com/foresterdnb https://cambridge-mt.com/ Eddie Bazil Biog Eddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands, including Art Of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra, and many more. By his 20s, he was working as a sound designer for Akai, Roland, Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie began developing libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Rob Papen, Arturia, and Propellerheads. During this time, he trained in music production. He soon gained several prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer, and was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. This led to him offering educational workshops and classes, and becoming a contributing creator and Forum moderator for Sound On Sound. Recently, he was invited by the Recording Academy to become a professional member, approved educator, and mentor for their member base. Eddie now concentrates on providing private sound design and mixing/production tuition, and creating content for Sound On Sound magazine. https://eddiebazil.co.uk/