We’re incredibly honored to see CUBE featured in Sound on Sound, one of the most authoritative sources in the professional audio industry. Sound on Sound’s glowing review of CUBE is currently on their website and will be published in the June edition of their longstanding print magazine. Read the full review on the Sound on Sound website here.

Since 1985, Sound on Sound has been the authoritative source charting the evolution of production and recording technology and its impact on the music industry landscape. Along the way they’ve set an incredibly high standard for technology reviews, which is why we’re so excited about their positive coverage.

Befitting Sound on Sound’s reputation, the review is thorough, going deep into every corner of CUBE’s extensive feature set. After some quick background on CUBE’s overarching concept, the review covers the “Main” section’s Orbit functionality and other top-level performance controls for “easy sound shaping.” There’s also a shout-out to the Ether function’s ability to easily sculpt the dynamics of a preset’s underlying sound sources. Next up is an evaluation of the Sound section, with praise for CUBE’s well-organized browsers and useful tagging, but more importantly, for the depth of sonic inspiration CUBE’s sounds offer: “You are unlikely to run out of novel sonic options any time soon… there are endless potluck options available to inspire.”

But what we’re most proud of is the review’s overarching comments on the sound of CUBE itself (“very good indeed”) and the experience of designing sounds from scratch in CUBE (“both straightforward and rewarding”). As the conclusion looks ahead to our plans to expand and evolve CUBE’s feature set, we must agree that yes, CUBE is in very good shape, indeed. 
Learn more about CUBE here.

The review then shifts to the Modulation section of CUBE, giving kudos to the elegance of its implementation: “the basic operation is simple enough, but it allows for some pretty complex modulation options.” When reviewer John Walden turns to the Effects section, he was particularly delighted by the distortion, calling the saturation, wave-shaping, and bit-crushing capabilities “particularly effective for dialing in the required amount of aggressive edge you might want to add to a preset.”