Music Tech August 2015

Issue 149 August 2015
1.7GB OF ROYALTY-FREE SAMPLES 2 HOURS OF TUITION VIDEO

www.musictech.net
Issue 149
August 2015
The magazine for producers, engineers and recording musicians
SQUAREPUSHER
Pushing the
production
boundaries
Give your music a professional edge. Read

our in-depth guide, hear the results online
Top music production advice
www.musictech.net
20 Tips for mobile music

Creative sound design
Best DAW workshops
Vocals in Live
Logic compression
Recording in Cubase
The Best Reviews
Reason 8.3, FLStudio 12

Era II library, Korg iM1
Issue 149
August 2015
5.99
www.musictech.net
MT149.cover.indd 1
02/07/2015 16:16
Welcome MT
Expert Panel
Studio Hardware John Pickford
John is a studio engineer with over 25 years of

experience. He is a keen sound recording historian
and has a passion for valve-driven analogue
equipment and classic recording techniques.
Mixing/Mastering/Logic Mark Cousins

Mark specialises in sound design and cinematic
productions. He has recorded with orchestras
across Europe and is heavily involved in
soundtrack composition.
Careers Editor Rob Boffard
Rob Boffard is a sound designer with a

background in TV and radio work. He is a Reason
evangelist, and when not writing for MusicTech he
releases hip-hop music under the name Rob One.
Digital/Composition Andy Price
With a Masters in songwriting and a vast interest

in music history and recording techniques, Andy
works daily on MusicTech.net as well as regularly
contributing to the magazine. He is currently
heading up our Landmark Album features and
songwriting/Cubase series.
Recording & Guitar Tech Huw Price
A recording engineer since 1987, Huw has worked

with David Bowie, My Bloody Valentine, Primal
Scream, Depeche Mode, Nick Cave, Heidi Berry,
Fad Gadget and countless others.
Scoring/Orchestral Keith Gemmell
Keith specialises in areas where traditional

music-making meets music technology, including
orchestral and jazz sample libraries, acoustic
virtual instruments and notation software.
Ableton Live Martin Delaney
Martin was one of the first UK Ableton Certified

Trainers. He has taught everyone from musicians
to psychiatric patients and has written three
books about Live. Martin also designed the
Kenton Killamix Mini USB MIDI controller and is
now the editor of www.ableton-live-expert.com.
Reason, DJ & Mobile Hollin Jones
As well as teaching music technology, producing

and writing soundtracks, Hollin is an expert on
everything Apple, mobile or computer-related, as
well as being an accomplished keyboard player.
Electronic Music Alex Holmes
Alex has been a computer musician for 15 years,

having a keen passion for beats, bass and all
forms of electronic music. Hes currently involved
in three different dance music projects.
Mastering is still the big

daddy when it comes to
music production. What
I mean is the word still
strikes fear into many,
when really it shouldnt.
(The 1970s wrestler Big
Daddy, for example, was
a mighty chap who was
actually a rather nice fellow called Shirley). Rubbish 70s
references aside, the aim of our major feature this month is
to de-mystify mastering. So Mike Hilliers article on p12
looks at the nitty gritty in exhaustive detail with reference
to the audio he mixed in last months main feature. The
results will be online by the time you read this so you can
hear the process in action, in all its glory. Maybe we should
just give mastering a friendlier name to make it less scary.
Pampering? Smoothing? Cuddling even?
But thats not the most exciting thing in this issue by any means. On a personal
level, after what can only be described as a lot of fannying about, Ive finally settled
on a mobile music-making set-up that includes both Korgs Gadget and iM1, the
latter of which I take a rather self-indulgent look at on p98. On a connected mobile
note, though, its Music IO on p87 that will be the app well all probably end up using
software that will revolutionise the connectivity between my mobile set-up and
my (still) slowly emerging home studio. Then, at the other end of the scale, we have
the much-hyped Studio One v3 see p7, where we answer the question What is all
the fuss about?.
Finally, a quick plug for our next issue. Its number 150, so itll be big. Id best get
on and do something for it Until then!
Andy Jones Senior Editor
Email andy.jones@anthem-publishing.com
Twitter @AndyJonesMT
Pro Tools Mike Hillier
Mike spent five years at Metropolis Studios,

working alongside some of the best-known mix
and mastering engineers in the world. He is now
building his own studio in south London.
VISIT OUR WEBSITE!
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MAGAZINE August 2015
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
Learn how to master a track and

hear the results on the DVD
4 | August 2015
MT149.contents.indd 4
103 Six of the

best preamps
That most important of
items in your signal
chain under the
spotlight
MAGAZINE
02/07/2015 15:51
Contents MT
p78
p73
MT Issue 149 Full listings
p83
ADVANCE
007 | Industry news and opinion
MASTERING: THE GUIDE
The latest reviews
MORE
REVIEWS
than ever before. What you need for
012 | Hear how we master a track

A full, in-depth guide! Read how its
done, hear it on the DVD
p92
your studio and mobile music making
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
40 Logic Pro In Depth

44 Ultimate Guide to Live
52 DAW Recording
New series! This month: the compressor
Everything Ableton, right here
A new series on getting the perfect DAW take
034 | How to record bass!

040 | Logic In Depth Part 2
The compressor
044 | The Ultimate Guide to Live 6
The only Ableton guide you need
048 | 20 Tips on mobile music
052 | New Series: Recording into
your DAW Setting up with Cubase
056 | Beat programming & sound
design Big sound with Combinator
SUBSCRIBE
060 | and get a huge discount!
REVIEWS
062 | Reason 8.3 DAW update
064 | Heavyocity Gravity library
068 | Novation MoroderNova synth
070 | JamHub MT16 recorder
073 | FL Studio 12 DAW update
077 | Audio-Technica 5045 mic
078 | Best Service ERA II library
Bluffers guide
080 | Telefunken THP-29 phones

083 | Pearl Concert Grand piano
085 | Tracktion Master Mix plugin
087 | Music I/O Connect DAW to iOS
088 | Rupert Neve DI box
090 | Zero-G Haunted Ground s/w
092 | AIAIAI TMA-2 headphones
106
A BLUFFERS
GUIDE TO MICS
095 | Siren Audio software bundle

096 | Digitech Polara reverb
098 | Korg iM1 iPad M1
100 | Mini Reviews
REGULAR FEATURES
103 | 6 of the best preamps
106 | A bluffers guide: Mics
110 | Show off your studio now!
112 | Next month in MusicTech
114 | On your MT DVD
MT149.contents.indd 5
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02/07/2015 15:51
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
t happens every so often that a new product comes along

that garners much attention be it good or bad. Often,
its both. The Digital Audio Workstation (DAW) market is no
different. Everyone has their own opinions about their
favourite DAW. Everyone says theirs is best because of this
bell or that whistle that works better than anyone elses. The
other long-standing argument refers to the sound of a DAW.
My DAW sounds better than yours! can be heard being
shouted from the rooftops. Of course, we logic-based [not
that Logic Ed] organisms know that the ones and zeros of a
software program dont really have a sound. Do they? One bit
of bytes doesnt really sound different from another. Does it?
These arguments have been going on for as long as
theres been a DAW marketplace. And since theres such
fierce competition among DAW makers (and such passion
from their users), its difficult for a new DAW to break into
that marketplace. But in 2008, hardware maker PreSonus
(already famous for its compressors, preamps and
interfaces) entered the DAW market with a very elegant effort
in the form of Studio One. This new DAW met the market with
mixed reviews for certain, but thousands of people in
search of something new and intuitive jumped at this new
Details
Manufacturer
PreSonus
Price Artist: 69;
Professional 279;
upgrade/crossgrade
35 to 249
Distributor
Source
Tel: 020 8962 5080
Web
www.presonus.com
workstation and sunk their teeth in and refused to let go.

Well, Studio One is no longer the new kid on the block, and is
now at version 3. With the release of v3, we get multiple new
added features that change the game for PreSonus and may
lead to many people jumping from their old DAWs to this
shiny beast. Lets take a look at whats on offer, how it
compares to some of the other DAWs out there, what its
missing, and why you should seriously consider augmenting
your current setup with Studio One 3.
With the release of v3, we get

multiple new features that
change the game for PreSonus
Whats so special about it?
Studio One 3 comes

bundled with some
virtual instruments
how many you get
will depend on the
version you opt for
So what is it that makes Studio One so popular to its

ever-expanding community? It began with a simple
one-window user interface. The interface was easy to use
and very intuitive. It should be said that, when Studio One
came to the market, it was not the prettiest DAW out there.
It was flat grey, black and light blue. So, people fell in love
with Studio One for what it had inside, not what it looked like
on the outside. Add its drag-and-drop capability and
auto-routing functionalities and it was a no-brainer. Unlike
some other DAWs, dragging an effect from the sidebar
browser onto a track automatically routes the audio through
that effect.
Key commands are also intuitive. For example, hitting the
T key brings up the Add Track dialog. This pop-up allows one
to select from a number of options, including: a name for your
track(s), the number of tracks, the type of track (instrument,
audio, folder), track colour, auto-colour, track input and auto
ascending (for assigning each ascending input to each new
MT149.Advance.indd 7
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02/07/2015 12:00
Advance MT
The Project Page

The Professional version of Studio One 3 comes with a very
capable integrated mastering solution called the Project
Page. In the Project Page, you can drag your rendered
stereo tracks from each of your songs. From there, you
can arrange them (called sequencing), add as much or as
little silence between each song as you want, and then add
mastering-grade processing to sweeten the lot.
The Project Pages brilliance lies in its complete integration
with the rest of Studio One. Lets say you have your stereo
masters laid out and ready for final sweetening, and you
hear a mistake or want to tweak the EQ on a particular
track or instrument in one song so it will sit better in the
mix. You can go back to the Song Page for that particular
song, make your changes, save your song and the Project
Page stereo master will then update automatically to
reflect the changes you made.
A well-respected mastering engineer has said: Studio
One may soon become a game changer for the mastering
community. This seems to be pretty much the case for the
home studio community as well.
track as its created, and output. You can accomplish a lot
with this dialog box.
Another point of note: PreSonus doesnt call its
instrument note manipulation format MIDI even though it
may occasionally refer to it as MIDI in the manual. It is
actually a higher-resolution format, allowing for much more
accurate manipulation of instrument data. This also allows
for very tight integration with certain third-party developers
plugins, such as Melodyne, for example. Melodyne Essentials
(trial version on Artist, full version on Professional) is
integrated completely into Studio One, and works brilliantly
for pitch adjusting, format control and even developing
harmonies and its not an add-on insert or plugin, its a
menu item and works really well.
Other new features that you can find in Studio One 3 that
make this the new Composers Toolkit include:
Multitouch support and a DPI user interface for Mac and PC
Remote control for Studio One on the iPad
Automatic delay compensation
Control link (very easy mapping of controls to control surfaces)
User-definable keyboard shortcuts (including presets for Pro Tools
and Cubase, and Logic shortcuts)
Video import/export
New, previously unavailable effects such as Bitcrusher and Roto
Pipeline (an insert for using external hardware processors)
Studio One also comes bundled with a few virtual

instruments and some loops and samples. The amount of
content you get with Studio One is dependent on which
version you buy: Artist (very small loops and presets library),
Producer (much larger library and added VST support for
third-party instruments) or Professional (a ton of loops and
samples and all the VIs on offer). The virtual instruments
included are Mojito (a mono synth), Presence (a soundfont
sampler), Impact (a pretty versatile drum machine) and
Sample One (a drag-n-drop sample player). Theyre not the
prettiest instruments, but they are very capable. And the
loops and samples are fantastic. There are tons of electronic
and acoustic loops, and all are very high quality.
In version 3 of Studio One, PreSonus has changed the
format of its versions of the software. There is now a free
version containing Presence XT (the new version of its
sampler) and a limited number of instruments, effects and
The Professional
version of Studio One
3 introduces the
Project Page (above)
loops. The mid-range version is now called Artist. It includes

more effects, more loops and Presence XT, Mojito, Mai Tai (its
new dual-oscillator polysynth), Impact (with more kits than
before) and Sample One. The full version is still called
Professional. It adds everything from the previous versions,
and also support for VST2, VST3 and AU instruments and
effects, the entire PreSonus Effects Suite, ReWire, and
third-party sample libraries from EXS, Kontakt, Giga and
SoundFonts in Presence XT. It also adds the Project Page for
mastering your projects, which Ill touch on later.
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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MT Feature Mastering: The Guide
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
ixing and mastering require two very

different mindsets. In the mix, your
focus should be jumping constantly
from the minutiae to the big picture
and back again. Does the attack on the
kick drum compressor let enough through? Is the
release letting go before the next hit? Does this extra
compression on the kick mean it is now masking the
bass guitar? You have hundreds, perhaps thousands of
parameters at your control, each capable of making
tiny changes that could cascade down to
fundamentally change the whole mix. However, if you
want to make a change to any one channel you can
jump quickly into the mix and alter that one sound.
If the vocal needs something more to help it punch
through, you can quickly grab a saturation tool, a
parallel compressor, a delay or even an EQ. Any of
these different tools could be the right one to help the
vocal punch through.
However, in mastering your focus is almost always
on the big picture; you should be thinking not only
about this one song, but how this song sits next to
other songs, both on the album it is being released on,
and also others by artists in a similar genre. Your tools
are broader in spectrum. Any compressor you add will
be applied to the whole mix; there are ways of
narrowing the focus, mid-side or multiband
techniques; but should you want the vocal to punch
through, the tools you have are likely to impact on
considerably more of the mix than were you to make a
similar change in the mix. For this reason, it can be
very difficult to master your own mixes. If you think the
12 | August 2015
MT149.Feature Mastering.indd 12
vocal needs to punch through more, that decision

should have been made in the mix. Any attempt to
decide what in your own mix needs to change begs the
question, was the mix really finished? Getting another
perspective on your mix is the one reason we
recommend you find an accomplished mastering
engineer whose work you enjoy, to build a relationship
with. Alternatively, why not find a friend to share
mastering duties with? You can master their mixes,
while they master yours. If you hope to one day
become a seasoned pro at mastering, this is a great
way to get your first few masters under your belt.
Listen, listen, listen

When you receive a new song to master, it can be very
tempting to simply revert to a sort of mastering by
numbers approach. Boosting the low-end and the top
in a basic smile curve, adding width to the top-end,
and mono-ing the subs, adding your favourite stereo
compressor and colour tools and then bashing on a
mastering limiter at the end maybe even a multiband
limiter with a mastering preset in place. This primitive
approach to mastering has become all too common,
and not only among inexperienced producers
mastering their own tracks, but also among a few
seasoned pros who ought to know better. But
mastering a track will require far more consideration
of the specifics of the individual mix than any presets
or even rough go-to selections could possibly allow.
The golden rule of mastering is to do no harm. The
goal is to bring the most out of the mix, not to change
it, nor to impose your own mark on it, simply because
MAGAZINE
02/07/2015 16:20
Mastering: The Guide Feature MT
The golden rule of mastering is to

do no harm. The goal is to bring the
most out of the mix, not change it
you can. You dont need to push the mix through all of
your most expensive processors, as tempting as that
can be. The best mastering engineers in the world
know when to throw the kitchen sink at a mix, and
when to do nothing at all.
So before you reach for even a single processor,
take the time to listen to the mix several times. Listen
closely and determine what needs to be done, then set
about doing that, and only that. Ask yourself what you
do and do not like about the mix. Is there anything in
the mix that pulls your attention out of the song?
A click, a sibilant vocal, or piercing cymbals for
example. Are any frequencies too present? Are any
frequencies lacking? Are these problems constant, or
things that occur only at certain moments? If theyre
constant, you should be thinking about which EQ to
use to change that, and if theyre only at certain
Quiztones
Another excellent tool for improving your critical
listening is Quiztones from Audiofile Engineering.
This application lets you test your ability to hear
frequencies (both using sine waves, or EQ applied to
music) and gain differences. Quiztones is available for
Mac, iOS and Android: http://quiztones.com.
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.
moments, do you automate the EQ, or use a dynamic

EQ, or a multiband compressor? Do all the elements of
the mix sit together well? Or could it use a little extra
glue from a compressor. Compare the mix to other
similar songs, most importantly the other songs on the
album or EP your are mastering, if that is applicable,
but also to other songs in the genre. Compared to
these songs, how does the frequency content in this
one compare? How wide does this song sound
compared to the others? Does the vocal sit above the
instrumental bed by a similar amount? How loud does
this mix sound compared to the others?
Once you have answers to all of these questions,
you are ready to start processing the song.
With this in mind, you may find that 90 per cent of your
masters still end up using the same chain. You may
even find that you use the same settings within this
chain a lot of the time, but you will be doing it for the
right reasons; and you will also know, most
importantly, when not to use these tools, and when to
break out some other tools that you may use
infrequently. What will make you stand out from a
machine, or a poor mastering engineer, is your ability
MAGAZINE August
2015 | 13
02/07/2015 16:20
MT Walkthrough A beginners guide to critical listening
02
In the EQ, engage the low-pass filter, and set it to play back only
the sub-region.
Load your reference track

into a new channel in the
mix, or use the reference track
trick from last months issue,
then add an instance of a clean
EQ, such as FabFilter Pro-Q 2.
Copy the EQ and its

settings onto the track you
want to master, and switch back
and forth using the X-OR Solo
mode, listening to the impact of
the sub-frequencies in your
track compared to the reference.
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
Continue moving the two filters up in tandem, or use a wide

band-pass filter, to compare each of the important sections in
each mix.
05
14 | August 2015
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
MAGAZINE
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.
to critically analyse a track and bring only what is

needed to improve on the mix.
Plan your actions

In the last issue, we looked at getting a mix ready for
mastering, focusing on a mix of Anchor by HART. In this
article, were going to focus on the same track as we
pass it through the mastering. The song was mixed by
Mario Leal, who did an excellent job, not only getting
the mix right, but focusing just enough attention on
the master buss to make the master a fairly easy job.
Alongside the mix, Mario provided a couple of Coldplay
tracks as references Up In Flames, from Mylo Xyloto,
and Magic, from Ghost Stories. So we loaded copies of
these into our session alongside the final mix. It is a
good rule to always open up a good line of
communication with the artist, the mixer, producer
and anyone else who might have a say in the finished
master at this stage, as this will help you to get an idea
of what they each feel needs to be brought out in the
master. It can also be helpful to provide some mix
feedback, especially if the mixer is inexperienced; this
may even give you an opportunity to have the mixer
correct any issues you might have spotted in the mix
and send a new mix, preventing you from having to find
a way to fix it in mastering a task (and phrase) that
should always be avoided, where possible.
With Anchor, our first thoughts are that a little more
excitement could be brought to the mix with the help
of a little more top-end, especially if were to try to
match the tonality of the two reference tracks, while
the bass needs a little more energy but not so much
as to become overbearing. In the low midrange, we
want to bring some separation between the kick and
bass, while a little higher we need to try to bring power

to the guitars and vocals. This frequency range can be
particularly troublesome. Too much energy and you
risk the mix sounding muddy, too little and it will sound
thin. Getting everything just right, then, is the key to a
great master.
Using an M/S matrix, we can listen to the sides (the
difference portion of the matrix), to hear only those
parts of the mix that are panned out from the centre.
The sides of Anchor are mostly reverbs and delays,
with an electric piano-type sound fairly prominently
mixed wide. There is also a little guitar, some violin and
BVs. So, any compression or EQ we add to the sides is
going to affect only these elements. The primary bass
elements, the kick and bass are mono, although a
small amount of both of these is feeding a stereo
reverb. However, there is still a fair amount of
sub-frequency energy in the sides, which wed prefer
to see sitting more squarely in the centre of the mix.
With so much of the mix in the centre, bringing up the
sides is mostly going to add additional reverb to the
mix, which is often also a consequence of bringing up
the levels; so for now at least, we probably dont need
to be bringing any additional width. But we can safely
EQ the mid (or mono sum) portion of the signal to alter
the beat, bass and vocal without too much effect on
the sides.
The reference tracks are both quite loud masters,
so we know were going to have to try to get some extra
level out of the mix. Some of this perceived extra level
ISRC
In addition to the audio, metadata can be stored in
some file formats. The most important of these is the
ISRC code. ISRC codes are the International Standard
Recording Codes, used to uniquely identify songs,
similar to ISBN codes on books. Each code should be
12 characters long, and will help royalty collection
agencies to identify recordings in order to make
payments. You can buy them and get more info from
the PPL: www.ppluk.com/I-Make-Music/Why-ShouldI-Become-A-Member/What-is-an-ISRC.
02/07/2015 16:20
MT Walkthrough Comparing compressors
Duplicate the track onto

another channel, and copy
the pre-compression EQ, then
add the next compressor. If
youre using outboard hardware
before the compressor, or DSP
processing using a processor,
such as a UAD, and running out
of processing, you can buss one
track to multiple auxes with EQ
on the original and compression
on the aux channels.
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
Set the parameters of the first compressor to provide the best-sounding

compression you can achieve for the track you are working on. Let the
compressor guide you, and experiment with any built-in interesting features.
Pro-C, for instance, can model three different compression types.
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
Finally, level match each of

the newly compressed
channels, and using X-OR solo
mode, switch between each to
decide on your favourite. If you
have a friend close to hand, get
them to do the switching while
you keep your eyes closed, so as
not to bias yourself in favour of
any one unit.
06
16 | August 2015
MAGAZINE
02/07/2015 16:20
Mastering Feature MT
will come from the added brightness a trick

frequently overused by mastering engineers, but one
that does need some care, as too much can spoil the
mix. The rest of the extra level has to come from
dynamics processing.
With all this decided before weve added a single
plugin, we now have a road map for the track. This
means any plugins we add, at least initially, should be
ones that will help us approach directly the issues
weve already discovered; so, as one would expect,
we are going to reach for an EQ, a mid-side EQ,
a compressor and a limiter.
The first pass

We like to make any M/S alterations early in the signal
chain, and so we have opted to add the Brainworx
Daniel Pattison, aka HART
Like last month, we have again chosen to look at
Anchor by HART in this article (www.facebook.com/
hart.musica). The track was recorded by Ben Walker
(www.bensroom.co.uk) with additional recordings
by Mario Leal and George Murphy and string
arrangements by Nico Muhly. The track was mixed by
Mario Leal (www.mario-leal.com).
bx-digital V2 plugin first in our chain (we actually add it

in Insert position two, for reasons that will become
apparent). This EQ is a clear favourite of ours for this
task, as it not only has five bands on each channel,
plus high- and low-pass filters, but also clear controls
over the M/S matrix, including a stereo width knob, L/R
balance, and separate M and S pan controls. Placing
the M/S EQ before the first dynamics module in our
chain enables us to control how the dynamics module
will respond to the width elements of our track.
In the next position, we add an instance of the UBK
Clariphonic DSP. This is a parallel EQ, with two
high-frequency shelves (and so can be used only to
add level, not as a subtractive EQ). The controls on the
Clariphonic are a little esoteric, but in short the Focus
engine adds midrange, while the Clarity engine adds
high-end with shelves as high as 37kHz. Again, we

want to place this before the first dynamics module;
this is to improve our signal-to-noise ratio when using
a compressor, and to compensate for any loss of
high-end that the compressor may introduce.
The final EQ were going to add is the UAD Manley
Massive Passive Mastering Edition. This EQ has four
parametric bands, in addition to high- and low-pass
filters, and is to our ears one of the sweetest-sounding
EQs weve worked with. It isnt great at detailed
precision EQing, but it can transform a track with only
a few boosts or cuts, and its control over the midrange
is among the best weve ever heard. Unlike the
previous two effects, the Massive Passive is going to
be positioned after any dynamics processing, so we
generally leave a few spaces clear for adding
additional compressors, expanders, de-essers,
multiband processors, etc even when we think we
know we want to use only one of these.
For the compressor, were going to use the
much-venerated UAD Shadow Hills Mastering
Compressor. But not before passing the mix through
a variety of alternatives to see which brings out the
right character in the mix. Determining this is tough,
and over time we have developed an intuition that has
helped us to move quickly towards the right
compressor for the job; but we still find ourselves
duplicating the track over several channels in our DAW
and testing it with a selection of compressors. In this
example, were also testing the UAD Neve 33609, and
Using outboard
If you really want to make it as a mastering engineer,
sooner or later youre going to need to invest in some
outboard analogue hardware. Mastering versions
of many compressors and EQs are available, but
frequently at much-inflated prices compared to
the standard versions. This is because instead of
potentiometers, mastering editions usually have
switches with dedicated stereo-matched resistors
to ensure far superior stereo accuracy and improved
recall, often within 0.1dB.
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.
our own hardware quad VCA compressor a clone of

the classic SSL 4000 G buss compressor, with
additional side-chain options and improved stereo
handling. It is important not to get caught up in a
hardware versus software debate, or any initial
preferences for certain GUIs here, and blind A/B
testing yourself after a short break can often result in
an unexpected conclusion as here where we might
have been tempted to go with the hardware out of
preference for breaking out of the box.
When comparing compressors like this, it can be
tempting to try to match the effect of the first with all
subsequent models, but this will give an inherent
advantage to the first, which is allowed to do the best
it can, while all others are simply cloning it. Instead,
we like to ignore all previous settings and simply try to
set the compressor to work its magic the best it can
each time, comparing the occasionally quite
different results to determine our preference.
Finally, we have added a brick-wall limiter; this is
going to serve a dual purpose to add a small amount
of level to the track if necessary, and secondly to
It can be useful to set up two or

more limiters to see which works
best for the track in question
ensure peaks are controlled. As with the compressor, it
can be useful to set up two or more limiters to see
which works best for the track in question, especially
if you have several high-quality ones. In this instance,
were using the UAD Precision Limiter, which has been
a staple of our mastering chain for some while, beating
all our own alternatives every time.
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
fixed with a multiband compressor or de-esser.

Compression can reveal a muddiness in the reverb,
which is tough to fix in mastering, but there are tools,
such as iZotope RX, UAD Precision K-Stereo and
Zynaptiq Unveil, as well as M/S processing, if the sides
dont contain too much other information.
It is important to constantly be comparing your
initial unmastered mix with the master in its current
state, as well as each individual change. To this end, it
is useful to have a system set up to quickly bypass all
your processors. The simplest method is to duplicate
the track in your DAW, one with the processors, and
one without, and switch between each one using solos.
You can adjust for any gain changes by adjusting the
level of the louder (usually, but not always the master)
down, so that any comparison is being done at
relatively similar levels. We prefer to use Meterplugs
Perception to achieve this with a single channel. Youll
note that earlier we left the first Insert slot free; this
was so we can place an instance of Perception Source,
with Perception Control added at the end of our
Master channel fader. Perception handles not only
switching from pre- to post-processing, but also level
matching and sample-accurate sync.
With Anchor, after our first pass with the
processing, we still arent happy with whats
happening in the low-end. Were using more EQ than
we would like to try to shape the bottom-end, and
while were getting enough weight on the kick, things
are starting to sound a little murky between each beat
of the kick drum. To compensate for this, were going to
add an instance of UAD Precision Multiband and
engage the LF band, leaving all the other bands off.
Then we set this band to the Gate mode with a very low
ratio (1.1:1), and tune the frequency and envelope to
pull out some low-end between each beat of the kick.
This will give us the freedom to add in as much weight
to the kick as we want, without also adding mud
between kicks; in fact, on the contrary, between kicks
the sub-frequencies will be pulled back, giving the
bass elements more room to shine.
By this point, the mix is beginning to take on the
sound we were hoping for; however, with so many
synthetic elements in the track, and having opted for
in-the-box processors at every stage, well also add
a little extra warmth with the UAD ATR-102 tape
simulator. This also gives us a little bit more level, both
through subtle compression, and additional harmonics
as well as softening off any harsh transients, which
means we dont have to push the final brick-wall
limiter so hard to get the track as loud as we want it.
Finally, all our processing has brought the stereo
image in a little. This is a common consequence of
compression and limiting on the master buss, as well
as with cutting frequencies on the sides with an M/S
Headphones
A good pair of open-back headphones can be of
great assistance when mastering. However, it can
also be useful to have a pair of cheaper earbud-style
headphones to listen back to how a great proportion
of your listeners will hear the end result. Its one thing
making a master sound great on expensive systems,
but many consumers use laptop speakers or earbuds,
so check your masters on these, too.
MAGAZINE
02/07/2015 16:20
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Subwoofers
MT Walkthrough Setting a multiband compressor
Turn the solo band off to

hear the whole mix. If you
have the option, be sure to use
linear-phase crossovers.
Engage that mode, as this will
produce the least phase
distortion in your mix, although
it will also produce the greatest
amount of latency.
03
Add an instance of your

multiband compressor
to the mastering chain we
usually place it just before our
full-band compressor, if were
using one.
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
Use a very low ratio, a moderate attack and a closely timed

release, and dial down the threshold until gain reduction starts to
bring the compressor into action.
04
EQ, so we return to the Brainworx bx_digital V2 and

dialled the stereo width knob up a little. This
essentially turns up the difference channel in the
matrix before it is all summed back together.
Bouncing down the master

In the previous part of this feature, we looked at
creating a number of different versions of the mix.
With the master of the basic mix done, we now import
these additional mixes to different playlists within our
DAW, and pass each one through the same processing.
This takes very little time, and means the versions will
all have the same polish as the final mix. All bounces
are done at the original sample rate and bit depth of
the mix, which should be at least 44.1kHz/24-bit. We
then produce a dithered 44.1kHz/16-bit CD quality
version, as well as any other files the artist wants.
The exact signal chain weve used here on Anchor is
something that will almost certainly not work on any
other track, but the process by which we came to the
20 | August 2015
If need be, set the

compressor to act a little
too heavily while you focus in on
your attack and release settings,
then dial the threshold and ratio
back down.
05
Finally, bypass the effect

and compare the
processed signal with the
unprocessed version to be sure
that you have made an
improvement to the master.
06
decision to apply that processing is something that

can easily be applied to any song. While each time it
may produce a different signal chain, you can be
confident that the signal chain it results in is one that
has been specifically engineered for that one track.
When working with albums or EPs, you will need to
reference all of the other tracks on the EP/album as
you work through, trying to give each a sense of being
part of the whole work. It is often useful to employ
similar signal chains; however, this does not mean
that each has to be identical, simply that as each
processor has its own colour, you can quickly get a
similar colour on another track by using a similar
processor. We often use the same compressor, limiter
and at least one EQ on every track, but will also allow
ourselves freedom to apply other processing as
necessary, as well as to remove any of these
processors as they are no longer required.
Check www.musictech.net for audio exmples to go
with this feature. MT
MAGAZINE
02/07/2015 16:20
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MT Industry Guru Aisling Brouwer
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
22 | August 2015
MT149.interviewGuru.indd 22
magazine
26/06/2015 12:45
Aisling Brouwer Industry Guru MT
he chances are youve realised that

writing pop music is only for the brave
and that getting music syncs for TV and
film is where your creative focus could
and possibly should lie. In fact, this has
become one of the prime outlets for todays music
producers output, because there are more TV
shows, video games and films produced than ever
before, all requiring soundtracks of one kind or
another. But it can be a difficult area to break in to.
Aisling Brouwer has scored major TV shows such as
The Apprentice, The Calling and The Taste. Her
set-up has already appeared in MusicTechs Show
Off Your Studio feature, but we were so impressed
with her musical CV that we had to get her in for a
MusicTech guru grilling
Aisling Brouwer has built an

impressive CV of TV and film
soundtrack work since moving
to the UK
MusicTech: How did you get into music production

and working on TV and film composition?
Aisling Brouwer: I have been writing and producing
music ever since I was a kid, but initially started as
a singer/songwriter. After moving to the UK to study
songwriting, I decided to change my course to music
and film composition with an aim to focus on
writing music for the screen. I spent my second year
studying in Los Angeles as an exchange student
and, encouraged by my tutors, I started approaching
the film, animation and theatre departments to
instigate collaborations. These projects confirmed
I am struck by how accessible

music technology has become to
people with less experience
this was the path I wanted to go down, and during
my MA in composition for film and TV, I started
working as a freelance composer for several
London-based companies. I met Dru Masters and
was given the opportunity to pitch for one of the
series he was scoring for the BBC (The Big Allotment
Challenge). Luckily, he liked it and I started several
more projects with Workhouse Music. Once the ball
was rolling, I started getting in other projects and I
moved to London to pursue the career full-time.
MT: What was your original goal?
AB: It was to be able to sustain myself from music
alone, and write music for film in particular. The
problem with film is that unless you are working on
big projects, the budgets are often derived from
personal funds and therefore TV and production
music can be a more lucrative starting point. I fell
into writing for TV and documentary series, and try
to balance that with film, trailer, production music,
and personal creative projects. I have achieved the
goal of writing music for a living for now, but I dont
believe in chasing one isolated goal in my career
my objective is to challenge myself, push my work
further, and be creatively innovative.
MT: What have been your most successful projects?

AB: Id like to think my most recent projects are
always more successful than the last few, and I
always treat every new project like its the best
thing Ive worked on. I dont think my career has
spanned long enough yet to pick one out of the hat
thats peaked my career, but I guess the one that
jumps out on my CV the most is the 10th series of
The Apprentice. Working with Workhouse Music,
I got the chance to work on some great TV series for
BBC, Channel 4 and TLC but in terms of my best
musical work I am proud of some of the tracks Ive
written for production music, film music and even
personal projects that sent me down new
compositional paths.
MT: What do you think about the way music
production technology has progressed? How has
this been good or bad for the media composer?
AB: A decade ago, I had just bought my first DAW
and was recording mostly in other peoples studios
with more experienced engineers and producers, so
I am mostly struck by how accessible music
technology has become to people with less
experience. The interfaces have become much more
intuitive, and it is no longer necessary to own a vast
amount of hardware equipment and expensive gear
in order to produce good music.
Given that I spent the past seven years moving
cities nearly every year, and was back and forth
between the US, the UK and The Netherlands,
I could transport a fair amount of my studio without
too much effort; this had considerable advantages.
On the other hand, one could argue that because
music technology has become so widely available,
and much more affordable, it tends to make the
competition tougher. Distinguishing your sound
from the masses, and competing with a much larger
pool of composers, producers and artists can be a
complicated process and keeping up with new
developments equally challenging. There is a
rawness and authenticity to production that is lost
when everything is so easily perfected digitally, and
demos no longer suffice if they are actually demos
when pitching against so many people they should
more or less be the final product for the project.
MT: What happens with a typical commission?
AB: Depending on whether Im working directly with
the series producer/director/creative or through an
magazine August 2015
| 23
26/06/2015 12:45
MT Industry Guru Aisling Brouwer
agency/music production company this varies

hugely. If Im involved from the beginning, there are
usually several meetings, coffees, and spotting
sessions to talk through the overall aims of the
project, and in what ways the music can serve to
achieve this. More often than not, a temp track and/
or reference music has been added during the edit.
Rarely, the composition comes before the edit. If
this is the case, or if the track is production/library
music, I write the track according to the stylistic
brief but not directly to picture.
Most of the time, however, the music is the last
thing to be added, and thus the deadlines can be
exceedingly tight. Once Ive established the musical
palette, I start by tempo mapping and marking the
various hits, builds, fades, transitions and so on.
I then get cracking on establishing the main
compositional elements and try to do most of my
mixing and processing along the way to avoid
changing the sound too much at the end. If the
project isnt under a tight deadline, the composition
usually goes back and forth between the composer
and the client a few times to make room for
adjustments, tweaks and variations before the final
version is delivered and the project concluded.
MT: You must get asked about music production
and breaking in to the industry all the time. What
do you get asked about the most?
AB: I think because Ive written for orchestral
ensembles quite a lot, I often get asked about my
arrangement and production techniques concerning
As well as being versatile, try to

figure out where your strengths
lie and build on those
the amalgamation of classical and commercial
music. Most of the emails I get, however, are more
inquisitive about how to break into the industry,
which companies to approach, which sound
libraries or plugins I use, or just general advice on
making money from composition. I think its useful
for any composer to have a basic knowledge on
orchestration and arrangement (The Study of
Orchestration, by Adler, is great), as you will never
get the full potential out of ensemble instruments if
youre pitching them in the wrong register or
layering them inefficiently. Never pan orchestral
patches that have been recorded in their original
layout, or the whole ensemble will sound
incoherent. I tend to try to find natural-sounding
patches so that some light reverb, compression and
creative EQ are sufficient to create an authentic
sound. Waves MV2 is wonderful for getting the best
out of a sound.
MT: Are there any particular production processes
that trouble you on scoring projects?
AB: One that I am completely guilty of myself is
24 | August 2015
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!
overwriting a piece. It is so easy to get carried away

and to keep adding layers to an arrangement, but
I usually end up stripping off half of it at the end of
the process. The advice passed on to me back then
was be confident with the sounds you use, let them
cut through and remember that in most cases, less
is more.
MT: What advice would you give anyone entering
the world of music production with the view to
making a living from it?
AB: It sounds dull, but networking really does make
all the difference. Approach as many people as you
can and listen to what they have to say or any advice
they can give you. Aside from getting to know
directors, producers, and liaising with agencies,
it can also be valuable to develop relationships with
other composers, because often work is delegated
between them if they are unable to complete
projects on their own.
Be confident in your own abilities, but never stop
learning from others. I often send mixes off to
friends who are producers/engineers/composers,
and no matter how finished I think a track is, there
is always something a fresh pair of ears will pick up
on, that you may have missed.
Be disciplined enough to keep yourself
constructively busy, even if you have a period of less
work. Most importantly, be open to new
opportunities and dont get too hung up on only
working on certain projects, or achieving a certain
goal immediately its the jobs you do in-between
that define you and build your skill set. As well as
being versatile, try to figure out where your
strengths lie and build on these. Just because you
want to be versatile, doesnt mean you have to be
able to create every single genre of music, so pick
your battles and develop a style of your own that
people can identify you by.
MT: Finally, what are you working on now, and
where can people find out more about you and
your work?
AB: I am currently in development with some
exciting new projects, and I try to update my
website: www.aislingbrouwer.com and soundcloud:
www.soundcloud.com/aisling-brouwer as
frequently as possible. The documentary series
Extraordinary Pregnancies has just started on TLC
Discovery Networks International, and I hope to
release an EP later this year of my personal projects
as well so keep an ear out! MT
magazine
26/06/2015 12:45
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MT Interview Squarepusher
MT interview
SQUAREPUSHER
After bringing to a close his selfconfessed guitar-overload period,

Tom Jenkinson (aka Squarepusher)
goes back to basics with Damogen
Furies, an album that signifies a return
to his love of pure electronics and
brutal sound manipulation.
nterviewing Tom Jenkinson is a special treat for any

interviewer clichs go out the window, response
mechanisms become unfiltered, and as long as you
have an inquiring mind, intellectualising about music
is encouraged. Stark honesty is the order of the day,
and Jenkinson is not one to let you down. Hes a man
who cares deeply about the music he makes and the
process behind it, less so regarding the desire to
infiltrate the personality behind the performer. For
many artists of his ilk, interviews are an infrequent
chore, and he initially greets with a look of suspicion.
But ultimately, Jenkinson is surprisingly easy to talk to,
generous with his time and provides a fascinating,
cerebral glimpse into the obsessive mind that resides
behind 20 years of outlandishly inventive electronic
music.
MusicTech: I read an interview in which you stated that
you wanted to find out whether beats or bass lines
could be catchy; did you ever find an answer?
Tom Jenkinson: I think what I was alluding to was: can
28 | August 2015
MT149.intSquarepusher.indd 28
MAGAZINE
02/07/2015 16:13
Squarepusher Interview MT
you make music that is devoid of hooks, big melodies

or ear worm? Can you make music without all those
elements thats appealing, memorable and
compelling, and can you get those low-frequency
background elements to grab people in the same
way that a conventional melody line could do? The
answer is that you could make them, but in 50 years
time I still might not really know because the
history of music is the only thing thats going to give
us the answer. The experiment is an ongoing thing;
provisionally Id like to say yeah, I think you can.
MT: Your track My Red Hot Car seems to support
the theory. I remember replaying those beats in
my mind as I would a pop song
TJ: Well if it works for you then its already shown
that it can work. One thing I wouldnt expect is for it
to work universally of course, but if it can genuinely
be said to have had that effect on a handful on
people then that suggests it can work. I guess it gets
Take the bass and drums away,

the obvious parts are still there
but the music no longer has life
MT: When did that all begin to unravel for you?

TJ: Its intriguing because I remember my early
forays into trying to understand how music was
made and I didnt have access or know anyone that
understood these things either, so a lot of work was
being done using my imagination. I really wanted to
know about the cog wheels behind this thing that
affected me and how they were working. Music was
steering me towards the obvious elements; its
partly sold on the basis of the vocalist and their
personality and image, so youre always pointed at
them, yet there are all these other elements that are
potentially as significant, if not more. For me, its
certainly to do with a sense of inquisitiveness about
the workings of things; the bass and drums are the
workings of a pop song, take them away and all the
obvious bits are still there, but the music no longer
has any life.
MT: The bass players that influenced you include
Mick Karn and Pino Palladino, who both played
very melodic chord structures
TJ: I really loved [Karns] Japan actually; it was some
of the first music I heard. Admittedly not all of it,
but there were certain songs of theirs that I found
very haunting, that almost scared me. As a six or
seven-year-old, the music was scary but really
compelling. The Mick Karn element was quite
important in the construction of that strange, sort
of mysterious atmosphere. The fact that it was in
the low registers but almost taking a lead line,
again, that sort of topsy-turvy element has always
been interesting to me.
a bit more blurry with the bass line because its

using exactly the same materials that a melody does
but its differentiated by the register. The way I
approach music, I tend to want to hear activity in
the low registers in the high end I tend to prefer
stasis and continuum and feel less comfortable with
busy activity in the treble register. Ive always been
MT: You were originally a bass player, so what
intrigued by what happens behind the scenes and,
triggered off this journey into electronic music?
traditionally, bass and drums. With popular music
TJ: My early thinking about music wasnt split up
and beyond, those elements have been used as the
into acoustic and electronic. All those categories
foundation for the forefront elements like vocal lines
retroactively superimposed on my musical world,
and guitars. I think it comes with understanding
but when I was first recording things off the radio,
how musics made.
records from jumble sales, or however I was
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02/07/2015 16:13
accessing music, it didnt come to

me in a divided-up way. I had no
access to music media, so I was
approaching it in its totality;
electronic music was as much a part
of music as everything else. To me,
the things you use to make music are
all fascinating. In the same way I didnt
define music into categories or styles,
according to how it was made, I didnt
divide-up instruments any instrument is
interesting to me. It wasnt like there was
software available to immediately access
sound-making things. Whats going to be
accessible when youve got not money? I used to
make instruments, like basic drums. I remember
putting a load of drawing pins in a biscuit tin and
made a skin out of masking tape; it was like a snare
drum.
MT: I had a ZX Spectrum and would write HTML
code to play little melodies. Did you do the same?
TJ: Precisely the same. Latterly on the Commodore
64, but earlier the first thing I had was a Vic 20,
which was similar a 6502 chip and loads less
RAM, but it had a really cool sound. The Vic chip
had three square waves and the semblance of a
white noise generator. It was basically a sample of
white noise that you could pitch up and down high
pitches were cymbals, mid pitches for snares and
low pitches for bass drums. So Id make sequences
by pitching it up and down to make a semblance of
a drum pattern, again, all based on my idea of what
a drum kit was like. Ive got those recordings, one
day Ill release them, but I think the majority of the
public would think, like, why?
MT: Some artists say music does not come from
them, but through them as if theyre acting as a
conduit. Can you empathise with that statement?
TJ: No, I dont buy into the conduit thing, because
the next stage of that is talking about supernatural
activity and being guided by otherworldly beings,
which is just bullshit and doesnt mean anything to
me. One thing I would say is that you dont
necessarily associate the creative activity with
yourself because its not principally deliberate
music is not entirely the result of a rational
decision-making process. This is one of the
problems of having to talking about music. If you
dont have to talk about how its made the problem
doesnt arise, but because people ask how you did it,
you reflect back. A lot of the time you dont quite
know how, but sometimes its a wholly formed idea
30 | August 2015
before you even go in the studio. There are different

corners to the compositional process. For me, Ill
regularly have an idea before I even start, and its a
question of almost translating it rather than coming
up with it as I go along.
MT: If you cant put your finger on the origins of
the creative process, could you explain it as a
backdrop of stored emotions?
TJ: That introduces the problem, and assumption,
that what a listener felt when they listened to a
piece of music is the same as the person who wrote
it felt. I think the listener will tend to make the
assumption that what theyre feeling is not only
what the composer was feeling, but what they
intended the listener to feel. I really dont think the
worlds that simple. For example, if you reflect on
your own experience, Im sure youll find that one
record on a given day sounds flat, yet therell be a
different moment when you think differently
about the world and suddenly it makes perfect
sense and talks to you. Its such a hall of mirrors
that drawing anything resembling a straight line
from a composers intentions to a listeners
experience is a hiding to nowhere. One thing I would
say is that if youre happy or sad, it tends to affect
how quickly you work. If Im annoyed or not feeling
so good about things I just blunder along, yet Ive
wrote some brutal, aggressive music when Ive felt
on top of the world. Its not like Im sitting there
punching things in the studio and generating this
aggressive, nightmarish soundscape. If you think
about it on a world stage, some of the most happy
and colourful, vibrant music comes from people who
live in diabolical situations.
MT: I asked as theres a track on Damogen Furies,
Baltang Arg, where you brutally repeat the same
note, which sounded to me like a writer trying to
get something out of his system?
TJ: This is the beauty of it, that you can have that
response and who am I to tell you that youre
wrong. But I think its best looked at as fun, and you
can imagine whatever you want. Really, Im just a
MAGAZINE
02/07/2015 16:13
TJ: The quote you referred to earlier, where I was

trying to figure out if I could make music where the
bassline and the drums were the hooks; that relates
back to what I was trying from about 1998 to 2005.
After that I felt a pull towards songwriting, again
not by most peoples standards, but with reference
to what Id done. I wouldnt put it as commercial
and thats not just being a snob. I know what youre
saying, but as much as Im fascinated by DSP and
ripping sounds apart, smashing them together and
seeing what happens almost being as destructive
as creative I love a good tune; cant deny it.
cardboard cut-out image of the artist a vessel of

ideas that you fill up. Im not being funny, but the
person of me is probably not someone youll ever
meet, and certainly never through my records. My
records are a fantasy, I like making things up I
like imagining stuff, its got fuck all to do with my
life in the sense of what I think about.
MT: So when you make music, the wants and needs
of your listener do not enter your consciousness?
TJ: I suppose there are different listeners that we
could talk about. In the case of being in the studio
writing, the listener is me, and I think we should
differentiate between the listener in that sense and
the broader audience. I see it as trying to do justice
to those people and to not assume what they want to
hear, because I think thats patronising treating
them like sheep, as if they dont have their own
intelligence. I like to put things forward and let
them make of it what they will; I dont want to gear
it to them or second guess their preferences and
Any machine will do a number of

things above and beyond what the
manufacturers intended
build it into the music. Maybe some people can do
that, but even if I could I wouldnt because, for me,
the best youve done is fulfilled some expectations,
but youre almost certainly shutting down the
routes to new experience and new musical events.
The Holy Grail is basically doing what you want and
people liking it, and Ill always do that it doesnt
always work, but if it does everyone wins. This was
apparent to me long before I started having a career
as a musician, but you can look at many examples of
popular music where the image they created
through their first few records also created a sense
of notoriety and became a prison through which
either the record label wouldnt let them escape, or
their own egotism, selfishness or desire to sustain
the lifestyle it gave them, couldnt break out of.
(Below) Tom didnt supply a

kit list but these shots of his
studio reveal a few choice
items, including his mixer
plus an array of outboard.
MT: Do you encourage that or shy away from it?

TJ: I will sometimes try and subvert that and push it
away, and sometimes it comes to the fore, and if it
comes to the fore Im not so contrary that Ill refuse
to do it. If I think of a tune and it feels compelling
Ill write it, its not a big deal. I will employ concepts
in my music and get fair use out of them, but Im not
going to be governed by them. Again, its another
form of self-imprisonment saying Im not allowed
to do this, and while Ill do that to a point to explore
ideas and things that are less obvious, at some point
you think, Man Ive just thought of a killer melody.
That came to the fore a few years ago, but thats
gone away now and Ive been more and more
wanting to start ripping things apart and shredding
fucking sounds. To explain it youd have to write the
book of my life, and eventually who fucking cares?
The musics sitting there, thats the important thing.
MT: How much of your music do you allow the

machines to take over, as opposed to you being in
full control?
TJ: My basic premise is... if Ive got a tool Ill try and
understand it as deeply as a I can, but that doesnt
mean Ill always use it with respect or in a
sophisticated way. For me, that doesnt mean you
become a prog wanker, you can be as punk as
anyone, but you understand what the sonic
MT: Which is the case for the majority of artists

TJ: Well thats it, its endemic. I guess everyone will
deal with it in their own way, but Ive seen at close
hand people who gradually run out of steam
because they feel theyre not allowed to do things
that are not encapsulated in that brand theyve
generated. For me, you have to change and go with
it, otherwise youre going to rot away inside that
concrete prison. But youre fighting against the
tendency of the industry, because the industry is
only interested in short-term revenue the big 1D,
sum it up in three fucking sentences, stick-it-on-thesupermarket-shelf approach. What you gonna do?
Everyone makes their own choice.
MT: Your music was heading in a more commercial
direction albeit not by most peoples standards
but Damogen seems to take a step back and focus
very much on sound manipulation.
| 31
02/07/2015 16:13
manifestations can be. Im not really a manual guy, I

like to get stuck in and if somethings not apparent
then Ill refer to the manual, but part of the
enjoyment of it is exploration and the manual gives
the game away, if you like. I have to say, I do think
that were seeing a lot of music that is preset-driven.
I guess sometimes the instrument has an
architecture that will steer you around; it will
present possibilities that are easier to do than
others, but a lot of musicians seem to be
demonstrators, because theyve basically followed
the path of least resistance with an instrument and
are therefore exposing its principle characteristics.
Thats not something Im keen to do, not out of
egotism because promoting the instrument is of no
interest to me, so Im always trying to steal control
back from it really. With some of the instruments
Ive used, people would be surprised about some of
the results Ive got out of them because theyre not
designed to do certain things and yet, if you put
your mind to it and really get to grips with how its
built and not the manufacturers intentions, any
machine will do a number of things above and
beyond what the manufacturer intended. Its just
looking at it with an open mind, then those things
become apparent.
MT: Do you still work from home and are you

forever expanding your studio?
TJ: I hate the whole collection of gear thing. To me
its another hiding to nowhere, thinking if I get the
CS80 I can really make beautiful music, but until
then Im not going to do anything. Ill just make
music with anything, a mentality that was borne out

of me having no access to musical instruments yet a
burning desire to make music. That still prevails to
this day, so I dont care, Ill just use whatevers
there. On the last record I was using gear that I used
on Go Plastic; the Yamaha FS1R and TX81, those
synths formed the backbone of the last record.
MT: Do you mainly use hardware for sound

generation and software for sequencing?
TJ: The single thing I tend to use for hardware is the
Yahama QY700 sequencer, thats the centre of my
sync set up, and Ill augment it with the computer if
I need to. On this record, the only hardware element
is the sequencer, everything else is done in software
that Ive worked on myself its all self-developed.
A lot of musicians seem to be

[gear] demonstrators. Im not
keen. I want the control back
These insider shots (top and
below) might not reveal
everything in the sharpest
detail but that is very
Squarepusher if you think
about it. What can you spot?
Ive been working on that on and off for the last 15

years. The first manifestations of it were on Do You
Know Squarepusher in 2002, but this is the first
record Ive made entirely from patches that Ive
made up myself?
MT: Is that because software is not doing want you
want it to do, or that you want a distinct sound?
TJ: As I got a more developed idea of how musical
instruments work, my desire of what to do with
them changed. I tended to think about making the
instrument rather than trying to adapt or make do
with something else. The software I created is not
always related to really flash audio stuff, a lot of its
on the control side being able to switch between
certain kinds of parameters and modulating them
without having to reload a preset, or making that
real-time control as smooth as possible. All of these
things drive me towards wanting to make my own
stuff, and as I go on, the only instruments that I
want to use are acoustic, not software or digitalbased instruments.
MT: Is the software youve created intuitive?
TJ: Sadly not. Im sure you have a very good
understanding of these things but if I showed it to
you right now, youd be looking at it going, whats
that?. Its not designed to be user friendly; I know
what it does because I made it. Its laid out in a way
that makes sense, but everythings abbreviated; it
wouldnt be a nice thing to use if you werent me. So
from the sequencer onwards its now all my stuff,
from sound generation to processing to mixing.
MT: That surprises me. I imagined you to be hands
on and enjoy the physicality of working with
hardware rather than click-mouse approach?
TJ: I dunno, bear in mind the musical inputs are still
going through the hardware sequencer, so there is
the physical aspect of that. The tweaking of sounds
I am doing with a mouse, but I do sometimes set up
32 | August 2015
magazine
02/07/2015 16:14
no edits, no stems generated, no piece-by-piece

construction, its all a live, all-in-one take. The thing
that fascinates me is more about making a small
amount of instruments sound like a lot of
instruments, so that sometimes what you thought
was a synth is also doing the drums. Im stretching
things about so that instruments are swapping roles
and augmenting each other to build sounds as if
theyre made out of hundreds of different things.
MT: Do technical problems still infuriate you, like

latency for example?
TJ: I dont know if latency was ever a problem, Ive
always managed theres always a work around. I
guess technology has got better, but I dont look at
things in terms of problems, I look at them in terms
of, right, how am I going to make it work?. I dont
think sit back and think, Theres a problem, fuck it.
Ill just fix it and then itll be fine. Years ago, trying
to do live DSP on a guitar, youd go through the
computer and back out, so thered be the latency of
the soundcard times two, because youre going in
and back out again, plus whatevers happening in
the software but you can just play ahead of what
you hear, even if its not immediately natural.
a MIDI controller and there are moments when I

want to bust out the hardware and go mad with all
the faders, but a lot of the time I tend to veer
towards brute data programming. Dont get me
wrong, there is a spontaneity in putting that data
together, but the final form has an extremely
chiselled, artificialness to it.
MT: What about mixing, do you do that in the box?
TJ: I tend to do it as Im going along. With the
writing process, Ill just get a rough mix together
and tweak it a bit for the final mix down. The mix
down is almost in the track. As a really basic
example, Ill build an EQ volume control into the
instrument so Ill just kind of set all the gains then
do all the volume balancing as Im going through,
and if it needs a bit more bottom end Ill just turn up
all the bass. Its all automated as I go along itsjust
a data thing, you just change the parameters.
MT: How much data are we talking?
TJ: It varies, youd be quite surprised. In terms of
the actual tracks, its less than youd imagine. Bear
in mind it wasnt ever boiled down to stems, it was
just a live take played on the sequencer and thats it;
MT: Does technology still excite you; are you

always on the lookout for new gear?
TJ: Im not a gear head really. Ive spent so much
time with it that, to me, its just about using it. I
dont necessarily see a connection between a new
instrument and new sound. You look at a lot of
electronic music now, yeah its all new software but
it sounds like fucking clockwork crap. I understand
there are obviously new instruments coming out
that reveal new possibilities, but Ill still look at a
four-string bass guitar and think there are infinite
possibilities that I havent explored. I think that
getting obsessed with gear is a bit dangerous. I
know a lot of people that have done it and I think
you can end up throwing away a lot of energy trying
to find a new instrument; nine times out of ten, just
use the old one.
MT: In the early 80s technology did make things
sound brand new, is that possible at all now?
TJ: Thats a very interesting question, but I think the
core thing that I will always come back to is the
excitement of composition. However much Im
fascinated by and how much time Ive spent
experimenting with sound, timbre and sonic
characteristics, its always secondary to the core
rhythmic and harmonic activity. Sometimes I just
want to sit there and play a guitar. Im interested
and fascinated by technology and how developments
bring different possibilities to bear, but I think the
danger is the emperors new clothes thing, whereby
Ive got a new instrument so Ive done something
new well not necessarily. The history of popular
music is littered with examples of the flash new
trend, but in 20 years time its just crap, vacuous
gimmickry, but the thing that doesnt erode is great
writing. So we can make more sound frequencies
available, brilliant! Sounds to me like it would just
be adding loads more treble, but I like bass. MT
| 33
02/07/2015 16:14
MT Technique How to record bass guitar
MT Workshop How to record bass guitar
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.
Micing the cab
he bass guitar features in most styles of

popular music, ranging from deep, dub bass in
reggae, to the bright, punchy slap-tones of
funk, with all manner of genres and tones in
between. No matter what style youre recording
though, the bass guitar should provide a solid foundation for
your track and, along with other elements of the rhythm
section, define its groove. There are several ways of
recording bass, the most popular being DI Directly
Injecting the instrument to your recorder, micing a bass
amp/cabinet and, as many engineers like to do, combining a
blend of DI and microphone signals (see Step By Step 1.)
One thing to consider is whether the bass is to be
recorded simultaneously with other elements of the track,
such as drums and guitars, or performed as an overdub. If
youre recording other instruments in the same room as an
amplified bass, its likely that there will be a certain amount
of spill. This is fine as long as the leakage isnt going to
adversely affect any future processing during the mixing
stage, and some bands thrive on creating a live groove in the
studio. However, adopting the DI approach can both avoid
34 | August 2015
MT149.TUT How to record Bass.indd 34
(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
How to record bass guitar Technique MT
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
Although bass recorded

through a DI can sound tight, dry
and clean, it can also lack some
of the body when using a cab
compression at the recording stage with a heavier squeeze
during mixdown is a sensible starting point. Try using a 4:1
ratio to begin with and then, if the bass part is still too wildly
dynamic, try a higher ratio when mixing.
Some bass playing styles, such as slap-bass, feature an
occasional very loud note that can be tamed by using a
much higher ratio of 10:1 or more to limit the peaks. Using
extremely fast attack and decay times is not a good idea
when recording bass as the initial transients will be lost and
the compressor will struggle with the complex waveforms of
bass signals. Instead, set the attack time so that the
plucking of the string can be heard around 50ms should
do it and then set the release time to around 250ms or, if
your compressor has an auto release setting, use that.
Before using a compressor, its worth making sure that
the basic tone of the bass is correct as a compressor will
emphasise the main tonal characteristic. Therefore, its a
good idea to make any drastic EQ adjustments before
compressing. If your bass sound needs fattening-up, a
boost at around 80Hz often helps. However, experiment with
upper-bass and low-mid frequencies (100Hz 400Hz) to
help the bass part bed-in with other elements of the mix
such as the kick drum. As bass guitars dont produce much
in the way of usable high-frequency information, rolling-off
the upper frequencies from around 5kHz will allow space for
the treble elements of the track. Similarly, when mixing, the
bass guitar will have more room to breathe if a high-passfilter is applied to other instruments and voices that dont
require a lot of low-end energy.
Using effects with bass isnt nearly as common as with
electric guitars but can produce distinctive results. Reverbs
and delays should be used with caution as they can smear
the bass part and rob the part of punch and drive. Some
distortion effects can give bass parts a gritty edge, however
MT Recording tips Re-amping a DId bass

Recording bass with DI during a group tracking
session can both help avoid excessive bleed onto
other mics and allow greater flexibility when mixing.
However, bass DI alone lacks the body and drive produced
by a decent amplifier. Once the DId bass has been recorded,
the signal can be sent to a bass amp/cab and re-recorded
in isolation. You will then have two channels of clean bass
with no spill from drums or other instruments.
01
The best device to use is a dedicated re-amping box,

which can be obtained reasonably inexpensively.
These work like a DI box in reverse, matching the recorded
DI bass signal to a level that is suitable for the amplifier.
Indeed, a passive DI box can be used in reverse, however a
re-amping box will offer a more flexible and hassle-free
approach to matching both impedance and signal-levels.
02
Simply take the DI bass signal from your recorder

and plug into the input of the re-amp box. Connect a
microphone to the box and mic-up the amp/cab to your
satisfaction. The sound of the amplified bass can now be
overdubbed onto a separate track. Of course, if you are
using plug-in amplifier mods instead of the real thing, the
DI sound can be treated in the box without the need for a
re-amping box or bass amplifier.
03
the extreme distortion caused by fuzz-boxes will reduce the

low-end impact of the sound. During the 1980s it was
fashionable to use a chorus effect, often with fretless bass
guitars, which were also in vogue during that era.
So, there are several ways of recording bass guitar and
only your own personal circumstances can dictate which
method works best for you. As always, take time to
experiment and trust your ears! See Johns step-by step
tutorial over the page. MT
MORE ON MIC PLACEMENT

Unlike electric guitar amps, that can sound good with a mic almost touching the speaker, bass cabs
benefit from further distance between the speaker and mic. Around 5 inches is the minimum distance to
achieve a decent tone, but longer distances can give excellent results if the recording situation permits.
| 35
01/07/2015 15:25
MT Technique How to record bass guitar
MT Step-by-Step Bass amp and direct combined
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
36 | August 2015
To solidify your bass

sound, play both
channels together and send
the DI signal to a digital
delay. Dial in the delay
(around 2ms is usually
about right) until the bass
sound snaps into focus. A
continuously variable delay
is best for this job so that
you can hear precisely
when the sound becomes
solid and punchy.
Alternatively, simply move
the DI signal within your
digital recorder so that the
waveforms match and are
not out of phase.
03
magazine
01/07/2015 15:26
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MusicTech.indd 3
24.06.2015 15:16:37
Music is Our Passion
www.thomann.de
MusicTech.indd 4
24.06.2015 15:16:37
MT Technique Logic Pro X In Depth Part 2
Technique Logic Pro X In Depth Part 2
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
ne of the most useful improvements included

with the release of Logic Pro X 10.1 has been
the redesigned Compressor plug-in, arguably
one of the most important plug-ins in Logics
arsenal of software outboard effects.
While the functionality of the latest compressor
incarnation hasnt changed too greatly from the original
version, its redesigned GUI offers some key functional
improvements in terms of the plug-ins day-to-day
operation. It also highlights some key sonic differences
between it and the seven other compressor models on
offer in Logic. With this in mind, we thought a revised and
On the disc
Accompanying
project file included
on the DVD
Thanks to its revised GUI, its

never been easier to exploit the
number of sounds it offers
in-depth look at Logic Pro Xs Compressor plug-in was
perhaps well overdue
Crossing the threshold

The basics of compression, of course, revolve around the
interaction between threshold and ratio. Signals that
exceed a given threshold are attenuated at an amount
defined by the ratio. Put simply, the compressor
attenuates loud signals, effectively reducing the
dynamic range of the input. As a result of this process a
signal will potentially benefit from increased loudness,
as well as an increased amount of body and sustain.
Setting the Threshold and Ratio on Logic Pro Xs
Compressor is easy thanks to the reactive and visuallystriking Gain Reduction Meter. Begin by setting the
strength of compression you want varying from a soft
and subtle 1.4:1, through to harder-edged compression
at 5:1 and almost limiting at 12:1.
Starting from a high threshold setting, lowering the
threshold will result in more compression being applied,
indicated by the aforementioned Gain Reduction meter.
SIDE CHAIN FEATURES

The Side Chain section of the compressor contains a number of
powerful features most notably, frequency-conscious compression.
Try setting a steep roll-off above 8kHz using the LP mode in the EQ
section (you can always use the Filter Listen button to hear what this
is like). Once active, the filtering makes the compressor particularly
sensitive to the low end. Try this on a drum loop, and notice how the
kick drum can really dictate the movement of the compressor,
creating a noticeable pumping effect over the loop. Likewise, you can
always reverse this process (using the HP mode) if you feel the bass
drum is having too much impact on the compression taking place.
40 | August 2015
Ideally, you want to achieve some movement both in and

out of the Gain Reduction, so that the signal has time being
both compressed and un-compressed.
As you set the compression, note how Compressors
Auto Gain compensates for any Gain Reduction thats
taken place, letting you hear the result of your Threshold/
Ratio settings without having to constantly adjust the
output Make-Up control. That said I often find that the gain
Make-Up, though great for auditioning purposes, can be
over generous in its output settings. Once youve found
your desired Threshold and Ratio, therefore, consider
switching Auto Gain to Off and then manually adjusting the
Make Up control to ensure consistent output levels with
and without compression.
One area that can cause confusion is the Attack and
Release settings. Thanks to the new Graph Display feature,
though, Logic Pro Xs Compressor is a breeze to set up.
Mapped against the transients of the input, the Graph
displays the movements of the compressor over time. As
such, its easy to see how the Attack and Release move in
relation to the input. A slower attack, for example (which is
more forgiving on transients) is easy to fine-tune in relation
to the attack transients on the graph. Likewise a softer
release is easy to set as you can almost see the
compressor breathing in relation to the dynamic
envelope of the input.
One aspect of the Compressor thats become more
apparent is the role and sonic contribution of the model
parameter. Previously, only cryptic model names
distinguished the different types of compressor you
could select. Now the change in model is reflected in
GUI itself, with clear visual similarities to hardware
compressors. The Studio VCA, for example, has a
distinct Focusrite-like look behind it, while the Vintage
VCA is eerily reminiscent of an SSL compressor. On the
whole, look towards the FET and Opto compressors if
youre after a more characterful vintage sound, while
various VCA models balance a more retro performance
with sonic accuracy. Though blander in character,
Platinum Digital is a precision tool with plenty of
transparency.
Beyond the basics covered here, theres plenty of
additional functionality to be discovered from such a
flexible production tool. To the right of the interface are
the Output and Side Chain tools that really extend the
functionality and sound of the compressor. The Output
section, for example, includes a built-in Limiter (which
is great tool for catching problem transients that slip
through the net) as well as a Mix control that lets you
explore the sonic possibilities of Parallel compression,
whereby a hard-acting compression is softened by
MAGAZINE
MT149.TUT Logic Pro X(Compressor).indd 40
23/06/2015 12:40
Logic Pro X In Depth Part 2 Technique MT
MT Step-by-Step Compressor
The key characteristics of compression are formed by the

interaction of Threshold and Ratio. Start by increasing Threshold
to 0dB and then select your desired ratio. 2:1 is a good medium
starting point for a transparent and effective sounding compression.
As a point of comparison, try the same setup using a higher

Ratio, like 8:1. In this example, note how much more Gain
Reduction is being applied in response to the signal exceeding the
given Threshold. The result is a more heavy-handed compression.
An alternative way of viewing the compression can be found on

the Graph screen. Here you can see the Input/Output graph on
the left-hand side, as well as a history of the Gain Reduction applied
to the waveform on the right.
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
Technically speaking, the output of compression is a signal with

less amplitude, so its important that Gain is restored at the end
of the process. Logics Auto Gain applies Make Up automatically,
letting you hear the output of compressor in context.
05
Load an instance of the Compressor plug-in across the drums on

track 1, or a track in your mix. At the top you can select the
desired compression model. Platinum Digital is clean, while the other
designs add various forms of analogue-like behaviour.
01
reintroducing some of the un-compressed signal.

Although there are some great third-party modeled
compressors available, theres little doubt that Logics own
compressor is both versatile and sonically effective. Thanks
to the Compressors revised GUI, its never been easy to
understand and exploit the variety of sounds it has to offer
- from soft and subtle gain reduction, to something far
02
04
06
more extreme and hard acting. MT

This tutorial is available as one of a set of all-new tutorials in our Logic Pro X
2015 Focus, on sale now. It is endorsed by Point Blank Music School, which
specialises in courses onproduction, sound engineering, the music business,
singing, radio production, DJ skills and film production, all run by top British
music producers and media professionals, with regular visits from legends in
music and media. More info here: www.pointblanklondon.com
magazine
August 2015 | 41
23/06/2015 12:40
MT Technique Logic Pro X In Depth Part 2
MT Step-by-Step Compressor...cond
Remove the Releases auto setting and experiment with Release

times. Using a slightly slower setting (around 500ms) makes the
compression appear more pumpy. The Graph display really helps
here, so that your eyes and ears can work together.
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.
The Mix controls set the balance between compressed and

un-compressed signal. Increasing the amount of Input restores
some of the transient energy lost by the heavy-handed gain reduction,
while still retaining the extra body added by the compression.
While were here, its worth picking up on the Knee parameter.

The Knee governs the transition between no compression being
applied and gain reduction being introduced. Lower Knee settings
create a more defined kink in the Input/Output graph.
09
The Output section also contains a mix control, which is useful if

you want to experiment with Parallel Compression. Start by
setting a fast-acting hard compression using the Studio FET model
(quick attack, 8:1 ratio and plenty of gain reduction!).
11
The Attack and Release controls govern the movement of the

compressor, which can be seen pictorially on the Graph display.
Try temporarily reducing Attack to its lowest setting and notice how
the Transients are sharply attenuated.
07
42 | August 2015
08
10
12
magazine
23/06/2015 12:40
LEARN LIVE WITH SSR
ABLETON LIVE MUSIC PRODUCTION

(12 week evening course)
PUSH PRODUCER 101

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Exclusive 10% discount for Music Tech readers.

Use promo code MTECH2015 when applying online.
MT Technique The Ultimate Guide To Ableton Live Part 6
Ableton Live The Ultimate Guide to Ableton Live Part 6
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.
o far weve used MIDI and weve used existing

audio samples, but we havent covered how to
record our own audio material. Instead of
jumping in at the deep end and attempting to
record fully-blown vocal or instrument takes,
lets make it easy on ourselves by recording a short speech
sample thatll also work inside our ongoing project. To be
I record short speech

samples into Session View
and anything longer goes
into Arrangement View
honest, this is more frequently the type of recording I do
with Live anyway capturing short snippets to use in the
Session View. We aim to record one short sample, then use
it to create three different clips. Note, because this is such
a variable exercise, and I cant hear what youre doing from
here(!), Ive included an after voice track to make it clear
what kind of result youre shooting for.
It might not sway Pro Tools snobs, but Live does a great
job of recording audio. It has the advantage of two views,
so two distinct approaches. As a rule of thumb I record
short clips like speech samples and effects into the
Session View, and anything like a full vocal track for a
song, rhythm guitar parts, and so on, goes into the
Arrangement View. In either View, you can record into
multiple tracks at the same time, and Live has very
On the disc
Accompanying
on the DVD
thorough and immediate routing options, so you can send

and receive audio freely throughout the application.
Theres also the lovely Resampling input option which
provides post-master, post-everything, capture of Lives
output, straight back into the Live set. Live works with
audio samples at different sample rates, mono or stereo,
and combines .aiff, .wav, and .mp3 files in the same
project. Despite what some say, there are no audio quality
issues with Live; youre more likely to experience problems
through user error choosing the wrong Warp mode for
time-stretched material or stretching a clip way beyond
what any reasonable person would do (well be coming
back to that later).
Although Live isnt an audio editor, it covers some of the
basics. Crop Sample, which we use in this tutorial,
discards unwanted portions at the start and end of an
audio clip; and Consolidate available only in the
Arrangement View combines two or more audio clips to
create a new one. These functions are non-destructive
youll find the new samples in the sub-folders inside your
Live project folder.
You probably already have the necessary equipment to
record a voice sample most computers have some kind
of built-in microphone. Then its a matter of scaling up
from there with a dedicated microphone and soundcard
(as far as were concerned, a soundcard and an audio
interface are the same thing). You can get excellent
affordable USB soundcards look at the Focusrite
Scarlett range and a basic microphone for not much
cash at all. Theres an ever-growing number of good USB
microphones, too, although you lose the flexibility
of a soundcard. Theres also
FOCUS ON THE MICROPHONE

Its nice to use expensive microphones and recording hardware but
you should be willing to work with what youve got. Its easier for us
because were recording a simple speech sample here so were not
tied up in the complexities of recording a sung vocal against backing
tracks and creating a headphone mix. What I will say is that unless
you have a very specific idea of what you want, you should always try
to get a clean voice recording, without distortion or baked-in effects.
Other than that limitation, anything from your computers built-in
microphone upwards will do fine.
44 | August 2015
MT149.TUT live6.indd 44
MAGAZINE
23/06/2015 12:35
The Ultimate Guide To Ableton Live Part 6 Technique MT
MT Step-by-Step Recording and editing speech
Choose your soundcard in the Audio Input Device and Audio

Output Device lists then close Preferences. Connect your
headphones to your soundcard (watch your volume) and turn your
monitor speakers off to avoid feedback.
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.
Set up your microphone and mixer so you get a manageable

volume level. Exactly how this works will again depend on what
equipment youre using but please avoid red peaks anywhere in the
signal chain!
For this walkthrough we have to make some assumptions about

your microphone and soundcard; read our main text for more
details. Connect your mic and soundcard, launch Live and go to the
Preferences Audio tab.
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
Below that is a list of available audio inputs click to view the

list. As you talk into your microphone, youll see a level displayed
alongside one of those inputs. Thats your microphone. Click it.
05
the Apogee One, which is unique because it has

connections for a microphone and instrument, but also
boasts a built-in microphone. Its a cool tool for the
travelling musician. Im not going further into this
discussion now, because its a whole other tutorial
Well, a whole other book, actually!
Ive suggested that you set the tracks Monitor switch to
Auto, which means youll hear the mic input when you arm
the track, but bear in mind that your set-up might enable
02
04
06
or require you to monitor somewhere else along the

signal chain. As I said, were not singing along to a backing
track with this exercise, so frankly, accurate monitoring is
not so critical.
There are different ways to initiate recording: you can
use a mouse or trackpad, your controller, or even your
iPhone. You can go into record while Live is already running
or enter record to start Live running. Record start and stop
are quantised so that means if youre using the default
| 45
23/06/2015 12:36
MT Technique The Ultimate Guide To Ableton Live Part 6
MT Step-by-Step Recording and editing speech (contd)
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.
Double-click the clip to view the waveform if necessary. Lets

discard some of the silence around it. Position the loop brace
around the keeper part and the start marker at the front of that.
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
Well record a short phrase to use as a one-shot sample and a

rhythmic loop. Click a slot button to start recording. Wait a beat or
two, then record yourself saying Please be aware.
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
global quantization of one bar, recording commences on

the next bar. Its important to remember this and not start
talking too soon, otherwise you lose the beginning of your
sample. Record ending is also quantised which is great as
it gives you pre-cut loops, rounded off to bars and more
likely to loop in sync with your other content straight off.
46 | August 2015
08
10
12
The most important thing when recording is to avoid

overloading and distorting your input levels. Its very rock
to record to tape with everything in the red, and it sounds
cool, but sadly it stinks when you do it with digital
recording. Live has some great distortion effects, so why
not save that fun until later? If youve erred on the side of
magazine
23/06/2015 12:35
The Ultimate Guide To Ableton Live Part 6 Technique MT
MT Step-by-Step Recording and editing speech (contd)
Make sure the Loop Brace is an even bar length, though.

Right-Click inside the area contained by the loop brace and
choose Crop Sample. Duplicate this clip to the slot below using Cmd-D.
Use Cmd-D to duplicate the second clip. Double-click above the

right end of the waveform to add a Warp marker. Grab it and drag
to the right, doubling the length of your original sample.
Quantize the audio-click inside the waveform and type Cmd-U.

Watch the waveform peaks snap to the grid; youll see Live inserts
yellow Warp markers to achieve this.
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
Make sure you adjust the length of the Loop Brace to

accommodate the stretched waveform. Experiment with Warp
modes the difference between Beats and Complex is very noticeable
(but lets stick with Beats).
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
vocals, which is why were doing it here. A bit of

quantization also adds to the unreal effect, but it can also
make a looping speech sample sit more neatly on the beat.
Thats it for now. I hope that over these six workshop parts
Ive given enough tips to inspire and help your music
making happy producing! MT
| 47
23/06/2015 12:36
MT 20 Pro Tips Mobile music-making tips
Mobile musicmaking tips
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
The importance of getting

decent headphones cannot be
overestimated. Dont skimp
48 | August 2015
MT149.Tips.indd 48
A MIDI input device

such as the iRig
Keys, below, is a very
good idea
get a good set of headphones

The importance of getting some decent headphones
cannot be overestimated. Aim for closed-back, over-ear
models, as these will stop sound leakage if youre working in
a public space. They should be comfortable, too, for long
periods of listening, and preferably pretty lightweight if youre
carrying them around. Dont skimp on these, since a good pair
will serve you well.
03
get a midi input device

Touchscreens are great, but a dedicated MIDI input
device will make your life much easier if you work on the
move a lot. IK Multimedia makes lots of these: the iRig Pads,
Keys and Blueboard in different versions. The company also
makes the iRig MIDI, which can be used to connect
02
conventional MIDI gear to your iOS device. Windows and Mac

users can also use networked MIDI over wi-fi to iOS, though
latency can be an issue.
magazine
26/06/2015 14:56
Mobile music-making tips 20 Pro Tips MT
USE A CONTROLLER APP

iOS controller apps are sometimes bound to a specific
desktop application, and at other times are assignable to
control anything that can receive MIDI. Setting up a controller
app means you can perform live, or join a jam session.
Ableton Live and Traktor are particularly well catered for
when it comes to iOS controller apps.
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
MASTER YOUR MUSIC

Its even possible to master your tracks on an iPad.
Probably the best app for this is Positive Grids Final Touch,
which is amazingly powerful considering it runs on a mobile
device. Theres also an app called Audio Mastering, which is
a little more technical but similarly priced.
08
SEND AUDIO BETWEEN APPS

As music-making on iOS has become more of a serious
proposition, Apple has beefed up the core technologies of the
system to help you out. One of the most useful capabilities in
iOS is Inter-App Audio, which allows you to send audio
between different apps, despite them not being on screen at
the same time. So, for example, you could load a standalone
synth and then route it into a mobile DAW, using virtual MIDI
to trigger it, and then record the results all inside the iPad.
Its also how new solutions such as the Music IO app work:
you just need an app that acts as a hub for the audio streams.
Theres also Audiobus, which is actually a third-party app, but
enables a similar thing, with a little more flexibility for routing
audio internally.
09
BUY AN AMP/EFFECTS SIM

Guitar effects have been one of the most popular uses
for iOS devices, and theyre better than ever. Tools such as
BIAS FX, AmpliTube and JamUp provide great functionality
for guitarists. Add an interface, even one as simple as the
iRig, and you can monitor and play with minimum fuss.
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.
GET SOME EXTERNAL STORAGE

iOS devices have never had expandable storage and
probably never will. The base 16GB configuration of iPhones
and iPads is not really enough to do lots of recording on, or
hold more than a few high-quality DAWs and instruments
which can easily run to 1GB each. So you might find yourself
constantly struggling for space, but there is a workaround.
Not everyone knows about the existence of wireless hard
drives. These are fairly affordable standard hard drives that
have Wi-Fi built in, and usually a companion iOS app as well.
They can be used independently of a computer or an internet
connection to transfer files to and from your iOS device.
Theyre maybe not suitable for recording directly to because
of latency, but you can use them to manage your data without
having to lug a laptop around. Especially useful for saving
and loading projects on the move.
10
MT149.Tips.indd 49
| 49
26/06/2015 14:56
MT 20 Pro Tips Mobile music-making tips
TRANSFER BETWEEN DESKTOP AND DEVICE

Increasingly, larger developers have started to bring
together their mobile and desktop offerings, though its still
the case that not every DAW has a mobile equivalent. If you
are looking to get started, or happen to already have a
desktop DAW and want to combine it with a mobile
equivalent, you can sort something out that will let you start
a project on the move and then transfer it back to the
desktop for more heavyweight work, either via the cloud or
via iTunes file sharing. Some of the more prominent systems
that do this include NIs iMaschine and Maschine desktop,
Steinbergs Cubasis and Cubase, GarageBand for iOS and
GarageBand or Logic Pro on the desktop, FL Studio Mobile
HD and FL Studio for PC and in a slightly different way,
Propellerheads Take, Figure and Reason combo.
14
USE THE CLOUD

Take advantage of cloud services to transfer projects
between your iOS device and computer, or to upload your
finished tracks directly to streaming services. Some of the
most commonly implemented cloud sharing options in iOS
apps are Apples iCloud, Dropbox, Box, SoundCloud and
Facebook. You get a standard storage allowance with most
services, thats adequate for many users, though you can of
course pay to expand this. Even if you dont use the cloud to
transfer or share material with others, it can be useful simply
as a backup technique to ensure you always have a saved
copy of a project stored somewhere other than the device
itself. Bear in mind, also, that if you are uploading data over
a cellular connection, a DAW project with a few WAV audio
tracks can quickly burn through several hundred MB of your
data allowance.
15
LINK UP TO YOUR DESKTOP

Historically, iOS and the desktop have been two
separate worlds, and getting data from one to the other has
meant exporting to iTunes or uploading it to the cloud first,
then re-importing into your computer. A new system called
Music IO (www.musicioapp.com) does away with this. It uses
a server app for the Mac (with Windows support planned) and
an app on your iOS device, plus a VST/AU plug-in to
seamlessly incorporate both systems, using only the regular
USB cable you already utilise to charge the device. Four
tracks of stereo audio can be sent bi-directionally between
iOS and OS X, and MIDI can be sent too. This means you can
record audio from iOS synths into your DAW, trigger iOS
instruments from your Mac and even use iOS effects apps,
such as guitar processors.
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.
iTrack Pocket is a stand for

your phone with an integrated
high-quality microphone
GET A DOCK FOR YOUR DEVICE

If you already have a desktop audio and MIDI interface,
you may not want to buy another one simply to add proper
I/O to your iPad. In this case, you could consider an iPad
Dock, such as the Alesis IO Dock or the Focusrite iTrack Dock.
These are designed to physically hold an iPad, and can often
be connected to a phone as well, even if its not held securely
in place. Be sure to choose a dock that suits your iPad model,
since there is some variation in whats compatible. They add
phantom power, XLR audio, hardware MIDI and USB
connectivity in various configurations; and if you plan on
using your iPad for music a lot, can even replace a computer
setup. Smaller accessories are available, too many from IK
Multimedia, such as the iRig MIDI 2, iRig HD and iRig Mic to
name but a few. Each of these brings a specific kind of I/O to
your device, and usually at a lower price point.
16
RECORD WITH ITRACK POCKET

You can record audio and video of yourself from an
iPhone at the same time, but in higher fidelity than the
built-in mic allows. Focusrites iTrack Pocket is a clever
device that is a stand for your phone with an integrated
17
PACK SOME CABLES

Always carry a couple of cables if youre planning to
record anything on your travels. A simple mini-jack-to-minijack, a small-to-big adaptor and a mini-jack-to-phono cable
will allow you to record from almost any instrument or audio
device into your iOS device. Theres no need to carry
interfaces, though of course if you do, you will benefit from
better audio fidelity.
12
MAKE SOME FIELD RECORDINGS

iOS devices make surprisingly good field recorders,
though you are better off not simply relying on their built-in
microphones to do the job. The addition of a dedicated field
mic, such as IKs iRig Mic Field, or a Blue Microphones model,
will greatly enhance the clarity of any recordings you make.
Radio producers and interviewers often use an iPhone with
a specialised mic attached, and you can too.
13
50 | August 2015
MT149.Tips.indd 50
MAGAZINE
26/06/2015 14:56
Mobile music-making tips 20 Pro Tips MT
It might sound obvious, but if

youre making music on the move
youll need a proper mobile DAW
(Above) An interface
that can connect to
both desktop and
mobile devices will
save you time
(Left) Focusrites
iTrack Pocket will
improve the quality
of your recordings
(Below) Mobile
DAWs are highly
capable and not as
expensive as you
might expect.
INVEST IN A MOBILE DAW

It might sound obvious, but if youre making music on
the move you will need a proper mobile DAW. These are now
amazingly capable and dwarf the simple four-track recorders
that were standard when iOS first allowed third-party apps.
At the very affordable end, theres GarageBand; and for a little
more, FL Studio Mobile HD, NanoStudio and Cubasis. All of
these work differently, but support virtual effects and
instruments, audio and MIDI recording and editing, and even
mastering. Some, such as Tabletop and Auria, are even more
advanced and allow adding modules. If youre going to spend
a few quid on a decent mobile DAW (and theyre still much
cheaper than desktop versions), youll want to add some kind
of audio and MIDI I/O device, as theres no point spending on
one part of the system and skimping on the other. MT
20
high-quality microphone and also a guitar line in with amp

simulation. Record audio and video, apply the mastering
effects and upload to YouTube.
DONT RUN OUT OF BATTERIES
If youre making music on the go, always carry a battery
pack to avoid running out of juice at crucial moments.
Compact ones can cost more, but if you dont mind a big
brick, you can charge for hours without going near the mains.
Remember that charging will tie up your Lightning port.
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
MT149.Tips.indd 51
| 51
26/06/2015 14:56
MT Technique Recording Instruments Into Your DAW: Part 1
MT Workshop Recording Instruments Into Your DAW: Part 1
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
ne of the biggest, and perhaps most

unexpected, changes in popular music recently
has been the return of the authentic strippeddown singer/songwriter. The Ed Sheeran
approach has been replicated across the
western world, with more and more artists shunning
complicated gear-based music-making and keeping things
straightforward. Regardless of how simple these artists
might think they are, to give their compositions some clout
and polish they will need to record with a DAW, so in this
new series, I will explore how to marry instruments from the
outside world into your DAW-based set-up. While Ableton
Live, Logic Pro and all the rest allow you to do this, I would
argue that Cubase Pro 8 is the most flexible DAW on the
On the disc
Accompanying
on the DVD
Cubase Pro 8 is brilliant, with

simple functionality to turn
your song ideas into reality
market today, and even has the edge on the campusfavourite Logic Pro in terms of the range of options it gives
you. I will, then, focus on the Steinberg stalwart but
hopefully many of the principles I discuss will be
transferable to your DAW of choice.
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.
In this series, Ill explain how some of the softwares

features can help to bolster your sound from being rather
flat and basic to sounding full, warm and radio-friendly. Of
course, Im going to be making some assumptions about the
type of artist you are; this isnt necessarily going to rule out
artists of other genres, but primarily these tutorials will be
aiming to transform singer/songwriters into confident
producers of their compositions. Were going to look at
recording vocals, guitars and keyboards, then manipulating
your audio, before turning our attention to mixing. Initially,
however, its important to outline how Cubase 8 has
improved the working environment for composers and
music-makers.
Many traditional songwriters will approach their DAW
initially as a glorified tape recorder; that is, theyll jack in
their guitar, or a microphone, and simply record some ideas,
without taking too much time to think about levels, tone or
anything too specific, because to record a decent real take
would take time and a lot of fine tuning, which often when
youre dealing with a creative flow can disrupt the
creative process. Cubase Pro 8 cuts out a lot of this
tweaking by giving you a variety of preset templates. These
templates present you with all your project tracks set out
and auto tweaked to have the optimal settings for guitars,
pianos, vocals, bass guitars and more besides. Steinberg
has also updated the core engine of Cubase to make
everything run that little bit quicker this sounds minor, but
when inspiration strikes and you want to record your latest
idea, a little extra speed and efficiency counts.
Im going to assume you have a copy of a DAW and are a
composer of music some experience although readers of all
levels both studio and musically will hopefully benefit
from this new series. Overall, then, Im going to target the
keen singer/songwriter overwhelmed by the amount of
choice on offer, so lets start recording. MT
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.
52 | August 2015
MT149.TUT Cubase.indd 52
MAGAZINE
29/06/2015 14:56
Recording Instruments Into Your DAW: Part 1 Technique MT
MT Step-by-step Getting started
Open your DAW, and youll be prompted to choose your audio

interface. In Cubase 8 youll see the Steinberg Hub, which syncs
online and provides a range of useful tutorial videos. Click on the
Recording tab and youll get a list of templates, with suggestions of
how best to use them. Select the one that best applies to your style/
instrumentation. Im going to choose Acoustic + Vocal.
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
Be sure to click the input monitor button so you can actually

hear what youre doing with your tracks. Once selected, you
should be able to hear your microphone and/or guitar through your
monitors or headphones. Make sure you have also selected the Record
Enable button to arm these tracks for recording.
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
magazine
August 2015 | 53
29/06/2015 14:56
MT Technique Recording Instruments Into Your DAW: Part 1
MT Step-by-step Getting started contd
If we go beyond the designated fader level, clipping will occur

fuzzy, distorted sound that results from the input overloading
and the bottom of the track will turn red. If this happens, its
imperative to go back and re-record the sound, as theres no way of
addressing this later on in the process. Make sure your input volume
isnt set too high and we should be able to avoid this happening.
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.
09
Were going to cover general recording techniques later in the

series; for now its best to record in a comfortable environment
(as you may have to record several takes of the same track). Make sure
youre not too close to the microphone when recording vocals, as this
is a sure-fire way of clipping the track. Keep your guitar volume low.
Now you can begin to record a take of your song or part of it.
11
54 | August 2015
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
Disable the input monitor to listen back to your recording. Does it

sound good? If any clipping occurred, were going to have to
re-record whichever track it was on. If youre happy with the recording
generally, but have noticed slight problems (a fudged note or chord for
example), dont worry we can edit this audio later. So long as our
levels arent clipping, weve got a good solid recording to play with.
12
magazine
29/06/2015 14:56
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22/06/2015 14:28
MT Technique Beat Programming And Sound Design
MT Workshop Beat Programming And Sound Design
Requirements
Creative sound
design using
Reason
The Combinator is a remarkably powerful tool for designing your

own multi-instruments, if you know how. Hollin Jones reveals all
ne of the best things about software is that it

removes the physical limitations of having to
own lots of outboard. Apart from the really
obvious space saving, this also means you
can be far more creative with sound design
than if you were reliant on hardware. With real synths and
effects you can only use as many as you have, and getting
them all working at the same time means MIDI syncing
and a fair bit of audio routing, which can get pretty
complex. Software lets you layer up as many modules
(and as many copies of the same module) as your
hardware can handle. And it does this with the greatest of
ease, rarely requiring any tedious fiddling about.
Reason has a special tool for layering and grouping
modules called the Combinator. This technique is possible
in other DAWs too of course using their specific approaches,
whether its creating channel presets with a load of stuff
pre-configured, or using a clever tool like Blue Cat Audios
Patchwork plug-in which is able to host a bunch of other
plug-ins inside it on a single slot. The idea with all of these is
that you bring together multiple devices to create a sound
thats bigger than any single one of them is capable of. Well
be looking mostly at layering though zoning is also easy to
achieve the splitting of different sounds across multiple
MIDI key zones.
The Combinator acts like a miniature version of the
Rack inside the main Rack. Its the same concept as a
channel preset or track preset in other DAWs, only here
its embodied in a module with a name. Reason actually
refers to the Combinator as a utility and its grouped as
such in the Create menu. This is because it does not in
On the disc
Accompanying
on the DVD
itself generate or process sound but is a container into

which you can place modules which do.
There are several advantages to using this approach.
For one thing, you get to send a single stereo feed into the
main mixer by default, though its also simple to split
feeds off from inside the combi if you prefer. Despite
having a stereo output its possible to route and mix
creatively within a combi using any of Reasons
suitable modules like mini mixers, audio and CV splitters
and mergers.
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
FOCUS ON KEY MAPPING
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
Beat Programming And Sound Design Technique MT
MT Step-by-Step Sound design with Combinator
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.
Here we have dropped a Pulverizer onto one of the synths so its

being processed through it, but the other elements of the combi
remain unaffected. Use the effects dry/wet control to manage levels.
Begin by loading a blank Combinator either from the Browser or

from the Create > Utilities menu. The first thing you should drag
into it is a Line Mixer, since this will enable other modules to be
submixed.
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
couple of string or synth pad sounds mixed quite low to

provide atmosphere behind it. The pads would react more
slowly than the piano too, so the overall effect wouldnt
be weird. Building mega-synths is fun and easy to do too.
Imagine you start with a synth lead sound, then add
another module playing a sub sound with lots of attack
and distortion. Then you add something rhythmic
skittering away in the background, or perhaps that only
triggers above a certain velocity level. Pretty quickly you
02
04
06
have a really involved and interesting sound that youre

able to play from a single keyboard and record on a single
track in the sequencer.
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.
| 57
26/06/2015 14:58
MT Technique Beat Programming And Sound Design
MT Step-by-Step Sound design with Combinator (contd)
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.
For any module, choose a combi button or dial and then a

parameter to assign it to. You might want to have a dial control a
delay rate inside one of the synths or an effect dry/wet level.
Helpfully, most parameters can also have minimum and

maximum values set in the column to the right, the options
depending on the parameter. So you might want to ensure a volume
control can never go too quiet or too loud, for example.
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
Press the Show Programmer button on the Combinators front

panel and you will see a list of the modules contained inside it.
Select one and on the right you will see a list of available parameters
that can be assigned to quick controls.
09
Utility devices can be controlled in this way too, not just

instruments and effects. So you could have quick controls to turn
individual channels inside a Line Mixer up or down for example a nice
hands-on mixing system.
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
08
10
12
can even be uncombined and exploded out into the

Rack, with Reason handling all the audio routing or
alternatively, multiple elements in the Rack can be
selected and then brought together into a combi with a
couple of clicks. Layering and submixing sounds in this
way brings a new level of creativity to the software and
enables you to create much more interesting, diverse and
unique sounds for your tracks. MT
magazine
26/06/2015 14:58
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MT149.subs.indd 67
02/07/2015 16:05
MT Reviews Propellerhead Reason 8.3
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
Propellerhead has updated Reason with

some new goodies. Hollin Jones gets a
sneak peek
he last few versions of Reason

have seen many changes,
some big and some small.
Audio tracking and editing
came a couple of years ago, then Rack
Extensions, and finally a flattening of
the UI and streamlining of the workflow
with a new Browser and drag and drop
method of device creation. Since the
release of Reason 8, Propellerhead has
been adding smaller features and
making modifications with more minor
updates : something made easier
thanks to its ability to now detect and
download program updates without
having to include all the library content
as well. Version 8.3 continues this trend
and we will look at exactly what has
changed in a moment, as well as noting
what else is new since the original
version of Reason 8 was released.
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
and quick to work with. Thats not to say

it lacks tools however; in fact it has
unique features like CV patching, free
audio routing, the Combinator and a
powerful mixer that many other DAWs
would do well to take note of.
The Props also unlocked the world
of third party add-ons but did so in their
own inimitable fashion. Rather than
supporting VST or AU plug-ins, which if
poorly coded or out of date can crash an
application, they introduced Rack
Extensions. These are fully fledged
members of the Rack : instruments and
effects that are developed
independently but work just like
Reasons own modules. This removed
one of users biggest gripes, a lack of
expandability. More recently, the Props
have started creating bundles of Rack
Extensions at significant discounts,
themed around types of production. The
Backline Rig, for example, is a bunch of
instruments and effects for people
making rock, pop, blues and the like.
As well as some fixes, Reason 8.1
added the new Drop to Propellerhead
service into the application. This allows
you to start a project on the move using
the Figure app to put together some
beats and sounds, then send it to the
cloud or to another user to open in Take,

the Props vocal recording mobile app.
Both mobile apps are now free. These
ideas can either be sent to Discover,
which is a sort of online gallery of
musical ideas, or opened in Reason on
your computer via the website. Tracks
from Reason can be mixed down to the
cloud as well, and you can contribute
ideas to other peoples projects. Its easy
to use though not hugely flexible at the
moment, even if it feels like a service
that has the potential to become more
advanced in the future.
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
Propellerhead Reason 8.3 Reviews MT
these are still available, of course.

You get several hundred impulse
responses in a free ReFill, plus a stack
of patches to go along with them. In
terms of using the module, the
Programmer section now lets you select
convolution as an algorithm and then
select from a sample preset. Even
better, it lets you sample in your own
impulses or load existing impulse
samples using the new buttons on its
front panel.
Convolution reverb can be more
realistic than other types and is
certainly easier to customize. This new
model sounds great and brings
Reasons capabilities into line with
more heavyweight competitors. Sticking
to the same design as the original
module means theres really barely any
learning curve in transitioning over to
using convolution reverb.
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
question why its taken this long to

introduce it, but its welcome
nonetheless. More needs to be done in
the area of navigation of the sequencer
to make negotiating large projects
easier, and it would be nice in future to
see a marker system implemented.
The final workflow change is that
MIDI can now be assigned from the
Rack section. Previously, directing MIDI
input to any device meant going to the
sequencer and selecting the devices
channel before you could play it live.
Instrument modules now get a blue
arrow to show theyre selected, and
clicking inside this area to change it to a
grey arrow denotes that master MIDI
input has been directed to the module.
This is also more useful in everyday
situations than it might sound,
especially if you spend more time in the
Rack than the sequencer. Last but not
least, when you open an automation
clip for editing in Arrange mode, the
static value for the parameter is now
available in the track list. This means
you dont have to go to Edit mode to
adjust it. This is quite a minor change,
but if you spend a lot of time working
The new zoom feature is so

useful youll question why its
taken so long to introduce it
be a little fiddly and ideally its best to
run with two separate windows where
you have the screen space. Previously
this meant always returning to the main
window to browse, but now its possible
from both windows. Apparently a
response to many user requests, this
will certainly be useful for a large
number of people.
Another workflow niggle thats
persisted in Reason is zooming in the
sequencer, which again could be a little
fiddly. Zooming from wide to close has
meant dragging sliders and if you have
to do this a lot, it can get tedious. Now,
the Z key will zoom in to whatever is
selected in the sequencer, and pressing
Z again zooms back out to a full wide
view. This is so useful for editing youll
In use
The RV7000 mkII is now a convolution reverb
and lets you load impulse response samples
as well as recording your own directly in. This
means its possible to simulate a far wider
range of physical spaces, including actual
physical locations, as long as you have the
impulse files.
with automation its going to be a

welcome one.
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.
CPU, friendly and intuitive to use and

comes with a bunch of great
instruments and effects. The
Propellerhead cloud collaboration
system is in its infancy but shows great
promise, and expandability via Rack
Extensions as well as the ever-present
ReWire mean its possible to go beyond
the standard toolset fairly easily.
Although Reason 8.3 still shares a few
graphical similarities with its very
earliest incarnation back at the turn of
the millennium, its a far more capable
and polished program with a wealth of
tools for music-makers of all levels. MT
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
MT Reviews Heavyocity Gravity
Choice
9/10
9
9/
10
HEAVYOCITY
Gravity
Libraries for soundtrack composers are at something of a peak in popularity.

Andy Jones loads up Heavyocitys latest, which uses vast swathes of hands-on
control and customisation in an attempt to lift it well above the rest
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
t would be easy to think that todays

media composer that is a
soundtrack producer for film, TV and
video games has it too easy. With
libraries comprising gigabytes of data
becoming 10 a penny (almost) and
sample collections available every
month with magazines such as
MusicTech [you mean there are others?
Ed] the soundtrack artist has never
had it so good. Or have they?
Yes and no. With so many collections
of samples, loops and instruments
available, the bar to entry is now so low
that pretty much anyone can attempt to
have a go at scoring film. Like music
production before it, everyone having
the tools to do so is not necessarily
a good thing. So, while there might
seem to be more collections than ever
being reviewed in MusicTech, each one
is fighting for a unique position, or is
as Stella Artois used to claim
reassuringly expensive, to filter out
some of the unwashed masses
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.
So while the aims and audience of the

collection will quickly become obvious
think tension-building scores to back
high-drama, horror, sci-fi, or anything
needing atmosphere, basically
there is hopefully enough going on in
the manipulation department to make
Gravity more about being inspired
than copying; its more about being
and the Agressive, Ethereal,

Experimental and Unnerving categories
are as descriptive as it gets. Each pad
comprises three layers, which you can
tweak individually, in terms of volume,
ADSR envelope, pitch and panning.
Each layer can be modulated with
several parameters and shaped with an
EQ page that has a three-band EQ and
Gravity is about being inspired

more about being the
sheep dog than the sheep
the sheep dog than the sheep.
Hopefully, anyway
The only way is

Installation is via the Continuata
installer, itself a small download and
one that you paste your code into,
select your destination and let the
12GB download do its thing. Gravity
opens within Kontakt as an instrument,
as normal, and you are immediately
presented with some filmic sonic
options: pads, hits, stings and risers;
as each has a set of unique parameters,
I should look at them in turn. The Gravity
pads comprise four descriptive types
five filter types (with the cut-off able to

be modulated by four parameters). This
is just the opening salvo in Gravitys
hands-on control arsenal, offering
familiar analogue-style sound
synthesis over what we will see and
hear are very non-analogue sound
sources (despite many actually being
created on modular systems).
The second section has 48 hits, and
you get four parts: Sub, Impact, Whoosh
(swell) and Tail with which to create
them, as well as a Hit Designer to
combine them. Theres also a Random
button that is great fun for some fast
creativity. Again, the individual parts
MAGAZINE
01/07/2015 15:58
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03/04/15 12:59
MT Reviews Heavyocity Gravity
GRAVITY: PADS SCREEN

Within the Pads section, you can adjust the levels of
the three parts (centre), effects (left) and ADSR (right).
MOTION: THE PARTS

Gravity has a very neat Motion section, which
especially for pads provides a great way to alter a
sounds pitch, pan or volume over time.
can each be EQd on a separate page.

The third section is for stings, and
contains more than 450 atonal, tonal,
reverse, sweep and metallic effects.
They are set out in tuned menus for
easy audition, and can again be EQd
(and filtered) and have envelopes
edited. The final section comprises 72
hybrid risers and 45 orchestral risers,
which are tempo synced with three
layers: Hybrid/Organic, Synthetic and
Effects. The hands-on editing features
here are similar to the pads section,
with volume, panning, EQ, etc, plus a
designer page for the three layers. So
this all sounds great in theory; how
about in practice?
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.
MOTION: DRAWING IN THE CHANGES

Each of the three parts can be edited over time
simply by drawing in changes. Here, all three will rise to the
end of the cycle, and that cycle length can also be edited.
dramatic sound shaping truly present

and correct, and youll find yourself
drawn into it and making changes as
you really should do. The Hits section,
too, is a bit of a success story. Im not
sure about some of the categorisaton,
as to me they all add a lot of impact, but
you can combine and tweak away to get
some great results. Stings, too, is an
area where you can get some fine detail
and incidental hits and elements for
any genre, not just film music.
Adventurous dance musicians, for
example, could take Gravity and
incoporate a lot of the elements here
into deep and sparse house tracks. Only
the Riser section didnt really
excite me as much as the
rest. This isnt really a fault
of the section itself, more of
a tiredeness of the riser
effect its been overused
a little, but thats just
my opinion!
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
GRAVITY: PUNISH & TWIST

Two massive controls allow you to sweep
through a bunch of parameters with one big dial.
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.
I have only one other cricitism, and

that is that the controls look a bit
lacklustre and can get lost against the
background. Its a shame they couldnt
be more colourful or textured like the
massive controls for Punish and Twist.
That aside and its a small gripe
Gravity is a superb collection, made
even better by the extra control. You
might have to invest more money, but
put the time in and, with Gravity on your
side, you could be streets ahead of or
(sorry) above the competition. MT
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
MT Reviews Novation MoroderNova
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
MT149.REV Moroder Nova.indd 68
ompared to the guitar market,

the world of hi-tech studio
gear is sadly lacking in
signature models. This is
because some people not me, by the
way think synths are not as sexy as
guitars. Nor are there as many big
names to endorse them (although I will
come up with a few great ideas at the
end of this review).
That looks set to change with the
Novation MoroderNova. This limited
edition MiniNova might not actually be
signed by Giorgio Moroder, but it does
have a new Moroder-inspired livery, his
trademark moustache and specs logo,
and comes packed with sounds that
backed his iconic recordings.
We reviewed the original MiniNova
a couple of years back and were
impressed: MiniNova is a great little
synth, portable and flexible enough to
be used in a variety of studio or live
performance situations. And while the
original may be a couple of years old,
the new model refines it and gives it
more of an identity than the original, as
we shall see
So, you get 256 presets, some proper
hands-on controls including a massive
frequency knob, and four smaller
rotaries to dial through six very obvious
sets of parameters from oscillator to
FX. Never has performance control over
a sound been so easy. With such
obvious real-time tweaking, you know
where this synth is going. Its small, but

designed to give a huge sound and if
were honest a huge dance sound.
But adding Moroders name to it
instantly seals the deal, and almost
defines its place in the market. He is
one of the godfathers of dance music
ask any of todays top producers and
they will tell you that I Feel Love is an
iconic dance tune (and if they dont, they
are lying).
So, packed into those 256 sounds
are categories for house, dubstep, R&B
and D&B. For the most part, these are
great; some are a little dated of course
(this is dance, darling, some are so last
Wednesday), but the real-time controls
liven up and update many of them, so
dont worry too much. Besides, its the
extras you want to read about
Before those, I must touch on the
vocoder theres a gooseneck mic
included as we were a little dismissive
of it first-time round, saying the effect
was a little outdated. But now Id argue
that the vocoder section of the
MoroderNova is more relevant than
ever. Giorgio might not be known so
much for vocoders as sweeping bass,
but the effect is certainly part of the
wider Moroder future world of big
sounds, big love and big melodies,
inhabited by protgs Daft Punk,
Sparks, Kylie et al, so arguably sits here
better than on the original. I bet
Moroder has robot servants, too
But of course the big selling point of the

MoroderNova aside from its unique
design is the dedicated bank of 30
Giorgio presets crafted by the Novation
programmers to reflect some of his
finest pop moments. Predictably, they
open with that sound (called I Feel
Bass) and cover the big sounds from
obvious gems including excellent
basses and leads from Sparks Beat The
Clock and Berlins Take My Breath Away.
But its not just the obvious hooks; you
also get percussive effects from I Feel
Love, and surprising inclusions from
Blondies Call Me, plus bass sounds
from some of Moroders themes such
as Midnight Express, and just about
everything from Flashdance. As an
exercise in summing up someones
career in sonics, it ticks all the boxes.
So MoroderNova is surprisingly
successful, and with the Giorgio extras
it gels the original synth more, refining
its point. Its fun; its compact; its garish,
colourful, loud and high-energy camp
even and so it very much sits in the
jet-setting world of an international
synth icon.
As we go to press, it seems that
advance order numbers are
astonishing, so you might not be able to
get a MoroderNova even if youve read
this far. But if you can, do! It sounds
great, looks great and as a unique piece
of synth gear, its a great investment.
Finally, in being so successful,
maybe the MoroderNova might open up
the doors to more signature synths? So
Novation, Roland, Yamaha, Korg et al,
are you listening?
Hows about a MiniNuman?
MoroderOakey? MiniNoJarre?
MiniNOMD? Rick WakeMIni? I could go
on so I will SupernovA-ha?
DeVocoda? MinEnova? A Flock Of
SeaS80s? OK, Im stretching it now MT
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
MT Reviews JamHub Tracker MT16
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
amHubs Greenroom picked up

our innovation plaudits when
we looked at it a few months
ago. Its essentially a hub into
which an entire band can plug both
instruments and headphones to
rehearse in relative silence. An easy
concept, but one delivered slickly and
easily, and a great piece of tech for any
band. Now we have its latest add-on:
the JamHub Tracker MT16
Its a Wi-Fi-enabled recorder that
can capture up to 16 channels of audio
at up to 24 bits/96kHz, so as your band
rehearses in silence on the outside, this
will capture all that is played on the
inside; but its not just for rehearsing
as well see, it makes for a very good
recorder in its own right.
Smaller on the inside

Key Features
Record up to
16 channels
simultaneously
Wi-Fi-enabled
16 GB SD card
+ USB &
Ethernet port
24/96 audio in
.WAV or .MP3
Connect Cable/
Breakout
Cable port
8 mono inputs
Headphone/
Aux out
70 | August 2015
MT149.REV Jam Hub.indd 70
The unit itself is compact and

lightweight, managing to fit all of its
impressive recording features into a
device that boasts dimensions smaller
than three stacked CD cases. Its front
face is flush and succinct, with a single
backlit LCD display, six status LEDs and
four navigation buttons. The
minimalistic approach to the Tracker
MT16s user interface proves to be very
responsive and user-friendly.
An Ethernet connection, 5V DC
power port and JamHub connect port
are located on the top, two stereo
-inch inputs, USB and SD card ports
for storage are on the right, and six

monophonic -inch inputs on the left.
Theres also a 3.5mm headphone port
on the bottom to enable the playback of
unmixed, armed channels and
individual track playback after
recordings very useful for ensuring
a healthy signal and/or checking the
accuracy of a performance.
There are three audio patching
options, depending on your recording
requirements. For those looking to
capture creativity during rehearsals,
and already in possession of a JamHub
Studio, the Tracker MT16 is the perfect
addition to your bands setup. Able to be
plugged directly into any JamHub
Studio via a single JamHub Connect
Cable (included), the Tracker MT16 will
record up to seven stereo sections
whilst retaining each of the JamHubs
personal monitor mixes.
Another way to patch audio into the
Tracker MT16 is by connecting the six
mono and two stereo built-in inputs to
the inserts on a mixing desk via -inch
TRS (stereo) cables. You can also use
-inch TS (mono) cables; however, in
order to do so you will have to connect
them by applying the half insert
technique on both the mixing desk and
the Tracker MT16.
If, for example, youre looking to
record a fully micd live performance
and eight channels just isnt enough,
you might want to consider purchasing
the JamHub Breakout Cable (sold

separately) to take full advantage of the
Tracker MT16, with a single Connect
Cable jack on one end and 16 -inch
TRS jacks on the other, ready to be
plugged into a mixing desks inserts.
Shipped with a 16GB class 10 SD
RAM Card, the unit is ready to record.
However, for those looking to record
using all of the Tracker MT16s channels
whilst at its maximum sample rate of
96kHz, a USB drive will be required.
Depending on your requirements,
you might want to make a few changes
in Settings before hitting record. The
sample rate can be adjusted to 44.1, 48
or 96kHz; the audio format can be
saved as either WAV or mp3 and the
record mode can be set to either Split or
Combined. Split mode encodes each of
the channels you record separately on
to your SD card or USB drive. However,
this process is done immediately after
recording and takes a considerable
amount of time, making it tricky to
record another take straight away.
You can combine the recordings into
a .BND file, which JamHub claims you
can split later using BND Split Utility
a free piece of software which you can
download from the Tracker MT16
support section on the website.
At the time of review, JamHubs
collaboration platform, BandLab is just
starting to gather momentum, with the
Tracker MT16 able to transfer audio
files via Ethernet or Wi-Fi. Its a
promising future, but even if you want
to just concentrate on your band and
ignore this option, there is much to
admire with Tracker MT16. The
technology JamHub has packed in to
such a portable and affordable device is
impressive, and with additional file
sharing features the Tracker MT16 will
become a great addition to any band or
engineers setup. MT
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
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Image Line FL Studio 12 Reviews MT
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
Multitouch has mostly been the preserve of

tablet users, until now. Hollin Jones gets his
hands on the all-new FL Studio 12
L Studio is one of the worlds

most-downloaded DAWs and
has, over the last decade or so,
matured into a highly capable
music production environment. Its still
a Windows-only system, although there
is credible talk of a Mac version in the
very late stages of development. As it
stands, youll need a recent version of
Windows and a moderately powered PC
as a baseline, or something a little more
serious to run heavier projects.
To briefly recap, FL Studio started
life at the more entry-level end of the
market, but now all save the most basic
version of the software can handle full
audio tracking, editing and
arrangement in addition to the MIDI
sequencing and programming that its
had all along. There are three versions,
with the Producer and Signature
bundles sharing pretty much the same
core functionality, just with differing
sets of plug-ins. Theres the option to
buy a complete bundle of the app, plus
all of Image Lines extra instruments
and effects though this adds
considerably to the price, and since it is,
of course, compatible with VST plug-ins
you may already have your own
collection to work with. Despite some

significant GUI developments, the
workflow remains familiar to existing
users, with instruments triggered by
step sequencers or generators and
audio and MIDI sequenced in the
Playlist. As well as ReWire support, the
a greater purpose. The interface can

now be scaled up massively without
looking blocky or blurry. Image Line says
that 4, 5 or even 8K monitors can be
used with pin-sharp fidelity. The
preferences now let you control
interface scaling, and while even 4K
monitors might still be relatively rare,
this is definitely a foundation thats
been laid for a future in which they will
be more common.
Related to the vectorisation of the
interface is the second major change,
the implementation of multitouch
support across the application. You can
pop FL Studio 12 into regular or touch
modes, depending on how youre using
it, and its particularly useful when you
come to mixing. The new scalable mixer
Despite some significant GUI

developments, the workflow
remains familiar to users
whole application can, remarkably, be
hosted as a VST plug-in inside a
different DAW. Theres much more to
it than that, of course, but those are
the fundamentals.
In with the new

The first major change is evident at
a glance. The interface has been
reworked and rewritten to be made
vector-based. This means that graphics
are simpler, flatter and cleaner, which
looks better in and of itself but also has
is highly flexible and can be resized

easily to cope with fingers, which are
generally too large for faders designed
to be moved only with the mouse. The
difference between touch and
multitouch is important, too: using one
fader at once is OK but using several,
especially when automating, is far
better. In practice, multitouch here
works really well, especially on a larger
screen. While its true that many music
PCs dont have multitouch screens as
standard, adding a second monitor with
MT149.REV FLS12.indd 73
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23/06/2015 11:46
MT Reviews Image Line FL Studio 12
this capability can be relatively cheap,

and it may become a more common
feature in future.
Splitting off the mixer to a second
perhaps multitouch screen is now
easier, thanks to the new dockable
window system. Every part of the
interface can be undocked and
arranged, or docked with resizable
borders. The whole application looks
and feels cleaner, slicker and more
user-friendly. This also extends to
individual window sections, such as
inspectors or editors, where the various
contextual menus have been cleaned
up, flattened and simplified. In truth,
this has been a long time coming: one of
the issues with FL Studio as it gained
more and more functionality was its
over-reliance on tiny icons and endless
clicks. The need to slim things down to
make them touch-compatible has also
had the benefit of making controls
generally easier to work with.
plug-in wrapper. You get a great

selection of plug-ins with FL Studio,
especially the Producer or Signature
bundles, and some of these have had
a makeover to bring them up to date
with the new vector interface of version
12. These include 3xOSC, Edison,
Formula Controller, Envelope Controller,
Keyboard Controller and Peak
Controller. Image Line promises more
native plug-in updates are coming, and
for now youll find that the Fruity Send
can also send to any mixer track. The
bundled plug-ins are good and err on
the side of electronic music, owing to
the applications history as an EDM tool,
though theres some real stuff, too.
Even in the Signature version, there
are still some of the companys
instruments that arent included
though, as noted earlier, you can add
these individually if you like, or buy the
total bundle. In version 12, the
entry-level app gains automation clips,
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.
The new scalability will be a

bonus for anyone investing in
higher-resolution monitors
Theres more
With so much work having gone into
revamping the core interface of the
software, youd forgive Image Line for
not having had much time to do other
stuff, but youll find a fair amount of
tweaks and changes elsewhere as well.
Theres multiple drag and drop of
audio files into the Playlist from the
Windows file browser, and new category
tabs and delete options from the
browser that lives on the left of the
main screen. Step sequences, the
bedrock of MIDI programming in FL
Studio, are now interchangeable with
piano rolls, and the pattern menu has
moved from the channel rack to the
toolbar menu. The Piano Roll now also
has time markers for labeling and
looping. The channel rack now hosts the
Channel Options menu, and channel
settings have been integrated into the
while Producer gets Sytrus and

Maximus; with Signature adding
Harmless, Newtone, Gross Beat and
Pitcher. The two main versions have
audio pitch and time stretching as well.
Another new feature is that the
installation and management of
third-party VST plug-ins has been
cleaned up, which is always useful.
Wait, its free?

Image Line has a generous and fairly
unusual policy of providing lifetime free
updates for the version that you have
bought, and this applies here, too. So if
you bought a previous version of
Producer you will be able to update to
12 Producer for free and get all the
extra stuff. Upgrade pricing applies too,
of course, if you want to move up a
version, with various prices available
depending on the age and level of your
current version. A free demo version is
available as well.
A giant iPad
If you have a touchscreen on your PC, or attached to it, you can
put FL Studio 12 into Touch mode and it works almost like a
giant iPad. Of particular interest is the mixer, where multitouch
means you can perform complex actions on a mix with several
fingers, bringing groups of faders up or down at the same time.
74 | August 2015
MT149.REV FLS12.indd 74
Since the upgrade is free for existing

Image Line FL users, its hard to see why
you wouldnt install it and get the
benefit of the new features. The whole
application feels more modern and
easier to navigate. The mixer, in
particular, looks and feels so much
more up to date than it was before,
meaning that using it is a great deal
more appealing. The new scalability will
be a bonus for anyone investing in
higher-resolution monitors, which are
getting cheaper all the time, and
multitouch is certainly interesting.
Even if your system doesnt have
a touchscreen, you may find that the
lure of controlling FL Studio 12 in a very
hands-on way persuades you to add
a capable monitor, which can be
relatively affordable. Youll need a
recent version of Windows for this,
of course.
FL Studio has a large user base, and
it seems likely that this new version will
serve only to grow it further. A capable,
affordable and now very modernfeeling DAW. MT
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
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Audio Technica AT5045 Reviews MT
Choice
9/10
9
9/
10
AUDIO TECHNICA
AT5045
All is not what it seems

with the AT5045. It may
look like a pencil
microphone, but its
actually a side fire
condenser with a large
rectangular capsule.
Huw Price reviews
he AT5045s electret capsule is

similar to the rectangular
capsule used (as an array of
four) in Audio Technicas
flagship AT5040. Measuring
approximately 32mm by 14mm, the
surface area works out around
450mm. This compares with 490mm
for a circular capsule with a 25mm
diameter at best.
The narrow dimensions allow the
capsule and onboard discrete
electronics to be squeezed into the
25mm diameter body, along with an
output transformer. The internals are
mounted on a board that is suspended
within the body. This internal shock
mounting decouples the capsule from
the microphone body to minimise
transferred noise.
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
protective carrying case. The

shockmount is an engineering triumph.
It clicks open to receive the mic, then
clicks shut to hold it. A small lever on
the top locks the mechanism to prevent
it opening by accident, and isolation is
provided by eight rubber grommets that
grip the body and presumably dampen
resonances. They also spin, making it
easy to twist the AT5045 in its mount for
precise alignment.
Since this kit was supplied as a
matched pair, we aligned the capsules
side by side and made a simultaneous
recording on identical mic preamps. On
playback, we flipped the polarity of one
channel, levelled the volumes and were
able to achieve almost total silence. So
when Audio Technica says matched
pair it really means it.
On acoustic instruments, the
AT5045 impresses immediately with its
wide-open and natural sound.
Transients are captured with speed and
accuracy to create a highly detailed
rendering of the instrument, aided
perhaps by a wide and fairly gentle
presence lift. The midrange sounds
commendably clean and uncoloured
and, overall, we would describe the
AT5045s tone as essentially neutral,
but with slightly enhanced brightness.
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.
rear pickup encroaches quite high into

the frequency range, so its only truly
cardioid in the upper-mids and treble.
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
MT Reviews Best Service Era II Medieval Legends
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
couple of weeks back, Era II

arrived in the MusicTech offices
with some drama. Perhaps
I should have expected it given
the collections themes of high fantasy,
dragons and princesses. And given the
man behind it MT favourite Eduardo
Tarilonte, the man who spawned such
wondrous collections as Shevannia,
Cantus and Altus maybe I should have
even expected it to be delivered by
arrow, perhaps with orcs involved
somewhere down the line. But a limited
edition certificate, poster and money
pouch certainly piqued my interest.
No money in the pouch, sadly, just a
mysterious chess piece a King since
you ask which turned out to be a
32GB USB stick with the software on it.
Whether you get this drama (and
chess piece) is uncertain, but you will
get its all-important contents, and
luckily the collection easily matches the
drama of its delivery
The dawning of the age

Installation is straightforward. If you are
lucky, its by way of your chess piece or
by download. You can even, rather
quaintly, opt for a boxed DVD version.
Its a 20.9GB collection, one of the
78 | August 2015
MT149.REV Era 2.indd 78
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
youll find parameters such as levels for

Wood or Pluck Noise, and these vary for
each instrument you load. Theres also,
usefully, an Info sub menu, where you
get details about the instrument you
have loaded and what is available
If you think its just lute

strumming then think again
(although thats there too)
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
it. It is, as you might expect, a shell from

which to run Era and other BS titles,
and the engine appears as an
instrument within your DAW, like any
other plug-in. You then load in Eras
presets within it as you would with
Kontakt, either stepping through using
the up and down arrows or loading new
options in via a browser on the
right-hand side of the screen.
You can use the Quick Edit menu as
your main instrument area, as it has the
Era front panel and a few of the main
dials and sliders (for volume, effects
ADSR and more). Here, you can also
access a Controls sub menu, where
sample-wise chords, legatos and so

on mapped across the keyboard. Its a
useful section and when you explore it,
the scale and detail of what is in the
collection quickly becomes apparent.
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
Best Service Era II Medieval Legends Reviews MT
Era ii: main screen

Within the Best Service Player, use the Quick Edit
menu to play the main parameters of Era.
era ii: controls

Access more of each instruments parameters
within the Controls sub menu. Here, four are working.
era ii: info

Useful background detail on your chosen
instrument in the Info sub menu, plus key mapping.
best service engine: THE BROWSER

The new BS Engine, here showing the Browser and
loading the same Era II 2 Holed Flute sound as above.
best service engine: Pro edit

The Pro Edit menu allows access to more parameters,
including, in this case, LFOs.
best service engine: mixer and more

You can also go deeper within the engine to
access main parameters or mixer routing options.
no medieval stone unturned (although

that lute is thankfully included, too).
Instrument-wise, there are Brass,
Key, Wind, String, Voice and Percussion
categories, but comparisons to a
traditional orchestra end there. This is
about boisterous gents singing about
rum in a tavern while a fidule plays in
the background; or bagpipes and war
horns sounding while armies gather.
Its Eduardo, its fantasy, its taking some
ancient but very real instruments
gothic harp anyone? and putting them
into a new fantastical context.
And, typically, theres a set of
soundscapes that acts as a full stop to
the collection almost a throwaway
folder, but to my mind full of some of
the best combinations of sounds in the
collection; and as ever I want more!
Finally, quality-wise, as its Eduardo,
you know that each instrument is
recorded superbly and we love the
recording detail supplied (a Neumann

U87 before you ask) and mapped
correctly (not too extremely), with lovely
variations in playing style also easily
available across different keys.
So its a thoroughly astonishing
collection a museum of ancient
instrumentation and a fantastic
resource. At the very least, its a record
of times and instruments gone by, but
for todays producer its a wealth of
history to tap in to and slightly
left-of-centre instrumentation to make
your compositions stand out from the
rest. And in that sense, it scores higher
than other Tarilonte collections simply
because you can apply it to so many
more genres, as its less specific.
So its a worthy update to Era, but
those who opted for the original should
check the Best Service website, as they
will own a lot of it; although we think, on
balance, the 99 update cost is well
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?
worth it. And those new to the Era

world? Well on the strength of Era II, it
really is time to take a visit. MT
Note: As we go to press, we hear the
Limited Edition collection of Era II has
sold out, and that it contained extra
soundscapes and two voices: Bard and
Heroica. While this is a shame, these
extras might become available in 12
months time.
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
MT149.REV Era 2.indd 79
| 79
26/06/2015 12:48
MT Reviews Telefunken Elektroakustik THP-29
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
cant begin to explain how words

such as Elektroakustik are
getting us into trouble here at
MusicTech. Not only does the
second half of Telefunkens name cause
havoc with spell checkers, but the
European adoption of k rather than c
(thanks mostly to Native Instruments)
is starting to become such a norm here
at the magazine that weve started
using it when we shouldnt (a thousand
apologies, Sonokinetic). Anyway, its also
an important point because the
Elektroakustik bit means that this
Telefunken (formerly Telefunken USA) is
the division of Telefunken allowed to
license several audio products with the
Telefunken name. And I mention this
only as there has been some debate on
our Facebook page about the two. They
are both part of Telefunken, but
different divisions. With that cleared up
(or kleared up), its time to check out the
companys new headphones
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
Anyway, theyre distinct and very

comfortable, possibly the comfiest
headphones Ive tried over the last year
not too heavy, but they feel very solid
when worn. The plastic band is a little
love it or hate it Id have preferred the
material to have been a different colour
or material, but these are relatively
cheap for pro headphones, so savings
had to be made somewhere down the
line. Maybe a more expensive future
model will satisfy that need.
The phones employ what is rather
laudably called Eco friendly natural
isolation, which effectively means they
attempt to be good enough to block out
external noise without requiring a Boselike active noise cancelling process.
No battery is required, hence the Eco
friendly tag. And, as a Bose owner, Im
happy with that claim if a) it works, and
b) the ear pieces last longer than the
shockingly bad ones on my last Bose
set, which have now disintegrated
(admittedly after excessive use).
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
enclosure is more pronounced.

I wouldnt, then, wear these while
walking near traffic they do the job of
shutting you off from the world well!
I wouldnt say its as good as the Bose
effect, but its among the best of the
passive phones Ive tried.
The sound of the THP-29s is also
a big plus. Theyre not totally flat, which
makes for a more pleasurable listen
than the (more expensive) Audeze
EL-8s I tested a couple of months back;
but where those were harshly
unforgiving, these are more immersive
thanks to that isolation. And put next
to my standard ATH-M70Xs, I have to
say Id find it difficult to recommend
one over the other. Again, Id say the
sound from these just wins, as theyre
so immersive, while the ATs might lead
you to places in a mix that the
Telefunkens dont.
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
THE EVOLUTION OF CINEMATIC SOUND
POWERED BY KONTAKT
#GETPULLEDIN
NOW AVAILABLE AT WWW.HEAVYOCITY.COM
Impact Soundworks Pearl Concert Grand Reviews MT
IMPACT
SOUNDWORKS
For PC
& Mac
Pearl
Concert
Grand
Four channels
Theres a lot of competition in the

sampled piano arena, but can Impact
Soundworks latest do the business?
Hollin Jones finds out
n the grand scheme of things, pianos

are one of the instruments that have
been pretty much nailed when it
comes to emulation in software.
Modern computers can easily deal with
multi-gigabyte, multi-sampled and
velocity layered pianos. Its also the
case, though, that most DAWs dont
come with an amazing sampled piano.
A good one, perhaps, but rarely one the
equal of a dedicated, third-party model.
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
multi-part RAR archive, and you can

choose to download either the 16-bit
version which uses 12GB of space, the
24-bit version (27GB), or both. Youll
need 4GB of RAM to use up to two
simultaneous mic positions, or 8GB to
load all mic positions at once, and
a hard drive of decent speed. Once
authorised, its easy to add the library
and call up a piano. Theyre all basically
recordings of the same piano, but
processed differently for a different
feel, which can vary anywhere from
a subtle to a big difference.
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
The interface itself is really

straightforward and the four mic
positions are shown as four channel
strips, each one of which can be turned
on or off and have its level set. Each one
also has width and offset controls and
optional EQ and compression stages to
further balance the sound. Above this
section is a volume and transposition
section, as well as a menu that lets you
access different piano setups, stored as
presets. As well as the channel effects,
theres a master effect section, and the
instrument includes a virtual rack of
processors that further expand the
sonic possibilities and let you mangle
the sound for more unusual results, if
thats to your taste. Theres a
compressor, tape saturation module,
transient designer, EQ and reverb
module, each with controls that help to
achieve more special effects than the
other effect section allows.
Hit the Settings icon and more
tweaks can be made to the way the
instrument behaves. Theres a velocity
section with multiple configurable
curves and presets, as well as volume
and brightness controls, a key noise
amount dial and a pedal noise knob so
you can add more mechanical sound to
the signal, or indeed remove it. Under
this is a Tuning section where the piano
can be manually re-tuned, and theres a
Key dial for quick transposition as well.
An ADSR section lets you make more
decisions about sound shaping.
The piano is really quite stunning to
play, thanks in part to the 14,000
samples that make up the sound, the
eight dynamic velocity layers per note
and the ability to tailor mechanical
noises as well. The full-fat patches
use a fair amount of resources, though
nothing that a well-specd modern

computer cant handle. There are also
light patches provided that sacrifice
sheer depth of sample layers for a RAM
saving of up to 85%. These still sound
really good, and for less nuanced
playing, say in pop or rock, are perfectly
good. If youre playing classical or jazz,
you might want to go for the bigger
patches to ensure you capture every
subtle detail, but you do have the
choice. Of course, a beautifully sampled
piano does reward a skilled player, and
the audio demos on the website show
what clarity and emotion can be
achieved by someone who really knows
their way up and down the keys.
However, even if your ivory-tinkling
abilities are more intermediate, the
advantages of using a properly
recorded grand should be fairly audible
in your projects just the same.
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
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Tracktion Master Mix Reviews MT
At the top are two six-band

parametric EQs, one located before the
dynamics stage and one after it. Again
these can be shown and hidden and
any of the six bands manually set or
switched on and off for each EQ
processor. Low and high pass bands are
also available as is EQ shelving, though
its not possible to set Q values for the
EQ points. Tweaking the EQ curve of a
master is crucial and helps you to bring
out nuances or rein in any errant
frequencies and here its friendly to use,
though variable Q would be nice.
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
racktion is one of the more

affordable DAWs on the market
but still offers a great feature
set for those that want to
record and edit audio and MIDI. The
developer has launched the
Marketplace, an online store through
which you can buy plug-ins and other
content and it also sells some of its own
add-ons in this way. Master Mix is a
mastering plug-in that comes in
standard 32 and 64-bit VST and AU
formats for Mac and PC as applicable.
As you might hope, the plug-in
approach means that it will work not
just in Tracktion but in any DAW that
supports those formats. Theres no
requirement to have Tracktion already:
you can use it in Logic, Live, Cubase or
whatever you like.
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
things like working with presets and

visual feedback are generally easier.
Having a dedicated mastering plug-in,
then, makes for a smoother process.
In case anyone isnt yet convinced of
the absolute necessity of mastering
their tracks, mastering is the reason
your mixdowns sound a bit weedy or
unbalanced next to commercial tracks.
After mixing is done, mastering adds
weight, sweetening and power to a mix
and is the last step of the production
process. As such its well worth getting
a good tool to do it with.
Once you have downloaded the
plug-in you will need to copy the
components to the relevant folders on
your computer and then on first loading,
register online. You will most probably
want to strap the plug-in across the
master outputs of your DAW or wave
editor anything that can play the
signal through Master Mix in real time.
Graphically its quite straightforward, in
contrast to something like Izotopes
Ozone 6 which is costlier and more
advanced but also a little more
daunting for the uninitiated.
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
Loud and proud
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
Here, everything you need is in a single

window. There are three dynamics
processors, forming a multi-band
compressor/expander. Each has its own
set of controls and user-configurable
crossover points that can be dragged
with the mouse. If this gets a little
crowded you can turn various elements
on and off to make it clearer whats
going on. The three bands have editable
controls along the base of the window
as well, making it easy to see the knee
settings of each one and to solo or mute
it for more precise control. A soft clip
limiter and gate are also provided, with
simple controls.
There are of course some presets to get

you up and running and these cover
everything from jazz through rock,
dance and other stylistic descriptions.
As ever with mastering presets the one
whose name matches your track might
not actually sound all that great, but a
couple of others are sure to. So just
loading up a couple of mixes and
applying a preset then making the
many tweaks invariably necessary to
suit a particular track, it was easy to
add plenty of weight and sweetening
while preventing clipping. Having
everything on one screen is refreshingly
useful, especially if youre used to the
multi-section seriousness of some
other mastering suites. Granted, it
means less functionality overall, but
much of that may be stuff that
intermediate producers wont miss.
Master Mix is a very affordable way
to master your tracks in any VST or
AU-capable software. Though lacking
the bells and whistles of costlier
alternatives it has virtually all the core
stuff you need and wont blind you with
science. There are a couple of things it
would be nice to see Q points, maybe
a stereo widener but you can achieve
some great results nonetheless. MT
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
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01/07/2015 11:04
Secret Base Design Music IO Reviews MT
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
The mobile and desktop music worlds

have been frustratingly disconnected
for too long. Hollin Jones discovers all
that is about to change with Music IO
or all the ways in which iOS has

become a very capable and
competent platform for making
music with the many advanced
apps and processors that now exist on
it, theres still a gulf between the mobile
and desktop worlds when it comes to
continuity of workflow. Put simply,
meshing the two platforms together for
music is fiddly at best, involving either
swapping project files via the cloud or
iTunes file sharing section, or
essentially sampling audio from one
device to another. Neither is particularly
satisfactory in 2015.
Enter Music IO, a simple but
potentially revolutionary new concept
that aims to address this problem. Not
everyone wants to buy an iPad dock: as
good as they are, its extra expense and
you probably already own an audio and
MIDI interface for your computer
anyway. Music IO is a three-part system
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
The first part of the system is a

lightweight server app that runs on your
Mac and acts as a gateway for the two
devices to communicate. There are also
special VST and AU plug-ins (one of
each format) that are inserted into
audio tracks in your DAW to enable the
flow of audio back and forth. On the iOS
device, an app uses Inter-App Audio,
CoreAudio and CoreMIDI to act as a hub
for compatible instruments, DAWs and
effects processors. The idea is that
everything becomes linked, so you can
play your iOS synth from a MIDI
keyboard attached to your Mac and
record the audio straight back into the
Mac at the same time. Alternatively, you
can send an audio track out from your
Macs DAW to be processed by a guitar
module on your iPad and, again, record
it back to the Mac. This all happens
down a single Lightning or 30-pin Dock
connector cable.
The potential uses of such a system
are clear to see. Youve been able to
incorporate external music hardware
into a DAW fairly easily for some years,
but iOS devices limited native port
offerings have always meant buying a
special adaptor or iOS-compatible
interface until now. In practice, it
works very well. Your IAA-compatible
apps appear inside the iOS app, and you
can load up to four instruments per
instance of the plug-in. Sound is
transmitted in 32-bit stereo back and
forth, and tapping on an app on the iPad
will open it and enable you to use its
controls, while sound continues to be
transmitted in the background.
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
manage monitoring using the Mac

server app and, also, latency
compensation both here and in the iOS
app. I found it was possible to achieve
latency so low it was basically
non-existent, although it felt like this
was related, to an extent, to the specific
iOS app in use. Some apps exhibited a
little more latency and some a little
less, though none were particularly
problematic. Music IO also sends MIDI
back and forth, and once connected,
the iOS device appears as a source and
destination to your system. This is even
easier than audio since MIDI just flows
between the two and, as noted, you can
use your Mac and any hardware
connected to it to trigger the iOS
instruments, so no extra interfaces are
required. Again, latency is extremely
low, which is not surprising since MIDI
needs far less bandwidth than audio to
stream across a connection.
Music IO is a clever solution to a
problem in the music technology world:
how to literally bring your iOS
instruments and effects into your
desktop DAW setup. This, it manages
commendably and without any extra
cables or accessories. There are a few
elements that could be smoother and
more refined, but development seems
to be constant and the list of upcoming
features on the website connecting
multiple iOS devices, sample rate
conversion suggests great things
ahead for this software. If youre looking
for a way to unify your iOS and OS X
music platforms, this is the best
solution around. MT
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
MT Reviews Rupert Neve Designs RNDI
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
RUPERT NEVE DESIGNS
RNDI
Can Rupert Neve transform the

humble DI box? Mike Hillier plugs
into the RNDI
ts quite easy to get excited about

a new preamp, EQ or compressor, but
a new DI? These boxes are usually
ignored, considered nothing more
than a necessary utilitarian device, like
a cable, or patchbay. In some sense, this
is true; a DI needs only to provide
impedance matching and conversion
from an unbalanced to a balanced
signal. Theres no magic to it, so why
look for anything in a DI other than this
and perhaps a build quality that
suggests it wont fall apart the first time
its put on stage? The answer is not all
DI boxes are made equally. And while
most utilise little more than a
transformer to do the work, the choice
of transformer can have a huge effect
on the signal. Active circuitry is another
alternative, but brings problems that
can limit the frequency response and
dynamic range and introduce distortion.
The RNDI is an active DI, employing
a custom-wound transformer alongside
a Class A discrete FET amplifier. Its run
with phantom power from whichever
mic preamp you choose. Unlike many DI
boxes, the RNDI does not have any
options to pad the input for loud signal
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
sources. However, it is capable of

handling signals up to +21.5dBu, which
should be plenty of headroom for even
the loudest of line level signals. In fact,
RND says the RNDI can be used to
re-preamp signals by running the
output of your interface to the RNDI and
back into any preamp.
In Speaker mode, the RNDI can be
placed after the power amp stage of
your amp and before the speaker,
converting these power amp signals
down to mic levels. The manual boasts
that the RNDI can handle the output of
a 1000-watt power amp, with signal
levels up to +41.5dBu. Its worth noting,
though, that while the RNDI can handle
these signal levels, its not a load box
itself, and that amplifiers particularly
valve ones must still be connected to
a speaker (or a load box) using the Thru
output on the RNDI, or you risk
damaging the output transformers.
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
sign of the signal breaking up. The RNDI

added little to nothing to the signal, but
importantly took nothing away either.
The low-end of the bass was full and
round, while the highs sounded neutral.
Next, we took the RNDI to a gig by
a singer-songwriter playing acoustic
guitar through the DI and straight into
the PA. The RNDI has a rugged steel
chassis, so there was no worrying that
wed end up having to explain why wed
sent back a shattered box after the
singer inevitably stood on it. The bigger
worry was getting it back, so clean and
clear was the guitar tone a Martin
acoustic with Fishman pickups. There
was almost no need for EQ.
Finally, we put the RNDI between
a Marshall JCM800 head and a 4x12
cabinet, in Speaker mode. The recorded
signal captured much of the detail of
the amp distortion without having to
mic up the room and worry about bleed
from other instruments, but it was very
bright, lacking the filtering from the
4x12 cabinet. Adding a convolution
reverb to the signal, with an impulse
taken from a guitar cabinet, helped to
sit the tone back in the mix, and gave it
a more natural tonality. It also enabled
us to experiment with different cabinets
without having to change anything over.
Clients wont pick your studio over
another because of your choice of DI,
but you have to have one. And the RNDI
is a great choice, not only for the extra
option of using it in Speaker mode, but
because of the clean, clear qualities it
has, behaving as an almost invisible
part of the signal chain. MT
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
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05/02/2015 16:32
MT Reviews Zero-G Haunted Ground
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
Need creepy effects and atmospheres for your game or film

soundtracks? Or are you a producer carving out terror in dark
musical genres? Andy Jones opens his laptop under the sheets
do like a good old creepy,

abandoned place. Perhaps its an
unhealthy fascination with
post-apocalyptic movies, or
perhaps Ive been tempted by too much
Facebook see the creepiest photos of
abandoned places on earth click bait.
Haunted Ground is inspired by the
character of such places, and sound
designer Adam Pietruszko took a year
to come up with a collection designed
to give insight into the afterlife of these
seemingly dead and quiet buildings,
and to imagine the ghosts of workers
and inhabitants roam the rooms, halls,
corridors and attics, longing for the life
that had been taken away from their
homes. The machines, furnaces and
tools remember their duties, but their
shift is over. Creepy stuff, then
Details
Title
Haunted Ground
Manufacturer
Zero-G
Price
55.95
Distributor
Time+Space
Contact
+44(0)1837 55200
Web
www.timespace.com
Creating the creep

Haunted Ground reminds me a little of
a collection of BBC sound effects that
I had on vinyl when I was a kid, one put
together by Beeb boffins recording
things such as knives cutting through
cabbages to simulate decapitation
(really!). Pietruszkos methods are
somewhat more up to date, in that he
uses a few choice studio items that he
is refreshingly happy to divulge,
including using a semi-modular
analogue synth setup a Moog Little
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
Phatty Tribute Edition with CV Out Mod,

a collection of Moog Moogerfooger
analogue effects and a WMD Geiger
Counter digital wave-shaping distortion
unit. No vegetables, then, were killed in
the recording of this collection
The results are spread across four
categories: Entities and Spirits,
Exploration Echoes, Forgotten
Atmosphere and Forsaken Technologies,
and while you could probably argue over
which goes where until the (very probably
decapitated) cows come home, its nice to
see an attempt to categorise a collection
that could be so difficult to label.
And, on the whole, its a very
successful collection. Sure, synth fans
will know that a little LFO wobble here
and there can easily create similar
effects, and will see how he did it, but
Adam has also employed sufficient but
not overpowering effects to take
everything beyond its constituent parts to
the other side of eerie.
Highlights include some of the
Entities, which offer a sound reminiscent
of the blast of noise the aliens made in the
(not actually that bad) remake of War Of
The Worlds. Not quite as terrifying, but
well worth a blast at your neighbours at
3am*. The collection excels with these
drone types, and also echoey physical
effects stuff hitting other stuff, things
being dragged, other items incorporating
lift shafts that kind of industrial noise,

only in a far creepier context.
You could use some of the sounds
particularly in the Exploration Echoes
folder as incidental effects across many
other genres of music (deep house tracks
are often made by great incidental
flourishes, and there are many on offer
here), and in the Forsaken Technologies
folder there are even musical ideas that
you could use to underpin tunes with
basslines especially.
But that would be slightly missing the
main point, though, as this is full of
warped atmosphere to be used as
soundscapes rather than melodies.
And in that sense, you might find it a little
samey with some of the sub-categories
over flabby (I dont really need to buy so
many Electrical Fault sounds when I have
a studio full of loose plugs that give me
the same sound). Nor is it a collection to
turn to if you have very specific needs.
Indeed, you get the impression that you
need to listen to it and then do the music,
rather than the other way around, to make
the most of it. But that, at the very least,
makes it an inspirational place to start all
manner of dark work MT
* Blasting neighbours with ghostly noises at
3am is not encouraged by MusicTech nor
Anthem Publishing.
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
If youd rather spend time

working on your tracks
instead of browsing
through technical manuals,
Mixcraft Pro Studio 7 is the
perfect blend of simplicity
and sophistication.
BedroomProducersBlog.com
THE MUSICIANS DAW

For Microsoft Windows
Download a free trial at www.acoustica.com
MT Reviews AIAIAI TMA-2 Modular
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
MT149.REV AiAiAi 1pp.indd 92
IAIAI is a Danish company

fast becoming known for
ground-breaking
headphones that both look
and sound fantastic. I first looked at its
Young Guru TMA-1 Studio headphones
last year, a set with the Grammywinning producers name on them (he
who has worked with Kanye, Jay Z and
Drake). Im not that fussed about a big
name endorsing anything, to be honest,
but they are great headphones: clear,
true, honest and great for mix
monitoring, and even the odd mastering
job, were my words at the time.
Guru has his name (not literally you
understand) on one of the preset
versions within the new TMA-2 Modular
system, but thats not the big sell. What
is news is that you can customise your
set for not only how you use them, but
the music you listen to as well
There are 360 combinations, of
which AIAIAI says: For music
professionals, this means the
opportunity to adapt and tailor the
system to a creative context, from
studio production or audio editing, to
DJing or listening on the move. After
which, it somewhat dramatically
concludes: It means the subtle
dissolution of categories the freedom
to be yourself, before going on to
suggest a whole range of categories
from which to select your phones.
Its easy for me to sound a little

sarcastic at this point, as this could all
be seen as a marketing ploy. You can, for
example, choose phones not on how
they sound but by who uses them (there
are 20 preferred configurations on the
AIAIAI website from a pool of testers
that includes the XXs producer Rodaidh
McDonald, Ed Banger Records and
Bonobo. Prices range from 145-260
depending on the spec you choose).
If you know your stuff, you can choose
the individual components to make up a
set. So you choose a speaker unit (four
types, 65-100); a headband (three
types, 30-60); an ear pad (five types,
25-50); and a cable (six types,
25-40).
You could, then, spend around 250
on a set. To help guide users choices,
AIAIAI also offers a configurator to
explore the system. You can also choose
phones by the genre youll mainly listen to
(10 genre selections, prices from 145).
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,
which is disappointing pouches can be

ordered online. They are easy to put
together (make sure you put the red plug
in the red socket).
We lined up the Studio ones next to
our reference Audio Technica M70s, and
the Studios were almost up there with
them, offering a rounded, spacious listen.
They were arguably more comfortable,
given the padding on the ear pieces. There
was little of the pronounced bottom end
that youd find in cheaper phones, only
the mid range seemed very slightly
harsher when compared to the ATs.
The Young Gurus were of similar
components, and therefore sound, but
boasted a slightly cooler (but less flexible)
red cable and more robust material for
the ear pads. For the extra 35, wed say
dont bother, unless you are a fan of
Young Guru or the colour red. Which
makes our conclusion that much easier
You know the score

You dont need me to tell you not to
choose a set of headphones based on
who uses them; nor to not limit your
mixing by choosing a genre-based set.
In fact, Id go as far as to say you
should ignore all of that bluster and
either choose a set based on your own
knowledge or, better still, just go for the
Studio ones (unless you really want a
red cable). If anything, all that hot air
detracts from the fact that these are
glorious headphones, so studio users,
ignore all of that and go for the ones
with Studio written on them. MT
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
Siren Audio Generative and Feedback Reviews MT
before you start you will need to give the

manual a pretty thorough read: the
quick start manual at the very least,
and preferably the main manual as
well. These arent really pick up and
play tools, youll need to invest some
time in learning how they work even if
youre quite experienced with music
technology. This is often the case with
applications that have been built in
Max/MSP, as they can be pretty esoteric
and experimental.
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
ax/MSP is something that

not all musicians have
heard of, but those who
have studied synthesis
almost certainly will have. Its an
environment for building software
instruments and effects, and its been
around for quite a few years, gaining
functionality as time has passed. Unlike
coding applications from scratch, Max/
MSP provides a bunch of audio-specific
building blocks to help a developer get
started, though its still no joke actually
making something that works. Play
around with it for a little while and youll
quickly start to appreciate the difficulty
of building your own software.
Generative and Feedback are two
processors from independent developer
Siren Audio. Built in Max, they run on
Mac or PC and are standalone
applications, not plug-ins.
Authorisation is done via a challenge
and response system, and you need to
email a code off to get an unlock key
back. Once thats done, the apps are
fully functional. Its worth noting that
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
Lets begin with Generative. This is

designed to transform sound from a file
or an external input into evolving
soundscapes by using granular
synthesis. The idea is that synthesis
parameters constantly change, as do
playback position, volume and panning.
You can load a sample or specify any
audio input on your system to get sound
into the processor. Each granular device
must have a number of segments that
get used as destinations for its
playhead or playback position. Once
a sample is inside the instrument, it is
analysed and the results are used to
drive the granular synthesis engine.
There are a number of controls inside
the main area of the applications
window, and some are contextual,
changing based on what you select.
Truthfully, you have to wrap your
head around what the app is actually
trying to do before you can start to
properly navigate around. Filters are
available at different stages in the
signal path and there are aux channels
and effects, too, such as delay,
distortion and reverb. Contrast in the
interface could be a little stronger, as
sometimes buttons dont initially seem
to be buttons: its all a bit dark. When
you do get a sound running and being
processed, the results are suitably
experimental and ambient. These kinds
of sounds are increasingly popular, not
just for installations but also
soundtracks for movies and TV, as
composers look to go beyond regular
synth sounds and create entirely new
soundscapes and textures. Generative
can certainly do that, though youll
benefit from being willing to delve into
its deeper workings.
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
with its own delay time, time variation

and gain settings. The idea is that the
compressed output of these delays is
fed back into the delay line, the result
being the possibility of creating infinite
feedback. As such, its designed to be
good for creating layered sounds,
drones, loops and textures. This is not
dissimilar to Generative, though the
way its achieved is not the same.
In addition to the delays, there are other
effects, including compression, filtering,
reverb and distortion, and the output of
the app can be recorded to a file in fairly
flexible ways, letting you choose which
parts of the signal chain get recorded.
Again, its a little complex to look at,
though the layout is easier to trace
signal through than is the case in
Generative. Its results are very
experimental and great for building
textures, drones and loops.
Sound of the Siren

These are two powerful audio
processors that will be of great appeal
to those with a keen interest in
synthesis and sound design. Theyre not
for beginners, and its true that turning
sound into more complex sound is a
feature available elsewhere, such as in
Izotopes Iris synth.
That being said, these are
significantly more affordable and
similarly powerful, provided youre
willing to get into the nuts and bolts of
how they work. Demo versions are
available that, although feature-limited,
will give you an idea of what theyre all
about. At such affordable prices,
dipping a toe into the water isnt all that
much of a gamble. MT
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
MT Reviews Digitech Polara Reverb
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
espite the prevalence of great

plug-ins, stand-alone
software solutions and the
availability of cost-effective
rack-style effects, stompboxes are as
popular as ever. The rugged format is
ideal for live performance, and with so
many options on the market theres
scope for creating signature sounds by
combining individual units. Pedals have
always found their way into the home
studio, and many of todays high-quality
stereo units can function quite happily
in the mix as well as a track-laying
environment. This Polara reverb is one
such beast. At the price, its a very
practical and portable way of adding
a group of seven Lexicon algorithms to
your sonic toolkit.
The Polara has a solid, chunky feel
to it. I cannot say I particularly like the
Art Nouveau/post-rave graphic
principally because it makes the control
legends extremely difficult to read. The
mode selector rotary offers familiar
room, plate, reverse, hall and spring
settings. In addition, we have
modulation and halo, which are
essentially special effects that come
into their own if you want to create
moody, spacey vibes. Theres a reverb
level control and parameter adjusters
for liveliness and decay, and an
additional mini-toggle switch labeled
tails. In the off position, the reverb
decay will end abruptly when you tread
on the stomp switch; with tails on, the
decay fades out in a more naturalistic
way. The Polara can be used as both
a mono and stereo input/output device,
so you can connect it in line with other
stereo pedals or output to two amps or
a mixer or potentially add it as an
insert effect. While this is a 9V unit, it
doesnt take a battery, and the relevant
Harman power supply is recommended
but not included as part of the

package. Something that is included,
however, is the clever little StompLock:
a rubber moulding that slips over the
controls, so your carefully set
parameters wont become the victim of
or part. Tonal nuance is limited to the

high-frequency response, as controlled
by the liveleness control. This seems
most useful as a subtractive tool to
knock back the reverb character of
brighter parts, where its addition can
Its a practical and portable

way of adding seven Lexicon
algorithms to your sonic toolkit
a misplaced boot or gigbag malfunction.
Its a simple, but very practical, solution.
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
start to sound harsh. Any guitar player

with a fondness for analogue amp-style
reverb is sure to find the basic spring
setting very convincing. It can add
flexibility, or in some cases restore
access to vintage performance vibes
you might have let go with the sale of a
classic amp. This setting can be used to
create a sort of wet, overloaded surf
guitar or rockabilly sound. A subtler
version is excellent for vintage organ
magazine
29/06/2015 15:03
Digitech Polara Reverb Reviews MT
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.
Tiny Thunder Audio
parts. Plate can add a smooth, slightly

unnatural sheen that will have you
thinking of 60s/70s production
aesthetics. This works well with most
instruments, and the sound quality is
such that it can be used on vocals and
drums quite effectively.
Room and hall are general go-to
algorithms if youre looking to create
believable live room sounds that can
help to bring the basic character of an
amp modelling solution to life. For
anyone with an earlier-generation
digital reverb pedal, the Polara will feel
like its in a totally different class. At the
same time, as good as these Lexicon
algorithms are, nothing at this price
point is going to deliver the acoustical

nuance that results from an actual
encounter between sound and physical
space. The modulation setting delivers
a big presence that needs to be
carefully restrained if it is to be useful.
Higher liveliness settings accentuate
the chorus dynamic. Used as a mono
effect on a particular lead guitar part, it
can sit in a mix effectively. Used as a
stereo effect with a high level setting, it
dominates the entire soundstage
which, depending on your perspective,
may be a good or bad thing. Halo is
probably more useful if youre looking to
create lush, dense atmospheres, as you
can add more to the basic character
without the up-front modulation effect
interfering with the basic sound of the
part or mix. Its still very spacey, but its
Alternatives
There are plenty of high-quality reverb pedals to choose from and
competition is stiff around this price point. TC Electronics Hall Of Fame
(105) is a similar proposition: a stereo input/output device offering
spring, plate, hall and room reverbs. TC has a reputation for producing
excellent-sounding effects, so its really a question of listening and
deciding what works for you. If youre looking for a tried and tested design
and a reputation for rugged reliability, the Boss RV-5 (105) is an obvious
contender. It offers eight reverb modes and stereo connectivity. Finally,
if its the Lexicon vibe that youre after, and you have a little more cash to
invest, the Lexicon MX200 is a well-priced flexible rack unit (249), which
offers loads of sounds and plenty of editability.
actually a more subtle effect. Reverse

mode is fun and more of a potentially
creative tool, as the effect is so
pronounced. The dry signal is
eliminated, so the impact on parts and
sounds is quite extreme. MT
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
like its a bad thing.

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29/06/2015 15:03
MT Reviews Korg iM1
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
MT149.REV Korg M1i.indd 98
m actually shaking a little bit while

writing this. Just a tiny bit. Im
reviewing Korgs iM1 the M1 synth
for the iPad and have hit that
Universe preset. Suddenly, Im instantly
transported back to my music
technology college 25 years ago, to the
midst of a frankly rather ridiculous, but
still bugs me more than I care to admit
ask just over a tenth of the student

grant I spent on it).
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
Loads of big-padded, fake

acoustic stuff; loads of LA; loads
of old brass; loads of unsubtle
late 80s sh*t; loads of money!
argument over which company made
the first synth workstation. Was it
Roland, with the D-20 the synth I
owned? Or was it Korgs M1 my friend
Jons keyboard? Whoever won that
particular geek-ument is lost in the
mists of time (it was me) but its now
largely immaterial. One of said
keyboards went on to sell gazillions,
becoming the synth of the late 80s and
early 90s, appearing in the TOTP rig
every week and basically soundtracking
an entire generation. The other ended
up in the second-hand pages of a
magazine. (I got 150 for it, if you must
coffers during the transition from

analogue to digital synthesis and it
certainly defined an era in music,
although I actually happen to think that
the era in question wasnt all that good.
Dreadful even. From about 1984 to
1989 the world of pop music went, for
want of a better expression, totally tits
up, and the M1 and its ilk were largely
responsible (alongside Stock Aitken
And Waterman).
Luckily, then, Korgs designers and
lets give them a bloody big pat on the
back, as theyre on a bit of a roll at the
moment have opted to produce the
M1 in all of its glory (and inglory, if that

is a word), plus a lot more besides.
Load it up and you get six sound
packs included, plus options to
increase these (just like adding cards to
the original); and a very neat touch is
that when I booted up Korgs excellent
Gadget, it gave me the option to load in
iM1 to join the brilliant range of synths
and drum machines in that app. Great
stuff so far
The Universe and everything

So, to the presets, and I have to say that
they easily transformed me into my
21-year old, rather stupid self. They are
there, although the rather bland original
front panel of the synth is not
(thankfully) as present as youll find on
Korgs analogue iOS ports. Instead, you
get parameters to play with and instant
hands-on control, something the
original never had unless you
squinted through menu after menu.
You get 100 sounds in each of the
first three banks (M1, M1EX and
Memory), plus 50 each in Synth1,
Drums1 and Orchestra1. Optional
expansion cards available include M1
Card Pack (16 titles) and T1 Card Pack
(11 titles), each just 3.99, which Ill be
reviewing next month in MusicTech.
Of the ones supplied, for anyone
who is in any way M1-orientated, its
MAGAZINE
26/06/2015 12:52
Korg iM1 Reviews MT
the wondrous and aggravating journey

you will have expected. On one hand,
you get those amazing Combinations
(great walls of sound or Splits to play
entire keyboard parts) and presets like
the aforementioned Universe (so good it
appeared on every Gary Numan album
during his fallow period). But then, in
what seems like random preset
ordering, you end up with a corny sax
preset straight out of a low-rent 1980s
porn film
This means you get, then, what you
damn well should: an M1 pianos
aplenty; loads of digital; loads of big
(shoulder) pads; loads of fake acoustics;
loads of LA; loads of old brass; loads of
big, in your face unsubtle late 80s sh*t;
loads of money!
So, if you want ethereal walls of
atmosphere that launched a thousand
Enyas youve come to the right place
[mmm, a thousand Enyas Ed]. But this
is the M1, so youve also come to the
Alternatives
A real Korg M1 and a couple of Kaoss pads. Oh
and some expansion cards. Or get yourself a
Roland D-20. I know someone who can do you
a really good deal.
right place for a big dollop of Black

Forest Gateaux. But you knew that.
Thats why youve read this far. As
I said, the M1 was infuriating. It was
second to none when it came to
creating atmosphere, but it was also
the synth that overdid the digital thing
so much that it arguably (and I am
stretching history just a little here)
ended up kick-starting dance music as
people rebelled against it. (Im not still
thinking about that three-decade
argument at all, you understand).
expand its palette by thousands of

sounds that came out long after the
original. In fact, all I can say is top marks
Korg, its a souped up M1 even I cant
argue with. And all I can now say to
Roland is Your turn? MT
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)
Well that review was a journey if ever

there was one. And a very bitter version
of me would conclude that the M1
wasnt as good as everyone said, and
that this app deserves to go the way of
the D-20. But with the extras Korg has
added, I simply cant make that
argument. Theres the fact that you can
effectively use it as a multitimbral
sound module in your studio set-up; the
fact that you get the Kaoss pads to give
you extra control; the fact that you get
true control over the sounds and extra
parameters that we all wanted at the
time; and finally the fact that you can
Its an M1 but, like the cars around

at the time of the original, Korg has
added not just go-faster stripes but
a new engine, new stereo, new
reflective paint and a blonde sitting
in the passenger seat with more
peroxide than the whole of 1989.
A page 3 stunner of a synth.
10/10
LTC-1
Manufacturer DSRT Sound
Price Free
Contact Via website
Web dsrtsound.com/ltc-1
heres no shortage of Ableton

Live controller apps around,
but most tend to focus on clip
launching. LTC-1 is a free
template for the Lemur iPad app, that is
designed to focus more on mixing and
transport controls. Youll need the
Lemur app to run it, and that costs 19,
so its debatable whether you would buy
it just to run this free app, but if you
already have it or are planning to get it
anyway, its a no-brainer.
Theres a companion Max for Live
module that you have to load into the
master track in Live, and once this is
done you can connect the Lemur app to
Live wirelessly by entering port settings.
Communication is bi-directional and
uses the OSC protocol. The idea is that
you save this as a template project,
then every time you load it, the two
devices will be connected.
The template itself is fairly
straightforward to use and gives you
controls for volume,

pan, sends 1-4, track
enable, solo and arm
for up to 16 tracks in
Live. There are two
views, so you can
choose between a
detailed single track
view or a multitrack
mixer, and you get full
transport controls for
both session and
arrangement views.
There are also controls
for quantize and
tempo, and buttons for
adding, deleting and
duplicating tracks.
In practice, it all seems
to work well and using OSC means
that changes you make in Live are
updated in real-time in the app.
Its a free template and does its job
well, though the cost of the Lemur app
needed to run it is a consideration.
Once you get past that, its a simple
but useful way to mix and control Live
from a playback rather than cliplaunching perspective. MT
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
MT149.REV Korg M1i.indd 99
| 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
he M80 arrived in a sizeable

cardboard tube designed to
look like it contained fireworks.
Inside there was a zip up
pouch containing a stand clip and an
unusually smart hand held dynamic
microphone complete with rubbery
black finish for good grip and low
reflectivity, a nickel plated capsule grille
and arguably the most iconic badge
logo in the microphone world.
Several decades after its
introduction the venerable Shure SM58
is still the live vocal microphone all
others are pitted against. The M80 is
intended to present an alternative to
the SM58s midrange-laden tone. We
are also promised condenser-like
performance with the rugged
attributes of a traditional dynamic.
To achieve this Telefunken USA has
developed a low mass capsule with a
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
super thin diaphragm.

The capsule assembly is
designed to reduce
proximity effect, thereby
allowing vocals more
low-end clarity and airy top
end. Inside theres also a
custom wound transformer
from the highly regarded US
manufacturer, AMI/TABFunkenwerk.
As you would expect the pickup
pattern is cardioid and the quoted
frequency response extends from
30Hz up to 18KHz. The M80
measures 48mm by 184mm and
weighs in at just over 370g. As well as
vocal applications, the M80 is also
recommended for snare drum and
electric guitars in the studio as well
as on stage.
The frequency response is anything
but flat and this is reflected in the
Fischer Viola
Manufacturer Embertone
Price $125
Contact via website
Web www.embertone.com
usicians humour can be

cruel sometimes and viola
jokes are commonplace in
many a band room. They
are said to have originated as far back
as the early 1700s when, after being
appointed head of an Italian orchestra,
a young violinist was such a bad
timekeeper that he was demoted to
playing the viola. Back then the violas
were mostly assigned filler parts. Today,
of course, they are an integral part of
the symphony orchestra. There are
many fine soloists around now, too, like
Christopher Fischer, the violist
performing on Embertones new virtual
instrument, the Fischer Viola.
Embertones other string
instruments, the Blakus Cello and
Friedlander Violin are renowned, not
only for their immediate playability, but
also for being highly configurable. It was
no surprise, then, to discover that their
new viola, based on similar principles,
100 | August 2015
MT149.REV minis.indd 100
Choice
proved very expressive to play. This is

largely due to the extensive sampling of
the legato transitions at two dynamic
levels, one whispery quiet, the other
somewhat louder. Its a heavy CPU
feature, though, but can be switched off
for normal sustained playing. The other
three articulations are staccato,
pizzicato and tremolo, each extensively
configurable and controllable. For
example the staccato length can be
altered with CC control as you play.
Clever scripting also provides up to
eight players in ensemble mode with
options to humanize, randomize, alter
their intonation and pan each one.
Dynamics, slurs, bow position,
portamento and vibrato, all can be CC
controlled and keyswitches can be
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
sound. The M80s upper mid and treble

lift is pronounced and certainly
reminiscent of some small capsule
condensers. Fortunately feedback
resistance is impressive and handling
noise is low.
At a short-ish distance the
midrange and low mids sound
somewhat lacking in body, but the
engineered frequency response makes
sense when the M80 is addressed as
intended up close and personal. The
tone fills out nicely, without becoming
boomy or losing intelligibility. MT
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
customized. For iPad and Android

tablet owners an app is available for
advanced Fischer control and a special
template is included in the
documentation folder. Embertone
highly recommend its use if possible.
That said, we didnt, and everything
worked amazingly well with a
conventional keyboard and modwheel.
We cant fault the Fischer Violin in
any way really except perhaps for its
rather dark interface (a woody imitation
viola) and peering at small red text on a
black background, isnt exactly
conducive to a fast workflow. However,
it scores heavily where things matter
most: tone, musicality and an
abundance of highly configurable
controls. Looking for a virtual solo viola?
You wont go wrong with this one. MT
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 info@loopmasters.com
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
Contact via website
Bass funk, midtempo breaks, and

glitch samples
726MB of 24-bit
Audio, Acid WAV, Apple
Loops, Live Pack,
ReFill, REX2
64 Sampler patches
for Kontakt, HALion,
EXS24, Kong, NN-XT
& SFZ
202 loops & 310
one-shots
Written and
produced by artists on
the Bombstrikes label
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
aul Maddox takes a journey

into the hypnotic world of
mainroom techno in this
tutorial. It is divided into 11
modules and totals over 2 hours,
with all the relevant Live project
files, plus 150MB of bonus
samples from Loopmasters.
Maddox starts off by laying down
the beats before adding textures
and atmosphere, and processing
the entire drum group. Later he
looks at creating modular synth
arps using M4L devices and
macros, and chord stabs and pads
to fill out the track. It isnt a
complete track walkthrough but
Maddox covers the main elements
in a concise manner, and has
plenty of top programming tips. MT
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
Price 29.95
9/10
9
9/
10
Web www.live-courses.com
Classic 90s
House Vol2
oopmasters has teamed up

with UK producer Audio
Jacker for another collection
of soulful, jackin 90s house.
Theres a hefty 1.3GB, spread
across 12 folders of loops, 8
construction kits, and a bunch of
one-shots with 33 accompanying
sampler patches. The production
here has a gentle simplicity, with
reverb on most loops and hits, but
when each element is combined it
forms a well-balanced, cohesive
mix. There are chunky live bass
loops, some satisfying piano and
Rhodes chord progressions, and a
useful folder featuring a single
funk guitar riff in different keys.
Despite a fair amount of repetition
and simplicity in some, there are
plenty of useful riffs for any house
producer to get stuck in to. MT
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
his pack contains a large

collection of 80s synth pop
and Italo disco inspired
loops, with a mixture of vintage
synths and real instruments,
recorded to tape through an all
analogue signal path. It has 9
folders of chunky acoustic drums;
spaced out guitars processed
through vintage pedals; nostalgic
synths, pads and keys; and bulky
analogue bass patterns. The
percussion and live elements give
the drums an organic energy, and
the lush synth loops are all well
programmed and processed. Wed
have liked some presented in a
playable instrument format, and
found some drum and music
loops to be a little too full.
However, everything here is well
written, and the shear number of
loops means youre sure to find
some great hooks. MT
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
MT149.REV minis.indd 101
| 101
29/06/2015 14:58
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MT149.US subs.1db.indd 5
02/07/2015 16:02
Six of the best Buyers Guide MT
Six of the best

Hardware
Software
Mobile Tech
Accessories
Welcome to the MT Buyers Guide where we round up some of

the best products reviewed in recent months here at MusicTech.
This month, one of the most important elements in your signal
chain, the mic preamp
Details
Price 2,749
Contact
AMS/Neve
01282 457011
Web
www.ams-neve.
com
BEST Transparancy
LEV Solutions
Integrity 2
h Integrity 2 is one of a small

number of pre amps that has
been designed from the ground
up, making no claims to
emulate equipment from the past, and
MT reviewer John Pickford admired this
refreshing approach. The unit thrives
on being devoid of obvious character,
preferring to be faithful to the character
of the microphones used with it. He
went on to conclude: the quality of
sound is excellent, with plenty of gain

and a vanishingly low noise floor. It is a
thoroughly modern and original design
that does not rely on vintage
credentials, focusing on precise
amplification that remains faithful to
the source material. Those who desire
controls or want a rose-tinted sound
presentation should look elsewhere,
but if transparency and truth are
important to you, go for it.
BEST Its a 1073!

Details
Price 1,499
Contact
KMR Audio
Tel: 020 8445 2446
Web
www.levsolutions.
com
Neve
1073
DPX
T
Thermionic Culture
The Rooster 2
lso featuring an EQ, Rooster 2

is an update of Thermionics
award-winning Rooster
preamp. MT reviewer John
Pickford said: this is a first-rate
tracking device that, with the delicious
EQ and Attitude, can breathe life into
the dullest sounds. It is a superb
sounding preamplifier with a rock n roll
heart. He then concluded that:
nothing compares to a top-quality
valve preamp, especially when
recording digitally, and the Rooster 2 is
up there with the very best.
BEST Tones
Details
Price 1,845 + VAT
Contact
Thermionic Culture
01279 414770
Web
www.
thermionicculture.
com
he original 1073 has been the

mic pre of choice for engineers
across the globe for four
decades, and has inspired
countless other designs. Indeed Neve
itself has produced several variations,
this being the latest and incorporating
the companys legendary three-band
equaliser. Reviewer John Pickford said:
Other boutique designs that major on
transparency might like to think of
themselves as the Rolls Royce of
microphone pres, but this one is the
Aston Martin the one that we all really
want to own. The 1073 DPX is a
world-class product, built to last and
provide years of sterling service.
Imitations do not come with pride
of ownership.
MT149.6OTB.indd 103
| 103
26/06/2015 12:43
MT Buyers Guide Six of the best
BEST Beatles
Chandler TG2-500
handler is the only hardware

company that has any kind of
license to rebuild or
re-engineer any of the classic
hardware that was a part of EMIs suite
of studios in the 60s and 70s
including, of course, the mighty Abbey
Road. (Check out MT146 for more.) The
TG2-500 then, you wont be surprised to
hear, is based on the TG12428 preamp
featured in EMIs TG series of consoles
that were used to record many classic
albums, such as The Beatles Abbey
Road (1969) and Pink Floyds The Dark

Side of the Moon (1973). Reviewer John
Pickford said when reviewing it back in
MT139: The TG2-500 is a lovely
sounding microphone pre-amplifier
with a bright, full-range sound. Its a
no-nonsense unit that gets on with its
job of amplifying microphones and
line-level sources without the addition
of tone controls, filters or metering.
The refined 1970s Abbey Road Studio
sound is unmistakable solid-state
has never sounded better.
Details
Price659
Contact01799 520786
Web
www.chandlerlimited.com
BEST Flexibility
RND 511
e reviewed the RND511

alongside the 517 but
found it to be ever so
slightly more flexible.
Reviewer Mike Hillier said: Both are
great preamps, easily worthy of finding
themselves in the best studios in the

world. Were we to equip a studio with
just these preamps not a terrible
proposition wed prefer to have a bank
of 511s. Its an incredible sounding
preamp, a worthy addition to any rig.
Details
Price520
Contact
Sonic Distribution,
0845 500 2 500
Web
www.rupertneve.com
The Abbey Road sound is

unmistakeable. Solid state has
never sounded better
BEST Vintage
Great River MP-500NV
reat River doesnt claim to

clone any particular preamp,
but has worked-up a design
with a distinctive vintage
sound of much-loved consoles. And
its clear theres a touch of Neve 1073
here, albeit with top-drawer
components to bring that classic 70s
vibe into the 21st century. John
Pickford said: It certainly lives up to
its vintage credentials with a
full-range, expansive sound that
104 August 2015
MT149.6OTB.indd 104
doesnt stifle the signal in a way that

the inputs of budget analogue mixers
can. Rather, it seems to enhance the
basic character of microphones with a
nature that is very appealing. Anyone
looking to inject some proper
old-school mojo into their recordings
should audition one, and concluded:
the preamp has a euphonic nature
that flatters most sources in a similar
way to the legendary Neve 1073s. It is
highly recommended.
Details
Price838
ContactUnity Audio,
01799 520786
Web
www.greweb.com
magazine
26/06/2015 12:43
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MT App ad A4.indd 1
02/07/2015 16:00
MT Feature A bluffers guide to microphones
MT Feature Music Technology
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
s a producer, you could theoretically go through your entire career

without once needing to look at a microphone. We would strongly
advise against it, but its certainly possible. If you dont plan on
using vocals in your music, then you need never worry about them.
Thing is, mics are fun. Aside from the fact that knowing about
them broadens your musical knowledge and makes you a better producer and
engineer, they are actually highly rewarding to use. Mics are the divas of the
production game finicky, demanding and complicated, with a million different
moods. But figure out how to get them working for you, and they can steal the
whole show. In this guide, well look at how mics work, and how to turn them
into the headliners on your production marquis.
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
106 | August 2015
MT149.Bluffers Guide.indd 106
MAGAZINE
26/06/2015 12:44
A bluffers guide to microphones Feature MT
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
MT Feature A bluffers guide to microphones
microphone into. In most modern

equipment, its a case of simply
plugging the microphone in and
flicking a switch on the interface.
All being well, this will activate the
microphone, making it ready for recording.
Then you need to worry about pickup pattern,
which is where it really gets interesting. Essentially,
a pickup pattern refers to the area around the
microphone where sound will be most easily picked
up. The more expensive a microphone is, the more
likely it will be that you are able to adjust this area
either focusing or widening it.
There are a few types of pickup pattern that
youll need to know. The first, and most common, is
a cardioid pickup pattern. Appropriately for
something with a slightly anatomical name, this
refers to a pickup pattern in the shape of a kidney.
If you think about that shape, and then picture the
microphone nestled into the concave part of it, then
nail this down is to experiment, and to get

a feel for what different mics do in
different situations.
Deep pockets
The Shure SM58 - arguably the

most popular microphone on
the planet
(Below left) The Neumann
Solution D. Got 8,000? Buy one
of these
Every engineer has a list of mics

they must try before they die, such
as the Neumann Solution D
its easy to work out where the sound will be picked
up: to the front and sides of the mic. Usually,
cardioid microphones have quite a wide pickup
range, meaning they will often pick up sounds
coming from the rear of the microphone.
A supercardioid pattern, on the other hand, focuses
this shape, eliminating the pickup at the rear.
There are two more shapes worth knowing.
Omnidirectional pickup patterns allow the
microphone to record absolutely everything around
it. Meanwhile, bidirectional patterns (popularly
known as figure eight patterns, for reasons that are
about to become abundantly clear) pick up sound
from the front and rear of the microphone, but not
from the sides.
If you ever see a pickup pattern selector on
a microphone, you should be able to identify the
types of pattern by those four distinct shapes:
a kidney, a smaller kidney, a circle, and a figure
eight. And while were talking about mic controls,
you may also notice a high-pass filter
(HPF) switch on some models.
This changes the EQ settings
of the mic so it doesnt pick up
low-frequency sounds its
useful for obtaining a clearer
vocal recording.
As for where to place the
mics, and what distance to
record at thats a topic that
could easily take up this entire
magazine. It depends on the
instruments, the room and whats
being played. The only way to really
108 | August
March 2015
2015
You can, if you want, pick up

a microphone for less than a hundred
quid that will do almost anything you
ask it to. Good microphones such as the
Samson CO1 Condenser, are both cheap and
functional. Many will allow you to bypass the audio
interface entirely and plug directly into a USB port
a very welcome development among those who
need to travel light, or who do only casual recording.
As you start getting into microphones, youll start
recognising many of the most common models, such
as the Shure SM58, a dynamic microphone used so
widely that its profile has become one of the most
recognisable shapes in the audio industry. And by
the way, you cannot break those mics. Seriously.
Weve tried. [Dont Ed]
At the other end of the spectrum are microphones
that cost thousands and thousands of pounds. These
are the top-of-the-line condenser and ribbon
microphones, which come in velvet-lined wooden
boxes and ship with their own dedicated power
supply. The reason they cost so much is because of
the quality and character they offer. Every audio
engineer has a preferred microphone or set of
microphones, and its very common for studios to
have what is known as a mic locker with dozens of
different models that can be used in any situation.
But every engineer also has a bucket list of mics that
they must try before they die, such as the Neumann
Solution D, which costs more than a car.
The point of telling you this? Once you get
involved in the world of mics, its very hard not to
start lusting after the really big fish. And if you stick
with your audio career, you may even end up getting
to use some of them. MT
This feature is
Meet the Rode NT1-A, which
endorsed by
is a fantastic condenser mic
SSR, which
suitable for studio use
has been
providing
professional
education
training in
the audio
engineering
industry for over
30 years. With
campuses in
London,
Manchester,
Jakarta and
Singapore, SSR
has gained a
healthy reputation within
the music industry for producing
well-trained, professional
graduates across the globe.
magazine
magazine
26/06/2015 12:44
LOGIC PRO X 2015
On sale now 8.99 with free DVD. Digital version 5.99.

Available at WHSmith (UK), Barnes & Noble (USA) and all good
bookstores in Australia, Canada, and throughout Europe.
Or order online at www.musictech.net/tag/focus
MTF39.ad.indd 1
01/07/2015 11:04
MT Show off your studio
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
Making sure your

Stormtroopers stereo
positioning is correct an
essential studio technique
Talla 3
Interviewee: Tommy Jansson
Contact: tommy@talla3.com 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,
MKS-100; Korg P1, M3R; Casio
CZ-101; Quasimidi Quasar; Alesis
Vortex; Keytar; Eurodesk MX8000;
Rode NT2-A; a bunch of screens and
other stuff not being used.
Which DAW and why? Cubase Pro
8. I started with an Amiga and a
tracker program in the old days,
which was really fun, but got
interested in Cubase when on the
Atari ST and just loved it! Been using
it ever since, and there are always
new features to be discovered.
How do you use your studio?

It is quite small, so cant handle
whole bands. Mostly, I work with my
own electronic projects: Talla3 and
One Human Machine. I do everything:
playing, recording, mixing and
mastering. It would be great to be
able to work in the studio full-time
maybe some day. Im using a digital
distribution company for my
releases, so they can be found on
major online stores just saying
Im also producing my daughters
first song. Its for fun, but we will
release it and its a great opportunity
to spend some time together. I also
invite singers and musicians for
co-projects and remix for artists.
Favourite gear? The FMD

Electronics VOC-10 vocoder module.
I use it a lot and its also the only one
there is. I know that, as I built it 20
years ago with pieces of schematics
from the early 70s, but with modern
low-noise components. The idea was
to build a limited amount of 20, but I
ran out of money when I finished the
first. I fell in love with it and kept it!
What annoys you about it? The

limited space is frustrating. I wanted
to have more angled rack units on the
studio desk, but had to build the desk
so it would fit in that room. I dont
like crawling down under the desk,
and to reach the cables. Otherwise, it
took me about eight months to build
and Im really proud. One push of a
button on the remote powers it up.
110 | August 2015
MT149 SOYS.indd 110
Dream gear? A mind extractor

connected to my setup that could
read my thoughts, as I sometimes
have the perfect arrangement in my
head, everything in place, and the
frustration of not being able to get it
out because I cant find or make that
specific sound. But a Mini Moog will
do just fine, thank you for asking.
Any advice? Stop what you are
doing immediately! Use your brain
and think! What is the purpose of
the studio? What are you trying to
achieve? If you dont know, then go
to bed and restart the next day. Its
important to let things take time.
I can only answer this in this way
after building this particular home
studio. It is my sixth or seventh
home studio setup, and my main
focus this time was not to just build
a recording studio, but rather a
clean place for inspiration, where
new ideas are brought to life. I can
sit here doing nothing, just
watching waterfalls on the big
screen and chilling on the couch
until inspiration hits me.
MAGAZINE
26/06/2015 12:40
Show off your studio MT
Sain Code
LTL Records
Interviewee: Bobbi Styles
Interviewee: Lucas Paez
Contact: bobbi.l.style@ltlrecords.com
Contact: redthresh@gmail.com
Sains set-up:
Nice can of Fanta
Its the sarcastic humour

you are paying for
Key components in your studio?

Mac Pro; Logic Pro; Waves
Mastering; JJP Analog; SSL4000
Bundle; Spectrasonics Omnisphere;
NI Komplete 9 and Maschine 2;
DSP-Quatro; BFD 2; too many sample
libraries. Hardware: Dynaudio M2s;
Apogee Digital Symphony; Avalon
VT-737SM; UA LA-610 MKll; SSL
Nucleus; NI Maschine 2; various
analogue synths; JD-8000; Korg
Triton; M-Audio AIR & Axiom 49
keyboards; PreSonus Monitor
Station; and several electric guitars/
basses and classic mics.
Which DAW do you use and why?
I started on Cubase on an Atari 520
STF way back when, but since
switching to Logic (2.5) many years
ago its been my DAW of choice and
now its Logic Pro X 10.1. I love the
work flow and creative ease of use
the best solution for the way I
work. I have Pro Tools if a client asks,
but have not used it for two years.
Favourite piece of gear? A tough
one: My Dynaudio M2s. Theyve gone
into every studio Ive built or used in
the last decade or more and Ive
relied on their amazing honesty of
sound for over 15 years.
Perfect or room for improvement?
Theres an argument going on
between Logic, M-Audio and the SSL
Nucleus over whos the main
controller
How do you use your studio? I use
my studio mainly for LTL Records
and other labels artists, but I do
work woth other artists and bands
not on any label, too, but the studio

is not a hire-by-the-day studio. Its
an artist/label project studio, either
for my productions of others on
other labels. Saying that, I do find
that I am mixing for bands and
artists from around the world most
of the time now.
What is you dream piece of gear?
Excuse me while I take 10 years to
decide. Either an SSL Duality or
Neve Genesys, either one
64-channel, primarily for their
quality, and also for their DAW
compatibility.
Next on your shopping list? An SSL
Sigma I really want to have an SSL
analogue summing box and also
Neves 5059 summing box. That
way I can switch between the two
classic-sounding analogue busses
within my work flow
One piece of advice? Get good
speakers/monitors, one decent pre/
comp box and treat your space with
whatever you can to kill bad audio
reflections. Good speakers are
essential, but a bad setup or bad
room can kill any chance of a good
mix. Dont chase the loudness, gain
stage correctly and go for mix
quality not loudness. Also, stop
watching the clock! Dont write
your song in the studio while
paying for a studio by the hour.
Rehearse, rehearse, rehearse before
you go into the studio. The studio
services are free, its my sarcastic
British humour youre paying for
No, your girlfriend, her pics or
videos are not acceptable currency.
Main studio components?

Nothing fancy. I have a huge PC
computer; a couple of controllers
(Akai MPK49, Akai APC40 MkII,
Roland A-30, 88); Beyerdynamic
Custom One Pro as headset;
Yamaha HS50M as flat monitoring;
LG as hi-fi monitoring; two AOC
12360 LED (24); and M-Audio FW
410/TCE Studio Konnekt 2.
Which DAW and why? I use FL
Studio 12 (and have used FL since
v9), as I love almost everything about
it: the simplicity, speed, sound,
visuals, killer features and more. Im
also getting used to Pro Tools for
better results, as Im finding FL a
little unstable sometimes.
What is your favourite gear?
My two monitors, so I can switch
between full listening or just
monitoring. When they work at the
same time, it is just awesome.
How do you use the studio? I use it
for working professionally on my
own projects, but I actually started it
all for fun. Im studying to be a
sound technician, training in a
private school, which obviously
helps a lot.
Next buy? Definitely a Komplete
controller or high-end plug-in suite.
What is your dream piece of studio
kit? A Nord Lead is like my dream
car. I would also love to have a live
room to start working with singers
and band musicians.
Do you have any advice for
running a studio?
Just to try to keep it simple. You
dont need tons of equipment to
make good music, or create a good
mix of your music.
MT149 SOYS.indd 111
| 111
26/06/2015 12:41
MT Next month
Whats in
Issue 150 On sale 21 August
THE MUSICTECH
ISSUE 150 SPECIAL!
Amazing DVD giveaways, tips, best ever gear

recommendations and much more, as we celebrate a
special MusicTech milestone
Whats all the fuss about?
EURORACKS AND
MODULAR SYNTHESIS
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The Experts (see p3)
Rob Boffard, Mark Cousins, Keith
Gemmell, Andy Price, Mike Hillier,
Hollin Jones, Marcus Leadley, John
Pickford, Huw Price, Martin Delaney
Cover Image iStockphoto
MT149.next.indd 112
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26/06/2015 14:52
FIRST WITH REVIEWS

FIRST WITH NEWS
HAVE YOU CLICKED?
Powered by
Magazine
www.musictech.net
MT .net ad.indd 1
01/07/2015 11:06
MT Your Disc
DVD149 4GB+ PC&Mac
YourDVD
Welcome to DVD149! Enjoy some summer

vibes with our exclusive packs of electric
piano instruments and deep tropical house
kits. There are also top tips on mixing, Ableton
Live, Maschine and Logic, plus plenty of
demos, software, promo videos and this
months workshop files...
MULTISAMPLES//ROYALTY FREE & EXCLUSIVE
Size 690MB Format 24-bit/44.1kHz WAV, NN-XT, Kontakt

Our main pack this month comes courtesy of our friends
at PinkNoise Studio and includes nine multisampled, amped up
electric piano instruments so you can add some vintage fuzz to
your tracks. A Yamaha DX synth was used to make the different
electric piano sounds, each of which was recorded off as a clean
version, plus two lightly driven versions that were processed
through a Line6 podXT fx unit. All samples are presented in 24bit/44.1 kHz quality, and to add extra detail and playability, each
instrument was recorded with three velocity levels and then laid
out in Kontakt and NN-XT. Web www.pinknoisestudio.com
//AMPED
ELECTRIC
PIANOS
SAMPLE LOOPS//ROYALTY-FREE & EXCLUSIVE
//DEEP TROPICAL
HOUSE KITS
Size 667MB Format 24-bit/44.1kHz WAV, MIDI, Massive

The good people at Equinox Sounds have provided an
exclusive nostalgia-filled pack to get you in the mood for the
summer. Youll find five deep and chilled tropical house
construction kits packed with 80s style synth riffs and
inspired by artists such as Tensnake and Kygo. Each kit is
provided with bpm and key information and presented with a
full mix and its component parts, with extra MIDI files for all
the melodic parts so you can try youre own instruments.
Tempos range from 100 to 128 bpm, and as an added bonus,
youll also find 20 bass, lead, pad and pluck patches for Native
Instruments Massive. Web www.equinoxsounds.com
//SOFTWARE
SOFTWARE
DEMO//SOFTWARE
U-HE HIVE (WINDOWS, MAC OSX)
The latest synth masterpiece from u-he is a

flexible, modern digital instrument with a low
CPU hit. Features include 3 synth engine
characters, 16x unison per oscillator, 7 built-in
FX and much more. www.u-he.com
DEMO//SOFTWARE
AUDIFIED U73B
(WINDOWS, MAC
OSX)
Based on a unique
compressor that was often
used for mastering between
1960 and 1980, U73b
emulates an all-tube vari-mu
compressor with adjustable
release, with instant
characterful results.
www.shop.audified.com
114 | August 2015
MT149.DVD pages.indd 114
VIDEO FEATURE//23MINS
//TECHNO
IN LIVE
Size 208MB Format MP4

Techno lovers are in for a treat, with two videos of tips from
Producertech in Live and Maschine, plus some DnB drum processing tips
in Logic Pro. Producer Paul Maddox takes a look at crafting rhythmic
textures and atmospheres in Ableton Live by chopping up some TV noise,
and Rob Jones adds in some top percussion details and reverb effects to a
techno beat using NIs Maschine. There are also some excellent DnB drum
buss fattening tips from Reso taken from the brand new In The Studio
With Reso course. Youll also find trailers with more details on each of the
three courses. Web www.producertech.com
DEMO//SOFTWARE
NORA 2 (WINDOWS, MAC OSX)

Nora 2 is a powerful pattern-based arpeggiator
and phrase sequencer with DAW technology,
which has been designed for creating solo
melodies, rhythmic basslines, or stabs.
www.squareheads.com
FULL//SOFTWARE
VST4FREE CHERRY SNARE
(WINDOWS, MAC OSX)
A deeply sampled, custom Ebenor Percussion
snare drum instrument recorded with five
microphones and presented with a flexible mixer
featuring punch, sustain, release and pan controls.
www.vst4free.com
FULL//SOFTWARE
FULL BUCKET MUSIC KERN
(WINDOWS, MAC OSX)
A 32-voice polyphonic synth instrument with two
alternative user panels, which has been streamlined and
designed to run with modern MIDI keyboard controllers
such as the Novation Impulse. www.fullbucket.de
MAGAZINE
30/06/2015 08:56
Your Disc MT
SAMPLE LOOPS//ROYALTY-FREE
Size 316MB Format 24-bit/44.1kHz WAV

Weve got another bumper crop of cuttingedge samples from the Loopmasters crew for you
to slice and dice into you productions. First up, to
accompany the reviews theres dreamy synths,
pads and drums taken from Balearic Disco, and
heavy electronic and live breaks and synths from
Bombstrikes Presents Bass Funk. Next up, youll
find evocative guitars, piano and drums from
Cinematic Indie Rock, and dark, glitched-out beats
and ambiences from Dark Atmospherics. Finally,
there are dubbed out synth riffs and drum loops
taken from Dubstep Onslaught 2, and more
uplifting organs, keys and pianos from Classic 90s
House Vol 2. Web www.loopmasters.com
//BALEARIC DISCO,
INDIE ROCK,
AND MORE
VIDEO TUTORIALS//64 MINS
//MIXING & MASTERING

WITH STEMS
Size 723MB Format MP4

Point Blanks mixing instructor
Justin Lyndley (Bloc Party, Amon Tobin,
INXS) takes a look at the techniques
involved in mixing down a hip hop track using just bounced down stems.
The video is presented in Logic X, but is transferable to other DAWs and
Lyndley also uses a range of plug-ins by Waves and UAD. Weve also got
two Ableton Live tutorials that show an exclusive Relative EQ technique,
and how to route Lives browser preview back into an audio track. Be sure
to copy all the videos to your HD for best playback.
Web www.pointblanklondon.com
VIDEO FEATURE//30 MINS
//LOOP+
Size 390MB Format MOV

This months videos from Loop+ include James
Wiltshire from The Freemasons, talking about the affects of
stack limiting on multiple channels. Next up, Producertechs
Rob Jones shows us round the Looperator plugin from Sugar
Bytes, and producer Multiplier presents a great tutorial on
using velocity sensitive envelopes in Massive to add organic
performance control to your patches. Finally, weve got 2
short Ableton QuickTips on beat transients and removing
reverb tails from drums, and how to add production notes
with MIDI info clips. Web www.loopmasters.com/loopplus/
MAGAZINE August 2015 | 115
MT149.DVD pages.indd 115
30/06/2015 08:57
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Meet the C314, the latest sibling from one of the industrys most widely used studio and stage microphone families.
Designed for enthusiasts and professionals alike, the C314 has advanced features that help artists fine-tune their signature sound.
Using the same one-inch dual diaphragm capsule as the C414 XLS, musicians, engineers and producers can have the
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AKG ACOUSTICS, U.S. 8500 BALBOA BOULEVARD, NORTHRIDGE, CA 91329, U.S.A.
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the United States and/or other countries. Features, specifications and appearance are subject to change without notice. www.akg.com
DESIGNED AND ENGINEERED IN VIENNA, AUSTRIA

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Issue 149 August 2015

1.7GB OF ROYALTY-FREE SAMPLES 2 HOURS OF TUITION VIDEO

The magazine for producers, engineers and recording musicians

Give your music a professional edge. Read

20 Tips for mobile music

Reason 8.3, FLStudio 12

John is a studio engineer with over 25 years of

Mixing/Mastering/Logic Mark Cousins

Careers Editor Rob Boffard

Rob Boffard is a sound designer with a

Digital/Composition Andy Price

With a Masters in songwriting and a vast interest

Recording & Guitar Tech Huw Price

A recording engineer since 1987, Huw has worked

Scoring/Orchestral Keith Gemmell

Keith specialises in areas where traditional

Ableton Live Martin Delaney

Martin was one of the first UK Ableton Certified

Reason, DJ & Mobile Hollin Jones

As well as teaching music technology, producing

Electronic Music Alex Holmes

Alex has been a computer musician for 15 years,

Mastering is still the big

Pro Tools Mike Hillier

Mike spent five years at Metropolis Studios,

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MAGAZINE August 2015

Learn how to master a track and

103 Six of the

MT Issue 149 Full listings

The latest reviews

012 | Hear how we master a track

your studio and mobile music making

40 Logic Pro In Depth

Everything Ableton, right here

A new series on getting the perfect DAW take

034 | How to record bass!

080 | Telefunken THP-29 phones

095 | Siren Audio software bundle

MAGAZINE August 2015

t happens every so often that a new product comes along

workstation and sunk their teeth in and refused to let go.

With the release of v3, we get

Studio One 3 comes

So what is it that makes Studio One so popular to its

The Project Page

Studio One also comes bundled with a few virtual

loops. The mid-range version is now called Artist. It includes

MAGAZINE August 2015

MT Feature Mastering: The Guide

ixing and mastering require two very

vocal needs to punch through more, that decision

Listen, listen, listen

Mastering: The Guide Feature MT

The golden rule of mastering is to

moments, do you automate the EQ, or use a dynamic

MT Feature Mastering: The Guide

MT Walkthrough A beginners guide to critical listening

Load your reference track

Copy the EQ and its

Continue moving the two filters up in tandem, or use a wide

to critically analyse a track and bring only what is