Music Tech August 2015
Music Tech August 2015
Music Tech August 2015
Issue 149
August 2015
SQUAREPUSHER
Pushing the
production
boundaries
Vocals in Live
Logic compression
Recording in Cubase
The Best Reviews
www.musictech.net
MT149.cover.indd 1
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Welcome MT
Expert Panel
Studio Hardware John Pickford
Tech?
New to Music
Check out ourde
Beginners Gui
et
at musictech.n
DONT MISS
OUR GREAT
SUBS OFFER!
MT149.welcome.5aj.indd 3
|3
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MT Contents
MT Contents
Issue 149
August 2015
MASTERING:
THE GUIDE P12
20 TIPS FOR MOBILE
MUSIC MAKING P48
FREE SAMPLES
GO HERE P114
MT Cover feature
28 Squarepusher
At the cutting edge of
music production.
Or is he?
MT Buyers Guide
12 MASTERING:
THE GUIDE
4 | August 2015
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Contents MT
p78
p73
p83
ADVANCE
007 | Industry news and opinion
MASTERING: THE GUIDE
MORE
REVIEWS
than ever before. What you need for
p92
INTERVIEWS
022 | Industry Guru: Insiders guide
to film and TV music production
028 | Squarepusher An incredible
chat with the man on his methods
TECHNIQUE
DAW workshops
Bluffers guide
106
A BLUFFERS
GUIDE TO MICS
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MTAdvance
Round-ups
Analysis
Industry insight
FOR MORE
OF THE
LATEST NEWS
CHECK OUT
MUSICTECH.NET
STUDIO ONE
SO WHAT IS ALL
THE FUSS ABOUT?
Studio One caused a stir when it entered the DAW market in 2008.
Now version 3 has landed and looks like a true heavyweight
contender. Studio One Expert Matthew A. Mann, takes a look
Details
Manufacturer
PreSonus
Price Artist: 69;
Professional 279;
upgrade/crossgrade
35 to 249
Distributor
Source
Tel: 020 8962 5080
Web
www.presonus.com
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Advance MT
The Professional
version of Studio One
3 introduces the
Project Page (above)
A songwriters toolkit
This most recent release of Studio One adds some incredibly
powerful features designed to help the songwriter/composer
get the most out of Studio One and enhance creativity. The
Scratchpad and Arranger are a powerful combination that let
you develop different arrangements and save them within
your songs. You can also try out different solos or
instrumentation within the Scratchpad and then drag them
into your timeline. You can save many different Scratchpads
in your project, too. Its almost like loop-based recording and
arranging, but in a timeline. This is also nice because you
dont have to set up new tracks to try your different
ideas, and each track is already associated to your
favourite effects.
The verdict
All in all, Studio One is a fantastically simple DAW that allows
the artist the freedom to create without getting bogged down
in all the technical know-how. And its complex enough to
provide everything an artist needs to go from first idea to a
mixed/mastered CD, all within one application. While its
layout and a few missing features may turn a few people
away, its pedigree and PreSonus track record for listening to
its users and giving them what they want mean that Studio
One is here to stay and will continue to grow into, quite
possibly, the best DAW out there for the songwriter,
recording/mixing engineer, mastering engineer and producer.
Its no wonder PreSonus is calling it the next standard. MT
CLARIFICATION
In the June issue of MusicTech, in the review of Native Instruments Emotive Strings, we stated in
the Alternatives box that Grosso and Capriccio dont run in NIs free Kontakt 5 player. Sonokinetic
would like to point out that they do and that all of our orchestral products, apart from Tutti and Da
Capo do run in the free player. For the ones that currently dont we are working with NI to bring
them to KP compatibility, too, but Grosso and Capriccio (and Minimal and Vivace) already run in the
free player. Our apologies to Sonokinetic and for any confusion caused.
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Mastering:
The Guide
MT Feature Mastering
Mastering is your final chance to make your song shine and sit
comfortably alongside the other tracks on an EP or album.
Mike Hillier explains everything you need to know
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MAGAZINE
02/07/2015 16:20
DDPi
The final process in mastering is often to supply the
necessary files for the replication in whatever formats
are required. For digital distribution, this may only
be 24-bit .WAV files, but for CDs a special DDPi file is
required. Some DAWs can export DDPi files natively,
while others may require a dedicated DDPi plugin,
such as the HOFA DDP Generator see http://hofaplugins.de/en.
MT149.Feature Mastering.indd 13
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02
In the EQ, engage the low-pass filter, and set it to play back only
the sub-region.
01
03
Move the filter in both channels up, to allow more of the bass end,
and add a high-pass filter to remove the sub-frequencies. Again,
compare the two tracks.
04
05
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Finally, remove the low-pass filter, and leave only the high-pass
filter to listen to the high-end only. This is the hardest bit to get
right, as you may struggle to hear some of these frequencies entirely.
06
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02/07/2015 16:20
Mastering reverb
Reverb is not a process that is used often in
mastering, and while many all-in-one mastering
applications will include a reverb, it should be
reserved for the rare occasions when you are fixing
a bad mix, or trying to match two disparate mixes
recorded in different locations.
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03
With the
pre-compression
EQ already in place,
add the first
compressor you want
to try; here, were using
the FabFilter Pro-C.
01
04
02
Now add your next compressor. Dont be tempted to listen back, or to try to replicate the first compressor
sound let the new compressor guide your sound towards what that compressor is best at.
Repeat steps 3 and 4 for as
many compressors as you
want to try. Dont go overboard
here, though, more than three or
four options will take quite a
while to set up, and you may find
it difficult to decide between
them.
05
06
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Mastering Feature MT
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02/07/2015 16:26
Monitoring
Nearfield monitors are the de facto standard in
mixing, and many mastering engineers also rely on
them, but a good pair of full-range speakers can
be just as useful in a mastering environment. ATC
and PMC are the most common names to be found
in the big-budget mastering houses, but Unity
Audio, Genelec and Barefoot all make slightly more
affordable full-range monitors.
Further changes
With these tools in place, we can start to make all the
changes we feel are necessary to bring our mix to
sounding more like a finished master. During this
process, you will undoubtedly find new changes you
want to make: a boost in the low-end, intended to add
weight to the kick, might reveal additional energy in
the bass, which will in turn spoil the kick. These almost
circular problems can sometimes be adjusted with
slight alterations to the EQ curves, and at other times
can require additional processing to be added. Its not
uncommon for our final master to gain and lose two or
three processors as we settle on the final sound of the
track. Sometimes, a high-end boost can bring just the
right polish to most of the track, while revealing a
problem with the hi-hat or cymbals, which may be
18 | August 2015
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MAGAZINE
02/07/2015 16:20
MAKE
GREAT MUSIC
KRK Systems is one of the worlds most
respected manufacturers of Studio
Monitors. In our California state of
the art design facility, KRK engineers
create products that deliver a natural
and balanced spectral response with
low distortion, tight bass and superior
imaging. With KRK monitors, subwoofers
and headphones, recording engineers
and artists hear every nuance of the audio
being reproduced regardless of musical
style, genre, or particular mixing needs.
Please take a closer look at KRKs line, used
by many Gold, Platinum or Grammy award
winning producers for tooling and crafting
their great music.
VXT-Series
ROKIT-Series
KNS-Series
KRK monitors are legendary for their honest voicing, accuracy and transparency.
Looking for a studio reference monitor that you can trust your music to?
Isnt it time you listened to a legend?
www.krksys.com
Subwoofers
03
01
Here, were using the UAD Precision Multiband. Weve used the
solo band function to solo only the lowest-frequency band, and
weve scrubbed through the range to find the cut-off frequency that is
just the sub-frequencies of the kick. You dont need to use every band,
usually one or two is more than enough.
02
04
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05
06
MAGAZINE
02/07/2015 16:20
MT Feature Interview
Industry Guru
Aisling Brouwer
If you have ever wanted your music to score major TV and film productions,
you could do worse than taking advice from someone who has been there
and done that. MusicTech talks to Aisling Brouwer about how to succeed
in the world of media music composition
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Forever changes
MT: What is the future of music production in less
than 100 words?
AB: Unfortunately, I suspect the large increase in use
of production and library music will continue to
surge, and therefore composers and music
companies will have to find new ways in which to
work around and alongside this. Large conventions
such as NAMM and Musikmesse constantly exhibit
exciting new turns in music production technology
that will continue to shape and innovate music
production worldwide; and given how much has
changed in the last decade, it is difficult to imagine
what the next 10 years will bring, but also exciting!
magazine
26/06/2015 12:45
MASSIVE was designed and developed entirely by Native Instruments GmbH. Solely the name Massive is a registered trademark of
Massive Audio Inc., USA. Neither this product nor any intellectual property contained within originates and/or is connected with,
licensed, endorsed or authorised by Solid State Logic. The trademark Solid State Logic is owned by Red Lion 49 Ltd.
KOMPLETE BY DESIGN
www.native-instruments.com/komplete-kontrol
MT Interview Squarepusher
MT interview
SQUAREPUSHER
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Squarepusher Interview MT
ATLAS
TITAN
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MT Interview Squarepusher
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Squarepusher Interview MT
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MT Interview Squarepusher
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Squarepusher Interview MT
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How to record
bass guitar
In the latest of our occasional series on
recording instruments into your DAW, John
Pickford tackles the bass guitar
spill and open up options later on in the recording process.
Some bass guitars have active pick-ups, meaning that
their output is high enough to be plugged directly into your
mixer or interface, however most basses feature passive
pick-ups, necessitating the use of a DI box to boost the
low-level signal. Although bass recorded through a DI can
sound tight, dry and clean, it can also lack some of the body
and punch that you get from a great-sounding bass cab.
However, when recording a band live in the studio, using
a bass DI not only avoids unwanted spill, it also allows a
good drum take (for example) to be saved if the bassist
makes a mistake. And if the bass part is perfectly played but
the sound isnt quite right, the clean DI signal can later be
fed through an amplifier and miced up; this technique is
called re-amping (see Step By Step 2). Nowadays, there are
many outboard recording channels or channel strips that
feature excellent DI inputs. Some of these are based upon
vintage console designs and most feature both EQ and
dynamics control, enabling superb results to be produced
without the need for amplification.
34 | August 2015
(Above) MusicTech
hardware guru John
Pickford in the
studio preparing this
feature. John is a
vintage hardware
nut and well be
featuring his
amazing set-up in
MT soon.
Often, though, to achieve the very best bass tones, only the
sound of a miced-up bass cab will do. The sound of a good
bass amplifier, particularly if its a valve model, is hard to
emulate with DI techniques alone. Most engineers favour
either dynamic types with a strong low-end response, or a
large-diaphragm condenser. Ribbon designs can sound
great on bass but are more delicate than other types and
dont like to be placed close to sources producing high SPLs.
Microphones designed for bass drums such as the classic
AKG D112 usually work well on bass guitar as they
generally have a pronounced low-end boost that is flattering
to bass signals, and can handle very high SPLs. Dont worry
if you dont have one of these though, as most general
purpose mics, such as the Shure SM57 will do a reasonably
good job if positioned correctly see the More On Mic
Placement box below right.
Beatles engineer Geoff Emerick often recorded Paul
McCartneys bass as an overdub, using an AKG C12 set to
figure 8 (bi-directional) and placing the mic around 4 or 5
feet from the bass cab. For most recording situations
though, moving the mic between 5 and 18 inches from the
speaker should give you all the tonal options you could
want, unless youre after a particularly roomy sound.
Whereabouts along the plane of the speaker the mic is
MAGAZINE
01/07/2015 15:25
aimed will also determine the final tone. Pointing the mic at
the centre of the speaker cone will give the punchiest
sound, while moving along to the edge of the cone will give
smoother, warmer tones.
If you are using a mic with a cardioid polar pattern, bear
in mind that the closer you place it, the more bottom-end
will be heard due to the proximity effect. This can be used to
advantage if you only have a vocal mic (such as a Shure
SM58) at your disposal, as these mics tend to have a
rolled-off low end response.
Compression techniques
Bass guitars typically have a wide dynamic range and its
almost always necessary to use some compression. The
amount required will depend very much on the style and
technique of the player, but as a rule of thumb, some gentle
01
02
03
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Recording bass both direct and through a bass amp can produce great results. You get the clean, clear and present
sound of the instrument from the direct signal, combined with the warm low-end and rich harmonics produced by the
amp/cab combo particularly if you use a valve amp. Unless the bass guitar has active pick-ups, youll need to use a DI
(Direct Injection) box to match impedances and boost the low-level signal from the instrument.
01
Plug the bass into the instrument (jack) input of the DI box and
take a feed from the box into the input of the amp. Use the XLR
output on the DI box to connect to your mixer or interface. Once the
bass cabinet has been suitably miced you will have two channels of
bass. As the signal from the mic enters the recorder a couple of
milliseconds later than the DI signal, the sound may become vague
when combined due to phase issues.
02
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magazine
01/07/2015 15:26
The Choice
of professionals
Babyface Pro
24-Channel 192 kHz Bus-Powered
Professional
rofessional USB Audio Interface
More information:
www.synthax.co.uk
Progressive Interface
Built by RME
Connectivity
12 Input /12 Output channels
4 x Analogue Inputs (Mic, Line, Instrument)
4 x Analogue Outputs (2 x XLR, 2 x Phones)
1 x ADAT I/O or 1 x SPDIF I/O optical
1 x MIDI I/O
1 x USB 2.0 (USB 3 compatible)
Digital Gain control on all inputs
TotalMix FX (with EQ, Reverb, Delay)
Mac, Windows, iPad & iPhone compatible
MusicTech.indd 3
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www.thomann.de
MusicTech.indd 4
24.06.2015 15:16:37
Powered by
The Compressor
With a revised GUI as part of Logic Pro X 10.1, the Compressor has
never been easier to use. Mark Cousins demonstrates the
dynamic dexterity of the Compressor plug-in
On the disc
Accompanying
project file included
on the DVD
40 | August 2015
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MT Step-by-Step Compressor
With the Ratio established, lower the Threshold and notice how
Gain Reduction (measured on the VU meter) starts to be applied.
The lower the threshold, the more compression (or Gain Reduction) is
applied, resulting in a kit that sounds increasingly squashed.
03
05
01
02
04
06
August 2015 | 41
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MT Step-by-Step Compressor...cond
Use the Limiter to control any stray transients that slip through
the net. With only an on/off control and threshold, the Limiter
isnt the most subtle dynamic tool, but it can provide another layer of
dynamic control without using another plug-in.
09
11
07
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12
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23/06/2015 12:40
Recording and
manipulating
speech samples
Time to do some audio recording and get micd up.
Martin Delaney shows you how to add some
speech samples to our ongoing Live project.
On the disc
Accompanying
project file included
on the DVD
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Use Alt-Cmd-I to open the In/Out View. This will display the audio
routing options at the bottom of your tracks. Click on the Audio
From chooser to select your input Ext. In.
01
Open our example Live set. Make sure youre using the updated
part 6 version and use the shortcut Cmd-T to create a new audio
track. Were still working in the Session View, of course.
03
05
02
04
06
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As you arm/disarm the track for recording youll see the square
stop buttons in each empty Session View clip slot (in that track)
transform into circles; that means you can record into these.
Press the space bar to stop Live when youre finished. Note the
clip length is cropped to the nearest bar. Disarm the track so you
cant record anything else by mistake and always save after recording.
Set the tracks Monitor In switch to Auto, and arm the track
click the small circular button in the mixer, it goes red. Stop your
other clips youre not singing along to anything for this one!
07
09
Before you launch your other clips again, listen to your voice
recording on its own, checking for distortion and also checking
that you havent chopped the start or end off as its very easy to do.
11
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12
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The Loop Brace is that bar above the audio waveform. You can
drag to reposition it and grab either end to change the length. FYI
the Loop Brace dimensions and coordinates are MIDI-mappable.
13
Select the first clip. From the Sample View at the bottom of the
screen, deactivate Warp so itll play just once at its original
speed. Now you have a one-shot, plus a looping version.
15
17
caution and recorded at a low level, use the clip Gain slider
to boost the volume. Do this while the clips playing, so you
can check for the distortion that arises if you go too far!
Were touching on Warping and audio quantization
during our walkthrough; its fun to over-stretch audio
samples and tweak the Warp modes; I cant resist it with
14
16
18
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23/06/2015 12:36
Creating professional-sounding musical projects on iOS devices is becoming easier all the
time, with dedicated equipment for phones and tablets. Heres our essential guide
keep it tidy
You will need to practise good housekeeping and
resource management on your iOS device, just like you do on
your computer perhaps even more so. Whereas computers
can be upgraded with more RAM, faster hard drives and
sometimes even new CPUs, iOS devices cant, and so the
amount of power available to you is determined by the
particular device you have. Very broadly speaking, an iPad 3 or
newer and an iPhone 5 or newer are the baselines for decent
performance and the newer the better. There are some
good rules of thumb to remember; make sure you have a
decent amount of storage space free. Force quit apps youre
not using and restart prior to any serious audio work. Switch
on Do Not Disturb so you dont get calls, texts and other
notifications in the middle of trying to record.
01
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03
02
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06
WORK REMOTELY
Steinbergs VST Connect allows users in different parts
of the world to video chat and record audio and MIDI directly
into Cubase in high quality. The free Studio Pass app lets
someone broadcast a mix live to your phone as well as video
chatting with you. So you can let people audition mixes and
sessions without them having to be present.
07
08
09
04
PLUG IN A MIC
There are an increasing number of microphones coming
onto the market that plug directly into your iOS device,
typically using a Lightning connector, because the older
30-pin version was discontinued some time ago. The benefits
of this are pretty clear in that such a model would allow you
to plug in wherever you happened to be with no extra
interfaces or cabling required and record a performance.
Admittedly, only with a single mic, but this is enough for
simpler recording tasks. They range in form and price,
depending on whether you want something more
conventional and hand-held or more ambient and
omnidirectional. Theres Blue Mics Mikey Digital, Apogees
MiC 96K, Zooms iQ6, IKs iRig Mic and HD, Blues Spark
Digital, Samsons C01U and several more. Some are better
suited to the studio and some to field recording.
05
(Above) Amp
simulators such as
BIAS FX, AmpliTube
and JamUp come
with dozens of
effects, too
(Below right) When
your projects start
to get serious, youre
going to need some
external storage
(Below left) More
and more mics that
plug in to your iOs
device are available.
10
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14
15
11
(Above) Music IO is
invaluable for linking
your iOS and
desktop projects
(Below right) An iPad
dock could be a good
alternative to buying
a second MIDI or
audio interface.
16
17
12
13
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26/06/2015 14:56
20
18
GO MULTI-FUNCTIONAL
Getting audio and MIDI into and out of your iOS device is
key to leveraging its power as a music-making platform. You
have a number of options, but an increasingly popular one is
to choose an audio and MIDI interface that has both desktop
and iOS compatibility. Thanks to Apples CoreMIDI and
CoreAudio frameworks, developers are able to design
interfaces that can be plugged into a Mac, PC or iPad or
iPhone and work right away. The benefits are obvious: you get
pro-quality inputs and outputs in a device that can be used
both on the move and back in your studio. Check that an
interface does specifically have iOS support, because not all
do. However, more and more are becoming compatible:
smaller models from Steinberg, Apogee and Focusrite to
name but a few.
19
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Starting to record
Requirements
Our DAW Recording
features are
illustrated using
Cubase, but you can
apply the principals
to whatever
DAW you use.
In the first of a new series were going to turn our attention to the technical
aspects of recording your instruments, with a focus on Andy Prices DAW of
choice: the brilliantly intuitive Cubase. In the opener we look at how to set your
DAW up for the ultimate recording session
On the disc
Accompanying
project file included
on the DVD
My DAW of choice
Trepidation was the first thing to creep into my mind when
Steinberg unveiled Cubase 8; for one thing, Id only just
found my feet with 7 (.5!) after admittedly several stubborn
years of using not-exactly-the-latest version of Cubase.
However, this was to be unfounded because Cubase Pro 8 is
brilliant, with flexible and simple functionality to turn your
song ideas, demos and even full-blown masterpieces into a
reality. Hyperbole out of the way. Cubase 8 introduced a
range of new features and simplified the recording process
to minimise the effort needed to capture your compositions.
FOCUS ON MICROPHONY
So, what physically do we need to record effectively? Well, firstly of course, we need a decent
microphone; theres no getting around the fact that the more expensive the microphone, the better
the final recording youll have to play with. If youre using a condenser microphone for vocals and
acoustic guitar, then youll also need a preamp to supply it with phantom power (or an audio
interface that can supply it directly). Many producers use a physical mixing console as well, before
sending their recordings to their DAW. However, with the range of onboard options for equalisation
that Cubase 8 provides, this isnt really needed as much as it used to be. To reiterate: a decent mic is the
one big investment that is essential.
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01
Youll now be thrown into the project window get used to it,
because this is where youll be spending hours of your life! In
here, you can manipulate every single aspect of the sound youre
about to record. When opening a preset template in Cubase 8, youll
notice that it will have automatically added relevant EQ and reverb
effects to the individual tracks.
03
05
Be sure to also click Prompt for Project Location before you click
Create this will enable you to create a new folder and a name
for your project on your desktop, so its easily locatable later.
02
On the left of your tracks, youll have some options; the one we
need to look at is above Trackversions, and is the recording inputs
and outputs. Make your sure vocal track input corresponds to your
microphone input, your guitar track to the jack input, etc. It sounds
obvious, but it can take a while to get every track set up correctly. The
output should automatically sync to your interfaces output.
04
Call up the MixConsole (F3). Here, we can see the levels for all our
tracks. As our track is set to monitor the input, we should be able
to see the signal levels from the sounds were making going up and
down in their respective channels. We can also see that the faders are
set to zero. Going higher than this causes a problem that is one of the
biggest bugbears of any sound recorders life
06
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07
Set your tempo by clicking inside the transport panel (the long
floating rectangle that defaults at the bottom of your window).
A fixed tempo keeps the entire project set to one BPM. However, if
you intend to up the BPM, you can do so by unclicking Fixed, which
should now say Track. Cubase 8 allows us to easily draw in BPM
changes (command + T). Well cover this further later in the series.
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Does that all make sense? OK, thats the basic stuff out of the
way, now its best to record a short passage of your song to make
sure that your levels are set correctly. Record around four bars and you
should get a good indication of how youre sounding.
08
Once weve set our BPM, we can now record with our click track
(press C) so our recorded parts are in time. Its important to play
and sing in time with this digital metronome, as this is what every
other element of the project will be guided by.
10
12
magazine
29/06/2015 14:56
LOGIC
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T+S_CM220.indd 1
22/06/2015 14:28
Requirements
Creative sound
design using
Reason
On the disc
Accompanying
project file included
on the DVD
Get creative
Entire combis can be moved around, loaded or deleted,
bringing a number of pre-created chains into a project en
masse with a single click. Again, this is the same with
track presets or hosting plug-ins in other DAWs. The fact
that a Combinator, by default at least, accepts a single
MIDI input also means its a quick and easy way to trigger
multiple modules from a single device. Otherwise, if you
wanted a single MIDI part to play, say, six different synths
at once, you would have to record a part once then
duplicate it in the sequencer, or set up six different
instrument channels all accepting the same MIDI input at
the same time. The latter solution is a little cleaner but
its still not a patch on just sticking everything inside a
combi and playing it like a regular instrument.
Submixing inside a combi, which is more or less a
requirement of using more than a couple of modules, lets
you balance the different component modules against
each other before the sound is passed to the main mixer.
So an example might be to have a piano patch with a
As well as layering sounds you can key map them, assigning each
module within a combi a specific range of MIDI keys to which it will
respond. This can be different for every module capable of receiving
notes, and they can of course overlap. Along the base of this section
are some other useful features like specifying a velocity range
outside of which sounds will not trigger, which performance
controllers a module will receive and whether that device is
transposed. All of these work individually for each module inside a
combi, making it a remarkably flexible and powerful system for
building complex multi-instruments with a minimum of fuss. Utility
and effect devices cant accept notes but they can accept other kinds
of data.
56 | August 2015
MT149.TUT Reason.indd 56
MAGAZINE
26/06/2015 14:58
Now drop a synth into the area directly below the mixer but also
still inside the combi. If you go too far the synth will be placed
into the main rack, which isnt the aim. Done right, it should sit inside
the combi.
Add a second module to the combi and you will find it is triggered
by the main MIDI input along with the first. Round the back you
will see the auto routing take place. Use the line mixer to balance the
relative levels of the two synths.
01
If you hit the Tab key to spin the Rack around you will see why it
was important to add a mixer first. The synth has been routed to
the mixer with more slots free for the next steps. The signal then goes
from the mixer via the combi out to the main mixer.
03
Most of the same rules apply inside a combi as in the main Rack.
So if you take an effect module and drop it onto an instrument
inside a combi, Reason will auto-route the audio signals accordingly.
05
02
04
06
Take control
One of the combinators other talents, and one which can
be harder to replicate as easily in other DAWs, is its
controller section where you can assign shortcuts and
quick controls to multiple parameters within a combi.
magazine August 2015
MT149.TUT Reason.indd 57
| 57
26/06/2015 14:58
Use the Aux dial on each of the six channels to apply compression
to instruments. Changing the compressors settings will affect
every signal routed through it. Think of it as a mini send effect system.
The Line Mixer can host a single effect on its aux buss. Drop an
effect onto it, something like a compressor that you might want to
use as a send for different modules inside the combi.
07
09
11
Lets say you have your four variable dials and assign one
of them to control the cutoff filters on a couple of synths,
and another one to detune an oscillator in one module
and also increase distortion level on a crunch unit. In a
few seconds you have created a way to morph a sound in
cool-sounding ways.
Since these assignments are all stored within the
combi, they are recalled whenever you load it. Modules
58 | August 2015
MT149.TUT Reason.indd 58
08
10
12
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26/06/2015 14:58
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MT149.subs.indd 67
02/07/2015 16:05
MT Lead Review
Hardware
Software
Mobile tech
Accessories
Choice
9/10
9
9/
10
PROPELLERHEAD
Reason 8.3
Details
Manufacturer
Propellerhead
Price Reason 8 369
Upgrade to Reason
8 129
8.3 update free for
existing Reason 8
users
Distributor
Propellerhead
Contact Via website
Web www.
propellerheads.se
System requirements
Dual core Intel Mac
Dual core Intel or AMD
Opteron PC
4GB RAM
OS X 10.7
Windows 7 64-bit
Key features
Audio and MIDI
recording and
editing
Multiple bundled
effects and
instruments
Factory Sound
Banks
Native sampling
Compose with
Blocks
MClass
Mastering
effects
Remote MIDI
control system
Rack Extensions
New convolution
reverb
New workflow
enhancements
Batch export
Drop to
Propellerhead
cloud service
62 | August 2015
MT149.Rev Reason.indd 62
A recap
Reason is now a fully fledged DAW,
though with a somewhat different
approach to most of its competitors. It
doesnt have the advanced features of
Cubase or Logic like scoring, video
support or heavyweight MIDI
programming but it makes up for this
by arguably being far more accessible
Threes company
And so to the 8.3 update, which adds a
few more interesting things. The biggest
change is the upgrading of the
venerable RV7000 reverb unit to mkII.
Although visually the most obvious
change is a new, lighter colour, the unit
now becomes a convolution reverb,
bringing Reason in line with other
flagship DAWs, most of which have their
own model. Convolution reverb enables
you to simulate real spaces by
performing complex equations on the
sounds you pass through it. In short, its
far more flexible than just using presets
like hall, room and cathedral, though
MAGAZINE
01/07/2015 11:38
Workflow changes
The second change is that the browser
is now accessible not just in the main
window as before but from the Rack
window after it has been detached.
Reasons window management can still
Free? No brainer
Given that the 8.3 update is free for
registered owners of Reason 8 or
Reason Essentials 8, its a no-brainer if
you fit that description. The workflow
changes are welcome, and hopefully its
the first of a few longstanding interface
issues to be tweaked and improved.
Getting a convolution reverb for free is
great news too, and helps Reasons
case for being considered at the more
pro end of the DAW spectrum. If youre
not yet a Reason user, the programs
strengths are numerous. Its extremely
stable and surprisingly kind to your
Alternatives
Reason is quite unique in its design and approach, shunning conventional
plug-ins for its own Rack Extension system. FL Studio 12 (159) is
currently PC-only though a Mac version is in development, and although it
does do VST, it also has an unusual approach to sequencing and recording.
Cubase Artist 8 is dual platform and a more conventional approach to
sequencing. It costs 220 and has a deeper feature set than Reason,
though perhaps also a little more of a learning curve.
MT Verdict
+ Exceptionally stable and
CPU-efficient
+ Very friendly to learn and use
+ Full 30-day trial of all Rack
Extensions
+ Excellent mixer
+ Free audio and CV routing
+ Clever drag and drop browser
+ ReWire, MIDI out
+ Native REX file creation
+ New reverb sounds great
+ Welcome workflow changes
+ Drop to Propellerhead shows
promise
+ Browsing from the Rack is helpful
- Zooming and window
management could still be
improved
- Drop is quite simple, at least for
now
- No video support
- Audio editing could be more
in-depth
A small but welcome update to an
extremely solid DAW that does
things on its own terms. Fast,
friendly and fun but still more than
capable of professional results.
9/10
MT149.Rev Reason.indd 63
| 63
01/07/2015 11:38
Choice
9/10
9
9/
10
HEAVYOCITY
Gravity
Details
Price $449
Contact
sales@heavyocity.
com
Web
www.heavyocity.com
Key features
12GB library
2,200 sound
sources; 815
snapshots; 325
motion presets;
780 pads; 390
stings; 19 riser
menus; 9
hit menus
AU, VST, DXi,
AAX, RTAS,
Standalone
Requires
Kontakt 5 player
64 | August 2015
MT149.REV Gravity.indd 64
Rising above
Heavyocitys Gravity is a bit of both. With
a price tag of $449, it is by no means the
cheapest collection out there. And with
more hands-on tweaking and
customising tools available than your
average collection, it is more of an
active instrument than a passive library.
MAGAZINE
01/07/2015 15:58
Everything
you could hope
for in a limiter
Computer Music (January 2011)
A brickwall limiter is an essential tool for every mastering or mixing engineer. Are you
looking for a professional, feature-packed limiter that is loud and transparent at the
same time? Then FabFilter Pro-L is your weapon of choice!
www.fabfilter.com
03/04/15 12:59
All rise
The Pads section is the most musical,
and those descriptions really do nail it.
Everything is here for ethereal and
atmophere, but also for fear and
tension. The front panel makes
GRAVITY: EQ
All sections have EQ and filter options. Here are
those for the Pads, allowing access to the three parts.
Alternatives
There are stacks of libraries to help you score just about anything, so as always
check out sample collections from the big sample companies such as Loopmasters,
Samplephonics et al. Of the instruments and collections Ive looked at of late, Orbit
springs to mind as a film scoring tool that very much offers a fantastical set of sounds
with hands-on creativity. Its a bit more about the ambience and textures, as opposed to
the hits and rises, but the two do complement each other well. Surprisingly in some ways,
Zero-Gs Haunted Ground (reviewed in this issue) also springs to mind, as it has some
terrifying moments which Gravity also excels at. See the review on p90 for more.
66 | August 2015
MT149.REV Gravity.indd 66
MOTION: CHAINING
Edit each of the parts and save up to eight
versions. Chain them together for maximum effect
over time. Here, I have chained together eight parts.
MT Verdict
+ Amazing collection of sounds
+ Pads especially brilliant
+ Incredible recordings
+ Great array of hits
+ Design sections very handy
+ Hands-on control takes it above
most other collections
- While the risers are good, they do
by their nature get a bit samey
- Relatively expensive could be a
bonus, as only the serious will buy
Gravity is a great library in its own
right, but there are enough
hands-on features to take the
sounds into new dimensions. Its
both inspirational and creative.
Be the sheep dog!
9/10
MAGAZINE
01/07/2015 15:58
I feel
NOVATION
Choice
MoroderNova
9/10
9
9/
10
Only 500 of these will ever exist, so does it really matter what
Andy Jones thinks of Novations latest synth? It would have his
name on it if Giorgio hadnt got there first, though
Details
Price 319.99
Web
novationmusic.com
Contact
T: +44 1494 462246
E: sales@focusrite.
com
Key Features
256 presets,
plus a bank of 30
Giorgio sounds
Wavetable
synth with 14
waveforms,
36 wavetables
and 12-band
vocoder, plus 14
filter types
Up to 18 voices
of polyphony
20 modulation
slots
5 simultaneous
effects; 12
arp types
Audio in and 2x
out, plus mic
Only 500 going
on sale
New livery, plus
Giorgio logo
USB bus
powered
Size (mm): 560x
250x75
Weight (kg): 2.5
68 | August 2015
MT Verdict
+ Superb hands-on control
+ Highly portable
+ Big sound for a small synth
+ Kitsch in a great way.
+ Giorgio Moroder!
+ Highly collectable
- if you can get one
- Small keys
Come on, whats not to like (apart
from the fact that you will be hard
pressed getting one)? It looks cool,
sounds cool, is cool and your mates
wont have one. If you can get one,
how much do you want for it?
9/10
MAGAZINE
02/07/2015 12:14
distributed by Audio-Technica
JAMHUB
Innovation
Tracker MT16
MT has already looked at the JamHub GreenRoom a great device
for silent rehearsals. JamHub has come through yet again with a
very fitting accompaniment, as Alex Moboraki discovers
Details
Price 329
Web
www.scvdistribution.
co.uk
Email sales@
scvdistribution.co.uk
70 | August 2015
MT Verdict
+ Delivers on recording 16 tracks
+ Small, compact and lightweight
+ Compatible with all JamHub
Silent Rehearsal Studios
+ Supports up to 64GB SD cards
- Long encoding and some BND file
splitting anomalies
- No internal battery
Packs all of the technology
necessary to enable portable
16-channel recordings at sample
rates of up to 96kHz in a small,
compact and lightweight device.
8/10
MAGAZINE
26/06/2015 12:50
BE D1 TO COME TO TOWN
BE D1 TO BURN IT DOWN
Take your band to the next stage. With
evolution wireless D1 the easiest and most
reliable digital system. Featuring adaptive
high-power transmission, superior live sound
and exceptional ease of use. Be D1 to have it.
D1
BE ON
LY
AND
D1
www.sennheiser-D1.com
For PC
& Mac
IMAGE LINE
Choice
FL Studio 12
Details
Price
Fruity Edition $99
Producer Edition $199
Signature Bundle
$299
Contact
Via website
Web
www.image-line.com
System requirements
2GHz Pentium 4
Windows XP SP3 or
higher
1GB RAM
Key features
Audio and MIDI
recording,
editing and
sequencing
Multiple
instruments
and effects
Scalable
interface
Multitouch
support
Dockable
sections
Customisable
Playlist
Controller linking
Run whole app
as a VST
ReWire
Video effect
visualisation
Lifetime
free updates
9/10
9
9/
10
MT149.REV FLS12.indd 73
| 73
23/06/2015 11:46
Alternatives
There arent too many major DAWs that are
single-platform, and most will run on Windows.
SONAR is PC-only and perhaps a more
conventional DAW in many ways, with a ton of
bundled content, though it also has a slightly
controversial membership pricing model, which
is worth reading up on first. For immediacy of
composition, you might also look at Ableton Live,
the standard version costing 349, and coming
complete with three instruments, 27 effects and
11GB of content.
74 | August 2015
MT149.REV FLS12.indd 74
MT Verdict
+ New look is excellent
+ Workflow is streamlined
and improved
+ Multitouch works well
+ Good bundled plug-ins
+ New configurable mixer is great
+ Some updated plug-ins
+ Still competitively priced
+ Update policy is generous
+ Paves the way for multitouch
desktop DAWs
+ Clearer preferences and setup
+ Fully-functional demo
- No Mac version, though one
looks likely
- Perhaps you dont have a touch
screen yet
- All plug-ins bundle adds a lot to
the price
An important and forward-looking
revamp of the interface that cleans
up workflow significantly and
unlocks the potential of this
powerful DAW.
9/10
MAGAZINE
23/06/2015 11:46
MeldaProduction
MMultiAnalyzer
www.meldaproduction.com
YOU ROCK!
24-bit/192 kHz USB 2.0 audio interface with 4x2 analog I/O and MIDI
2 Class-A D-PRE mic preamps
Rugged full-metal casing for ultimate durability
Latency-free DSP powered monitoring with effects
Cross-platform compatibility with Mac OS X and Windows, runs with iPad
Choice
9/10
9
9/
10
AUDIO TECHNICA
AT5045
In suspense
The kit includes an AT8481 isolation
clamp, an AT8165 windscreen and a
Details
Price 1,299
(2,399 pair)
Contact
0113 277 1441
Web
www.audio-technica.
com
Key Features
Pattern: cardioid
Frequency
response:
2020,000Hz
Open circuit
sensitivity: 35
dB (17.7 mV) re 1V
at 1 Pa
Impedance:
100 ohms
Maximum input
SPL: 149 dB
SPL, 1 kHz at 1%
T.H.D.
Noise: 8 dB SPL
Dynamic Range
(typical): 141 dB,
1 kHz at Max SPL
Signal-to-noise
ratio: 86dB,
1 kHz at 1Pa
Weight: 197g
(7.0 oz)
Dimensions:
177mm long,
25mm diameter
Discrete
components
Transformercoupled output
Internal shock
mounting
Custom hardshell carrying
case
Match making
Next, we arranged our two AT5045s as
a coincident pair and were pretty blown
away by the results. On acoustic guitar,
the presence lift is judged to perfection.
Its exactly the amount many of us
would routinely add to this particular
instrument, for solo performance as
well as cutting through mixes. The test
recordings had a stunning sense of
realism and the imaging was rock-solid.
Any concerns the upper mids might
become too strident up-close were
quickly dispelled, along with those we
may have had about the absence of a
bass roll-off switch. The tone certainly
thickens up, and the low mids fill out,
but its far removed from the kind of
proximity effect you might associate
with typical large-bodied condensers.
This does mean that the AT5045
wont fatten up thin-sounding vocalists
with beefed-up mids, and the warming
influence of harmonic distortion.
Off-axis response remains consistent
with the on-axis sound, however the
Alternatives
As you might expect, rectangular microphone
capsules are quite rare. Besides Audio Technica,
the only other companies that specialise in this
type of capsule are Pearl and Milab. The Pearl
ELM-C (1,164) has a fixed cardioid pattern
and FET electronics. Alternatively, the cardioid
Pearl Priority (600) has a 5K boost, much
like the AT5045. Milabs DC-96B (1,019) and
transformerless DC-96C (1,019) are both
slim fixed cardioid condensers that have
rectangular capsules.
Go anywhere
The AT5045 is one of those forgiving
microphones that almost does the job
for you. Its relatively unfussy about
placement, and has the ability to make
things sound even nicer than they really
are. It excels on acoustic instruments
and vocals, combining the detail and
realism you might associate with the
best small capsule condensers with the
larger-than-life presence of a large
capsule condenser.
The small body also allows the
AT5045 to get into places where theres
no space for a large capsule model. We
could certainly envisage using this on
snare drums, given the impressively
high SPL handling. At the other extreme,
the sensitivity is relatively high and the
noise floor is so low that recording quiet
acoustic sources would also be
feasible. The AT5045 is not exactly
cheap, but if we had a pair they would
undoubtedly be amongst a handful of
our go-to microphones. MT
MT Verdict
+ Realistic and natural sound
+ Extremely detailed
+ Subtly flattering
+ Very low noise
+ High SPL handling
+ Decent carry case
+ Stunning looks and build quality
- Doesnt beef-up thin sounds
- Not the tightest cardioid pattern
- Bass-focused rather than fat
An outstanding all-round
instrument recording microphone
that demonstrates how Audio
Technica is now making some of the
worlds finest microphones.
9/10
MT149.REV AT504.indd 77
| 77
23/06/2015 11:34
BEST SERVICE
ERA II Medieval
Legends
Eduardo Tarilonte is the busiest man in
the worlds of sound design and fantasy;
and when these worlds collide, the
results are majestic and glorious.
Andy Jones takes delivery of his latest
title to discover, well, a new era
78 | August 2015
Details
Price 259
Tel
+49 (0) 89 45228920
Web
www.bestservice.de
Choice
9/10
9
9/
10
biggest around and especially hefty for
an Eduardo collection, but theres a lot
in it. Before we get into that, though, its
worth mentioning the new Best Service
player that Era II comes with, as its
certainly the first time Ive come across
Key features
20.9GB library
10 flutes, 8
reed, 3 brass, 9
bowed strings,
4 war horns, 13
plucked strings,
3 keyboards,
20 percussive
instruments,
1 singing voice
AU, VST, Mac, PC,
standalone
A lot
And there really is an astonishing
amount going on, research-wise,
instrument-wise and sonics-wise.
Its a collection of early folklore
instrumentation, with all sorts of
obscure examples from around the
world. So if you think it comprises some
clichd lute strumming, then think
again Eduardo and his team have left
MAGAZINE
26/06/2015 12:48
Alternatives
It would be very easy and somewhat lazy of me to say that if you want something
fantastical, stick with Eduardo, as he really is the go to man when it comes to these
collections. Still my favourite has to be Shevannia: The Voice Of Elves, but in reality its
not comparable with Era II in terms of content, concentrating as it does on voices and
atmospheres. You can read more about the differences in these collections some
subtle, some not so in my individual reviews at MusicTech.net. I also wonder if there
will be some kind of best of Eduardo out at some point, or is that really just some kind
of high fantasy?
MT Verdict
+ Fantastic-sounding instruments
+ Some great left-field inclusions
+ All well recorded
+ Additional playing styles and
variations very useful
+ Its a sonic museum!
+ Its Eduardo!
- Era I owners should check the
extras before deciding to update
- The limited edition has sold out
Era II could be seen as a great
collection for instrument
completists, but its been put
together in such a way that we can
all discover some amazing new
sounds and textures, and apply
them to many different styles
of production
9/10
| 79
26/06/2015 12:48
Alternatives
Get the AKG K812s if you want the ultimate
set of headphones. They are as good as great
studio monitors, but do cost 1,100. And at
the risk of sounding like a stuck record, the
AT-M range of headphones never fails to
impress the M70s are our current
favourites. The Audezes I mention below
are also incredibly flat for the cash, but
perhaps a bit too harsh for long sessions.
TELEFUNKEN
ELEKTROAKUSTIK
THP-29
Great sound, great comfort, and for not much cash. Whats not to
like about the new THP-29s? asks Andy Jones. The k, OK?
Details
Kit THP-29
Manufacturer
Telefunken
Elektroakustik
Price 129.60
Distributor
Unity Audio
Contact
Tel: 01799 520786
Web
www.telefunkenelektroakustik.com
Key Features
Dynamic
closed back
headphones
Driver size:
40mm
Frequency res:
20Hz to 20kHz
Sensitivity:
114dB at 1 KHz
Eco friendly
isolation
2.75m cable and
3.5mm to 1/4inch adaptor
Weight: 326g
80 | August 2015
MT149.REV Telefunken.indd 80
Natural sound
The THP-29s certainly caused a stir
when we announced them a few
months back, as they have a distinctive
design very much in a retro kind of
50s Jetsons cool way; the kind of
phones youd imagine the controller of
the Cybermen, or the nuclear-sheltered
inhabitants from the Fallout video
games to wear
Funktional?
I wont be able to test point b during this
short-term review, but I can vouch for
pretty good results on the noise
cancelling front, something I often
measure partly by typing the review of
the phones I am testing I cant hear
the tapping that much at all, even with
no music playing. While music plays, the
Conclusion
Given the THP-29s price, I have no
difficulty in recommending them. Sure,
I have reservations about the plastic
band but its flexibility probably helps
the isolation; some users may not agree
with me about the Art Deco design; but
if Im wearing them, theyre comfortable
and more importantly they sound
great, then theyre winners to my ears.
For the cash, then, theres little to beat
them. Plastik Fantastik. MT
MT Verdict
+ Great sound
+ And price
+ Good noise-cancelling
+ Incredibly comfortable
+ Good for long mixing sessions
+ I love the design
- but you may not (theyre a bit
Marmite in that respect)
- Id prefer a different white finish
- Need more accuracy for high-level
studio tasks, such as mastering
Ideally, like monitors, you need two
pairs of phones for mixing: one for
comfort and long sessions and one
for accuracy. There are few
headphones that do the first job
better than these for the cash.
8/10
MAGAZINE
26/06/2015 14:55
POWERED BY KONTAKT
#GETPULLEDIN
IMPACT
SOUNDWORKS
For PC
& Mac
Pearl
Concert
Grand
Four channels
Details
Price $119
Distributor Impact
Soundworks
Contact Via website
Web www.
impactsoundworks.
com
System requirements
Kontakt Player
12GB disk space
(16-bit)
27GB disk space
(24-bit)
4GB RAM/8GB RAM
A grand idea
The Pearl Concert Grand from Impact
Soundworks is a sampled version of
a Yamaha C7 recorded with four mic
perspectives and with a stylistic range
covering everything from classical
through to jazz, pop and rock. It runs in
NIs Kontakt or in the free Kontakt
Player app, so you dont have to shell
out anything extra just to be able to
load your instrument. Kontakt Player is
among the most efficient and easy to
use of these kinds of containers, and
runs happily on Mac and PC systems.
The download itself comes as a
Key Features
16- or 24-bit
download
Over 14,000
samples
Four mic
positions
8 velocity layers
per note
Pedal and
key noises
Light patch
versions
Effects rack
Velocity settings
Big impact
The interface is simple, but provides all
the tools you need to tweak and shape
the piano sound, and the ability to
blend up to four different mic positions
means adding intimacy or room
ambience is easy. The inclusion of an
effects rack is a nice touch, as is the
ability to control mechanical key and
pedal sounds. NIs individual piano
instruments are broadly comparable in
price, though this model has a sound
and an interface of its own. If youre
serious about using great-quality piano
sounds in your music, be it scoring, pop,
jazz or anything else, this is well worth
a look. MT
MT Verdict
+ Gorgeous-sounding piano
+ Simple to use
+ Blend up to four mic positions
+ Capable of subtlety and nuance
+ Good effects selection
+ Reasonably priced
+ Light patches can save RAM in
a pinch
- A lot of competition, especially
from NI
- 24-bit version uses a fair amount
of disk space
An excellent, crisp and playable
virtual piano instrument capable of
everything from subtle jazz to
pounding rock.
8/10
MT149.REV pearl.indd 83
| 83
23/06/2015 12:12
iPA10
A powerful all-in-one PA system for smartphones,
tablets, microphones and instruments.
Whether for public performances, karaoke parties or for just
listening to music, the iPA10 is the perfect solution for a
multitude of sound applications. Featuring a built-in cradle for
your iPad, iPhone and other devices, it also includes Bluetooth
compatibility for easy wireless streaming.
Inputs for a microphone, instrument and other audio sources
enable the iPA10 to function as a mini PA system, ideal for
small gigs and events. With its telescopic handle and
recessed wheels for smooth portability, take the iPA10
anywhere and everywhere for the ultimate audio experience!
www.studiospares.com
studiospares
studiospares
@studiospares
Value
TRACKTION
Master Mix
Getting the most out of your tracks
doesnt have to mean spending the
earth. Hollin Jones gets loud with
Tracktions Master Mix
Details
Price $59
Contact
Via website
Web
www.tracktion.com
System requirements
Mac OS X 10.7.5 or
higher
Windows XP or higher
2GB RAM
VST or AU host
Simple approach
Master it
Oddly, even the more expensive DAWs
on the market often do not come with a
dedicated mastering plug-in. They will
certainly have the components required
to build a mastering chain and this is
always possible, but dedicated
mastering in a single plug-in seems to
almost always be left to third party
developers. Of course a plug-in chain
with limiter, compressor and EQ isnt a
massive amount of work to set up, but
having everything in one place means
Key Features
Three dynamics
processors
Two separate
6-band
parametric EQs
Dynamics
contour edit
screen
Noise gate
Soft clip limiter
VST and AU, 32 or
64-bit
MT Verdict
+ Attractively priced
+ Use in any VST or AU host
+ Clean, simple design
+ Easy to use
+ Solid core of features for
mastering
+ Get a great, punchy sound
+ Good graphical editing features
- Q points on the EQs would be nice
- A stereo widener too
An uncomplicated but effective
mastering plug-in that will
definitely add a more professional
sound without costing big bucks.
8/10
MT149.REV Traktion.indd 85
| 85
23/06/2015 12:32
ABLETON LIVE 9
MTF38.ad.indd 1
01/07/2015 11:04
For PC
& Mac
that allows you to send audio and MIDI
back and forth between your Mac
(Windows support is coming) and your
iPad, iPhone or iPod Touch. It does all
this using your standard USB charging
cable, so no extra hardware is required.
Your serve
Value
$
Innovation
SECRET BASE
DESIGN
Music IO
Choice
9/10
9
9/
10
Details
Price 7.99
Contact
Via website
Web www.
musicioapp.com
System requirements
iOS 7
Mac OS X 10.7
Key Features
VST and AU
plug-ins
Stream four
channels of
32-bit stereo
audio in both
directions
Link iOS and OS X
Bi-directional
MIDI
Uses Inter-App
Audio
BridgeClock
MIDI sync
Configurable
latency and
monitoring
In practice
To record in your DAW, you need to
insert the plug-in onto an audio track
then set its output to a group or bus
channel. Then, you create a second
audio track with its input set to that
group or bus, and the plug-in funnels
sound from the input of one channel
out to the other. This is ever so slightly
long-winded it would be ideal to be
able to do it on a single track but its
far from being a deal breaker. You
MT Verdict
+ Really works
+ Requires no extra hardware
+ Affordable
+ Integrate iOS and OS X better
than ever before
+ Enables use of iPad/iPhone as a
second computer
+ Very low latency is possible
- No Windows version yet
- Latency can be at the mercy of the
apps you use
- A few minor workflow
rough edges
A deceptively simple way to link iOS
and OS X for audio and MIDI and
unlock the full creative potential of
your iPad.
9/10
MT149.REV MusicIO.indd 87
| 87
23/06/2015 11:58
Alternatives
The ability to handle speaker-level signals
puts the RNDI in a class of its own. But if youre
looking for a DI to place in front of the amp,
there are plenty to choose from. Radial has a
huge variety of DI models the JDV is probably
the closest competitor to the RNDI, featuring
all class-A circuitry. The JDV also comes with a
built-in pad, polarity switch, ground lift, highand low-pass filters, level signals and a variable
impedance drag control.
Choice
RNDI
88 | August 2015
MT149.REV RND.indd 88
Details
Price 239
Contact
Sonic Distribution
0845 500 2500
Web
www.rupertneve.com
Key features
1/4-inch
instrument input
1/4-inch
instrument
Thru output
XLR mic-level
output
Phantom
powered
Instrument/
Speaker modes
9/10
9
9/
10
In the wild
We first used the RNDI as a simple
input stage for a bass, running straight
into our CAPI VP28 preamp. It can be
a nice trick with these preamps to drive
the inputs hot, especially on dry DI
signals, then turn down the output.
However, to get an idea of the quality of
the RNDI we left the input at a
conservative level. With everything kept
clean, the tonality of the bass rang
through. Even with the bass volume
turned up and the player hammering
out loud, plucked notes there was no
MT Verdict
+ Solid build quality
+ Crystal-clear signal
+ Instrument and Speaker modes
- No pad
- No polarity switch
- No ground lift
The RNDI is an exceptional DI box,
and the addition of a Speaker mode
makes it a very useful tool, both in
the studio and on stage.
9/10
MAGAZINE
23/06/2015 12:31
Genelec 8300 systems will intelligently listen, think, and compensate for the phase, boundary
loading and response problems that many rooms suffer from. The result is remarkable
intelligibility, stereo imaging and frequency response from any listening position. So at last
you can remove the guesswork, and hear what your mixes REALLY sound like.
8320 System
8330 System
7350 Subwoofer
8351
www.genelec.com
twitter.com/sourcedist
05/02/2015 16:32
Alternatives
Of course, sample companies such as
Loopmasters supply all sorts of sound
effects and atmospheres but tend to go for
more musical or genre-led collections,
although Samplephonics does have ethereal
guitar collections and a sci-fi one on sale
that might offer something sinister. Better
still, you could have a lot of fun searching for
some of the original vinyl recordings of some
of those old scratchy BBC sound-effect
libraries I mention in the text and have pictured here (it was Vol.13 for the
record). Rather less fun and a whole lot more sound effects can be
had by buying the originals on a hard drive from companies such as www.
sound-ideas.com for around $600 (for everything!), or more simply from
iTunes for around 2.50 a download. So take your pick, but always check
under the bed before you part with your cash
zero-G
Haunted Ground
Details
Title
Haunted Ground
Manufacturer
Zero-G
Price
55.95
Distributor
Time+Space
Contact
+44(0)1837 55200
Web
www.timespace.com
90 | August 2015
MT149.REV Zero-G.indd 90
Key Features
1.665GB
download
652 Acidized Wav
files; 652 AIFF
Apple Loops; 751
Kontakt Insts;
751 EXS24 Insts;
751 HALion
Insts; 751 NN-XT
Instruments
MT Verdict
+ Very high-quality recordings
+ Good variety of formats
+ Descriptive categories work
(on the whole)
+ Can be used as inspiration
+ Will work well with additional
effects added
+ Some are genuinely scary
- Very specific
- Some sub-categories have rather
too many only slight variations
- Not easy to find specifics, as titles
can be vague
Specific frights may be hard to find,
but the haunts are here, plus a
ghoul lot more. Thats the spirit, etc
7/10
magazine
23/06/2015 12:33
Alternatives
As we said last month, the headphone
market is getting incredibly competitive,
especially at this price point. You should try
our standards, the Audio Technica
ATH-M70Xs, still probably my buy for the
cash. Then there are the AKG K812s
probably the flattest phones you can get, but
they cost 1,100. Consider these for mastering
and mixing applications and if you are rich.
AIAIAI
TMA-2 Modular
AIAIAI makes some of the best headphones around, and now you
can make them too. Andy Jones constructs and avoids the puns
Details
Kit TMA-2 Modular
Manufacturer Aiaiai
Price various see text
Manufacturer
AiAIAI
Contact
+45 35 34 63 54
Web
http://aiaiai.dk
Key Features
360
combinations
Choose four
components to
make your own
Choose by genre,
or preset (or
simply go for the
Studio ones, as
we would)
Specs obviously
vary, so see
website for
further info
92 | August 2015
By which time
you might be thinking too much
choice! so, thank god, there are also four
simple preset models: the DJ (200), All
Round (145), Young Guru (260), and
Studio (225), of which we have the latter
two in the MusicTech testing suite.
The phones come in kits including the
four components mentioned above in
neat bags, although there is no case,
MT Verdict
+ Studio phones have great sound
+ Great design
+ Very comfortable fit
+ Good for long mix sessions
+ You build them yourself
+ Attractive design
- No case
As much as we like the concept of
building and choosing your own
components to construct your
headphones, for studio use that
concept gets in the way of what is
a great set of phones. Just go
Studio and youll be fine
8/10
MAGAZINE
23/06/2015 11:13
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21/04/2015 08:29
My generation
SIREN AUDIO
Generative
and
Feedback
Sometimes you want to make your
own unique soundscapes. Hollin
Jones unwraps the unusual and very
affordable Generative and Feedback
from Siren Audio
Details
Price Feedback 2 25
Generative 2 30
Both bundled
together 50
Contact
Via website
Web www.sirenaudio.
co.uk
System requirements
Windows XP or higher
Mac OS X 10.4.11 or
higher
4GB RAM
Java installation
Key Features
Granular
synthesis
Onboard effects
Randomisers
Record output
Create drones,
loops and
textures
Load your
own files
Fine-grained
control of audio
processing
Live input
Good feedback?
Feedback 2 is a different beast and
takes audio from a file or external input
and sends it to 20 different delays, each
MT Verdict
+ Great for textures and
experimental sounds
+ Ideal for soundtrack work
+ Makes unique sounds
+ Very affordable
+ Teaches you about
signal processing
+ Compatible with older OSes
- Quite a learning curve
- Interfaces could be a little clearer
- Requires investing some time to
get the best results
Unusual, but powerful signal
processors with tons of in-depth
control for those willing to take
advantage of them.
8/10
MT149.REV Siren.indd 95
| 95
23/06/2015 12:31
Digitech
Polara Reverb
With Lexicon algorithms up its sleeve, the
DigiTech Polara functions equally well in
the studio as on the road, says
Marcus Leadley
Details
Price 109
Contact
Sound Technology
Tel: 01462 480000
Web
www.digitech.com
Key features
7 Lexicon
reverbs (room,
plate, reverse,
modulated, halo,
hall, spring)
True bypass
compact design
solid contruction
Included
StompLock
96 | August 2015
MT149.REV Digitech.indd 96
In use
The Polara is a rugged, portable
multi-function tool that will find uses in
more situations than you might expect.
The reverb algorithms sound very good,
and there is enough control over the
basic parameters to enable you to tune
the effect for the needs of the situation
magazine
29/06/2015 15:03
In use tip
Running the Polara reverb into a stereo delay
may sound like the wrong way round to do
things, but you can create quite surprising
effects if you let go of the idea that reverb is
the space in which everything happens and
use the reverb as part of the sound source.
Pedals are quite good for this, as youre not too
concerned about output fidelity and physical
knobs are useful for tweaking things on the
fly. This technique works best with staccato
sounds such as drum hits or with repetitive,
uncluttered sequenced parts, so that the
reverb decay setting can be quite precisely
controlled to fill in the voids that exist in an
otherwise dry mix.
MT Verdict
+ An effective mono/stereo reverb
solution in pedal format
+ Excellent sound quality
+ Easy integration into a
pedalboard
- Not ideal if you need a deeper
level of control and editability
- No MIDI implementation
DigiTechs Polara reverb is a solidly
built unit, offering a good range of
Lexicon reverbs that sound very
good indeed. The pedals extremely
robust and for the price you get a
wide range of parameter controls.
As a stereo input/output device, it
can be used with the full range of
contemporary instruments and, if
necessary, the sound quality is
such that it can be used as a live
desk reverb or in a home studio
setup as an insert device to
augment your plug-ins.
8/10
You say
Control Freak
MT149.REV Digitech.indd 97
gikacoustics.co.uk
+44 (0) 20 7558 8976
29/06/2015 15:03
Excellence
10/10
KORG
iM1
The release of Korgs classic 1980s digital synth for iOS has Andy
Jones re-opening a three-decade old wound. Can he gain closure
and actually tell us if its any good? We doubt it
Details
Kit iM1
Manufacturer Korg
Price 14.99
Distributor
Korg UK/App store
Contact
Tel: +44-190-8304600
Web
www.korg.co.uk/
iTunes
Requires
iOS 8 or later
Key Features
Runs on: iPad
Gen3/4, Air 1/2,
mini 1/2/3
Polyphony: 2
to 64 notes,
depending on
iPad (Air 2 = 64)
Modes: Combo
plus 8-part multi
Sounds: up
to 3,300 with
expansion cards
(450 without)
Performance: via
MIDI keyboard,
touch Kaoss
and keyboard
98 | August 2015
The bloody M1
No, even I cant deny the impact that
the Korg M1 synth (workstation if
I must) had on, well, everything.
Alongside the Roland D-50 and Yamaha
DX7, it bolstered its Japanese makers
MAGAZINE
26/06/2015 12:52
MT Verdict
+ Great sound
+ Great price
+ Easier to use than the original
+ Fantastic new additions add lots
of real-time options
+ Some brilliant presets
+ its an M1
And calm
- Its an M1
- Some terrible presets. As there
should be
- It wasnt the first original synth
workstation (well someone had to
say it)
10/10
LTC-1
Manufacturer DSRT Sound
Price Free
Contact Via website
Web dsrtsound.com/ltc-1
Key features
Control playback
and mixing in Live
Max for
Live device
Lemur
iPad template
OSC bidirectional
communication
Two views
MT Verdict
A useful and free Live control
template provided you already
have the Lemur app
8/10
| 99
26/06/2015 12:52
MT Mini Reviews
ELA M80
Manufacturer Telefunken USA
Price 229
Contact Unity Audio Tel: 01799 520786
Web
www.telefunken-elektroakustik.com
Key features
Cardioid moving
coil capsule
AMI/TABFunkenwerk
output
transformer
Output
impedance 200
Ohms
Frequency
response 30Hz
18KHz
Dimensions
48mm x 184mm
Weight 371.39g
Fischer Viola
Manufacturer Embertone
Price $125
Contact via website
Web www.embertone.com
Choice
9/10
9
9/
10
Key features
Dual layer legato
transitions (soft/
louder)
True legato bow
change/slurs/
slides
Phase-aligned
dynamic morphing
Bow positioning
between bridge
and fingerboard
Controllable
vibrato
8-player
ensemble mode
Dynamic/flexible
keyswitches
MT Verdict
The M80 comes with enhanced
detail and attenuated problem
frequencies straight out of the box.
It even has a preset HPF at around
250Hz. The SM58 is ubiquitous for a
reason. It works really well on PA
systems that are equalized for its
sonic signature. In contrast the M80
would be more effective with flat
response PA systems and vocalists
who sing up close perhaps to
backing tracks rather than a band.
The M80 is not better per se, but
what it is is a genuine high
quality alternative.
8/10
MT Verdict
The Fischer viola is a very
expressive instrument to play from
the off and, at the same time, highly
controllable. The option to have up
to eight individual players is very
useful for blending with other
library sections. Highly
recommended.
9/10
MAGAZINE
29/06/2015 14:58
Mini Reviews MT
Bombstrikes
Presents Bass Funk
Mainroom Techno
Production in Live
Manufacturer Loopmasters
by Paul Maddox
Price 29.95
Publisher Producertech
Contact [email protected]
Price 29.99
Web www.loopmasters.com
his is a heavy-weight
collection of breaks, glitch
and bass funk samples
created by producers from the
hugely successful Bombstrikes
label. There are patches spread
across a range of punchy drum
hits, whooping zaps and fx, bass,
guitars and subs, plus some
excellent female vocal adlibs.
Youll also find 202 loops including
party breaks, 808 glitch, and
tearing bass and lead lines,
alongside heavily processed and
chunky live funk bass, guitar and
drums. Some of the loops are a
tad over processed, but this is
countered by the excellent live
break loops. Overall it has fun and
well programmed patterns, and a
fair amount of variety. MT
Key features
MT Verdict
A punchy collection of well
programmed riffs, and
simple but chunky beats,
backed up by some excellent
live instrument loops and
vocal adlibs.
8/10
Key features
Mainroom techno
sound design in Live 9
Over 2 hours of video
11 modules
Written and
presented by Paul
Maddox
150MB of free
Loopmasters samples
plus accompanying
Live project
MT Verdict
A concise tutorial on crafting
mainroom techno sounds
with some excellent sound
design tips that make good
use of Lives built-in tools
and devices.
9/10
Balearic Disco
Author Loopmasters
Price 34.95
Manufacturer Loopmasters
Contact [email protected]
Price 29.95
Web www.loopmasters.com
Contact [email protected]
Web www.loopmasters.com
9/10
9
9/
10
Web www.live-courses.com
Classic 90s
House Vol2
Choice
Key features
Over 1.3GB worth
of 24-bit, classic 90s
house audio at 122bpm
Available in Acid
WAV, Apple Loops,
REX2, Live Pack and
ReFill formats
Inspired by Roger
Sanchez, Todd Terry &
Erick Morillo
98 hits with 33
sampler patches
Written and
produced by Audio
Jacker
MT Verdict
Repetition of riffs aside, this is
a well written pack with some
excellent chord progressions
and clean production that
could be used as a good
starting point to your tracks.
8/10
Key features
Over 1.3GB worth of
24-bit, 80s synth pop
audio
Available in Acid
WAV + REX2 and Apple
Loops + REX2 formats
Features vintage
synths and real
instruments
100 to 120bpm, A, C
& G minor
Inspired by
Aeroplane, Todd Terje,
Lindstrom and more
MT Verdict
Although there are no
instruments and some of the
loops are a little too full, the
majority of this massive,
analogue sounding library is
packed with hooks and
retro charm.
8/10
| 101
29/06/2015 14:58
su
bs U
cr S
ip A
tio
n
of
fe
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MT149.US subs.1db.indd 5
02/07/2015 16:02
Software
Mobile Tech
Accessories
Details
Price 2,749
Contact
AMS/Neve
01282 457011
Web
www.ams-neve.
com
BEST Transparancy
LEV Solutions
Integrity 2
Neve
1073
DPX
T
Thermionic Culture
The Rooster 2
BEST Tones
Details
Price 1,845 + VAT
Contact
Thermionic Culture
01279 414770
Web
www.
thermionicculture.
com
MT149.6OTB.indd 103
| 103
26/06/2015 12:43
BEST Beatles
Chandler TG2-500
Details
Price659
Contact01799 520786
Web
www.chandlerlimited.com
BEST Flexibility
RND 511
Details
Price520
Contact
Sonic Distribution,
0845 500 2 500
Web
www.rupertneve.com
MT149.6OTB.indd 104
Details
Price838
ContactUnity Audio,
01799 520786
Web
www.greweb.com
magazine
26/06/2015 12:43
Read
on any device,
anytime!
MT App ad A4.indd 1
02/07/2015 16:00
A BLUFFERS GUIDE
TO MICROPHONES
Microphones are at the very heart of studio recording. Join us as we
explore the different types and how to get the best out of them
Powered by
Inner workings
In a lot of ways, a microphone is just a speaker in reverse. While the speaker puts
out sound, a microphone takes it in, using reasonably similar parts and
principles to perform a different function. You can, if you have the scientific
knowledge and the tools and a rather large amount of free time turn a speaker
into a microphone. Were not going to go into that here. What were going to do is
talk about how a microphone works, and the way to do that is to talk about the
most common type: the dynamic mic.
Inside each microphone, behind the grille, is a diaphragm. This is usually just
a piece of thin material, and it vibrates when sound waves hit it. Attached to this
diaphragm is a coil of metal wire attached to a magnet. As the diaphragm moves
MAGAZINE
26/06/2015 12:44
the coil, the coil itself is moving through a magnetic field. This helps to convert
the acoustic energy (the sound waves in the air) into electrical energy. Suddenly,
your amplifier can understand whats coming into your microphone which, if
you think about it, is a pretty neat trick.
Dynamic mics are a bit like punk-rock singers. They can take and dish out a
lot of punishment. These are the mics you traditionally use to record loud sounds
kick drums, heavy guitars and percussion. They are very common in live
performances, where they can take a lot of audio energy without cracking. The
downside? Dynamic mics tend to have a little less range than other types, which
is hardly surprising given that theyre the workhorses of the microphone world.
But you will encounter other types of microphones as your audio career
progresses. One of the most common types, beyond dynamic mics, are condenser
microphones, and theyre
quite different to their
hardier brethren.
Condensers use two
plates one moving, one
static placed very close
together. These plates
react to acoustic energy
by storing charge in a
capacitor. Compared to
the rockstar dynamic mics, these are the highly-strung vocalists with the
crystal-clear voices. They require care, delicate handling, and a lot of love. But if
you treat them right, they will blow your mind with the quality they put out.
Unlike a dynamic mic, a condenser is much more sensitive, preserving the tone
and timbre of anything that comes through it. They are extremely popular as
vocal mics in studio environments for this reason.
Another type of mic youll need to know about is the ribbon microphone.
These are the Tuvaluan throat singers of mics: highly specialised units that can
pull off things you wouldnt believe, and which other mics would struggle to
replicate. A ribbon mic has a diaphragm suspended between two magnets, and it
reacts to the velocity of particles in the air this is in contrast to the other two
types, which respond to pressure from sound waves. They are very, very good,
almost without exception.
So, to sum up: dynamic mics are like Patti Smith bellowing in your ear,
condensers are Adele singing a love ballad, and ribbon mics are
a Tuvaluan throat singer whispering sweet nothings in your ear. Got that?
Compared to rockstar
dynamic mics, condensers are
the highly-strung vocalists
The set-up
So youve got a mic. There are a few things you need to know to make it work.
Were going to assume that you want to set up a mic in a studio
environment, as doing it live is an entirely different proposition.
You need a mic stand. This is relatively straightforward to
understand; its simply a piece of equipment that allows you to put
the mic in a particular position and hold it there. But you cant just
attach the mic to the mic stand and hope for the best. You need a
shock mount. This piece of equipment essentially suspends the
microphone in a web of flexible cables, protecting it from
any vibrations. The more sensitive the microphone, the more
vibrations it will pick up; and if you dont have it mounted
in a shock mount it will register every single footfall in the
studio and every bump against the mic stand. Most studio
microphones, barring the really cheap ones, come with their
own tailored shock mounts.
If you are using a condenser microphone (and the chances
are you will be, if youre recording vocals) then you need to
think about phantom power. This sounds like a strange
concept, but its quite easy to understand. Condenser
microphones require an external power supply to operate. This is usually 48
volts, and is almost always supplied by the amp or interface that you plug the
Tech terms
PHANTOM POWER:
a 48-volt signal
required for condenser
microphones to
operate, usually
supplied by the
interface or amp.
PICKUP PATTERN:
The area around
a microphone where
sound is picked up.
More expensive
microphones will allow
you to change this.
DYNAMIC: A type of
microphone suitable for
louder recording, often
used in live situations
and for recording
instruments.
Very common.
CONDENSER: A
microphone that is
highly sensitive. Not
suitable for recording
drums, but absolutely
brilliant at vocals. Can
be very expensive.
| 107
26/06/2015 12:44
Deep pockets
108 | August
March 2015
2015
magazine
magazine
26/06/2015 12:44
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Show off
your studio
Admit it, you just want to be in this
one dont you? Its another set of
MusicTech reader studios to swoon
over. And we want to see yours too, so
get in touch at the usual addresses
Talla 3
Interviewee: Tommy Jansson
Contact: [email protected] Web: www.facebook.com/talla3production and www.talla3.com
Key components? Custom-built PC
with RME RayDAT card; 3x 24-bit
converters; Yamaha HS8w; signal
processors; Roland JX-1, JX-3P,
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Vortex; Keytar; Eurodesk MX8000;
Rode NT2-A; a bunch of screens and
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Which DAW and why? Cubase Pro
8. I started with an Amiga and a
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it ever since, and there are always
new features to be discovered.
MAGAZINE
26/06/2015 12:40
Sain Code
LTL Records
Interviewee: Bobbi Styles
Contact: [email protected]
Contact: [email protected]
Sains set-up:
| 111
26/06/2015 12:41
MT Next month
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ISSUE 150 SPECIAL!
EURORACKS AND
MODULAR SYNTHESIS
Commercial Director Simon Lewis
[email protected]
MT149.next.indd 112
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26/06/2015 14:52
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