Electronic Sound Issue 122, 2025

English | 100 pages | PDF | 43 MB

We’re marking the return of The Art Of Noise with this month’s Electronic Sound cover story. Or The Art Of This as they’re now calling themselves. And as well as bringing you the very first interview with the band under this name, we’re bundling the magazine with an exclusive silver vinyl seven-inch featuring the new group’s debut recordings. More than 25 years on from The Art Of Noise’s last studio album, three of the five founding members – JJ Jeczalik, Gary Langan and Paul Morley – are rebooting the group as The Art Of This. They’re in fantastic form for our interview, telling tales from their early days and talking about going back to their avant-garde roots. They discuss Morley’s manifesto for the rejuvenated unit, which also includes former ZZT label manager Ian Peel, and describe themselves as “a sequel” to the original group. They claim there is another offshoot too, The Art Of That, which they say they’ll use “in shadowy ways”. True to form for the oddball electronic maestros, you should expect the unexpected.

Electronic Sound 123 2025

English | 100 pages | PDF | 52 MB

Electronic Sound is the best electronic music magazine in the world. In-depth coverage of the current scene, the pioneers, the machines, and the current thinking of the electronic music world.

Electronic Sound Issue 120

English | 100 pages | PDF | 61 MB

Electronic Sound’s final cover star of 2024 is the legendary Jean-Michel Jarre and we are bundling the issue with a limited edition green vinyl seven-inch featuring live versions of ‘Oxygène 4’ and ‘Équinoxe 7’, two of the synth superstar’s biggest and best-known tracks. Jean-Michel Jarre’s impact on electronic music during the last 50 years is huge, not least because of his thrilling live performances. His concerts are the focus of our cover story, with Jarre detailing how his shows have evolved over the decades and guiding us through some of the events he’s most famous for. His picks include Paris, Beijing and Houston, plus his Docklands sets in London in 1988. Expect highly entertaining tales of epic staging and equally epic rainfall, as well as several billion lasers. Remarkably, at the age of 76, there’s no sign of Jarre starting to slow down yet, with more live extravaganzas scheduled for 2025. All power to his VCS 3, we say.

Beat Issue 229 February 2025

PDF | ENGLiSH:61.9 MB | GERMAN:25.0 MB

(English and German Edition)

TECHNO MASTERCLASS – How To Create Hard & Hypnotic Techno. Whether melodic, hard or hypnotic – Techno regularly reinvents itself, but the essence remains: „The beat has to go on and on“. That‘s why we‘ve got the answer to all your questions about production here! From choosing the right kick to clever synth layering to the latest trends in sound design – we‘ll show you step by step how to build rumbles, create hissing hats and find catchy melodies. In other words, Techno with hit potential!

Future Music 407 April 2024

English | 100 pages | True PDF | 39.9 MB

Uncover the secrets of killer synth bass with Future Music Issue 407. Featuring exclusive new packs and an 18GB archive library, learn how to craft the perfect electronic low-end in hardware or software. Join Carl Craig, Julia Holter, and more in making the future of music since 1992.

Beat Issue 225 October 2024

P2P | 19 September 2024 | ENG: 21.82 MB | GERM: 21.52 MB

STUDIO ACOUSTICS – 58 Solutions, Tricks & FAQ | with Beat 10/24

(English and German Edition)

Booming bass, hissing highs and tiring mixing – such sound problems are often due to poor acoustics. In our special we show you how to get the most common acoustic problems in your desktop or home studio under control. Optimize your room acoustics and find the ideal monitor solution not only for your workflow, but also for your sound. Whether you‘re a beginner or a professional, we‘ll help you set up your studio perfectly. No more half-truths about acoustics – here are the facts!

Electronic Sound 117, 2024

English | 100 pages | PDF | 48 MB

Suzanne Ciani’s long and intense connection with modular synthesis started after meeting Don Buchla in the late 1960s. She soon became obsessed with the Buchla 100 and 200 systems, taking a particular interest in how the voltage-controlled quadrophonic capabilities enabled her to move sounds around a room. More than five decades on, while Ciani has utilised a huge range of synths during her career, the Buchla is still her main instrument of choice. She has produced some truly magical music over the years, earning no less than five Grammy nominations along the way, but it’s not enough to describe her work as being in another league. It’s also from another dimension.