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Issue 135
June 2014

DY
Review

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LEADA1
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analogue WIN!
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 WorldMags.net

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 Welcome MT
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Expert Panel
Studio Hardware John Pickford
John is a studio engineer with over 25 years of
expe ience. He is a keen sound recording h storian
and has a passion for valve-driven ana og e
equipment and classic record ng techn q es.

Mixing/Mastering/Logic Mark Cousins

Mark specialises in sound design and cinematic
pro uctions. He has recorded with orchestras
across Europe and is heavily involved in
soundtrack composit on.

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 Music Tech 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
wor s daily on Musi ech.net as well as regula ly
con ributing to the magazine.
Many, many years ago I had a go at building my
own piece of studio gear. It was for an
Recording & Guitar Tech Huw Price electronics course and the item in question
A recording engi eer since 1987, Huw has worked
with David Bowie, My Bloody Valentine, Primal was a MIDI interface for a Sinclair ZX Spectrum
Scream, Depeche Mode, Nick Cave, Heidi Berry,
Fad Gadget and countless others. (see I told you it was many years ago). And it
worked! Well, long enough to be judged a ‘pass’
Sco ing/Orchestral Keith Gemmell
Keith specialises in areas where traditional by my course tutor, before it blew up, taking the computer
music-making meets music technology, ncluding
orchestral and jazz sam le l b aries, acoustic
with it. It cost me a ZX Spectrum, but I got a qualification
virtual instruments and notation software. out of it…
Luckily, my job has allowed me to get to know people who know a lot more
Ableton Live & DJ’ing Liam O’Mullane
Liam has worked as a D&B scratch DJ as well as
about putting DIY gear together than I do. And, even more luckily, there are plenty
releasing dubstep, D&B and hardcore tracks. His of ready-to-assemble electronic kits out there for us all to try. (Even more luckily
passio is to master the production styles of the still, there aren’t many ZX Spectrums left to try them out with.)
latest genres using Live.
Huw is our expert and this month, on p13, he has written an overview of what
Reason & Mobile Hol in Jo es you can do DIY-wise in your studio: anything from assembling a simple lead to
As well as teaching music technology, producing building a synth. Surprisingly it is all easy enough and you could save a fortune and
a d wri ing sou dtracks, ol i is an expert on
everything A ple, mobile or com uter-re ated, as end up with some great gear. We’ll be looking at several DIY projects over the
well as being an accomplished ey oard player. coming months that’ll cover some very different, but essential, studio items. I
reckon even I could some of them a go. So lock up your classic computers, I’m
Electronic Music Alex Holmes
Alex has been a computer musician for 15 years,
going in…
having a keen passion for beats, bass and a l
forms of e ectronic music. e’s cu re tly nvolved Andy Jones Senior Editor
in three d f erent dance music projects.
Email andy.jones@anthem-publishing.com
Cubase Tim Hallas Send your tweets @AndyJonesMT (although don’t expect much tweeting from me)
Tim’s a music technology consultant and Read my blogs at www.musictech.net
education expert. As Cubase Editor e will be
bringing you a range of echnique features or he
popular AW over the coming months.

Pro Tools Mike Hillie

Mike spent five years at Metropolis Studios,
wor ing alongside some of the best-known ix
a d mastering engineers in the world. He is now
buildi g his own studio in south London.

VISIT OUR WEBSITE! Check outoude

Beginners Gui.net
Head to our constantly updated website
for the latest news, reviews and 10 yea s’
worth of quality content – musictech.net at musictech

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MAGAZINE June 2014 |3
MTContents
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MTContents
Issue 135 June 2014

13 DIYTECH!
Buil your own studio gear for a fraction of the cost!
From cables to pre amps:do it yourself…

Feature DIY Kit review

40 21

HOW TO RECORD PT 2 Korg MS20 kit

The gear and the skills you need to record The first of our DIY projects is a great
lead vocals… one – Korg’s classic synth!
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4 | June 2014 MAGAZINE
 Contents MT
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p68

p83 MT Issue 135 Full listings…

006 | ADVANCE
What we’ve been doing this month,
and it’s a trip to the greatest studio
The Latest Reviews ever built: Abbey Road.

p71 p87 013 | COVER – DIY!

NORD LEAD A1
EZ drummer 2 | Universal Audio Apollo Twin
Build your own studio gear: the
guide and your first project PLUS:
Korg’s MS20 built and reviewed
Arturia KeyLab | Softube Console 1 | Sontronics Aria LANDMARK RECORDINGS
029 | Björk Homogenic: the
background story of one of the
DAW Tutorials ice queen’s greatest releases
THE PROFESS ONALS

BECOMEAPOWERUSERPART10 p48
034 | Neil Davidge The inside
track from the pros. This month:
from Massive Attack to Halo 4…
TECHNIQUE
p58 040 | How to record: Part 2
The best way to record lead vocals
044 | NEW SERIES Contemporary
Production Techniques part 1:
Side-chain compression
Become a power user – Part 10
048 | In Apple Logic Pro
054 | In Ableton Live
058 | In Steinberg Cubase
090| Subscribe and get free digital
editions, plus save 35%
REVIEWS
064 | Elektron Analog Keys
Analogue performance synth

p54 068 | Nord Lead A1 is this Nord’s

best analogue-sounding synth?
071 | UA Apollo Twin interface
075 | Sontronics Aria mic
Landmarks New Series
077 | EZ drummer 2 drum library

29 CONTEMPORARY
081 | Nektar Impact 49 keyboard
083 | Softu e Console 1 channel
strip and hardware controller

MUSICPRODUCTION 087 | A&H Qu-24 mixer

091 | Symphobia Orchestrator

44 093| Mini Reviews

098 | On your MT DVD

DV 135 4GB+ PC&Mac

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DECONSTRUCTED IN ABLETON LIVE

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MAGAZINE June 2014 |5
MTAdvance
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MTAdvance
Round-ups Analysis Industry insight

THE DAY WE
WENT TO ABBEY
Thismonth,wewereinvitedalongtothefirstofanew
seriesoftalksexploringalegendarystudio’s history Abbey Road, Studio Two: Perhaps
andlegacy.Andy Price hasmore… the most famous studio in the
world played host to ‘The Sound
Of Abbey Road’.

W
hat first struck me when walking into Abbey
Road’s Studio Two was the smell – a little
reminiscent of an old school gymnasium,
there was something very lived in and well 40s, 50s and 60s, including the Altec RS124 compressor,
worn about the decor. It remains (purposefully) pretty
much unchanged from how it appears in the FORMORE the Fairchild 660 limiter and the RS-56S UTC EQ which
were all out to view. Also out were several pianos used
countless black and white photographs dating back
OFTHE throughout the studio’s history and still widely used

LATESTNEWS
the 60s. However things have changed somewhat
from those days in terms of the music recording
gear, as the impressive AMS Neve console that
dominates the control room illustrates…
I was there to attend the first of a six-day series of
talks, called ‘The Sound Of Abbey Road’ featuring the
former Abbey Road engineer Ken Scott (who we talked to at
length last month). The talk was hosted by Brian Kehew and
Kevin Ryan, authors of the encyclopedic Recording The
Beatles and explored the history of recording techniques and
But,ofcourse,wemust
addressthemop-topped
elephantintheroom…
to this day because of their unique acoustic sound.
A rock and roll beginning
CHECKOUT Studio Two first acquired its reputation for producing
MUSICTECH.NET rock and roll when Cliff Richard and the Shadows
recorded Move It in 1958, the UK’s very first home-grown
rock and roll hit. Since then it has become known
predominantly as the ‘rock studio’ and over the decades,
artists such as Pink Floyd, Kate Bush, Elton John, Oasis and
Adele have recorded there. Studio One is the largest
purpose-built recording studio in the world and is generally
considered ‘the orchestral studio’. It is now used mainly to
record some of the biggest film scores, which is now the
primary source of income for the studio. Film franchises such
as Star Wars, Harry Potter and The Lord Of The Rings all had
their soundtracks recorded at Abbey Road, as did last year’s
Oscar winning smash Gravity.

the evolution of the gear used at Abbey Road.

Abbey Road Studios
It also gave us a great insight into the early history of the from the outside,
studio. Initially the converted Georgian townhouse building originally a Georgian
townhouse and now a
was opened as EMI Studios back in 1931 by the Gramophone
TARDIS-like maze of
Company where it played host to a wide variety of classical musical history.
and big band set ups. They recorded mainly in Studio One,
the largest of the three studios, purpose-built on the space
where the original garden was located.
Kevin and Brian used some of the authentic gear to
demonstrate how sounds were recorded in these fledgling,
pre-electronic days. Giant acoustic horns were used to
capture sound which would then be pressed directly on to a
wax cutter. Artists would have to gather around the horns to
reach optimum sound levels which often required orchestras
to squeeze together to be heard on the final record!
The talks then discussed the advent of electronic
technology, the prevalence of BTR tape machines at Abbey
Road and the use of a vast range early equipment from the

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6 | June 2014 MAGAZINE
 Advance MT
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ABBEY ROAD GEAR

On display and occasionally demonstrated by Brian, Kevin and Ken were a variety
of classic instruments and tech from Abbey Road’s long history...

Acoustic Horn & Microphones BTR Tape Machine - Circa 1964

Studio Three is the smallest studio and was historically

used for smaller ensembles and bands, it is now primarily
used for smaller projects, band tracking and was responsible
for some of the very first 5.1 surround-sound mixes.
But, of course, we must address the mop-topped Hammond RT-3 Organ (as used by The Beatles)
elephant in the room. Abbey Road will eternally be
associated with those four unsung heroes from the north of
England. Back in 1963 a rather cocky, but undeniably
talented, quartet named The Beatles (look them up!)
recorded their very first LP in one afternoon with former
Goon producer George Martin. They went on to record their
entire decade-spanning output at EMI Studios, music that
would shape the hearts and minds of a generation and
re-define not just music but popular culture as a whole. Their REDD.17 desk
myriad out-of-the-box approaches to production are covered
in several lengthy tomes and Brian, Kevin and Ken brought
some of these incredibly-important sessions to life with a
creative use of archive sound clips and musical analysis.
The studio ‘instrument’
Put simply, The Beatles were the first band to think of the
studio as an instrument and utilised a huge variety of
approaches when creating songs. Although it’s a cliché to
mention their 1967 opus, the production of Sgt Pepper
reflects this approach. Using a variety of delicately spliced-up
tape loops when creating Being For The Benefit Of Mr Kite, for
instance, was painstaking work, all motivated by a desire to
The day was a real joy
for retro-gear heads.
Well worn kit like this
vintage EMI mixer was
all on display.
Steinway Grand Piano (ditto)
EMI Digital Mixer
create fusions of sound unheard of in pop.
The great Beatle-engineer Ken Scott remembered some
of these approaches when he chatted to us last issue. He
recounted a particular anecdote during the production of The
White Album which illustrates The Beatles’ unconventional
approach.“I made a joke to John Lennon one day about doing
some recording in this tiny little closet room by the side of
the control room. When I mentioned it he just looked over,
stared at it and didn’t say anything. Then the next day he
came in and said:‘Right we’re going to record a new number,
it’s called Yer Blues and we’re going to do it in there’, pointing
to the small room. The track was recorded in there, all the
band members squashed in, completely live with no
separation between anything. You can imagine how much
spill there was with them all just in this tiny room!”
The success of The Beatles final LP Abbey Road resulted
in the studio officially changing its name to Abbey Road
Studios, to reflect the almost mythical status the studio now
had in the hearts, minds and ears of a generation.
This was a fantastic day out and the talk was engaging,
educational and entertaining. It was truly spine-tingling to
wander around the mythical studio where so much
important music was created. MT

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MAGAZINE June 2014 |7
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WIN! A THERMIONIC CULTURE THE
PHOENIX HG15… WORTH £1,892!
Yourchancetowinnearlytwogrand’s worthofqualityhardwareaswehaveaThermionic
CultureThePhoenixHG15high-gainvalvecompressorupforgrabsforoneluckyreader…
I
t’s fair to say that we are huge fans of Thermionic
Culture at MusicTech. All of the company’s products
have scored well over the years with most reviewers
loathe to send them back. Take The Phoenix HG15, for
example… (You might just be able to after reading this!)
This valve compressor/mic pre was reviewed last month
in the magazine. It’s elegantly designed to amplify signals
from most mics (with phantom power provided for
condensers) and has both Presence and Air dials to add
what MusicTech’s hardware reviewer described as ‘very
powerful and musical tone enhancement’. There’s a
bass-cut switch to reduce the proximity effect of close-
mic’ing and a side-chain bass cut prevents the compressor
from over-responding to frequencies below 100Hz. Add EQ
to the mix and The Phoenix HG15 is, as Thermionic’s Vic
Keary says, ‘as close to a fully-featured channel strip as he
is likely to produce.’
In our review John Pickford stated of the various
features:“The compressor itself is a delight to set up and
use, having five stages of Threshold control and six Time
Constant settings, so offering a variety of compression
settings that can be selected swiftly. This control is similar
to that found on the classic Fairchild 660 (and its stereo
counterpart, the 670), surely the most highly revered of all
vintage compressors.”
“The Phoenix HG15 was also pressed into service at the
mixing stage, when we tried it on kick drum and bass guitar
before strapping it across a frantically-strummed acoustic
guitar track. Here, the compressor really made its mark,
helping the part to sit nicely in the mix level-wise, but still
cut through by making judicious use of the Air and
Presence boosts.”
“Thermionic Culture’s new Phoenix HG15 has a
wonderful, vibey character that will never fail to inject its
mojo into your productions. Once again, Vic and his team
WorldMags.net
Advance MT
have come up with a product that sounds absolutely
gorgeous while being pleasantly user-friendly – you really
can’t go wrong with this. It is one of those units that sounds
good on just about anything, imparting its own sonic
charms in a musical and thoroughly-satisfying way.”
Pickford concluded:“It is a brilliant performer that is
incredibly easy to use. Its ability to accept a microphone
input makes it a natural choice for tracking vocals and all
manner of instruments. When used gently, the sound is
detailed and well-rounded, while driving the unit harder
TheHG15isabrilliant
performeranditissureto
becomeafutureclassic
produces a great punchy sound with plenty of bite. This
outstanding, versatile compressor is sure to become a
future classic.”
He then went on to award it MusicTech’s highest
possible accolade of 10/10 and the MT Excellence Award.
In order to win The Phoenix HG15, simply head on over to
the review at www.musictech.net, read it, click the
competition link which will take you to the Thermionic
Culture website, answer the simple question there and
that’s it! MT
RULES
1. No-one from Anthem Publishing or Thermionic Culture is allowed to
enter. 2. Only one entrant per person. 3. No monetary equivalent is
offered as an alternative. 4. The judge’s decision is final. 5. The closing
date is 19th June 2014. 6. Entrants by way of the Thermionic.com
website (via the musictech. et review)
MAGAZINE June 2013 |9
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 DIY Studio Feature MT
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MT Feature DIY Studio

DIYSTUDIO
Kitting out your recording setup with some choice bits of hardware doesn’t
necessarily cos as much as you might think.Huw Price does it h s way...

M
aybe it was your experiences of using classic gear plug-ins that piqued
your interest in the real thing and prompted you to think abo t
integrating some of it into your own recording setup. A factor that often
prevents his dream from becoming reality, however, is cost, but while
many of the plug-in effects ou there may not be cheap, the costs pale
into insignificance when you
investigate the prices of
vintage modules. It’s possiblethatmoreDIY
The quality of affordable
audio equipment has never audiogearisbeingmade
been better, but as always, the
really high-end stuff remains nowthaneverbefore
highly priced. So what can you
do if your gear budget can’t keep pace with your increasingly discerning sonic tastes?
One answer is to modi y and uild your own gear. Hardcore sound engineers have
always been as handy with a soldering iron as they are with mixing desks, and it’s
possible that more DIY audio gear is being made now than ever before.
And it’s not confined to equalisers and compressors, either: DIY audio enthusiasts
are just as likely to be building microphone preamps, modifying microphones and
constructing their own monitor speakers. There’s even a thriving community of

WorldMags.net
MAGAZINE June 2014 | 13
MT Feature DIY Studio
WorldMags.net
synthesizer builders out there. Even so, the DIY studio Making a passive DI box is
scene remains underground and receives little or no another simple and cheap
project. This one has an in ut
coverage in mainstream audio publications. Try visiting
link socket along with phase and
the sites in our ‘Useful Links’ box and you’ll find ground-lift switching.
in-depth discussions on building, troubleshooting,
fine-tuning and modifying all types of equipment. You’ll
also find people selling components, parts, pre-painted
and punched rackmount faceplates, printed circuit
boards and even full-blown kits.

Getting started
There’s no better way to hone your soldering skills than
to make your own cables. If you need only one, you
might consider buying a decent-quality pre-made
microphone cable. However, the costs will
quickly mount up f you need

you feel that way, other owners have too, and

sufficient cables to mic a drum kit or a
whole band. Fortunately, you can buy long
lengths of microphone cable along with male and
female XLR connectors. Within a few hours you can
make up a bunch of microphone cables and save
yourself a lot of money in the process. While you’re at it,
why not order up some TRS jack plugs and knock up a
load of patch cables, too, or perhaps some of those
Re-amping electric guitars and
bass is becoming increasingly
popular. You’ll need a re-amping
box to do it properly and
commercially produced units
can be expensive. Building your
own is cheap and easy to do.
you can often pick up some very useful tips
and new ideas.
You may discover that sound quality can
be enhanced by upgrading plug-in components like
op-amp chips or valves – both of which are barely more
challenging than changing a light bulb. You may learn
that the signal caps can be improved and individual
component values changed. As long as you are aware of
the safety issues, you can test your soldering skills by
swapping them out.
Before long the DIY bug will probably bite you.
Progressing from modifications and upgrades to
building your own equipment is the logical next step.
Easy projects might include building your own
headphone splitter, passive DI box or guitar/bass

Upgradingisanotherarea
in which novice DIY-erscan
enjoybigrewards
XLR-to-jack cables that we all need from time to time?
Before long you’ll have sizeable a collection of cables
that can cope with any eventuality.
Upgrading is another area in which novice DIY-ers
can enjoy big rewards for little outlay. Most audio gear is
built to a budget, so manufacturers aren’t always able to Before you start building microphone preamps, try modding one.
use the finest components. If you have a piece of The Shure M67 is a discrete four-channel mic mixer with
transformer-balanced inputs that can be converted to four individual
equipment that you like but also feel could be improved, outputs. These are inexpensive and easy to find, and they have an
go online and do some research. The chances are that if unmistakably chewy vintage tone.

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14 | June 2014 MAGAZINE
 DIY Studio Feature MT
WorldMags.net
re-amping interface. These are all low-cost items, but,
more importantly, they’re low-risk because mains
voltages are not involved.
As you become more experienced you may decide
you’re ready to tackle something more challenging. This
is the point at which you may consider building your
own microphone preamps, equalisers and compressors.
There are various ways to go about this. The most
straightforward route is to buy a full-blown kit that
comes with all the circuit boards and components
included and the metalwork already done for you. Most
importantly, the kit should include detailed instructions
and at the end of the process you should have a new
piece of gear that looks as good as it sounds. Although a
kit can save you time and effort, it’s not the most
cost-effective solution.
Partial kits generally include some pre-fabricated Adrian Hare, from Threecircles supplier, additional postage costs will be incurred. So
Recording Studio (www.
parts, such as the printed circuit board (PCB) and the let’s have a look at the options that are available for
threecircles.co.uk), is turning
components. However, you may have to source some this box into an 1176 compressor various types of project.
yourself, such as the enclosure. You may also be clone. You can follow the
progress on his blog.
required to punch holes in the enclosure for XLR sockets, Microphone preamps
controls and so forth. A partial kit may therefore work If you have built up a decent collection of plug-ins, you
out slightly cheaper but it will require extra work and may already have the tools to sculpt, process and control
possibly a bit of problem-solving. the sound once it’s ‘inside the box’. But what about
ensuring that the quality of the sounds you are putting
From the ground up onto your hard disc are of a comparable quality?
Hardcore DIY-ers may consider building their own gear Many budding constructors start their DIY audio
from scratch. This means starting with a circuit odyssey by building a high-quality microphone preamp.
diagram then figuring out the best possible layout for the The criteria for deciding on the type of preamp you
components and wiring. You can even find PCB art work want to build are exactly the same as if you were
online and making small PCBs is well within the scope buying one off the shelf. For example, do you need high
of the amateur.
It’s certainly challenging technically, but scratch
builds can work out a lot cheaper than the complete kits You’ll havethefreedom to
and you’ll have the freedom to construct your device in
the way you think best. Locating the various parts and construct your device in the
components can often take as much time as the build
itself, and if you need to source from more than one wayyouthinkbest

Hamptone dual-channel mic

preamp kits are available in
valve and solid-state versions. If
you’re planning to build a
high-end mic amp from scratch,
this could be a good way to start.

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MAGAZINE June 2014 | 15
MT Feature DIY Studio
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gain with low noise, switchable bass roll-off,
attenuation pads? If you do, choose a kit or a project that
fits the bill.
Although it may be tempting to dive in at the deep end
by building a valve preamp, you should be aware of the
dangers. Proper valve circuits run at high voltages and
there is a risk of injury (or worse) if you do not fully
understand how to work safely. Even experienced techs
suffer shocks from time to time.
Besides which, many of the classic preamps were
discrete, solid-state designs that used transistors. The
voltages (and risks) are lower, the components are
cheaper and they can sound fantastic. You might decide
that you can use your mic-amp budget more effectively
by building eight discrete solid-state mic preamps rather
than one or two valve ones.

Equalisers
Traditional engineering wisdom states that you should
always endeavor to get the sound right before you hit the
record button. There’s only so much you can achieve by
moving microphones, and most of us prefer to have a
decent equaliser at our disposal.
Pultec equalisers are legendary for their sound
The make-up gain boards for a
quality and they are very popular as DIY projects. They Many of the classic desk equalisers are also readily
two-channel Pultec equaliser
are quite simple to build, parts are readily available and clone. The PCBs came from available in kit form. We have found kit suppliers for
there’s plenty of information online. Gyraf Audio has a Gustav at PCB Grinder (www. Calrec PQ1549, Neve 1073, API, Helios and Harrison
pcbgrinder.com), which also
very well laid-out project on its website, along with a link supplies kits of components to equaliser clones. So would-be equaliser-builders are
to a vendor that supplies the necessary PCBs. complete your projects. spoiled for choice.

Itmightbetemptingtodiveinat
thedeependbutyoushouldbe
awareofthedangers

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16 | June 2014 MAGAZINE
 DIY Studio Feature MT
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As with preamps, think about what you need.
Pultec-type EQs have wonderful sonic qualities but aren’t
ideally suited to precise notch filtering when you need
control over problem frequencies. Equalisers with three
or more parametric bands and ‘Q’ settings are more
powerful, but they may not sound as sweet or natural.

Compressors
A decent compressor can be a vital stage in any
recording chain and can lift a very good sound into the Neumann stopped making the
valve U47 decades ago, but it’s
realm of the sublime. Many of the compressor kits
still the Neumann most
engineers want.

Condenser mics can often be

improved by correcting errors on
the factory circuit board
require builders to follow a setup and alignment
procedure before they will work properly. If you buy a
kit, full details will be provided in the instructions and
you will need to be able to follow those instructions and
work methodically.
You may find that specialist equipment, such as an
oscilloscope, will be required. If you’re serious about DIY Mic & Mod also sells
audio, you’ll probably end up buying one anyway. a kit for DIY mic
builders to make an
Alternatively, you may be able to find a friendly local AKG C12 clone with a
tech who can perform the alignment procedure for you. dedicated PSU.

Fairchilds are the most highly
regarded and highly priced of
all the classic compressors.
Even in kit form they are far
from cheap and you would
really need some skills to
build one. This Fairchild clone
was built from a PCB supplied
by Drip Electronics.
Microphones
Although some daring enthusiasts do build microphones
from scratch – including the body and head basket – most
are content to upgrade microphones they already own
with superior components.
The easiest mics to work on are arguably ribbons and
many choose to install a more expensive output
transformer. Condenser microphones can often be
dramatically improved by correcting errors on the
factory circuit board, installing better-sounding signal
capacitors, and reconfiguring the preamp/impedance-
converting circuit. Serious modders may install new
capsules and output transformers, too.
If you’re working on a valve microphone, you may
achieve improvements by upgrading the valve or
changing it to a type that’s a better match for the preamp.
We covered this in Issue 118 (January, 2013) in a feature
on the Alctron HST-11A.
It’s also very easy to get hold of component kits to
make Neumann U87, U67, U47FET and M49 clone circuit
boards. These can be retrofitted to a variety of readily
available Chinese-made budget condensers. Mic & Mod
sells upgrade kits for various mics, including a kit for
turning an Alctron HST-11A into an AKG C12 clone. Also
check out companies such as Microphone Parts and
Classic Vintage Microphone PCB Kits.
Kits are even available for those wishing to build
exact replicas of classic large-capsule Neumann and
AKG valve mics. Since these models are no longer
available from the original manufacturers, it’s arguably
fair game. Check out IOAudio, Equinox Systems,
Beezneez, Flea Microphones, Mic & Mod, Wagner
Microphones and Tab-Funkenwerk.

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MAGAZINE June 2014 | 17
MT Feature DIY St dio
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MT Pro Advice Before you build...

REQUIRED SKILL SET SAFETY WARNING FURTHER READING www.diyaudio.com

You will need to be able to identify
components, orientate
electrolytic capacitors and follow
a circuit diagram. You will also
need to know how to solder and
how to diagnose faults. Most
importantly of all, you must
appreciate and understand the
physical dangers involved in
working with electronics. If you
have never tackled something like
this before, we’d suggest honing
your skills with some cheaper and
easier projects.
As always, we should caution you http://gyraf.dk www.tangible-technology.com
that working with valve www.groupdiy.com
electronics presents the www.diyrecordingequipment.com
possibility of receiving a
potentially fatal electric shock.
Always ensure that the power
supply is switched off whenever
you are working on the circuit
board or touching components. If
you are testing for voltage
readings or faults, the power will
need to be switched on, so ensure
you keep one hand firmly placed
in your pocket while probing.

Synthesizers
If DIY preamps and
microphones seem a bit
left-field, DIY synthesizer builders must be
almost ‘steam punk’. Few of us will be able to afford an
original Moog Modular, EMS, Oberheim or even an
SH-101 these days, so it’s unsurprising that some
intrepid musicians have extended their interest in
electronic music to the actual electronics.
IPL Acoustics sells several The range of projects out
transmission-line there is pretty amazing,
speaker kits. Here’s one
under construction.
spanning everything from
cheap little Theremin projects
that you can buy on eBay to
Monitor speakers full-on clones of classic
The DIY speaker scene is more of an offshoot from the synths such as the ARP 2600.
murky world of old-school hi-fi enthusiasts. Even so, Some of the modular designs
there are some remarkably good-sounding speaker kits are worth considering
out there, providing you’re not after active monitors with because they are Lunchbox-
onboard equalisation adjustment and DSP features. compatible and you can build
The choice is vast, stretching from small nearfields to and add modules as funds
large transmission-line designs. You can also choose allow. It’s worth visiting the
between ported and infinite-baffle cabinets, and if you Doepfer website – if only to
have any qualms about using hi-fi speakers for mixing, check out the photo gallery of
it’s worth remembering that most records were mixed on together? Check out Doepfer’s
hi-fi speakers until fairly recently – and many still are. Do it my way range of synth modules.

Of all the DIY projects detailed here, DIY speaker kits
offer some of the best bang for your buck. Many feature
drive units found in very expensive commercial speakers
and crossover components tend to be high-quality too.
The electronics are generally very straightforward and
since the tricky woodwork is done for you, assembling a
pair of monitors is likely to take hours rather than weeks.
As for sorting out amplification, since active
monitors became the industry standard it has become
easier to find high-quality power amps at very
affordable prices. This correspondent has assembled
several IPL Acoustics kits, and you can also check out
DIY Sound Group and Dayton Audio.
Most speaker kits arrive with the cabinets in
flat-pack form and you will need to glue them together.
Others arrive with the cabinet pre-built, or you can buy
the drive units and crossover components along with
instructions for building the cabinets yourself.
There are both pros and cons to DIY audio. For instance,
you would be well advised to refrain from working on
any piece of gear that is still covered by warranty. As
soon as you take a screwdriver to the chassis your
warranty will be null and void. Building stuff can be a
messy and time-consuming undertaking and not
everything will work straight away.
It can be pretty soul-destroying when you have
invested a lot of time and money in a project and the only
sound you can get out of it is a prodigious hum. Even so,
fault-finding is all part of it and we’ll be discussing
trouble-shooting strategies as we go along.
So here’s where the fun begins. We’ll be running DIY
feature articles from time to time featuring kits, scratch
build projects and typical upgrades. If you have any
suggestions for the areas you’d like us to cover, just write
in and tell us – we’ll see what we can cook up. In the
meantime, turn to p20 for project number 1! MT

WorldMags.net
18 | June 2014 MAGAZINE
 WorldMags.net

New baby
The Genelec family expands with the new 8010
Producers and recording musicians everywhere rely on Genelec 8000 Series monitors for
the unadulterated truth about their mixes. But what happens when you’re away from the
studio?
Now you can pop a pair of the new 8010s in your bag and you’ll always have access to
consistently accurate, industry-standard Genelec 8000 Series monitoring, wherever you
find yourself working.
Visit the Genelec family of monitors and see the new baby at www.genelec.com

www.genelec.com

UK distribution by Source • www.sourcedistribution.co.uk/genelec • T: 020 8962 5080

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facebook.com/sourcedistribution twitter.com/sourcedist
 WorldMags.net

THE NEW GOLD STANDARD IN STRINGS

JUST GOT DEEPER...

MAr
ul
SYMPHONIC
VOLUME 2

www.spitfireaudio.com
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 Korg MS-20 Kit Reviews MT
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MTDIY Studio: MS-20

In-depth review Hands-on guide Experience required: novice

Innovation Value
KORG Excellence

£
MS-20 Kit
WelcometothefirstofourDIYstudiotutorials eviews.Andwe supply. Other packe s contain copious
quantities of nuts, was ers, feet and
have ebonafideKorgMS-20 eissuesomanysynthenthusiasts rubber grommets. We also nd the
havebeenwait ng o .Huw Pr ce cons cts… pitch-wheel module alo g with boards
for MIDI connections, patchbay and
Step 1 - Unpacking

O
Details riginally made between 1978 the filters.
Price £1295.99 and 1983, the Korg MS-20 The MS20 is quite unlike the model car Two differences between t e
Contact Korg UK analogue synth has become or aeroplane kits many of us will original and the reissue are
Web a cult classic. Like many remember from our childhoods. The immediately apparent. First y the
www.korguk.com
heritage companies Korg has been box it ships in is sizeable and weighs reissue’s su plied mains cable
besieged with requests for a reissue 20Kg. Once opened up we see that c nects to a 12v DC external power
and both the software version and the everything is carefully packaged up in supp y. Secondly t e circuit boards
downsized MS-20 Mini have been neat containers and, like a box of ave sur ace- o ted co onen s. A
KeyFeatures warm y received. c ocola es, there is more than one grea deal of mo ern audio gear is
O A full-size MS- Now, at last, there’s a fully-blown layer – we’re starting to get just a lit le made t is way, but this s one area
20 that you can MS-20 reissue. Korg as gone to great bit excited already! tha may concern pur s s.
assemble
engths to replicate t e original Take your time whe you’re he bottom laye con a ns all the
O Both early and
late filters are circuitry and, where original removing all the parts from t e ox arts for building the MS20’s
provided components were no longer available, because it’s easy to overlook smaller e c osure and eigh patch ca les. The
O Overseen by the replacements were selected after ite s. We’d a so a v se ga nst
engineers of the
original ex ens ve test ng. hrowing any of he packagi g away
O External signal Early filters were irtier and more u til the it is c m letely assembled
processor (ESP) aggressive t an the later l ers and the – st in case yo miss s me hi g!
O Extremely
flexible
reissue c ntai s both types. There’s The top ayer conta ns he MS2 ’s
patching tradi iona IDI and USB c nnectivity keyboard, patchbay, k obs a d power
O MIDI IN and USB too b t ere s a catch, because the
O AC adaptor MS-20 reissue comes as a kit hat you
O Every detail Lay the parts out carefully before you begin
replicated
have to asse le yo rse f. H w hard
assembling the kit and check everything is there.
ca it e? et’s find ou

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MAGAZINE | June 2014 | 21
MTReviews Korg MS-20 Kit
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The mod wheel
attaches to the left
side panel. control panel looks particularly
impressive but all the punched holes
remind me that a fair amount of nut
tightening will be required before this
synth is ready to fire up.
As well as containing assembly
instructions, the kit also includes an
owners manual and a booklet
containing Sample Settings. According
to the instructions the only tools
required are a cross-head screwdriver
and a box end wrench.
We’d suggestreadingtheinstructions
butthisisn’ttooonerousasthereareonly
14pages,soitonlytakes10minutes
Step 2 – Getting organised
We’d suggest reading the instructions
in their entirety before getting started.
Fortunately this isn’t too onerous
because there are only 14 pages and
they are dominated by large and clear
diagrams. In all it took about ten
minutes to read them.
The first thing you should do is
verify all the parts are present and
correct. Page two of the instructions
contains a parts list with pictures of
the components and quantities where
Here’s the rear jack appropriate. If at this stage you
board in position
discover that some parts are missing,
with the keyboard
cables connected
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22 | June 2014 MAGAZINE
contact Korg immediately.
Step 3 – mod wheel
attachment and shielding the
sides of the keyboard
Like the originals the reissue version
of the MS20 has plastic side panels. To
properly shield the electronics, metal
shield plates are stuck to the side
panels with double sided tape. The
wheel assembly slots into place on the
left side panel and two screws secure
it in position. All the supplied screws
are identical in size, which makes this
aspect of the build simpler than your
average Ikea chest of drawers.
Step 4 – attaching the feet and
the keyboard
The base panel is flipped upside down
and the four rubber feet are attached.
Although there are several holes in
this panel, only four of them are wide
enough to accommodate the foot
shafts. To lock them in place, simply
push down on the centre section with
a screwdriver.
Fitting the keyboard requires a bit
more ingenuity. The sloping section of
the base is the front and it has two
Make certain that the LEDs push through the
holes in the front panel.
With the side panels
on,the kit starts
looking like a synth.
tags that line up with cut outs in the
keyboard frame. Line up the tags with
the cut outs, then slide the keyboard
assembly to the right and it will be
held loosely in place.
Lift up the bass end of the
keyboard and turn it around to expose
the base plate. Locate one of the eight
screw holes that secure the keyboard,
insert a screw and tighten it most of
the way up. This should hold the
keyboard assembly in position yet still
provide a little wiggle room while you
insert the remaining screws. Only once
they are all started in their correct
holes should you complete tightening
them up.
Step 5 – rear jack board
The ‘rear jack board’ contains the MIDI,
USB and power sockets, with two
screws securing it to the rear, right
corner of the base plate. The keyboard
has multiple cables terminating in two
multi-pin connectors. Simply bend the
cable retainers away from the
keyboard, twist the cables together
and connect them to the
corresponding sockets on the rear
jack board.
All the multi-pin connectors are
colour coded. The sockets on all the
boards are labelled correspondingly to
ensure that the correct connector is
inserted and that it’s the right way
around. The connectors are quite tight
so they do need a firm push before
they’ll seat fully. If possible, place a
couple of fingers underneath the
circuit board to provide some support
as you push in the connectors.
This board may be the deciding
factor for choosing an MS20 reissue
over a vintage example. The originals
presented problems for sequencers
because they didn’t have MIDI
connectivity and they didn’t even run
on conventional CV/Gate protocols.
Step 6 – side panels
This bit is where things start to get
WorldMags.net

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MTReviews Korg MS-20 Kit
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The small VR board also
attaches to the front
panel.
exciting because the kit suddenly
begins to take on the appearance of a
synthesiser. The side panels of the unit
have locating pins that align with
holes in the base, so they’re easy to
position and two screws fix each one
in place.
Step 7 – attaching the big VR
board
The front panel is a thing of beauty
and we’d advise you to handle it
carefully to avoid inflicting any
Thesoundqualityisphenomenal.The
calibreofthesynthyouaregettingfor
justoveragrandisjustincredible…
damage. Ensure that your work
surface is free from debris before
starting this procedure and begin by
inserting all ten rubber grommets.
Brackets are attached to the ends
of the panel before the large ‘VR’ board
is put in place. When positioning the
VR board, you must ensure that the
LED indicators line up with the holes in
the front panel and push through.
Once in position, finger tighten a nut
on the control pots from each corner
EXPERTOPINION–HUWGETSAN
EMMY-AWARDWINNERINTOJUDGEIT
We didn’t want to appear biased because we had built the
thing,so we handed over our completed MS-20 to Emmy
award-winning media composer and analogue synth
aficionado Dave Gale.Here’s what he had to say.
“It has to be said that the architecture is a bit weird,
especially things like having the Hold rather than Attack
control at the top of the envelope filter section.Many
features will only work if you physically plug them in on
the patchbay,including the mod wheel and the
momentary switch.
“The patchbay is hard to fathom and it’s cluttered,but I
love the section along the bottom of the patchbay that
allows you to do things to external sounds and process clock
signals then feed them elsewhere.It is fussy about clocks
and if the signal is a bit hot it doesn’t chase it terribly well.
“I love that it’s a proper recreation of the MS-20,but
because of that it doesn’t work on a one volt per octave CV
and gate.It works on a Hertz per volt principle so there’s little
interfaceable gear for it.So the fact that it has MIDI in is just
superb because you don’t have to mess about with some
crazy gizmo to get it working.
“Some people have criticised it for noisy output,
especially the headphones.But that’s because it’s an
24 | June 2014 MAGAZINE
to hold the VR board in position then
finger tighten all the other nuts.
Korg thoughtfully fixed a soft layer
of plastic onto the underside of the
spanner that’s provided. This is
intended to prevent the control panel
from getting scratched. You may
choose to tighten the nuts with a
socket instead, but work carefully and
don’t rush. Also remember that the
nuts don’t need to be ultra tight.
Step 8 - attaching the small VR
board and the power switch
The procedure for attaching the small
VR board is the same as the big VR
board (described above) but there are
no LEDs to worry about this time.
Care must be taken when installing
the power switch/volume control
because the locating tag must push
through the slot in the front panel to
prevent it from spinning around. Both
these items are fixed with different
sized nuts.
authentic MS-20 and they always were.In terms of the
nuances of the MS-20’s sound,you have both a high-pass
and low-pass filter that are completely independent of each
other and they’re completely sweepable.They’re violent if
you want them to be and when you dial in the resonance they
can bite your head off.
“Like many users I favour the early filter because it’s
dirtier and grungier but the later one is a bit sweeter.When
you cut out with the low pass filter and add some resonance,
the bottom end doesn’t collapse like it does on other synths.
The sound quality is phenomenal.
“There’s something to be said for synths like this one
where you can turn it on and never be quite sure what you’re
going to get.For me synthesisers should have character,and
although I love Roland synths,they do sound tame in
comparison.The MS-20 doesn’t have the envelope speed of
something like a Pro One so it’s not as good for drum sounds,
but it’s still extraordinarily fat sounding.”
“I also think the build quality of the kit is better than the
MS-20 Mini.You really can rest your hand on the top and ride
the cut off with your thumb as you’re playing without the
control knob wobbling around.Korg seems to have nailed
this analogue oscillator thing and I love the way you can
offset the tuning of the oscillators.That’s a really popular
trick with the Scando Techno boys.The calibre of synth
you’re getting for just over a grand is just incredible.”
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Before fitting the patch
board,place the clear
plastic spacer over the
jack sockets and use the
nuts to hold it in place.
Step 9 – attaching the panel
jack board
Before fitting this board a clear plastic
spacer sheet must be placed over the
jack sockets. The instructions are
superb throughout the complete build,
but this is the one area where things
are a little vague because it’s easy to
miss the bit that tells you to place nuts
over each and every jack socket to
hold the spacer in position.
If you get this bit wrong, though,
you’ll know it, as you’ll be wondering
why you have 30 or so nuts left over!
Once again, ensure that the LEDs
push through their holes in the front
panel and place a washer and nut at
each corner to hold the board in
position. Adding all the remaining
washers and nuts takes a while, and
it’s easy to miss one when they’re
being tightened up.
The cables from the power switch
feed through a hole in the circuit board
and four multi-pin connections are
made from the switch unit and the
VR boards.
Step 10 – finishing touches
The fully-loaded control panel drops
down onto the top of the unit, but you
must take care that the thin shields on
the side panels don’t get bent or
damaged. Once it’s in position, four
side screws secure the panel and all
the remaining multi-pin connections
are made.
The MS-20 Kit instructions offer
good detail on how to twist the cables
together. The cable clips at the rear
of the kit’s keyboard unit are re-used
Remaining connections are made,including
the cables from the mod wheel.

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to hold the wheel assembly cables
neatly in place.
Eight screws secure the rear panel
and, as always, ensure that the screws
are started in their threads before
t ghtening them all up. All that remains
is to push the knobs onto their pot
shafts and your MS20 should be up
and running.
Conclusion
In total assembly will take around two
to three hours. The instruct ons are
excellent and there’s even a
tro bleshooting guide, but fortunately
we di n’t need it. The basic start-up
guide is useful oo because it explains
the auto power off fu ction and
descr bes how to hold down eys
to switch between early and late
filter types.
Technical know how, solder ng
ab lity and a understanding of
electronics are not required to
co str ct t is MS20 Ki so it’s ideal or
a eginner’s DI projec .
Eve so, t sho ld e (and indee
is ) a very sat s yi g undertak ng f r
e perie ced c structors too. J s
take your ti e, be met odical and
do ’ let the exci ement get the be ter
of you. MT
Korg MS-20 Kit Reviews MT
Alternatives
As far as we’re aware,it’s unprecedented for a
major musical equipment corporation to reissue
an iconic product in self-assembly form.It would
be l ke Fender selling a Stratocaster kit and still
putting the decal on the headstock.If an MS-20 is what you want,there’s
the opt on of buying a vintage example for similar money to the ki ,but
you’ l only get one set o filters and MIDI connectivity won’t be included
unless the unit has been modified.You’ll also be taking chances with
re iab l ty.The Korg MS-20 ini (£499) is well regarded but it hasn’t got
the feel or v be o the reissue.Alternatively you could c ec out t e virtual
MS-20 rom Korg’s egacy Collection ($49.99).
MT Verdict
+ The resulting synth is superb
+ It sounds awesome
+ Beginners and experts alike will
love putting it together
+ Great satisfaction after you have
completed it
+ Easy-to-understand instructions
+ No experience needed
+ … just a screwdriver and wrench
+ It’s an MS-20!

- Nowt

This MS-20 reissue is the real deal.

You can run it old school or hook it
up to your MIDI setup, plus you get
All the knobs have been both sets of filters. And building it
pushed into position yourself makes it even more fun.
and the project is
complete. 10/10

“ Bass Station II is an exceptional synth. For £399 you could buy

a couple of high-end synth plug-ins. Don’t. Buy this instead. 10/10.
Andy Jones, MusicTech, October 2013 ”
“ The Bass Station II is a synth with personality that produces

”
ripping, gnashy solos as readily as solid analogue bass.
I reckon Novation have a winner!
Paul Nagle, Sound On Sound, September 2013

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www.novationmusic.com/bassstationII
WorldMags.net

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WorldMags.net

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WorldMags.net

The Single Source

Pro-Audio Supplier

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 Björk, Homogenic Landmark Productions MT
WorldMags.net

Landmark
Productions No30

The tracks
1: Hunter
2:Joga
3: Unravel
4: Bachelorette
5: All Neon Like
6: 5 Years
7: Immature
8: Alarm Call
9: Pluto
10: All Is Full Of Love

BJÖRK-HOMOGENIC
ProducersBjörk,MarkBell,MarkusDravs,GuySigsworth,HowieBEngineerStevePrice
Homogenic marked the moment when Icelandic experimentalist Björk evolved from a
kooky dance-pixie into an electronic titan. Andy Price explores this landmark album…

B
jörk had more than made an impression on the
mainstream by 1997. Her magnificent debut solo record
had been superseded by the more adventurous follow-up
Post which, although displaying significant musical
chops, still kept one foot firmly in the commercial pop pond.
Mainstream hits such as her oft-lampooned cover of Betty
Hutton’s It’s Oh So Quiet bothered the British singles charts
while high-profile relationships kept her hot property in the
tabloids. However this was not a position that Björk had
particularly longed for. Having to deal with the darker sides of
being a public figure – from a psychologically-damaged stalker
posting a sulphuric acid bomb to her London home before
committing suicide, to the headline– (and hair–) grabbing
incident at Bangkok International Airport – were deeply
unsettling for the young artist to deal with. For her, music had
always been the sole priority.
Björk approached the writing process of her third album with
a very specific creative mind-set. She wanted the record to have
what she defined as a ‘simple sound’ and reflect the landscape of
her homeland, Iceland. Using a variety of electronic instruments

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MAGAZINE June 2014 | 29
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 Björk, Homogenic Landmark Productions MT
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and new, fresh approaches to composition, Björk
Former LFO
worked closely with audio engineer Markus Dravs on co-frontman
the initial sessions for the album which took place at Mark Bell took a
her home studio at Maida Vale. Together they planned large role in the
production of
and devised the bare bones of the record before the Homogenic
sudden surge in media attention brought on by the
bomb incident. This, combined with her desire to
retreat from the London electronic scene, convinced
her to relocate to the Spanish studio of her drummer
Trevor Morais. It was there, at El Cortijo Studios in
Malaga where she would record and produce all of the
ensuing album, Homogenic.
Björk decided not to re-enrol producer Nellee
Hooper who had produced her two previous albums,
and instead enlisted a cabal of close musical friends
and associates to co-produce the album with her. Aside
from Markus Dravs the most significant creative
collaborator on Homogenic was Mark Bell, formerly of
Sheffield electronic dance duo LFO, an outfit that had a
fundamental influence on the Euro techno genre. Mark
would help Björk translate her sometimes more
left-field compositional ideas as he recounted in an
interview with Groove Magazine in 2001
“(Songwriting) is different every time with her.
Sometimes it comes from a freeform session, a melody
that she hums to me, some basic chord structure or the
lyrics. It’s always fun and she hasn’t any
preconceptions about genre so we take it wherever it
wants to go.”

Getty
Also part of the production team was Scottish
trip-hop expert Howie B who previously worked with

arrangements (provided late in the production process

Shewantedtherecordtohave
asimplesoundandreflectthe
landscapeofIceland
Björk on Post and songwriter and producer Guy
Sigsworth. Dravs would later say “When you work with
Björk, you are one of her closest relatives, you’re almost
like her brother.”
For many of the tracks that make up Homogenic
Björk would initially compose melodies individually
either in her head, spontaneously or on paper, and
would then use her small Casio keyboard to work out
string parts and various forms of musical backing. She
and her team would then work through each piece from
a rhythmic standpoint which was occasionally fraught
with difficulty, especially when Björk would add
unusual timing signature changes into her naturally-
born compositions. Bell and Björk quickly developed a
strong rapport and would work very closely on each
track “Could you make the bass-line more furry?” was
an oft-reported request of Björk’s to Bell during the
making of Homogenic.
The militaristic rhythms, darkly imperious bass
line, reversed accordion and counterpointed ethereal
vocals that make up opening track Hunter set the scene
for what is to come. It’s a tense composition that finds
Björk in a completely new landscape to any she had
been in before. Joga sees Björk experimenting with a
combination of Baroque and classical styles, with huge
towering ‘volcanic’ beats and exquisite string
by the Icelandic String Octet) that paint a sonic picture
of the geographical beauty of her homeland and is the
real conceptual heart of the record. She likened Joga to
a sort of National Anthem. This track like no other
showcases Björk’s mastery of fusing the right elements
to creative emotive and powerful music – the soaring
vocals, cinematic and richly-orchestrated string
sections are saturated with beats that some have
described as being akin to proto-dubstep.
Continuing the cycle
The next track, Unravel, makes significant nods to her
Icelandic heritage as well. Using a vocal technique
which folklore specialist Njall Sigurason compares to
that of traditional Icelandic choirmen, Björk half-sings
and half-speaks her way through a track which
Radiohead frontman Thom Yorke would later say “is
one the most beautiful songs I’ve ever heard.”
Bachelorette was originally written for an
abandoned film project and contains lyrics from her
good friend, the Icelandic poet Sjon. The song
conceptually continues a song-cycle begun with the
tracks Human Behaviour on her album Debut and
Isobel from Post which lyrically concern the arc of a
character called Isobel. Björk would elaborate on how
Bachelorette fitted into the Isobel-cycle. “She is leaving
the forest and she decides to go to the city to have a
normal life. She tries her best and it doesn’t work out
and she comes back to the forest and she is happier
there.” Clearly one doesn’t have to look far to see the
parallels with Björk herself. The song would include a
range of live instruments in the mix and alongside the

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MAGAZINE June 2014 | 31
MTLandmark Productions Björk, Homogenic
WorldMags.net
Homogenic set the fucking Buddhist, but this is enlightenment,’ Björk
standard for Björk’s expresses in this track, while multi-layered vocals
eclectic career.
weave in and out, merging together like an aural
mind-scape. Eventually the track falls into a relatively
straightforward groove.
The climactic song Pluto is as aggressive as Björk
has ever been, a completely explosive resolution to the
tension that the instrumental juxtaposition found in
the previous eight tracks had created in the listener.
Industrial overdrive and manic, screaming vocals
define this track. The hauntingly-beautiful All Is Full
Of Love then quietly draws the albums to a close,
inspired by the idea of mechanical people (as the song’s
video would make clear) it also featured clavichord and
a final bow for the Icelandic String Octet.
The album was almost universally critically
acclaimed upon release. The NME said Homogenic was
“a stinging triumph for the spirit of adventure” which
succinctly explains why the album still stands tall
today as Björk’s most beloved work for both fans and
critics alike.
The album’s iconic cover art features Björk dressed
in an Alexander McQueen-designed costume that is
simultaneously futuristic yet traditionally oriental.
Björk looked back on the overall themes of Homogenic
Rex Features

in an interview with Pitchfork in 2007 where she said

“Homogenic was different, it was quite an aggressive
album. I’d gone through five years of doing five billion
interviews and being stalked. A lot of really happy

beats and strings, they included alp horn, accordion,

timpani and timbales.
The gentle and contemplative All Neon Like follows
Shewouldlaterexploredenser
with Bell’s trademark ambient drum and bass rhythms
punctuating the increasingly visual and fascinating
themesbutHomogeniccemented
lyrics (including the delightfully incomprehensible ‘I’ll
cut a slit open and a luminous beam feeds you, honey!’)
herasafearlessexplorer
5 Years includes stand-out 8-bit MIDI keys and experiences, too, it wasn’t all bad. I was under a lot of
electronic, stompy drum programming. Later the pressure that I had never experienced before, so
emotive Icelandic String Octet return to engage in what Homogenic was very much like the sleeve art. We were
sounds like the audio equivalent of a duel with the trying to make this person that was under a lot of
harsh, treated drums while Björk herself pushes her restraint – like long manicure, neck piece, headpiece,
vocals to the limit of emotion and drama. Immature contact lenses – still trying to keep the strength.”
features a textured landscape constructed from Although Björk would later explore denser and more
various samples and highly-treated synthesiser loops deeply defined sonic landscapes with albums such as
floating on soft chordal pads. Once again Björk’s voice 2001’s lushly arranged Vespertine and 2004’s vocally
is the standout instrument here, winding its way dexterous Medulla, it was Homegenic which cemented
through the mix’s peppered assault course of elements Björk as a fearless explorer of new musical frontiers.
with varying degrees of power, emotion and dexterity. By merging organic instrumentation with electronic to
The most conventional song on the record has to be create an album so richly rewarding, Björk proved to
Alarm Call, certainly in terms of instrumentation and the world that she was quite a unique artist to be
melody but not in terms of lyrical content ‘I’m no reckoned with. MT

The Players: Björk Mark Bell Markus Dravs Howie B

After the success of Former co-star of Markus Dravs and Long-time creative
Debut and Post, Björk Sheffield electro Björk sketched out collaborator Howie B
retreated from the pio eers LFO turned Homogenic’s concept returned to work with
limelight, recruiting a house producer, Bell at her London-based Björk on this record,
team of diverse worked closely with studio. Dravs would the two became close
collaborators and Björk to translate her have free reign to and would eventually
crafting the dense but ideas into the layered compose and become a couple.
personal masterpiece, compositions they experiment alongside
Homogenic. would become a d had Björk’s own ideas.
quite possibly the
largest hand in
production duties.

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32 | June 2014 MAGAZINE
 WorldMags.net

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the Avid logo, and Pro Tools are trademarks or registered trademarks of Avid Technology, Inc. in the U.S. and other countries. All other trademarks contained herein
are the property of their respective owners.
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MT Interview The Professionals
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MT Interview Neil Davidge

In the first of a new series o interviews wit people enjoying a successful career in the
aud o industry, producer and film scorer Neil Davidge revea s how listening can he p n
any studio situation, and that gear isn’t everything…

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34 | June 2014 MAGAZINE
 The Professionals Interview MT
WorldMags.net

N
eil Davidge teamed up with Massive Attack’s 3D for the best part of two
decades, working on much of the band’s outp t in the roles of writer,
arranger and producer. He has also worked as a remixer, composer and
producer on tracks by Snoop Dog, Primal Scream, Elizabeth Frazer,
David Bowie, Craig Armstrong and many other high profile art sts. His
music has backed ad campaigns by everyone from Jaguar to Adidas and his move
into movie and game soundtracks has seen him score some big screen action
including Miami Vice and Halo 4.
Davidge’s debut solo album, Slo Light, featuring Sandie Shaw, Cate Le Bon,
Karima Francis and more, is out now.

THE PERSON
Mu usicTech: How did you get into music making and production?
Neil Davidge: I’m Bristolian and proud. I started messing with tape recorders and
home-made instruments at school with friends until we eventually decided on a
name for a band and figured we should really buy some ‘proper’ instruments. I took
to the bass at first but, after a while, shifted to the guitar and eventually singing as
well as writing and arranging most of the material.
After signing a record deal I bought a 16-track recorder, a mixing desk, an A ari
ST and a rather large hard drive (300MB cost me £3k back then!). Then I began to
record, produce and write with and for various artists, b t principally the band DNA
who had a hit with the Suzanne Vega song Tom’s Diner. So began my ‘pop’ period.
I then worked with a bunch of mainstream artis s including the Minogue sisters
and although, for the first time in my life, I was earning money from my passion I
found myself disillusioned and losing that passion with each painful vocal take. I
made the break eventually and then produced a stoner rock band from Bristol who
I’d helped get signed to RCA.

I was earning money from my

passion but losing that passion
with every painful vocal take
It was on these sessions that I met 3D (Robert Del Naja) from Massive Attack
and got talking about gigs and favourite albums and found we had much n
common. Soon after I joined them on a session for a track for the Batman Forever
soundtrack and from there began working with the band full time on what was to
become their third album, Mezzanine. I co-wrote an co-produced three studio
albums and a number of side projects and film scores over the next 18 years with
the band, working most closely with 3D.
I was keen not to let things get stale and towards the end of the album
Heliogoland I told Robert that I wanted to do my own thing and we amicably split our
business interests and I set up a studio on the other side of town. My intention was
to focus on scoring movies. I’d already scored the movie Push as well as co-scoring
Clash Of The Titans, but my first project in the new studio was for the game Halo 4.
Just prior to securing the game I’d begun working on a solo alb m and after the two
years it took to complete the score, I then set about finishing my first solo album,
Slo Light. Since then I’ve scored the movie Good People and I’m currently scoring
Monsters: Dark Continent [sequel to the film Monsters].

MT: What is your overall philosophy or trademark when it comes to music

production and composition?
ND: Music communicates emotion more directly than any other artistic medium.
Music is not just melody and rhythm, it’s also sounds and textures, associations,
and experiences. I combine electronics, sound design and real instruments in order
to create a unique and deep emotional connection with the listener. I’m also a nice
guy and work really hard.

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MAGAZINE June 2014 | 35
MT Interview The Professionals
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MT: Talk us through one of your production processes
that you tend to use most often and that perhaps
defines your sound over others…
ND: I have no tricks and no secret processes and
instead take each project on its own unique merits. I
trust in my gut instincts and those I work with and
my wealth of life experiences and studio
experiences to nudge me in the right direction. In turn,
these help me to nudge the people I work with or for in
the right direction.
MT: Describe your ‘sound’?
ND: I really don’t think I can or want to.
THE ROLE
MT:The role of producer seems to be a many and
varied one. How do you define it?
ND: The underlining role of the producer is to
assess what the project needs and make
sure those needs are met, if not by himself
then by others. This includes battling
record companies to make sure the artist
makes the record they want to make
while at the same time making sure
the artist themselves don’t
sabotage their own career.
MT: What would you say your
input is in a typical project?
ND: Writing, producing, arranging,
inspiring and directing musicians;
overseeing programmers; getting
into the head of the artist or main
creatives; organising sessions;
and dealing with the money men.
MT: Over the years what advice
have you picked up from
working in the music industry
that you can pass on?
ND: It’s important to listen to
the ‘advice’ of others, hear
what’s useful to you and at
the same time to be
IfyougivemeoneEQ,atone
generatorandD-Verbthen Iwill
giveyouanorchestra…
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36 | June 2014 MAGAZINE
Trust your instincts and those
you work with to move in the
right direction…
confident in your own instincts enough to politely
disregard it without having a crisis. No artist, producer,
composer or engineer with any kind of sustained
career has gotten there alone, each has had to work
closely with others. I listen to everyone, from the
musicians to the cleaner.
MT: And from working in the studio?
ND: That what you know comes second to what you
feel. If you stop listening with your intellect and
instead listen with your gut then magic happens and
ideas flow. The other thing is, it’s not about the gear,
it’s about ideas. I can do pretty much anything in my
studio but some days I’ve got no ideas and no amount
of gear is gonna save me.
THE GEAR
MT
T: So, talking of the gear, tell us a little
about your studio: the main components,
how it came together and so on…
ND: I have a 5th floor converted
apartment studio with three writing
rooms in the heart of Bristol. I have a
co-arranger (Drew) and programmer
(Tom). We each run Pro Tools on Mac
Pros with a wide selection of
plug-ins including UAD, Waves,
GRM, Ohm Force, Sonnox and
SoundToys. Drew and I both run
VSL Ensemble Pro on satellite
Mac Pros for our Kontakt
sample libraries (Spitfire Audio,
Soniccouture, Heavyocity,
Project Sam and many others).
We have a selection of
instruments, guitars, basses,
drums and percussion, a cello, a
kantele, an ARP 2600, Moog
Prodigy, Arturia MiniBrute as
well as various soft synths
including the complete
Arturia set and various from
Native Instruments.
Outboard these days is

WorldMags.net
A typical project can involve
anything from organising
musicians to sorting the
money men…
The Professionals Interview MT
ND: I usually try to find a sound that inspires me first
– it can be anything: melodic instrument, drum sound,
sonic or voice. I start there, then improvise, find a core
idea and build on it without passing judgement too
much and allow the process of creativity to find space
and its feet.

MT:Tell us about your latest release, the thinking

mainly mic pres from Focusrite and Calrec – all other
processing is done in the box. I’ve had many set-ups
over the years, starting with a 4-track cassette tape
recorder to a full SSL G series studio with a load of
outboard, but these days I prefer the flexibility of
working in the box.
MT: What are your favourite sound generating studio
tools – synths, guitars and so on – and why?
ND: That changes from day to day and project to
project but I always have fun with the ARP and the
kantele played with four e-bows always seems to end
up with me having a few hours worth of audio to trawl
through. I like surprises and I like unpredictable stuff
– it feeds my creativity.
Neil at Abbey Road studios.
behind it and why people should get it. Plug away!
ND: The album is called Slo Light. I wanted to make the
most honest and authentic record I could. I’ve been
making music for other people for a long time and I
wanted to see what would happen if I was the sole
decision maker and free myself from having to run
things past someone else. You should get it because
it’s very good.
MT: What have you got planned for the near future?
ND: Finishing this score and then taking a break. I’ve
barely had a day off in the last year, even worked over
new year this year so a holiday of some sort would be
most welcome! After that I need to start planning how
to present the album live. MT
More from:
http://www.neildavidge.com
http://en.wikipedia.org/wiki/Neil_Davidge

MT: And outboard – what plug-ins or outboard do you

find most creative and most useful in the studio on a
day to day basis?
ND: The UAD stuff is generally great-sounding – their
emulations of classic studio gear stacks up really well
against the real thing with the added bonus of instant
recall. I use the Sonnox EQ as an everyday EQ. More
creative plugs are the GRM collection and I love the
Waves stomp box plugs too. All of the above give me
limitless power to mash up and sculpt but if you give
me one EQ, a tone generator and [Pro Tools] D-Verb,
then I’ll give you an orchestra.

MT: What is on your wish list studio gear wise?

ND: Pro Tools HDX, hopefully soon.

MT: What would you like to see developed in terms of

studio technology and why?
ND: The one downside of using computers and
software is latency, especially when playing over an
already stacked-out session. There’s nothing that kills
the vibe more than when you wanna play something
new in and then your whole session spazzes out. I’d
like to see software developers pay more attention to
latency when you’re creating music rather than when
you’re simply mixing it. Also, it does annoy me a bit
that the knobs on gear emulations aren’t optimised
more for using a mouse, it can really put me off using
an otherwise great sounding plug-in.

THE LATEST PROJECT

MT: When working on your own music, how does a
track come together? What inspires and what comes
first in the song?

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MAGAZINE June 2014 | 37
WorldMags.net

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 WorldMags.net

Music is Our Passion

www.thomann.de
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MT How to record
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MTHow to record...
Lead vocals Part 2
Last month, in the first of a major new series on recording, Jo n Pickford looked at how
planning and preparing will elp create the right atmosphere for reco ding a great ead vocal
performance. ow he explores t e tools and methods required to capture the perfect ta e…
WorldMags.net
40 | Ju e 2014 MAGAZINE
 How to record MT
WorldMags.net
So, you have prepared your recording several mics, it’s a good idea to set up two or three
space, free from extraneous noise and different models and have the singer sing a few
acoustically well-damped. Now you can lines into each in order to find out which one best
think about choosing the best suits the voice, remembering to make your choice
microphone for the job. The most quickly so as not to tire the singer and lose
popular type of mic for vocal recording is a momentum. Once the selection has been made, fine
large-diaphragm condenser, as these tend to have a tuning of the tone can be made by optimising the
more detailed sound and wider frequency response position of the mic in relation to the vocalist’s
in comparison to dynamic types. That’s not to say mouth. There are three factors to cons der here:
that you can’t achieve excellent results with a firstly, the distance between the singer and the
dynamic mic; many hit records feature vocals microphone wil have a huge influence on the final
recorded with an inexpensive Shure SM58. Having sound. Very close mic’ing, with a distance between
said that, hand-held microphone recording is best 2 and 3 inches (5 to 8 centimetres) might work to
avoided unless that’s the only way the singer can capture a very soft and intimate performance,
perform, and if your stand-mounted vocal mic has revealing every nuance including mouth noises.
a shock mount, do use it as this will further However, in many cases such close mic’ing can
decrease noise from mechanical vibrations. induce unwanted plosive ‘pops’ and increase
Many condenser mics have selectable pick-up sibilance. Also, especially when a card oid pick-up
pattern is employed, low frequencies will be

Themostpopularmicforvocals
recordingisalargediaphragm
condenserforadetailedsound
patterns, the three main types being cardioid,
figure 8 and omni-directional (hyper-cardioid is an
increasingly popular fourth option). However, most
engineers select the cardioid option for recording
vocals as this usually gives the best vocal to CONTACTS
room-sound balance. Ribbon mics can sound lovely AKG
01462 480000
in the right circumstances but they are delicate www.soundtech.co.uk
beasts that can easily be damaged by wind AUDIO TECHNICA
pressure, so are not an ideal choice for loud vocal 0113 277 1441
work. Also, ribbons are bi-directional (figure 8) so www.audio-technica.com

will pick up more of the room-sound than a SE ELECTRONICS The Audio Technica ATM510 is
0845 500 2500 a great vocal mic and very
cardioid condenser or dynamic mic. www.seelectronics.com reasonably priced at
If you are lucky enough to have the choice of around £90.

MT Step-by-Step Microphone Selection and Positioning

Choose the microphone that best suits
01 the vocalist’s voice and the style of
track being recorded. Large-diaphragm
condensers are usually preferred although
singers with a very bright sound often sound
better with a dynamic mic. If possible, set-up
two or three mics and have the vocalist sing
briefly into each at a starting distance of
around 6 inches to find the best voice/mic
position. Unless you want a particularly
roomy effect, use a cardioid pick-up pattern.
Determine which side of the vocalist’s
02 mouth produces the better tone by
moving the microphone from side to side or,
alternatively, ask the singer to step to the left
and then right of the mic. Next, experiment
with the height of the mic. Increasing the
height will generally produce a fuller sound,
adding body and richness to thin-so nding
voices, while lowering the mic can restore
definition and brighten-up wooly-edged voices.
Fine-tune the optimum distance
03 between the singer and the mic during
the first vocal run-through. or an intimate-
sounding vocal try a close-mic’ed method; 3
or 4 inches (7 to 10 centimetres) will give a
sound with lots of detail but also a full
bottom-end, particularly when using a
cardioid pick-up pattern. Louder vocals are
better captured at between 6 and 10 inches.
Always use a pop-shield between the singer
and mic to prevent unwanted popping.

WorldMags.net
MAGAZINE June 2014 | 41
MT How to record
WorldMags.net
increased due to the proximity effec . A the other sE make some great vocal mics
(below) plus the Reflexion
extreme, with distances greater than 12 inches (30
Filter (right) designed
centimetres), more of the natural room sound will especially for vocalists.
be captured. Occasionally, these room reflections
can be used to create a desirable effect – David
Bowie’s vocal on Heroes for example was recorde
with three mics: a standard close mic along with
two amb ent mics at a distance of 20 and 50 feet,
with a gate employed to open t e ambient mics
during t e oudest passages. Us ally hough, a
dis nce somewhere between 4 and 0 inc es (10 to
25 centimetres is a good starting place or a

Asageneralprinciple,
thelouderthevocal,
hefurtherawayyo
canplacethemic possible tone. Thirdly, experiment with the
height of the microphone in relation to the
singer’s head, as this wi l also present tonal
variations. It’s a common misconception
natural-so nding vocal that can e that positioning the mic above the s nger’s
processed wi amb ent e ects s ch as mouth produces a brig ter sound while
reverb and dela d ring m x g. As a lowering the mic will bring out a more
ge eral incipl , e oud r e v c l, the chesty quality, when actually the opposite is
f rther you an p ace the mic. true; increa e the height or a fuller sound
he secon factor to d ermi e is whic and lower it for treble em asis. Positioni g
side of your vo a ist’s mout produces the the m c of -centre has the added advantage of
bes soun . It’s tempti g to place t e reducing ps and wind noises from the mouth,
microphone irec y in front of the singe , spe king of which...
however, we a l sing ( r speak) w h It’s always advisable to use some orm of pop/
emphas s on either the left or right side o w nd-shield e ween the singer and microphone.
our mouths o som egree and Some mics come with a foam wind- hield that its
usually one side wil soun over the micro hone itse f, however, he e aren’t very
brighter than the other. Try ffective at reducing pops and will likely
moving the mic from side to com r mise t e tre e-re ponse of the
side in order to get he best microp one. Far better is to use a

MT Step-by-Step Monitoring On Headphones

Feeding the vocalist a good headphone
01 mix will make the difference between
capturing a pitch-perfect performance and
an uninspired, flat-sounding take. Create a
dedicated headphone mix a d feed that to
he singer’s cans rat er than just feeding
hrough the control-room monitor mix. isten
on headphones with t e same mix so t at
you know w at the singer is heari g. Once
you have achieved the desired sound
cont nue monitoring on cans o know exactly
w at the singer is heari g.
The vocalist will not necessarily need to
02 hear everything that’s been recorded,
especially if it’s a busy track. Priorit se
instruments such as bass guitar, kick and
snare drums, which contain the fundamental
elements of tune and rhythm.This should help
with pitching and keep the singer locked-in to
t e groove of t e trac . Add a little reverb to
t e cans to crea e atmosp ere but don’t over
do it – a s ort reverb-t me sually works best.
And don’t record the reverb o to the vocal
track as it ca ’ be re oved la er.
Keep the headphone mix at a
03 reasonable volume. If the mix is too
loud, the singer may perceive some notes to
be either sharp or flat when they are not, and
in an attempt to correct this will end up
s nging off-key. Sustained loud headphone
mon toring can be quite tiring as well as
poten ially damaging to the ears. Also, if he
s ger prefers t mo itor w t one side on t e
cans removed, the sound from the unused
speake might leak into the vocal mic.

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42 | June 2014 MAGAZINE

WorldMags.net
pop-shield placed in front of the mic. If you don’t
own a commercially available pop-shield you can
improvise by sing some s ocking material
stretched over a metal coat-hanger.
One of the most important aspec s of vocal
recording is ensuring that the singer has a good
headphone mix. It won’ do to just send your
monitor mix to the cans, you need to set-up a
de icate m x tha has the right amount of
fundamental tune and r y hm o help the
Somepreferto
monitor hroughone
can.JohnLennon
hadonepermanently
disconnected
vocalist pitch correctly and stay in the groove of
the track; bass guitar and kick drums are good
for this. A little reverb added to the vocal
foldback is usually helpfu but make sure the
reverb is not recorde along with the voca . If
possible, wear headphones with an identi al mix o
monitor what t e singer is hearing, making sure
that the level is not to high, as o erly-loud
WorldMags.net
How to record MT
headphone mixes can affect the singer’s ability to
pitch properly. Some vocalists prefer to monitor
through just one side of a set of cans – Jo n
Lennon preferred this method and had his own
set with one channel permanently disconnected.
With this in mind, if the singer wants to use this
me hod, mute the unused side to prevent
unwanted spill leaking into the vocal mic.
Many engineers like to compress the vocal
track as it’s being recorded. Care must be taken
here as once compression is applied can’t be
ta en off. You may be better off riding the vocal
fader if there are just a few loud peaks an leave
compression for the final mixdown. If you do
compress as you record, be quite gentle wi h a
compression ratio of around 2:1 and aim for no
more t at 5 or 6 dB of compression on the loudest
parts. Remember, you can always experiment with
heavier compression at the mixing stage. This also
applies to other processes suc as gating, which
can ruin an otherwise good ta e if it’s not
correctly set-up. Capture the performance fir t
then you can try-o t various effects and
treatments in a non-destructive way.
Nex month we will explore how to treat
vocal once t ey have been recorded, including
how to compile (comp), a great per ormance from
several recorded akes; how to de-ess an over
sibilant vocal and how best o u e effects suc as
Another fine mic: the reverb, delay, com ression and equalization o help
C414 from AKG. the vocal si n the final mix. MT
MT Contemporary Production Techn ques
WorldMags.net
New Series Contemporary Production Techniques

Welcome to a new MusicTech series. Mike Hillier g ides you through today’s most
cutting-e ge and effective product on techniques, and kicks things off with side-c aining…
e’re often asked about specific production t tech iq e t a has bee s d f r wh e n w b lso
techniques here at MusicTech, and not o e t at i l ver pul r.
necessarily those specific to particu ar B se d g e kic dr t th i e-c a of
DAWs. So, in response, we’re starting a c mpres r pl ce acros n inst m t, i stru e t
new series about some of today’s most ca be ma e u i respo se o e k k. T is ea es
commonly-used (or indee secret!) production techniques o gr y mcd a i , r g e o t st i
– those that are both defining ge res an making music a s ex ti g u d . o ea s m r r m f r th
what it is today. We’re illustrating them wit Pro Tools bu ick m i t e mix, h i it is o po u r t e
even if you don’t ow hat DAW you should be able to use da ce s e, ere a r ng i k m , as ve , se ial
t e ech iques s own within yo r sof ware of choice… to t i .
To kick things off M ke i lier is a king of t f o use s t i ec i u D f
side-chaining a d duc ing and diving… nk, s th i e- a n f e is –
t us dirt - di a ec s . e,
’ eed d a re get s mi r s lts
We’restartingaseriesont e ma a r s, i l g e
mic I I g-i i r l , d - i
productio techniquest at b ri r

aredefininggenresa d
making usicwhat
it stoday…
Dynamics processors, both har ware an software,
of en ave an addi ional “si e-c ain” nput w ich can
of e go overloo ed, b t can be e to chieve a variety
of dvance product on tec niques. In bro dcast,
c mpressor si e-c a ns ve long bee use to ac ieve
a c i g e ec , red c ng t e e el of the m sic wh le
t e D is s eaking. This same trick as a so bee sed n
usic p oduc io , for nstance d ck a g ita par
h le the vocalis is s ngin . I e nce orld,
especially, t tec ique is incre ibly popular, duc i
t e nstr mental p r s i es on e to he kick r –

PRO TIP
Many dynamics processors,including the Dyn III,have an internal
side-chain instead of or in addition to the external side-cha n.This
splits the incoming signa and enables you to process the signal go ng
to the side-chain internally. he most common technique here is to
filter out low- requencies,so the compressor isn’t triggered by an
excess of low-frequency energy.When used on busses,especially the
master buss, his can produce a much smoother,more natural
compression as it isn’t not being triggered by every kick drum beat.
Side-c ain filters can also be used to create de-essers,by
focussing on o ly the s bilant region of the vocal and compressing the
signa on y when this region crosses the t resho .

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44 | June 2014 MAGAZINE

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MT Step-by-Step Getting a pumping sound
Send the instruments you want to pump in time with the kick to a
01 group buss. It’s best not to send everything, but to specify
specific soun s that wi l benefit, such as bass and pads.
Add an instance of a dynamics compressor/limiter (here it’s
03 Dynamics III in Pro Tools) to the group buss. And in the side-chain
key menu at the top left select the ick SC buss we created.
The threshold control will now respond to the incoming
05 side-chain. Set the ratio at 4:1 and lower t e threshold until
you’re getting a fair amount of compression (6-12dB).
drum to get a big pumping synth sou d. Be carefu with what
you send to the compressor to be pumped though. We often
hear artists sending t eir entire instrument buss to be
pumped through the co pressor, when a couple of simple
choice eleme ts would make for a far more excit ng and
i teresting sound.
A other common tric for side-chain dynamics is to beef
up the sound of kick dr ms with a gated sine wave. Th s time
the kick dru is sent to the side-chain of gate rather than
a compressor. A sub-har onic freq ency is the sent to the
WorldMags.net
Contemporary roduction Techniques MT
On the kick track add a mono send, but don’t bother bringing the
02 return back on its own aux channel. We’re just going to use it to
co trol the compressor side-chain.
The side-chain is now routed to the compressor, but the
04 compressor is still not listening to it. In the side-chain section at
the top right, click the key icon to engage he side-chain.
Finally set the attack and release to time the pumping effect to
06 the rhythm of the track. A ast attack will bring the signal down,
quickly making room for the kick, while the release should be timed to
create a rhyt mic pumping effect.
gate’s a dio i ut, which ca be tu ed to he key of the
song, or to add dept to the f n amen al of t e kick. Now
whe t e kick drum crosses the gate thres o he g te wi l
open, letting he sub-har o ic s ne wave thr ug , n then
close again once t e kick drops bel w t e thres ld,
e sur ng he sub-h rmo ies a e only prese t at t e sa e
t me as he kic drum.
By c refully setti g the att ck, o /hys ere is a d
release controls o e te it possible to s pe the
a plitude vel e of t e sin wave to lose y res le
MAGAZINE June 2014 | 45
MT Contemporary Production Techn ques
WorldMags.net
that of a kick. Fast attack and slightly slower releases will
produce the most natural sounds, altho gh if you set the
attack too fast you will create a high-frequency ticking
sound as it opens, which may or may not be useful in
accenting the kick rum.
This same rick can be use o toms and, by substitut ng
a p nk noise waveform for the sine wave, it can be used on
snares too. It can also be used to create n automated
gating effect on other instrume ts. Try gati g a synth or
v ca part to tr gger of the i-ha rhyt m. The extures tha
MT Step-by-Step Beefing it up with a sine
Add a new mono Aux channel next to your kick, and add an
01 instance of (in Pro Tools) Signal Generator followed by Dynamics
III Expander/Gate.
Similar to the side-chain compression earlier, set your dynamics
03 gate to key from the kick SC channel and enable the side-chain.
Set the threshold to trigger only on the peaks of the kick, so that
05 the gate isn’t open for very long.This enables us to better shape
he sub ick with the attack and release.
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46 | June 2014 MAGAZINE
you can create wit t ese sounds can e qu te i teresting,
and don’t always eed the orig nal sound to be prese t in
t e x. Usi g e h - at to trigger a gate o a syn h, for
example, can e sed to replace e h - at at ern en i ely,
or as s bsti ute for i in di fere t secti of e song.
T s ef ec is oft easi r to produ e, n o na u al
so din tha si g patte n sequence , r oma ion
cont l a ga e. e ave recorded tap i g on esk se s
a trig er o a ga e o a ccas ons, owin t e des
ta p ng cha el w l ever eac t e al m i se . MT
Set the Signal Generator to a sub-harmonic sine wave.You can
02 tune this to your track, but is best around the 30-50 z range.
We want to completely gate the signal when the kick isn’t
04 triggering it, so set the Range to f ll (-80dB) and the ra io to 100:1
Finally, when setting the attack and release we’re controlling the
06 speed at which the gate opens and closes, allowing the sine
wave through in response to the kick.Th s shapes the envelope of our
new sub kick.
 WorldMags.net

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WorldMags.net
MT Technique Advanced MIDI editing in Logic
WorldMags.net
Powered by
Logic Pro X Become a Logic Power User

AdvancedMIDI
Power
Series
Pt. 10

editinginLogic
Logic’s heritage as a MIDI sequencer really shines when it comes to adopting a speedier
and more creative approach to editing MIDI data. Mark Cousins takes note…

O
ne of the key skills of producing music in the
virtual domain is MIDI editing: refining the
all-important musical data used to drive the
virtual instruments in your Logic project. All too
often, though, it’s easy to overlook the ability to
edit and refine MIDI data – to be distracted by an all-
together more alluring world of instrument plug-ins and
effects – but in truth, the way that you handle and
manipulate MIDI data can be as creative as any part of the
production process. Handling MIDI data in a fluid way, and
understanding the myriad of creative possibilities that can
be applied to it, can transform your music in a profound way.
It’s easytobedistractedby
menu-driven ways that Logic can transform your MIDI data,
On the disc often applying a process that could take an eternity to carry
out by hand. Ultimately, the combination of improved note
selection, along with some handy menu-driven
Accompanying transformations gives you more freedom to be creative with
project file included
on the VD your MIDI data, whether you’re editing a complex drum
pattern, moving different musical lines around a virtual
orchestra or using controller data to make your music more
dynamic. Enjoy the tutorial! MT
This tutorial is endorsed by Point Blank Music School which
specialises in courses on production, 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. www.pointblanklondon.com

alluringplug-ins,butediting
MIDIisacreativeprocess
Rather than exploring Logic’s MIDI editing features in a
laboured way, we’ve decided to take a look at a variety of
techniques and possibilities with MIDI editing that might
suggest new ways of working, or a more balanced use of all
Logic’s features. At first, we explore the link between the
Inspector and the Piano Roll editor, two of the primary
means of editing MIDI data in Logic, as well as seeing the
potential importance of ‘normalizing’ some of your edits
along the way.
One of the key overarching themes in this workshop is
the idea of ‘intelligent’ selection – selecting multiple MIDI
notes using a few simple keyboard shortcuts rather than
highlighting them on a note-by-note basis. With many MIDI
performances often containing tens, or even hundreds of
notes, it’s often the speed and efficiency that you select
notes that can make a real difference to how quickly your
MIDI edits are applied.
Beyond note selection, we also look some unique

FOCUS ON… SCALE QUANTIZING

One of the more intriguing elements of the Piano Roll editor is Scale Quantize,which
works as a form of pitch-correction tool on MIDI information.Selected notes can be set
to a user-define scale – like Major or Natural Minor – as well as a chosen key.One
immediately-interesting application is to use o e of the more unusual scale types – like
South-East Asian or Dorian – to see how it transforms your music.Another possib lity
worth exploring is the combinat on of MIDI Transform’s Ra dom Pitch combined wit
Scale Correction,which transforms an otherwise atona collection of random notes into
something that could be considered music.

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MT Step-by-Step Improved Drum Editing
In this first example we’re going to explore some possibilities
01 with editing drums, starting with the hi-hat pattern.The
Inspector is often the first port of call with many MIDI edits – in this
case, applying a straight 1/16th quantize and fixing the dynamics –
using the extended region parameters as part of the floating region
inspector, alt + R - so that the velocity is flat.
One of the key ideas behind more efficient MIDI editing is the
03 idea of intelligent selection. One of the best examples is arguably
the menu option Select > Same Subposition, or Shift + P. In the case of
the hi-hat we can select the accents for one bar, then initiate the Same
Subposition command to have Logic select the remaining bars.
If you’re working between multiple regions, it’s worth
05 remembering the Set Note Color function as part of the Piano
Roll editor. In this example, try selecting all the drum-based regions
and then open the Piano Roll editor. Now switch the colour setting
using the menu option View > Set Note Color > By Region Color.
WorldMags.net
Advanced MIDI editing in Logic Technique MT
Editing between the Inspector and the Piano Roll editor can get a
02 bit complicated when you’re moving between the two layers of
editing, so it’s often useful to normalize the region parameters, making
the region edits permanent. Ctrl click on the region and from the MIDI
sub menu select Normalize Region Parameters.The quantize and
dynamics changes are now hard-written.
With the notes selected, we can now use the Velocity slider as
04 part of the Piano Roll’s local inspector to increase or decrease
their relative level. If we want to adjust the level of the other notes in
the pattern we can use the Invert Selection function – Shift + I – to
shift our current selection accordingly.
Another useful tool for MIDI drum editing is the Nudge feature,
06 which enables you incrementally shift the position of one or more
notes using the left and right arrow keys in conjunction with the Alt
modifier.You’ll need to set the nudge value (Move > Set Nudge Value to
> Division) to ensure it’s set to a division for 1/16th movements.
MAGAZINE June 2014 | 49
MT Technique Advanced MIDI editing in Logic
WorldMags.net
MT Step-by-Step Dealing with MIDI chords
The next few examples explore some interesting techniques in
01 relatio to worki g w th chords. One really useful tool in this
context is the Force Legato feature, found under Trim > Note End to
Following Notes (Shift + \).Try t is on the Cinemati Stri gs regio and
see how the note length is change to make a smoo h tra sition.
With the top notes selected, press mute (Ctrl + M) to silence
03 them. Copy the region over to the flute, selected the muted notes
(Shift + M), un-mute, Invert the selection (Shift + I) and then mute.
While this seems complicated, it actually ill strates how a few simple
key presses can transform your MIDI Data.
Try applying the Set MIDI Channel to Voice Number function on
05 the Hammond track. In this case, the notes end up being divided
among the t ree differe t organ manuals (Upper, Pedals and Lower).
You can achieve some interesting effects chang ng t e drawbar set i g
between the three man als, colouring each part of the chord in a
differen way.
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50 | June 2014 MAGAZINE
One useful skill with chord sequences is the ability to split-out
02 the notes to different instruments – in this case, doubling the
bottom two notes on clarinet and the top note on flute.To start, copy
the strings to the c arinet, open the region and use the menu option
Select > Highest Notes (Shift + Up Arrow).
An interesting alterative to the technique described here is the
04 menu option Functions > Set MIDI Channel to Voice Number,
whic divides a chord between a series of MIDI channels.This is we l
worth do ng with the View > Set Note Co or > By MIDI Channe enabled,
so that you can see the MIDI assignment by colour.
If you’re intending you use your separated note data with other
06 virtual instruments, it might be worth using the contextual menu
item MIDI > Separate by MIDI Channel. Once applied, your original
sequence data will be split into three reg ons, one for each voice of the
chord, each of wh ch can be mapped to a separate virtual nstrument.
WorldMags.net

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MT Technique Advanced MIDI editing in Logic
WorldMags.net
MT Step-by-Step Getting creative – controller data and beyond…
The MIDI Draw area at the bottom of the Piano Roll editor is
01 where you can access the MIDI controller data and, of course,
MIDI velocity settings.This view is particularly useful if you use the
note data by Region Colour view, although it’s also handy in that you
get a detailed overview of the respective velocity level between notes.
One of the key points to note about the MIDI Draw area is that you
03 can access the same information at arrange-level. From the
Tracks Area, use the local menu item View > MIDI Draw > Modulation.
You should now see controller data directly from the arrangement,
although you’ll need to make sure the vertical scaling is suitably ‘large’.
Working with the Synth Bass part, there’s a number of interesting
05 transforms we can apply. Fixed Note Length adds a more
machine-like feel to the sequence, especially if we then reduce the
note length by half (effectively creating notes 1/32nd in duration). Also
try Random Velocity as this is mapped through to the Filter.
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52 | June 2014 MAGAZINE
Using the drop-down menu in the local inspector, you move
02 between any one of the 127 assignable MIDI controllers. Working
with the synth bass track, for example, we can use the modulation to
controller the filter cutoff. Use either the pointer tool to add new nodes
or the pencil tool to draw freehand.
When it comes to modifying MIDI data, there’s a host of
04 possibilities to be found under the Functions menu in the Piano
Roll editor, especially under the MIDI Transform sub-menu. Whenever
you apply a transform, Logic will take you through to MIDI Transform
dialogue. Click on Select and Operate to initiate the transform.
Going back to the drums, one of my favourite MIDI transforms is
06 the Humanize option, which adds small amounts time drift and
velocity randomisation to mimic the style of a ‘human’ performance.
The great thing here is that you can add Humanize progressively –
making the performance looser each time.
WorldMags.net

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MT Technique Mixing tools and techniques
WorldMags.net
Ableton Live Become a Live Power User

Mixingtools
Power
Series
Part 10

andtechniques
When it comes to mixing, Live offers both classic and contemporary mixing
tools for a variety of sonic options. Liam O’Mullane walks you through his
main choices of devices and editing tools to make your mixes shine…

M
ixing is a process that can happen in one or
two stages of the music production process.
The first stage is creative and composition
based, where people may mix as they go.
Here they’ll solely concentrate on mixing as
the track comes together with possibly a separate
tweaking stage at the end.
The second stage is after the composition is complete
and sounds are in place, to then mix with a subjective
outlook. Some people will ignore major mix decisions until
this stage as it gives them the most mix options as
possible while they only have their mix engineering hats on.
Itisagoodideatotryand
separateyourmixingstage
fromyourcreativestage…
Although mixing has creative sound design aspects, it also
has many practical tasks and assessments that need to be
carried out. With your creative hat on, you can find this
difficult to do, so if you stop to take care of these matters,
it can have a negative affect on your creative workflow. So
there is a good reason to separate these two mixing
On the disc processes if you can.
To help commit to this separation, it’s worth rendering
out all of your tracks to new audio. This helps you decide
Accompanying
project file included when you’re truly ready to mix, while also removing the
on the VD temptation to tamper with compositional aspects during
the mixing stage. Rendering out your audio also frees up
computer resources which means more processing power
for plug-ins. Finally, if you intend to send your work out to
be mixed by an engineer, this process will create files that
they can use.
To export your project’s tracks to new individual audio
files, highlight the duration of the whole song and then
select Export Audio/Video from the File menu. This opens
up a large range of options and we recommend you remain
at Live’s native bit-depth of 32-bits, and stay at the same
sample rate you’re working at. The sample rate you’re
currently using is signified by having a small speaker icon
next to it. The only other option that needs configuring for
this task is the Rendered Track menu (all other options
should be disabled). Select Individual Tracks for rendering
and then select a new, clean, mix project folder to put
them in after clicking the Export button. You will now have
a new file for every track which can be imported into a new
project. Until next time, happy mixing… MT

FOCUS ON… EXPANDING YOUR GO O TOOLS create a dir ,lo-fi c aracteristic.T is ca be usef l or g v ng o e or wo sounds
disti ct to e of the r own i the ix.Harmonics can also be intro uced usi g
The library of audio effects in Live’s browser offers a good range of funct onal and Downsample when set o se ts Sof mode.Use a very s all amount to ntroduce a
creative mixing tools to choose from.EQ Eight and Compressor/Glue Compressor are gl ss so nding top-en for d l sou ds.
the most obvious choices for frequency and dynamics control,but there are many Wh tever tool end up e ng your favo rites,save some time nd c eate a
other devices w ich are worth exploring for frequent mixing tasks. efa lt processing c a n by Rig PC] / Ctr Mac] + c i i g o a track’s name. ere
Alt ough you can use a low- and igh-cut EQ to bracket a sound’s frequency range you can save de u open ng state or future e IDI or a di tr c s.A ter loa i g
using an EQ Eight,a Cabinet dev ce can ac ieve a similar effect with much more added in yo r pre erred m x-too s o track,se ec S v As De u IDI or A io ra
character.This is partially due to its narrower frequency bandwidth that creates a respe t vely. o al new trac s wi l e reated wit t is chai of
telep one ike effect.But this ca be balanced wit t e orig nal s gnal using the dry/ ev ce pre- oaded.
we control to return a sense of fidelity.The ra ge of the bandwidt estric ion,or
brac et, s selecte through the spea er setting.Transient smear ng is at its mos
affect ve when you se ect a dyna ic mic from t e micropho e
list and exp ore its posit o .
Cabi et ad s a element o
ynamic control as part of its
processing as wel ,bu other
options ike Saturator and Dyna ic
Tube ev ces can do this w i e
of eri g a di feren character. se a
careful balance o drive and out ut
– you can eit er go for a
ully-processe an clipped soun ,
or balance t e dry/wet amount or a
balance o t e origina signa to re a n
some ynamics.
Re ux’s Bit Reduct o ca be used
to red ce a soun ’s ynamic range,but it wi l

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54 | June 2014 MAGAZINE

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MT Step-by-Step Processing, side-chaining and automation
Although Live’s Compressor Device is perfectly functional, Glue
01 Compressor can be used to add some character for dynamic
processing. Glue is a great channel, group and mix buss compressor
with its SSL-like smoothing effect. Enable the Soft Clip function and
explore driving the signal using the Makeup gain for a hot sound.You
can always then use the dry/wet dial to make this a parallel effect.
As compression is the process of level control, you can also
03 control dynamics using Live’s editing functions.You can automate
volume, but this limits you for making level adjustments down the line.
Instead, add a Utility Device at the end of the Track’s processing chain,
then automate its gain parameter. For more natural automation
changes, hit Alt on automation lines to drag and create curves.
Many devices have the ability to be side-chained, so respond to
05 the amplitude levels of an external signal. Most people only use
these on single or grouped sounds, overlooking the option to
dynamically control ambience effects.Try adding a compressor to
each Return Track and set them to take Audio From the drum group.
This make your mix move with a pumping, rhythmic sound.
WorldMags.net
Mixing tools and techniques Technique MT
If you need to remove unwanted sounds, try editing the unwanted
02 portions out rather than using a gate device.This offers a higher
level of individual control to tidy up audio over a more ‘set and forget’
approach used with a gate. After highlighting the portions you don’t
want, delete them, then select Show Fades from the Create menu.You
can now drag these start and end fades to suit each audio event.
Use an EQ Eight before any processing to remove unwanted
04 frequencies. Add another at the end of the chain for re-balancing
the frequency curve of a sound. Check unnecessary bottom-end that
needs removing using the analyser on the first EQ.The second EQ’s
analyser monitors how your processing is affecting the frequency
content – useful when trying to fill out holes in your mix.
Those with Live Suite can get creative with side-chaining using
06 its Max For Live based Envelope Follower. Place this on the track
to be the source sound for side-chaining, then click map before
clicking a parameter you wish to control.This moves in time with the
audio events on the track with the device on. Use a multimap device to
multiply and started mapping this source to various destinations.
MAGAZINE June 2014 | 55
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MT Step-by-Step Advanced and unique processing
An Overdrive device is useful for thickening up the harmonic
01 content of a sound. First, find the right frequency area and width
of focus using the device’s bandpass filter.Then control the density of
distortion using drive and its brightness using tone. Finally, compress
the signal as required using the dynamic amount, then dry/wet can
blend the processed signal to taste.
We discussed setting up mid and side processing using Audio
03 Racks in Part 5 of this series.This simple process lets you add
different processing to the middle (mono) and sides (stereo difference)
for a higher level of control.To get used to how these sound, after
setting-up, solo each one and play with their respective balance to
hear which part of the sound each chain represents.
Another good place to consider processing mid and side signals
05 on their own is for ambience effects.Try using a different reverb
device, or Max For Live Convolution Reverb on each signal with unique
settings.This creates a much deeper and engaging ambience
soundfield. A shorter decay time on the middle and longer on the side
works well for an enhanced sense of stereo spread.
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Mixing tools and techniques Technique MT
Another option for thickening up specific frequencies is the Vinyl
02 Distortion Device.The tracing model graph can be used in much
the same way as the bandpass filter on an overdrive device. It’s the
pinch graph below where things get interesting as harmonics are
distributed across the stereo plane, making it useful for also
enhancing its stereo width.
If you have a stereo signal, a good way to enhance how stereo it
04 sounds is to compress both the mid and sides of the signal
separately.This way you can reduce the dynamic range of the sides so
the stereo aspect of the signal is more consistent in volume. Raising the
level of the sides will then make the sound more stereo than mono.
Live’s Vocoder device can function as a noise based exciter. With
06 the carrier set to noise, the reverb-like noise effect can have its
decay time altered using the release value. After setting the device to
40 Bands for the best fidelity along with a maximum frequency range,
explore the depth and formant controls to tune its noise to best suit the
source sound and EQ it to taste drawing into the filter bank.
MAGAZINE June 2014 | 57
MT Technique Routing hardware and software into Cubase
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Cubase Become a Cubase Powe User

Routinghardwar
Power
Ser es
Pt. 10

&softwareintoCubase
With more new hardware coming out and lots of classic hardware available Tim Hallas
looks at how your DAW can become the perfect hardware/software environment…

W
hen working with Cubase, one of the biggest
problems that I come across, particularly when
working on the older versions I find in schools,
is that the variety of sounds was not always as
comparable with other DAWs. Now we’re in version 7.5, the
selection is much greater, but as musicians we are always
looking for the most appropriate sounds available rather
than just settling for what is available.
Developersmaythinkyoucan
doitallintheboxbutthere’s alot
ofhardwaretotemptyouout
I am a bit of a ‘gear-head’ and have in my studio a
number of very nice external MIDI devices from the true
analogue of my Moog Little Phatty to the most digital and
modern sounds of my Roland V-Synth via a whole stack of
drum machines and other gadgets I rarely use. They all have
their appeal and I use the appropriate one at the
appropriate time. So, although
Cubase does now have a
range of decent sounds
within the MediaBay, this
month we will be looking
at how to incorporate sounds from external devices into
On the disc projects via MIDI and how to capture the audio back in.
As well as using external devices, many users of Cubase
may well be familiar with linking the software to other
Accompanying programs through the ReWire protocol. Both Reason and
project file included
on the VD Live work with ReWire and can be controlled by a master
DAW and in this article we look at how to set this up within
Cubase. (Hollin or Liam will be able to write in more detail
about the Reason or Live side of the protocol, but for now I
will focus on the Cubase side.)
The need to link the software to these external devices
and pieces of software is less common now that all of the
major DAWs are trying to make their programs all-in-one
boxes. However, while they try and do that, there’s been a
growing number of hardware releases over recent years to
tempt us back ‘to the outside’ so it is still important that we
understand how to use these features in the software. And
you never know when you’ll want that old rack synth in the
loft back in your set-up, so here’s how to best marry
hardware and software and also to ReWire
other software into Cubase. MT

DEVICESETUP
I have noticed an unfortunate
habit within certain devices that
feature USB MIDI as part of their
setup of also grabbing the audio
output as well.My Little Phatty
is gui ty of th s,and no matter
what I do, can’t get it to allow
audio from both computer and
synth to play at once via in-buil
USB.The only way I have got
round this is by using traditional
5-pin DIN M DI connections.
These ight seem antiquated,
but actua ly using a MIDI hub
such as my old M-Audio 8x8
MIDISport a lows me to connect
multiple devices with very litt e
prob em – and o ogging of
audio parameters – at the same
time as the ealing w th all that
important IDI data.I hen
capture the audio as described
above with no problem.

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MT Step-by-Step Reaching outside of the box
To begin routing MIDI information to an external MIDI track, you
01 need to have a ‘true’ MIDI track rather than a Software Instrument
track. Load one of these by selecting Project> Add Track> MIDI.This will
bring up a dialogue box to choose how many tracks you want.These
are different to Instrument tracks as Instrument tracks are more of a
hybrid MIDI/Audio track.
At this stage your external device should be receiving MIDI data,
03 and assuming it is connected to an amplifier of some variety, it
should be making sound.You can now provide it with any MIDI data that
a software instrument would receive, including note data and
automation via Continuous Controller information.
By adding an audio track into the Arrange window (Project> Add
05 Track> Audio) and routing the input from your interface to that
channel you can capture the audio. Connect the output of your external
device to the audio input and simply hit record.The computer will send
the output of the MIDI to the device and then capture the audio as it is
recorded back in.
WorldMags.net
Routing hardware and software into Cubase Technique
Once your track is loaded you need to route it to the external
02 device that it will be controlling.They can be found in the
drop- down box in the Channel Inspector panel on the left hand side.
Once the output is selected, choose which MIDI channel you want to
output on – from 1 to 16 – so that there is no muddled MIDI data
between tracks.
If you are integrating the sounds generated into a project that is
04 running audio and other devices, there needs to be some way of
collating all of these sounds which traditionally would have been
done via a mixer – and we can do the same in Cubase via the
MixConsole and Arrange window in the software by taking an audio
feed into the computer.
There is potential that this capture might be minutely behind
06 the project, but I have never noticed it enough to be a problem. If
you want to adjust it within the Arrange window, re-align the captured
audio with the beat or the original MIDI data until it is back in time with
the project.
MAGAZINE June 2014 | 59
MT Technique Routing hardware and software into Cubase
WorldMags.net
MT Step-by-Step Reaching other software via ReWire
The ReWire protocol is a temperamental beast and requires the
01 software to be opened up in the correct order. Start by opening
Cubase, but not opening a project.Then open Reason (or other
software) and it should say ‘ReWire Slave Mode’ as the audio device.
Open your Reason project and then the Cubase project to makes sure
that all the conduits link correctly between the pieces of software.
For this I shall be describing working with Reason, but it works
03 similarly in other ReWire slaves. At this point there will be no
sound, as although you have the software link, it is not yet turned on to
allow sound through. By selecting Devices> *device* Rewire this opens
up a dialogue box to select all the outputs available – I’ll come to this
shortly. Start with L+R mix.
If you then want to import the information back into Cubase, it is
05 easier than with external MIDI devices as it can be done inside
the box. Decide how you want to capture the audio, either as mix or
individual parts for further processing. If the former, export the audio
from the ReWire program or by soloing the ReWire mix in Cubase and
exporting that and then re-import it into Cubase onto an audio track.
WorldMags.net
60 | June 2014 MAGAZINE
When working with ReWire, although the whole process remains
02 within the box rather than leaving the computer as it does with
an external MIDI device, we still need to use a MIDI track rather than an
Instrument track. So start by creating one in Cubase by following the
instructions above but don’t yet route to the output or channel.
You now need to assign tracks to instruments between the
04 pieces of software – start by selecting the sound source you
want to use in the slave and setting up the instrument.Then in Cubase,
the instrument you have just loaded will appear as a device in the
external MIDI tracks available.You can now play and record the MIDI
data between Cubase and the slave.
If you want to capture individual sounds, route the outputs of
06 each instrument in Reason into channels on the Hardware
Interface.Then in Cubase go back in the Reason ReWire box and turn
on those channels that have instruments connected to them.Then
within the Arrange window, solo that individual track and export the
audio and then repeat the process of export and import above.
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MTReviews Elektron Analog Keys
WorldMags.net
MTReviews
Hardware Software Mobile Technology
ELEKTRON
Analog Keys
With more performance features than a circus, Analog Keys is aimed at everyone from live
players to analogue boffins. But does it spread itself to thinly? Andy Jones is on the keys…
W
Details e love Elektron – let’s get
Price £1,449 that out of the way.The
Contact Elektron company does things its
+46 317 437 440 way and doesn’t really
Web
www.elektron.se seem to care what anyone thinks. It
produces great hardware beat and
synth machines which are, as Stella
Artois would say, reassuringly
expensive.‘Too expensive?’ you might
say, but I’m a firm believer that every
industry needs something that you can
aspire to buy. Not that Elektron is in the
‘supercar’ league where no-one can
afford the gear, but it is set in a strata
where you have to be serious about
what you are doing in order to consider
buying it, which means – in an
admittedly snobby way – ‘no riff-raff
here’, so consequently you won’t find
Elektron sounds everywhere.
Which is good.
Having said that, the gear really
does have to deliver the goods for the
money being asked for it, and in the
Machinedrum, the Monomachine, the
Analog Four (on which this unit is
based, and reviewed back in April 2013
– indeed for more on this synth’s
architecture read that review) and the
Octatrack, it’s a case of ‘so far, so great’.
They do what you want and a whole lot
more, but they do cost…
WorldMags.net
64 | June 2014 MAGAZINE
Samples
Analog Keys is a four-part analogue
synth with digital control, effects, a step
sequencer, a 37-note semi-weighted
keyboard, MIDI control capabilities plus
some neat sound-morphing by way of a
joystick. In fact, it is filled with features
for the composer and performer but,
more interestingly for the studio user, is
its forthcoming Overbridge feature.
This will enable the synth to be seen
as a virtual synth within your DAW, thus
offering the best in hardware combined
with the ease of use of a software
instrument. It will be one of the first
analogue synths to be able to sit within
a DAW environment like this, but note
that I have said ‘will’ twice as,
unfortunately, this promised feature will
not be with us until Q4 this year. When it
does come out, though, it will also bring
full, bi-directional USB audio and total
recall of the analogue parameters.
Great stuff, but as I write this we’re only
just in Q2, so we have a while to wait…
Front panel
Because this analogue synth is digitally
controllable and comes packed with
features that you won’t find on a
standard analogue synth, don’t expect a
standard front panel.There are rotaries
(10, far right) for controlling parameters,
for sure, but they can control multiple
parameters. The panel is set up with an
emphasis on the on-board sequencer
with its four selectable tracks on the far
left (plus effect and CV/gate tracks) and
16 trigger buttons in a row along the
bottom near the keyboard. The keys
above are used to select patterns or
sounds from potentially 4,000+ on offer.
Architecture
The manual, then, goes straight into the
data architecture of the synth so it’s
worth a quick run down of how it works.
You start with the basic sound, and
four of these make a Kit (including
effects and CV settings). A Pattern is a
sequence of note data as you might
expect and you can have 128 of these
available across eight banks (16 in
each). A Chain – stay with us – is a
sequence of patterns; 64 of these are
available which then go to build up
Songs. Finally a Project is the whole
thing including up to 128 Patterns and
Kits; 16 songs, four Global settings and
the 128 sounds in the sound pool. If this
all sounds over the top, maybe it is, but
when was Elektron ever going to do
anything by the book?
For now, just get your head around
the fact that there are tons of building
 Elektron Analog Keys Reviews MT
WorldMags.net
Alternatives and can say that the arse on this fella is
KeyFeatures
For an analogue synth ‘sound’ there are literally hundreds of easily as big.
options available,so I’ll just go through a couple that I’ve reviewed. O 4 voice – 2
There’s plenty of lo-fi effect type analogue
These are the Novation BassStation II (£399) which is surprisingly flexible,
great fun and veers very much towards a classic acid sound.The Moog Sub Phatty presets to dig into too. Later in bank B oscillators per
(£849) has an incredibly-rich tone but can also be very contemporary in its outlook – indeed voice
there are all sorts of alien-like textures,
many of its (only) 16 presets seem made for modern dance music.Both are only monotimbral and O 2 analogue
monophonic.The Nord Lead 4 (£1549) has lots of sy thesis types (including a virtual analogue).It
plenty of bizarre movement and loads filters per voice
isn’t true analogue but I mention it as it sits in a similar price point,and is four part multitimbral (like of depth. Indeed, with some of the O 1 analogue
the Analog Keys).It comes with a rich choice of performance options which I think are better sounds the combination of great preset overdrive circuit
implemented too.It doesn’t sound as ‘analogue’ but you get more polyphony (20 notes). per voice
with effects often meant I thought I was O 37 key
playing a multitimbral performance semi-weighted
blocks here for song creation and for go? So you go from incredible Vangelis rather than a single preset sound. keyboard with
aftertouch
getting ideas down. Sounds combine -type pads with one preset to attempts From the literature, I (mis)
O Up to 4096
with Kits (effectively multi set-ups) to at English trumpets the next.The understood that there were supposed Sounds +drive
make Patterns to make Songs and former is brilliant, the latter… please to be 4,000+ sounds in the Drive Sound storage
O Dedicated MIDI
Projects may contain multiple ideas stop doing brass on synths – synths Library. However that is not the case.
controller mode
and Songs (up to 16). It’s just a different should be used to make new sounds! There are 256 each in banks A and B O Step sequencer
way of thinking for the traditional DAW Having said that, there is a delicate and the rest, in banks C to P are empty with parameter
user – basically you can do everything English Horn preset that demonstrated slots for you to fill. A little disappointing locks
O Dedicated
you need to do within one box, it’s just enough subtlety to be very inspiring but I’m not complaining too much. Less CV/Gate and FX
that box is not a computer. And, by and sequencer tracks
large, as well as an ideas generator, this O Reverb, delay,
structure is aimed at the performer.
Youcandoeverythingyou chorus send FX
O Connections:
headphone, 2
Sounds
As the sounds are at the very core of
wantinthebox,it’s justthat x main outs, 4 x
stereo outs, 2 x
external ins, 2
the architecture, it’s time to spend
some time stepping through them.This
boxisnotacomputer… x dual CV/Gate
outs. USB 2.0
is best done by loading in a Kit of four
sounds. You can select the Track indeed. This synth sounds best off road. is more when you have this high a
number, one to four on the left, to play Indeed, the sounds that really work quality engine and set of presets.
the sounds that make up the Kit, and well are the more fantastical ones: the Which is where my – albeit small –
then use the Sound Selection dial on pads, the dirty rhythmic ones and the problem lies. Analog Keys is often about
each part to change the sound that sequenced ones. These not only show performance, sure, and all about
makes up the Kit. It’s also worth having off the power of the analogue engine building blocks as a scratch pad
some Patterns ready to trigger as you but how dramatic the effects can be. composer. I’m not a live performer but
audition the sounds as these are linked There’s some pure joy to be had dialling can see that there are oodles of
to the Kits so when you change the up the Vangelis-a-like pad, the dirty, features for the player. I don’t think they
sounds within a Kit, the Pattern will quirky Hatcher2; and the other-worldly are particularly well implemented in all
simply play these new sounds in place Kraksong. Basses too are full, large and
of the old so you can audition the beefy. I’ve had the pleasure of reviewing
sounds in context. a couple of big-bottomed synths over
As you go through the sounds it the last year in the form of the
feels a bit random, at first.There aren’t Novation Bass Station 2 and
that many large groups by sound type Moog Sub Phatty
(although you can search by sound type
to get them clustered together) so it’s
all a bit surprising, but I actually like
that. Who wants to delve through
500 bass sounds in one

We love the Elektron design ethos.The

company designed an analogue synth but made
it look incredibly modern – not retro at a l – and it
fits in well with the company’s other products.

WorldMags.net
MAGAZINE June 2014 | 65
MT Reviews Elektron Analog Keys
WorldMags.net
MT Navigation Analog Keys front panel
SOUND
a MORPHING c ROTARIES
While these
We didn’t have
aren’t tied to any
time to touch
particular
upon this much in
parameter, they do
the review but
tend to edit the
use this joystick
to morph
c most common
parameters, so
between sounds.
when a sound is
It’s a feature
d alled up you will
we’ve loved since
usually find they
owning a
allow you access to
Yamaha SY22
the parts you want
back in the day!
b to edit.
d
b TRIGGER
KEYS
These are used for GLOBAL
step sequencing d The layers
and real-time a within Analog Keys
sequencing so, as may be a little
the patterns cycle confusing at first,
around, you can but here’s where you
program them. select them
They are also (includ ng Kit,
used to select Pattern, Song and
sounds and Track).
patterns.

Give me that update! In six months a steep learning curve because Analog
Keys is typical Elektron. They don’t

time this could well be the synth I’ve been make it easy or cheap, but if you have
the cash and are prepared to invest

waiting all of my life for…
inputs for routing external signals i to the Analog Keys MIDI In /Thru/Out; and a comprehe s ve CV/Gate section. Flexible!
cases. To play a Pattern, for example,
you have to hit two keys simultaneously
and then another to choose the pattern
and then hit play. Why not use the big
dial to do this instead? Turn dial, click,
simple. And the Sound section has
Sound Manager and Sound Browser
options that essentially do the same
thing. So some things are dead
straightforward while others
unnecessarily complicated.
It’s almost like two people have
come at this from completely different
drawing boards and both met half way.
Method Spot
Creating patterns is relatively easy on the
Analog Keys. You can use Grid Recording
whereby you switch on or off one of the 16 Trig
buttons as it cycles (like step recording) to
input notes or parameters, or Live Recording
where you play i real time as the pattern
cycles aroun . The first is better for easier
input and accuracy and it’s also easy to c ange
soun as you program away. This is real y the
guts of the Analog Keys a d you s ould give it
a go to hear the potential.
66 | June 2014 MAGAZINE
time then you will reap more rewards
with this than any other piece of
hardware. They’re essentially testing
your mind and your wallet. Can you
pass the financial and mental test? Are
you good enough to own an Elektron
machine? If I’m honest, I’m not. Not in its
current incarnation.
Give me the engine and the sounds,
that will do. And give me that update,
because in six months time this could
Do we want a great sounding 4-part well be the synth I’ve been waiting for
analogue synth with digital control? Or all my life… MT
do we want a great performance synth?
They’ve opted for both, but I think one
design occasionally gets in the way of MT Verdict
the other. + Amazing sound engine
Which means that the bits that I + Inspiring presets
absolutely love – and I really do – i.e. the + Lovely design (as are all Elektron
synth engine and the noises it makes, machines)
+ Simple track layout makes Kit
are almost hidden behind the bluster of
editing easy
various performance modes and + Lots of modulation features
complexity. OK I’ve admitted I’m no + In six months time there’s a big
performer so would rather use this update
within my DAW set-up, probably + Fantastic effect and CV track
features
ignoring most of the machine’s
potential. But as I said at the start of - Some ease of use issues
this review, there is more to come in six - Over complex architecture
months time: a software update that - Big update… in six months time
will make this unique: an analogue It’s almost a machine that does too
synth which you can control like a VST, much, but concentrate on one thing
with USB audio. Now that’s a synth that at a time and you’ll reap rewards,
and in Q4 of this year, this could
I’ve been waiting for…
well be THE synth to own.
So, live performers? This is a synth
for you. Scratch-pad hardware
sequencer people? Likewise. But expect
8/10
WorldMags.net
WorldMags.net

WorldMags.net
MTReviews Nord Lead A1
WorldMags.net

NORD Choice Edit

Editor
tor
or’s
s Ch
Choiice
ce temporary location. Sounds obvious, but
how often have you liked something but
/1
Lead A1
have wanted to move it on to something
else and lost that initial inspirational
sound? Here you keep that first version
(saved in one of 50 temporary slots) and
TheLeadA1isanaccessibleanalogue-modellingsynth,butNord simply come back to it later.There’s also
a Multi Focus feature that controls all
hasalsounleashedacreativemonster,asAndy Jones discovers… four sound slots that make up a
performance so you can, for example,

N
Details ot long after the release of interesting and instantly hands on. change all four sounds in real time.
Price £1,249 (Lead the Nord Lead 4 (reviewed in Getting back to the main sonic
A1R will cost £1,049 MT128) the Nord Lead A1 The new stuff architecture, the filter section from the
and ships end May)
was announced to some The most important of these are what NL4 is, fortunately, largely retained with
Contact Sound
Technology surprise at the Winter NAMM show. Nord call Oscillator Configuration the 12 and 24dB low pass, high pass,
01462 480000 With the name and the simplified front Shortcuts. These are quick ways of and band pass options; plus the superb
Web www. panel it definitely seemed to be pushing setting up complex oscillator diode and ladder filters (on the NL4)
nordkeyboards.com
the analogue-modelling side of things configurations – the heart of your that emulate those from the Minimoog
so let’s look at the concept… analogue-modelled sounds. So you get and the TB-303 synthesizers; and finally
The A1 is designed as an analogue- eight preset variations – with many sub you get the drive dial for even more dirt.
modelling synth, yes, but there’s more to variations – all ready to go. The A1’s LFO has a choice of
it than that.The interface is streamlined As the building blocks, these are waveforms and a 3-stage ADR/ASR
to allow for ‘ fast-track programming’ in important so are: Pitch, which simply Modulation Envelope and LFO rate can
that it moves away from the slightly adjusts the pitch of oscillator 1; Shape be sync’d to the master clock.Two new
more complex architecture of the Lead 4 adds extra wave shaping via the effects – ensemble and chorus – model
KeyFeatures and straight into the bare bones of on-board waveforms (of which there are vintage synths like the ARP and Solina.
O 4-part multi- analogue programming. (Not that I 47 to choose from); Sync adds a hard These are in addition to the reverb,
timbral
O 26 voices of
thought the 4 was particularly tough to sync by way of the additional oscillator; delay, ring modulation, phaser, flanger,
polyphony master – indeed, I thought many of its Noise adds, you guessed it, noise; and drive available independently on
O Programs: 8x50, hands-on performance features were Detune adds the second oscillator; Sub each slot on the A1.
performances:
out of this world. See my review at www. Mix adds a second with waveform (with So, new features, a lot of retained
4x50
O 8 oscillator musictech.net). Sine,Tri Saw and Square shape options); features but a whole new engine and
configurations The A1’s design comes from the fact FM adds the classic FM configuration some new effects.That’s got to mean it’s
O Analogue that people wanted something to where osc 1 is the carrier and 2 the time to try those sounds, right? Sort of…
and digital
waveforms program quickly and effectively. But modulator; and finally AM adds amp
O LFO with 5 don’t think ‘cut down’ as, if anything, the modulation by way of osc 2. OK, let’s not
waveforms synthesis engine is supposedly more Other new features include a ‘Like’ Like the NL4, there are no groups of
O 12, 24 dB low- analogue-sounding than that on the 4, feature, that simply allows you to store a sounds found in any particular slots –
pass, high-pass
and band-pass as it has an all-new core that ‘recreates sound you are working on in a
filters a total analog signal path with uncanny
O Filter realism’ and also features some new
simulations of
ini and TB-303 and clever tweaks to make things more
O Effects:
ensemble,
chorus, phaser,
flanger, ring
modulator, drive
O USB MIDI
O Four outputs; Looks simple,and small,compared to the
pan on front Nord Lead 4,but (not very far) beneath the A1’s
panel front panel lies creative genius…

WorldMags.net
68 | June 2014 MAGAZINE

WorldMags.net
it’s all pretty random.
But what comes across is a set of
preset sounds that is more unified than
those on the NL4; not as varied,
obviously, but a collection that hangs
together better, all around a similar core
engine. Oddly, because they are more
focussed they come across as a little
more useable to me, but I am a fan of
this kind of sound – the sound of the
pure synthesizer rather than the type
where you literally get all the bells and
whistles added.That’s not to say it’s
better than the Nord Lead 4, just more
an expert in one field rather than
spreading itself over many.
I’mnotgoingtotalkaboutthe
presets,somethingthat’s never
happenedbefore…
So, right about here, I should detail
those many excellent leads,
arpeggiations, plus the deepest virtual
analogue basses you will ever hear and
all of that amazing analogue movement.
But… STOP!
… because I’m not going to talk about
the presets, and that’s never happened
before. What would have been an easy
bit of writing – ‘deep basses here,
searing leads there’ and so on and so
forth – is simply not going to happen in
this review.The A1 is virtual analogue,
and it’s Nord, so you know they’re good
presets, ok? And the truth is the A1 has
them by the bucket load, but it’s what
you do with them that counts, and
counts more than ever before…
As I stepped through each preset,
preparing to describe them for you, I
found myself doing something rather
unusual: programming. And exploring. I
began pressing the hold key, triggering
an arpeggiation and simply dialing dials.
And this is where the A1 turns from your
average preset buster, into what it
should be used for: creation!
So I have a sound playing… pretty
much any of the presets on offer. I play
with the filter drive for extra dirt. I then
change the filter type for bite. Everything
is sounding great so far. I then do more
The Nord Lead A1R is,not surprisingly,the rack
version of the A1 and out at the end of May.It
costs a couple of hundred pounds less.
obvious things like dial the filter and
resonance controls (yes, I am using the
303 filter at this point). But the real fun
comes when I switch between the
Oscillator Configurations that prove to
be the A1’s secret weapon.You’re not
just changing the sound, sometimes you
are composing as you progress. Switch
between some of the harmonic
waveform variations, for example, and
you find yourself creating note
sequences which change note as the
configuration changes. It’s hard to
explain but what you end up with are
melodic riffs which change in both note
and timbre – all inspiring stuff!
Hit the Osc Contrl dial and you can
make the results scream or become
more mellow. Hit the filter and
resonance again and you have
something altogether more expected,
maybe, but in combination with what
you’ve just done with the oscillators, you
can get some very different stuff indeed.
It’s analogue magic! I urge you just to
play with the dials. It’s here that you also
realize why they’ve put that Like feature
in – you’ll fill the 50 spaces very quickly.
Conclusion
Which brings me too quickly to the end
with little time spent on the other A1
features. Mutator and Morph are
touched upon in the box above and add
more fun to the sound creation side of
things, and in Performance mode, read
the above and multiply by four!
As to the A1 as a concept, I have to
admit that I was initially a little
confused as to where it fits in. But
ultimately that doesn’t really matter as
overall it is simply one of the most
creative synths I have come across
because you get so much instant, easy,
hands-on, real-time and dramatic
Nord Lead A1 Reviews MT
Performancefeatures
The Nord Lead A1 features some great performance aspects that al ow
you to change the sounds in real time by flicking the odd switch or mod
wheel.The Morph function,so common on other Nord keyboards,is also
present on the A1.It is great and allows you to control several parameters
a the same time – usually by mod w eel or velocity – o gradually (or
quic ly) morp a sound.Impu se orph,the more instant,button-pus
variation of t is,available on the Nord Lead 4,is ot included on the A1.
Mutator is on the A1 t ough! This is one of my favo rite features on
the Nord Lead 4 and allows you to instantly progra ew so nds based
on an original preset.So dial up a sound you like,choose a ‘Process
strengt ’ of betwee 1 a d 5 (5 g v ng you the most dramat c sonic
variation) it Execute and you wi l get a new version of the original soun .
Yo ca continue o create variat ons o t e origina preset nsta tly (or
variat o s of e so nds you crea e fro it r even generate a random
version. ust keep going unti yo get somet ing you ike – great fu and
a s perb way of sonica ly exploring without *wh sper* rea ly know ng
what you re doi g.
access to any sound.The oscillator
configurations are a genius way of
changing the whole architecture at the
twist of a dial and, used with the other
controls and Morph feature, are simply
inspiring. I will use the A1 with my DAW
constantly in record mode so I can
revisit whatever I capture to use as
ideas for songs going forward.
So I am genuinely surprised by the
A1. It’s come from nowhere – a totally
unexpected synth from Nord with one of
the most ‘instant’ feature sets I’ve ever
used. And while it’s smaller than the
Nord Lead 4 (in physical and sonic
terms) I can’t help thinking that its
simplicity, its creativity and its quality
will win it many friends. Nord might have
trouble marketing it, but the A1 stands
on its own, and is my kind of synth, as
you can probably tell. If you have an Alternatives
analogue heart, hold a note, dial some There are lots of
dials and after five minutes, you’ll be virtual and ‘proper’
analogue synths to
won over too… MT
choose from.At the
risk of repeating
myself from the
MT Verdict Elektron review,two
pages ago,at t e
+ A creative joy cheap end you have
+ Will turn you into a programmer the monophonic
+ Loads of great presets… Novation Bass
Station II (£399),
+ …but you are not relying on them
+ … as it’s so easy to create your which does
screaming basses
own sounds and leads very well
+ A genuine surprise indeed.The
aforementioned
- Manual not great (tells you to turn Elektron Analog
to the page you are already on for Keys shares some
more info!) analogue sounds
- Not immediately obvious where it and performance
sits in the Nord range aspects but is that
bit pricier and more
- Narrow in focus
complex.You also
- You’ll run out of ‘Like’ spaces have to mention the
pretty quickly! Nord Lead 4.You get
bags more sound
A synth that came from nowhere types as it veers
and is creative, addictive, simple away from the pure
analogue,but it
and a joy to use.The NL4 was
excellent.This is like a ‘best of’ for does offer more
variation (for more
people with valves as organs and
cash at £1559).
wave-shapes as heartbeats.You But none of t ese
can program a synth.This synth… w ll put a creative
9/10 smile on your face
like the A1.

WorldMags.net
MAGAZINE June 2014 | 69
 WorldMags.net
Are You Sleek
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WorldMags.net

WorldMags.net
UNIVERSAL AUDIO
Apollo Twin
Producingmusicinasmallspaceoronthemovedoesn’tmean
compromisingonquality,asHollinJonesdiscoversafterputting
UAD’sApolloTwinthroughitspaces…
U
niversal Audio is well known
for its high-end audio
interfaces and range of
DSP-powered audio effects
that model some of the most legendary
hardware processing units ever
produced. Its latest release is the Apollo
Twin, a 2x6 Thunderbolt audio interface
for Mac with on-board processing and
the same top-flight internal electronics
as its bigger brother, the rack
mountable Apollo.The focus here is
more on portability, but without
compromising on quality. It’s important
to remember that you’re not just buying
I/O here, you get an internal ‘brain’ as
well in the form of one or two cores for
running the company’s plug-ins.
Fit and finish
The Apollo Twin is smaller than you
might imagine but extremely solid and
rather fetching to look at. Finished in
sleek metal, it is extensively ported
underneath and gets warm (though not
especially hot) during use because of
the significant quantity of electronics
contained within. It connects to your
Mac (Windows is not currently
supported) over a Thunderbolt cable
but this doesn’t carry power due to the
complexity of the device, so it must be
powered from the mains via the
bundled adaptor.
You don’t get a Thunderbolt cable in
the box which is a bit of a shame. It’s
true that they are significantly more
expensive than USB or FireWire cables
– and correspondingly more advanced
and powerful – but if you don’t already
have one you’ll have to factor an extra
£30 or so in to your purchase price.
There’s only a single Thunderbolt port
on the Twin itself so you won’t be able to
daisy chain devices through it, though
all new Macs except the 11-inch
WorldMags.net
UAD Apollo Twin Reviews MT
MacBook Air have two Thunderbolt
ports so this shouldn’t be a problem.
On the rear panel you will find
Thunderbolt, a power switch and a
locking PSU input which is a nice touch,
plus combo mic/line inputs, stereo
monitor outs, two further line outs and
an optical input. There’s no MIDI
unfortunately though it’s hard to see
where MIDI ports could have been
placed without making the box larger.
On the front edge is a jack input for
plugging in an instrument and also a
headphone port.
The top surface of the Twin is an
exercise in elegant simplicity, the same
kind of approach that Apogee takes
with its higher-end Mac audio
interfaces. In the centre is a large,
infinite level knob which is used to set
the level of whatever parameter is
currently selected. It can also be
pressed to function as a switch to flip
between input channels or to quickly
mute when in monitor mode. On the left
you’ll see channels 1 and 2 together
with a simple LED level meter and a
switch to toggle between mic and line
inputs for each. A Link button lets you
connect the two to act as a stereo pair.
Quick controls
On the right, a Monitor button lets you
quickly jump between working with the
monitor output and headphone levels
and there’s a contextual level meter for
each. Running along the base of the
unit is a row of buttons and in addition
to the Link button already mentioned
you can quickly toggle input selection, a
low cut filter, phantom power, a pad
switch and a polarity switch.The simple
Details and approachable design workflow
Manufacturer makes the hardware a breeze to use,
Universal Audio and even a beginner should be able to
Price Apollo Twin Han
Solo: £699 inc VAT figure out how to connect things quickly
Apollo Twin Dynamic and easily. Internally, the Twin operates
Duo: £899 inc VAT
at up to 24-bit, 192kHz and has
Distributor Source
Distribution premium quality mic / line preamps as
Contact well as Unison technology for modelling
020 8962 5080
classic tube and transformer-based
Webwww.uaudio.com
System requirements mic preamps in software.
Mac with Thunderbolt In order to get up and running, you’ll
port need to download the UAD installer
OS X 10.8 or 10.9
appropriate to your version of OS X,
2GB disk space
Thunderbolt cable which installs multiple plug-ins, though
you’ll only be able to use the ones you
HANDSON
By offloading the processing
requirements of its own effects
onto the DSP hardware in the int
UAD effects without taxing yo r computer’s own processor.This is
especially useful if you are on a lower or m d range machine, or want to
reserve your native CPU power for ot er instruments and effects, the
vast majority of w ich wil ru off your internal CPU.
MAGAZINE June 2014 | 71
 WorldMags.net

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WorldMags.net
iPad® is a registered trademark of Apple Inc.

WorldMags.net
Apollo Twin comes bundled with UA plug-ins,
so it’s a cheap way of getting these quality
effects,and they won’t add to your CP load.
authorize. The Twin comes with the
Realtime Analog Classics bundle which
includes guitar and bass emulations
from Softube as well as UA’s 610 Tube
Preamp and EQ. You also get Legacy
versions of the 1176SE/LN classic
limiting amplifiers, Pultec Pro EQs,
Teletronix LA-2A Classic Leveling
Amplifier, CS-1 Precision Channel and
Realverb Pro reverb unit. Running on
the Twin’s own SHARC-based DSP,
these processors provide a great set of
tools for everyday tracking and mixing
applications and there’s no noticeable
latency when using them either for
recording or when mixing.
Loaded in your DAW just like regular
plug-ins, they don’t tax your computer’s
CPU and the bandwidth of Thunderbolt
is easily sufficient to fire data back and
forth. There are limits, of course, and
some plug-ins use more power than
others, so a list of how many instances
of each plug can be run on the solo or
duo Twin models can be found on UAD’s
website. Owning the Twin opens the
door to purchasing any of UAD’s other
effects since these will also run on the
onboard DSP, so it’s a relatively
affordable way of getting into that
whole world.
Software control
As is often the case with smaller
hardware units, it’s possible to delve
much deeper into routing and
configuration by using a software
console. For the Twin this is a
comprehensive set of tools that work
with the box connected and that
provides a detailed view of exactly
what’s going on. It essentially shows you
all the routing and setup options
available at the same time, in a friendly
software window that lets you remote
control the operation of the box.
Inserts can be added, channels
linked, levels set, monitoring controlled
and there’s even the option to use aux
and virtual channels. Virtual channels,
of which there are four, let you route
DAW tracks through the console for
more processing and greater flexibility.
There are also two independent stereo
Aux busses. In the Console settings you
can configure reference levels, delay
compensation and the sample rate
settings up to 192kHz. Helpfully, you
can easily save setups so it’s simple to
switch, for example, between a vocal
session preset or a live performance
one. The UAD Meter and Control Panel
app lets you view CPU usage, check for
updates and manage and buy any
plug-ins you choose.
Twin turbo?
The Apollo Twin is a beautifully-
designed audio interface that works
seamlessly and offers pristine audio
recording quality over a single
Thunderbolt cable. As a desktop unit it’s
small and unobtrusive but cleverly put
together so you can access the most
important parameters with a couple of
button presses. Much more than that,
you get access to the world of UAD’s
DSP-driven plug-ins, highly renowned
for their character and fidelity.
You might ask why, with modern
CPUs like Intel’s i7 being hugely
powerful already, you would need
separate DSP processing when it costs
more money. The dual processor Twin
costs more than the single, though it’s
arguably a better investment given the
extra power. If you don’t want access to
UAD’s plugs, you can probably stick with
your native effects.They do sound great
though, and designing them specifically
for the SHARC processors lets UAD
optimize them as fully as possible and
WorldMags.net
UAD Apollo Twin Reviews MT
KeyFeatures understand the signal path from end to
O Solo or Duo end. From the developer’s point of view,
SHARC it’s also a useful security measure to tie
processors
authorisations to hardware.
O 2 mic / line inputs
O 2 analogue line Add to this the fact that not
outs, 2 monitor everyone’s Mac is top-end and you need
outs
your native CPU to run your DAW, your
O Thunderbolt port
OS and other third-party instruments
O 24-bit, 192kHz
operation and effects, and the appeal of
O Hi-z in, offloading high quality audio processing
headphone out to an external, latency-free box which
O Lockable power
input also happens to be your interface
O Realtime becomes clearer. This is an exquisitely
processing made audio interface that also happens
O AU, VST, RTAS and to expand your computer’s processing
AAX64 plug-in
formats abilities and opens the door to the
O Realtime Analog world of UAD plugs. For anyone who is
Classics Bundle serious about audio fidelity, it definitely
O Software console
punches above its weight. MT
Alternatives
Apogee makes some similarly high-end audio
interfaces for the Mac including the Quartet at
£1,099 which, although lacking DSP-powered
plug-ins, has more I/O with four ins and eight
outs as well as MIDI, iOS compatibility and
USB2, making it more widely compatible wit
o er Macs. UAD also makes the original
Apollo, a rack mountable unit with 18/24 I/O
and FW800 with the option to add a
Thunderbolt card. It comes in duo and quad
processor vers ons though as you might
expect, costs more than the Twin, starting at
around £1,669.
MT Verdict
+ Solid, compact build
+ Beautifully designed, great
workflow
+ Easy to understand
+ Excellent audio quality
+ Top-flight circuitry
+ Bundled plugs are great for
tracking, mixing
+ Software console allows for
detailed setup
+ Add plug-ins as required
+ Good integrated recording and
monitoring solution
- No MIDI
- No Thunderbolt cable supplied
A serious little box that punches
above its weight and offers
excellent recording and monitoring
capabilities as well as access to
UAD’s plug-in universe.
9/10
MAGAZINE June 2014 | 73
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lift.The Aria is fixed cardioid but the rear
diaphragm means that pattern
switching could have been an option.
Design philosophy
Sontronics has adopted a distinct
philosophy when it comes to
microphone design. Trevor Coley from
Sontronics says that they seek to create
“application specific mics to help the
end user”. This is an acknowledgement
that many of the great sounds people
associate with classic condenser
microphones were only realised after a
fair amount of processing.
Many of today’s recordists haven’t
had professional training, and may not
have access to the signal processors
required to ‘finesse’ raw microphone
sounds. So Coley’s approach is to create
mics that sound ‘right’ for specific
Sontronics Aria Reviews MT
Alternatives
The Avantone CV12 (£400) is a nine
pattern valve microphone with -10 dB
pad and 80Hz LF roll off switches and a
Russian made 6072A tube.The Peluso
P12 (£999) is inspired by the AKG C12
but it has nine polar patterns.
Assembled in the USA,the output
transformer is a custom unit made by
Tom Reichenbach of CineMag Transformers.
low mid boost only becomes obvious
when placed within a hand span of the
talent. We also noticed that the cardioid
pattern is fairly wide, so the off-axis
response is forgiving for singers who
struggle to stay on mic and it’s possible
to achieve dry, up-front vocal sounds
without filter-type screens.
The Aria isn’t a cheap microphone so
it may be seen as an extravagance if it’s
only suitable for vocals. Fortunately it’s

Choice Shippingwithalovelyboxand
/1 superbflightcaseit’sSontronics’
classiestofferingyet
SONTRONICS applications – in this case, vocals.
The design process took over three
a very capable all rounder too, with the
silky and shimmering highs providing

Aria years because Sontronics wanted to

avoid simply rehashing a classic mic.
Extended tests were carried out with
top engineers like Paul Epworth and
Designedforvocals,Sontronics’Aria several in-house guys at Abbey Road.
looksclassyandhasanimpressive Sontronics selected a JJ-branded
valve made by Tesla in the Slovak
rangeofaccessories,singsHuw Price Republic.The often-overlooked power
supply is a complete revision from past
impressive detail resolution for delicate
acoustic guitar picking, percussion and
even clean electric guitar.
Shipping in a lovely engraved
wooden box with a generous length of
quality interconnect cable and superb
flight case, we’d say that this is
Sontronics’ classiest offering yet.The
excellent military-grade screw on

B
Details y Sontronics’ standards, the designs with extra mains filtering to connectors are also a massive step up
Price £899 new Aria is borderline reject external interference. from the flimsy multi-pin Cannon
Contact conservative in appearance, Interestingly, some of the technology connectors that come with so many
01202 236862
but we think it’s all the better used is taken from power supply modern valve microphones. MT
www.sontronics.com
for it.The cylindrical body has a chubby designs used for hospital equipment.
5cm diameter and a very attractive
KeyFeatures silver-metallic finish with a greenish On the vox MT Verdict
O Response: 20Hz tinge.The company logo is cut into the We jumped straight into some vocal + Excellent detail resolution
to 20KHz metalwork and highlighted in black, tests and we were not disappointed. + Bright but smooth sound
O Sensitivity: 18mV/ + Subtly flattering mids
Pa -33dB ±1.5dB
with a contrasting silver ring separating The Aria has a breathy presence,
the body from the screw on base. flattering yet well-controlled mids, + One-stop solution for vocals
(0dB=1V/Pa
1000Hz) + Fine build quality
The head grille looks like a hybrid of ample cut and definition and no + HPF and pad switching
O Polar Pattern:
Cardioid
the classic AKG C12 and a tapered low-end boominess. We encountered + Stand clip included
O Pad: -10dB Neumann design.The outer mesh is no sibilance issues whatsoever. + Fine accessories
O Filter: 75Hz nice and chunky with at least one fine We sensed there’s a degree of very + Low noise
+ Lifetime warranty
O Impedance: <200 extra layer on the inside. It’s also nickel low frequency roll off – way below the
Ohms
plated, which gives the Aria a very classy vocal frequency range – that’s intended - Cardioid only
O Equivalent Noise
Level: 18dB appearance and nothing obstructs the to eliminate rumble and undesirable low - Bulky suspension mount
(A-weighted) capsule itself. frequency content.This may
O Max SPL for 0.5% A superb-sounding valve condenser
Although the capsule is well disadvantage the Aria as a bass or kick
THD@1000Hz: with a airy, detailed tone, high build
125dB protected, it’s still possible to see that it drum mic, but it’s the frequency range quality and great looks. Fixed
O Power Supply: has AKG-style edge termination rather that many pro engineers habitually filter cardioid pickup is the only
SPS-2 115/230V than a Neumann-style centre tap. So off when recording other instruments. compromise.
O Connector: 8 in
screw on
we’d expect an extended high frequency
response with some degree of presence
The Aria particularly excelled when
we used it up close. Proximity induced
9/10
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MAGAZINE June 2014 | 75
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TOONTRACK
EZDRUMMER 2
Toontrack’slatestrevisionofEZdrummerhasplentyofboldand
innovativenewfeatures.MarkCousinsfindstheperfectbeat.
O
ver the last five years the
virtual drummer has evolved
from an instrument that (at
best) sounded like a real kit, to
a tool that forms the backbone of your
rhythm section. So we’ve come to
expect more from our virtual drumming
software – not just a collection of MIDI
loops, but integrated mixing software,
kit customization and more besides.
Even the off-the-shelf DAW has got in
on the act, with Logic Pro X’s Drummer
feature being one of the best integrated
solutions we’ve seen, so any virtual
drumming software offering something
new has a lot of work on its hands!
EZ does it
As one of the more cost-effective
solutions on the market,Toontrack’s
EZdrummer has built up both a large
user base and accompanying sound
library. Borrowing many features from
Superior Drummer 2.0, EZdrummer
offered immediate, great-sounding
results with the minimum of fuss.
However, with the world of virtual
drumming moving so fast, it was clearly
time for a refresh – providing a tool that
still had the same immediacy as
EZdrummer but with a host of features
that made the end result even more
closer to a real drummer!
EZdrummer 2, therefore, has a
wealth of new features under its sleeve,
not to mention a new set of ‘core’ drum
sounds. Importantly, for those that have
assembled a large library of expansion
packs for EZdrummer, it’s worth noting
that existing libraries will load
themselves into the new engine,
complete with updated graphics, mixer
settings, and of course, the all-
important MIDI grooves.
EZdrummer 2’s core library is
divided between modern and vintage,
with the modern kit being recorded
through a Neve 88R and TG12345
consoles, while the vintage drums were
tracked through a rare REDD console.
All the kits – covering selections from
DW, Gretsch, Yamaha, Ludwig, Sonor,
Tama and Brady – where recorded by
Chuck Ainley at Mark Knopfler’s British
Grove Studios. Alongside the main kit
sounds, there’s also a sprinkling of
percussion sounds – including shakers,
tambourines and claps – which add
extra flavour to the main kit.
Finding your groove
Although we’ll return to the sound of the
kits later on, arguably the most useful
improvements to EZdrummer relate to
the use and selection of the MIDI
grooves and, latterly, the means of
sequencing these loops into a complete
performance. Of course, the majority of
virtual drumming software (and the
original EZdrummer) offers little more
than a means of browsing integrated
MIDI content, with the resultant song
being created by dropping the MIDI
loops over to a track on your DAW.
WorldMags.net
EZdrummer 2 Reviews MT
Choice
/1
For PC
& Mac
Subsequent edits, therefore, require
extensive editing in your DAW, often on
a note-by-note basis.
As with Logic Pro X’s Drummer
feature, EZdrummer 2 realises that
means of sequencing the drums is as
important as the sounds themselves.
As a result, EZdrummer 2 includes a
number of tools – from a more intuitive
means of finding and selecting grooves,
through to the ability to modify them on
a musical level – that makes the
process of drum sequencing infinitely
quicker, without sacrificing your
all-important creative input.
Looking first at the selection
process, easily the most ingenious and
revolutionary features has to be the
Alternatives
XLN Audio’s Addictive Drums (€179) is popular,
easy-to-use virtual drumming solution, with a
range of drum kits and MIDI grooves. As with
many other virtual drumming solutions, the
notion with Addictive Drums is that chosen
loops are dragged-and-dropped into to your
DAW for further e iting and refinement. On
the plus side, you get access to more internal
signal processing options, although this
arguably adds complicat on to t ose that
simply want a great sound with the minimum
of f ss. Compared against the shiny new
EZdrummer 2, though, it’s showing its age,
especially with respect to the loop browsing.
Details
Manufacturer
Toontrack
Price £99
Contact Time + Space
01837 55200
Web
www.toontrack.com
MAGAZINE June 2014 | 77
MTReviews EZdrummer 2
WorldMags.net
Tap 2 Find option found under the
search tab. Rather than wading through
thousands of MIDI files by name,Tap 2
Find lets you suggest a basic rhythm,
which EZdrummer 2 uses to find an
appropriate series of ‘matches’ from its
library. You suggest a rhythm by
recording a short two-bar loop, either
by tapping on an attached MIDI
keyboard, or by clicking on the drum kit
elements on the interface. Once you’ve
inputted your suggestion, EZdrummer 2
finds a series of ‘best match’ loops
ready for your approval.
Song smith
Once you’ve found a basic loop, you’d
expect to drag-and-drop the MIDI file
over to your DAW, but in EZdrummer 2’s
case, we can use its own integral song
track to piece together a complete
performance. Dragging the loops into
the Song Creator, for example, instructs
EX Drummer 2 to create a series of
variations, covering Intro, Verse, Bridge,
Pre Chorus and an Ending, which can
then be organised onto the track lane.
Alternatively, drag the various library
loops onto the song track, assuming
you want a more radical change
between the sections of the song.
The advantage of keeping the song
sequence inside EZdrummer 2 is that
you get more editing options to refine
the drum phrases in a quick, intuitive
way. Clicking on a region in the track
lane, therefore, lets you edit the MIDI
78 | June 2014 MAGAZINE
The kits in
EZdrummer 2
offer a wide range
of sounds for various
genre types.
performance using the kit as a visual
guide, rather than having to reposition
MIDI notes in a DAW’s Piano Roll editor.
For example, the Power Hand lets you
re-position the driving force of the
pattern (usually the hi-hat) to a new
part of the kit – like the ride cymbal, for
example, or a floor tom. Likewise, an
Opening Hit assignment also lets you
mark the start of the phrase, usually
with something like the crash cymbal.
You can also add new additional kit
elements into the phrase, as well as
adjusting the density and velocity level
on a drum-by-drum basis. For example,
selecting one or more toms will add
some tom movement, while you could
tweak the Snare Amount control to add
more ghost notes, and maybe lower its
velocity slightly for less power on the
upbeat.You can also augment the
pattern with three percussion sources
– clap, shaker and tambourine – again,
simply by clicking on, and adjusting the
relative icon and its parameter set.
When you’re finished, simply export
the song as a MIDI file (or drag-and-
drop it into your sequencer), or export
as an audio file, assuming you’re using
EZdrummer 2 in its standalone mode.
Sound of the drums
As you’d expect, the sound of the two
kits covers a suitably broad enough
spectrum to make them versatile
across a range of genres.The Modern
Kit sounds tight and focused, but add
some room ambience and the sound
becomes pleasing looser. Likewise, the
WorldMags.net
HANDSON
Rather than simply adapting the existing MIDI data, the Amount
parameter ses a special algorithm to either add or subtract notes from
the existing performance. As such, Amount can be thought of as an
‘intelligent’ control, adding additional beats – particu arly ghost notes
– that a drummer would play to add density a d movement to the
pattern. Even a di g new parts of the kit works in th s way, adap ing the
existing IDI groove in a way the mimics a real performance.
Vintage kit seems softer on its
transients, which when combined some
natural room ambience, really helps
produce a natural lifelike sound.
Although the mixer offers full control
over the level of each kit elements, you
don’t get the same level of edibility
when it comes to the application of
signal processing. Ultimately,
EZdrummer 2 is designed as a tool with
immediacy in mind, and in that respect
the handy macro controls – over
controls like Dynamics, Reverb Time
and Mic Bleed – provide enough control
without getting bogged down in detail.
Should you really find the need to
process sounds using you own choice of
EQ and so on, there’s always the option
KeyFeatures of running the individual channels out
O New audio
to discrete outputs in your DAW’s mixer.
engine
O Improved groove An EZ life
browser
With so many great sounding virtual
O An all-new sound
library drumming solutions, it’s interesting to
O Song creator see how much attention is now being
O Tap 2 Find diverted to the usability and musicality
of the instrument as well as its sonic
performance. Aspects like the Tap 2
Find feature, therefore, as well as the
powerful integral sequencing features,
really mark EZdrummer 2 out from the
crowd, and certainly offer a host of
intuitive musical possibilities that go
above and beyond what we’ve come to
expect from a virtual drummer. More
than just an update, EZdrummer 2
defines the next generation of virtual
drumming software that many will seek
to emulate. MT
MT Verdict
+ Powerful and intuitive virtual
drumming
+ Musical control set
+ Nice balance between
contemporary and vintage kits
+ Works with previous EZX libraries
- Limited access to internal signal
processing
The new kits sound great, but it’s
the much-improved browser and
flexible internal sequencing
features that really sets
EZdrummer 2 apart from the
competition.
9/10
 WorldMags.net
umek & loopmasters
present: artist series
sample pack. available at
www.umek.si and
www.loopmasters.com.
use promo code “umk20” to
get 20% off.

WorldMags.net
www.umek.si
 THE TRUTH
WorldMags.net

 



Perceptions may vary but there is only one truth. So if you want your mix to sound good when it’s not, choose another monitor.
Yamaha’s industry standard HS range delivers the truth, the whole truth and nothing but the truth, without apology.
So you’ll know that when it sounds right, it IS right and the job is done.

UK.YAMAHA.COM
WorldMags.net
 Nektar Impact LX49 Reviews MT
WorldMags.net
Value

£ Alternatives
Novation’s SL49 at £319 (street price) is more
expensive but has a similar set of hardware
controls.One of the major differences is in its
level of visua feedback w ich is much more
etailed,meaning that setting parameters
on h ngs like software instruments is more
precise,if that’s something that partic larly
suits your workflow.

Studio One. The keyboard actually

comes with a copy of Studio One Artist
on disc, and there’s the option to
download it from Presonus’ website touch. Further controls in the centre
after registration, for owners of newer include an Instrument button to call up
computers that lack optical drives. the GUI of the currently selected
NEKTAR The keyboard itself has full size,
velocity sensitive and semi-weighted
software instrument, track navigation
and patch selection buttons.

Impact LX49 keys which offer a good combination of

playability and portability.They feel
responsive and realistic enough for
piano or synth-style playing but without
MIDIcontrolisastapleofanymodern making the unit as a whole overly heavy.
musicproductionenvironment.Hollin There are four selectable velocity
curves available as well as three fixed
JonesroadteststhenewNektar curves, and the regulation pitch-bend
ImpactLX49/61… and modulation wheels. To the left of
the keyboard are quick octave and
transpose buttons, very useful for
Impact?
We tested the Impact 49 with Logic,
Cubase and Reason on the Mac and, on
the whole, it was picked up as expected
after installing the support files and the
shortcut buttons like Mixer. Instrument
and patch and bank selection also did
what they were supposed to do. It might
sound odd to claim this as a victory, but
MIDI mapping can be a notoriously flaky

U
Details SB MIDI keyboards are a changing settings mid-performance thing. Luckily here it’s not, and Nektar
Kit Impact LX 49 / 61 vital component of music without having to dig around in any sub has done a great job of matching the
Manufacturer Nektar production setups. You’ll menus to find the controls. These hardware controls to the software.You
Price
Impact LX25: £89.99 spend an inordinate buttons can actually have their function can set up your own custom controls
Impact LX49: £109.99 amount of time using them to input altered to send out program change and maps, of course, and these are
Impact LX61: £139.99 beats and melodies into your DAW so messages, change the global MIDI remembered even when the unit is
Distributor Nektar it’s important to find one that suits you. channel or select one of the five user powered off. As ever with basic screens,
Contact via website
Nektar has been making a name for presets so they’re more flexible than there’s the occasional bit of guesswork
Web www.
nektartech.com itself with affordable MIDI controllers they appear at first glance. as to what you’re looking at but it’s not
that come with proper DAW integration exactly the end of the world and overall
for a ‘plug and play’ experience, which is Pad control this is a solid workhorse of a MIDI
what most people ideally want. Its Over to the right of the front panel are controller that will be at home in any
latest is the Impact series: a 25-, 49- eight velocity-sensitive pads which can music production setup. MT
and 61-key controller. Here we review be assigned any MIDI note number or cc
the 49-key, though the specs of the 61 message and can thus be used both for MT Verdict
are the same only with more piano keys. playing and as toggle buttons. A Pad
+ Solid, workhorse MIDI controller
Learn mode lets you choose a pad, play + Good synth key action
Making an impact a note on the keyboard and link the two, + USB powered
The Impact is USB buss powered and and four pad maps can be stored on + Good selection of real-time
also sends MIDI down the same board. There are eight variable knobs to controls
KeyFeatures + Well integrated with leading
O 49 or 61 velocity
connection. Round the back things are tweak parameters and there’s a set of
DAWs
sensitive, synth pretty straightforward, with a USB port, transport controls that doubles up with + Some user customization
action keys power switch and foot switch/sustain other functions like set L and R locators, available
O 4velocitycurves, + Affordable
3 fixed
jack pedal input socket. Plug the Undo and Click on/off when combined
keyboard into your Mac or PC and it with the Shift button. Visual feedback is + Good build quality
O Pitch bend,
mod, octave springs into life, though to get the most via a simple but serviceable LED screen. - Visual feedback a little basic
and transpose
out of it you will definitely want to To the left is a bank of nine faders - Obtaining installer could be
controls
O Optional foot download the DAW installer files to add and buttons which are generally used slightly easier
switch input specific support for your software of for mixing in your DAW and, indeed, - No hardware MIDI ports for
O 8 pads with Note incorporating external gear
choice. This is slightly fiddly, with a few pressing the Mixer button from the
Learn
hoops to jump through on the website central area should assign these, with A straightforward and affordable
O 8 pots, 9 faders,
9 buttons and you have to register before you can the Bank buttons letting you scroll MIDI controller with good build
O Transport get at the files. Once downloaded you around the mixer.The pots become quality and crucially, tight DAW
controls integration for easier control.
can install specific support for Digital panner controls in this mode and the
O Installers for all
major DAWs
Performer, GarageBand, Logic, Cubase,
Nuendo, Reaper, Sonar, Reason and
ninth fader is always assigned to the
currently selected channel, a helpful
8/10
WorldMags.net
MAGAZINE June 2014 | 81
 WorldMags.net

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 Softube Console 1 Reviews MT
WorldMags.net
a parameter on the hardware, or push
one of the buttons. It is a shame the
controls aren’t touch sensitive, as you
have to start twisting a knob, or push a
button to bring up the GUI, but you can
just press the Display button, which
doesn’t affect any of the parameters.
Along the top of the controller are a
series of buttons, 1 through 20, that are
used to switch the controller from one
channel to the next. Whichever channel
is active here is the channel that the
controller will be assigned to, not the
active plug-in in your DAW.This can get
a little confusing at first, but soon
becomes second nature.
It’s not always easy to know what
instrument is on what numbered
channel, so Console 1 enables you to
name your channels in the plug-in.
This means typing in the name of
each channel a second time
(assuming you’ve named all your
channels in your DAW – you have,

SOFTUBE haven’t you?).The exception to this is in

Presonus Studio One 2, and soon in
Cubase and Nuendo, where the DAW

Console 1 provides the name to the Console 1

plug-in, saving you the time. Softube
tell us they hope to roll out this
functionality to more DAWs, but this
Softubehaslaunchedahybridhardware/softwaremixingsystem. requires changes to be made to the
MikeHillierfindsoutifthisis‘theone’… DAW software as well as the Console 1
software, so is dependent on the DAW
designers as much as it is to Softube.

W
Details e first saw the Console 1 unique GUI layer, which pops up taking
Manufacturer over a year ago, at over the whole screen showing all the A walk down the strip
Softube Musikmesse 2013, and parameters. This can be resized, for Console 1 has five primary sections,
Price $1149
the concept was creating example, to the size of your other first an input section which has an
Contact Softube
sales@softube.com quite a lot of buzz around the halls. plug-ins so you can show several input gain, high- and low-pass filters,
Web Since then Softube has been hard at simultaneously. We did find that if you and polarity switch. This then feeds the
www.softube.com work refining and perfecting the click on the GUI at any point then your Shape, EQ and Compressor sections,
Minimum System
Requirements
Console 1, ready for release. DAW is no longer the active application, and finally into an output stage which
PC Unlike most control surfaces the and so your key commands no longer has Drive controls, pan/balance,
Windows support to Console 1 does not use a variation of work – including even basic controls volume and solo/mute switches.This is
come MIDI, such as HUI, to control your DAW
Mac
and plug-ins. In fact, it doesn’t even

BasedontheSSL4000E,
Mac OSX 10.7, VST,
AU or AAX host (32 or attempt to control your DAW and
64-bit), spare USB 2.0 plug-ins at all. Instead the Console 1 is
port, 1200x800 screen
resolution
designed only to control its own plug-in.
However, the Console 1 plug-in is a
thereisn’t truelike-for-like
complete channel-strip designed to be
placed as an insert on all your channels,
functionality–itdoesmore…
enabling you to perform your entire mix
from the Console 1 hardware, without like start/stop.Thankfully, you should a fairly comprehensive channel-strip,
having to resort to mouse or keyboard. never have much call to click on this GUI and the Console 1 even enables you to
as all controls can be accessed from route the filters to only the dynamics
Console action the hardware. Furthermore, it isn’t side-chain and not the direct signal,
The plug-in itself is slightly unusual in strictly necessary to have the GUI open and to change the processing order,
KeyFeatures
that the plug-in window only shows at all, as there is some visual feedback placing the EQ before, between, or after
O USB control
surface some very basic controls – the channel on the hardware. Our favourite way to the Shape and Compressor modules.
O SSL 4000 E number and a solo safe button.You can work, once we’d got used to the Console The console strip in Console 1 is
channel strip show the state of parameters from the 1 was with the display in Auto mode – based on an SSL 4000 E studio console,
emulation
plug-in window, but it’s a bit small and this mode shows and hides the GUI but modules can be swapped out for
O Transient shaper
fiddly. Instead, Console 1 has a separate layer automatically whenever you alter any of Softube’s other EQ and dynamics

WorldMags.net
MAGAZINE June 2014 | 83
MTReviews Softube Console 1
WorldMags.net
After working for some time with Console 1,it became much like using a real mixing console with you
becoming less reliant on the computer screen and just working with the hardware – no bad thing…
modules. Unlike the other modules
however, the SSL E channel-strip won’t
be available outside of Console 1. While
based on the SSL 4000 E, there isn’t
true like-for-like functionality and in
most cases there is actually greater
functionality in the Console 1 than in a
true SSL 4000 E channel-strip.The
Shape module, for example, misses the
range knob of the SSL 4000 gate,
doesn’t have the fast-attack option, and
provides soft- and hard-knee modes
instead of the hardware’s ‘Expand’ and
‘Gate’ modes which change the ratio.
But it also adds a transient shaper,
which is unique to Softube, and makes
up for the missing gate features.
The EQ is based on the E 242 ‘black
knob’ EQ module which was developed
in 1983 with Sir George Martin for his
SSL console at AIR studios.The 242 EQ
is known for its aggressive tonal
controls, with plenty of available gain,
and steep filtering. This is the EQ design
that SSL continues to use on its
E-Series EQ modules.The Console 1
captures the aggression of these curves
fantastically, and even enables you to
switch the high- and low-bands into
additional filters, which can be very
84 | June 2014 MAGAZINE
Alternatives
The Console 1 brings a unique hybrid approach to mixing, but you can get
great results by using any hardware controller.The Avid MC Control is
one of the most advanced, using the EuCon protocol rather than a MIDI
based system, such as HUI. But HUI systems shouldn’t be overlooked,
a d the newly announced Behringer X ouch is certainly one to consider.
characteristics of this Drive distortion,
from bassier distortions to one end and
more high-end distortions to the other.
Fingers on the buzzer
Our initial experiences with the Console
1 left us a little perplexed as to why
Softube had chosen such a tough route,
designing a controller that used its own
application layer, rather than just a
simple MIDI controller designed for the
plug-in. But as we got a few mixes
under out belt with this system, the
controller become a part of our
workflow.The initial set up is a little
fiddly, but this should get better over
time as more DAWs support the system
filters for keying the sidechain – again directly, and once you’re set up and the
an option not available on the original. software is on every channel. It
The compressor section includes a becomes much more like mixing on a
mix knob, enabling you to achieve quick real console. You don’t notice the screen
parallel compression without the need as much, and you get used to switching
for additional channels – again a the channel on the Console 1 hardware
feature not present on the original and just working, without ever letting go
consoles. The SSL channel compressor to use the keyboard/mouse, except for
is a fantastic and versatile tool, which the odd additional plug-in – much as
can be used to tame almost any you might work with a real console,
incoming signal. With a low ratio and adding occasional plug-ins to your mix
slow attack it can be almost completely as and when you need them.
transparent, but increase the attack Automating becomes simpler as you
and you can get some very aggressive can now grab a bunch of controls
compression. On stereo channels the simultaneously and draw in your
compressor doesn’t quite have the glue automation, straight to your DAW – the
that the later G-series compressor was best of all worlds.The addition of a
famous for, but it has a similar vibe, and fader instead of the output volume
mixing into the Console 1 across your knob might have made the Console 1 a
drums buss can get them sounding little more like the real thing, especially
punchy with very little compression on for automating levels, but we’re happy
any individual channels. using the it alongside our existing
To emulate the harmonics and controllers to bring a little extra
non-linearities of the SSL 4000 E hands-on depth, without the physical
consoles, Console 1 has additional space required for a full console. MT
Drive and Character controls on the
output section. Pushing the Drive
MT Verdict
control emulates driving the line-amps
of the SSL console hard, while the + Great tactile response
Character control changes the tonal + SSL 4000 E emulation
+ Expands with Softube plug-ins
+ Great transient shaper built-in
- Time consuming to set up
- Limited to Softube plug-ins
- Limited to EQ and dynamics
- No fader
Softube has developed an
interesting and fun to use mixing
controller, putting the most used
controls back at your fingertips.
8/10
WorldMags.net
WorldMags.net

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WorldMags.net

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 Allen & Heath Qu-24 Reviews MT
WorldMags.net

ALLEN & HEATH Choice

control of whatever function has been
/1
Qu-24 targeted with the touchscreen. So to
change the compression ratio, you first
select the channel you want to alter,
then on the touchscreen select the
FollowingonfromtheQu-16,Allen&Heathhas compressor and highlight the ratio,
expandedtherangewiththeQu-24. MikeHillierstepsup. giving control to the encoder. To change
the attack and release, push on the
attack and release parameters on the
Details

W
e recently took a look at The well lit on/off buttons showing screen and the multi-function encoder
Manufacturer
Allen & Heath’s Qu-16 which parts of the strip are in use on switches to those. Switch to the gate
Allen & Heath
Price £2,199 mixer and were very the active channel make it very easy to attack by selecting the gate on the
Contact Audio impressed with the use, even in a dark environment without touchscreen and then the attack
Technica
0113 277 1441
sound, features and workflow of the a lamp – although, it becomes parameter. This can be a little slow and
Web www.allen- console. Following quickly in the impossible to read any of the markings fiddly to set up, but once you’ve got
heath.com Qu-16’s footsteps is the new Qu-24 – on the panel, so unless you already everything how you want it, the only
a 24-channel version of the console know what every knob does we’d parameter you’ll likely want to alter
boasting 24 analogue mono inputs, suggest you get a lamp.Thankfully the again will be the threshold, which is
three analogue stereo inputs and a Qu-24 already has a dedicated 4-pin always accessible from the SuperStrip.
staggering 24 analogue outputs, plus XLR lamp socket on the rear, ready for If you compare this to having to work
an additional talkback mic input and use with compatible gooseneck lamps. with dozens of racks of outboard gear,
AES, USB and dSnake digital outputs.
The layout on the top panel is similar
to the Qu-16, with the same 800x480
touchscreen and the ‘SuperStrip’
Comparethistoworkingwith
section providing access to all the main
parameters for the active channel with
dozensofracksofoutboardand
one knob for each parameter. However,
the Qu-24 has not been constrained by
itissimplerandfaster
the decision to fit the console into a 19”
rack like the Qu-24, so there is a little Working fast remembering where each channel is
more room on the top panel and Allen & Once you’re into a live mix, the patched in, it is simpler and faster.
Heath has even included a blank space SuperStrip approach to the built-in Their are four different compressor
KeyFeatures
with a small lip, which could be used for effects is a great and really fast way of modes built into the compressor
O 24 mono inputs
storing notes or an iPad running the working, enabling you to quickly set the module. The first two are manual
O 3 stereo inputs
O 4 iLive stereo FX
Qu-Pad control software. gain, pan, high-pass filter cut-off, EQ, modes: Manual Peak and Manual RMS.
engines The similarity in design makes it very and compression- and gate-thresholds. Manual Peak responds to transients
O 800x480 easy for anyone who has used the You can make quick adjustments on the which cross the threshold and can be
touchscreen
Qu-16 to quickly move up to a Qu-24 fly, but for power-users this will be quite used in a similar fashion to a brickwall
O Multitrack record
over USB and get working with no need to learn limiting – especially on the compressor limiter when set with a high ratio and
O DAW MIDI control new skills. The SuperStrip is well laid and gate sections. To delve deeper one fast attack and release settings.
O Recallable out with plenty of space between the has to use the touchscreen and the Manual RMS responds to the average
automated faders
knobs, so there’s little to no risk of single multi-function rotary encoder. level and is more useful as a moderate
O iPad app
accidentally knocking the wrong knob. This encoder will automatically take channel compressor. The Manual RMS

WorldMags.net
MAGAZINE June 2014 | 87
 WorldMags.net
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Around the back of the Qu-24 we see it is jam-packed with connections.There are 24 analogue mono inputs,three analogue
stereo ins and 24 analogue outs.Also notable on the desk are the talkback mic in and AES,USB and dSnake digital outputs.
is the default compressor on each
channel. The remaining two modes
have automatic attack and release
characteristics. The Auto Slow Opto
behaves like an optical compressor,
with slow attack and release
characteristics and was a favourite of
ours on live vocals, enabling us to get a
consistent vocal sound from our
system. The final mode is the Auto
Punchbag which has a faster, VCA-like,
Theeffectsthemselvessound
fantasticbutsettingthemup
canbealittletricky…
auto response – a good starting point
with drums for users not overly familiar
with attack and release settings who
want to avoid the two manual modes.
Effects options
The FX engine in the Qu-24 has four
Alternatives slots where you can place send effects.
For smaller venues There are a wide range of effects to
and personal rigs choose from for each slot, including a
the Allen & Heath variety of reverbs, delays and
Qu-16 we looked at
in MTM 133 is a modulation effects.The effects
great console,with themselves sound fantastic, with plenty
many of the
features of the
of options for manipulation and there is
Qu-24,but only even a graphic EQ after each one on the
16-inputs.The channel return for tuning your effects.
Behringer X32 has
proven incredibly However, setting up the effects can get
popular since its a little tricky as you must first switch
launch with many the faders from controlling the level
similar features,
and a history which going to the LR Master buss to the FX
takes in Behringer’s buss. This will bring all the faders down
recent purchase of
Midas.
and you can now use the faders as
Send controls going to the FX buss.You
WorldMags.net
Allen & Heath Qu-24 Reviews MT
must then turn up the Master fader for
this FX buss, which controls the overall
FX send, and then switch the faders to
show the second layer to turn up the FX
return. Staying on top of all of this can
be quite time-consuming, making it
awkward to quickly mute the effects at
the end of a song while the artist talks
to the crowd.
Alternatively, you can patch some
effects to a specific channel, avoiding
the whole Send set up scenario, or you
can patch an effect as a direct insert,
but neither of these provides a good
solution to muting effects between
songs. A master FX Mute switch would
be a much better solution.
To get around this limitation the
Qu-24 has four Mute groups to which
any channel, effects send or return or
stereo group can be assigned. Muting
the group is then done from the Home
screen using the touchscreen. However,
in practice, we never leave the Qu-24 on
the Home screen and so this process
would still involve several button
presses. Instead we assigned the first
four SoftKeys to the four Mute Groups,
creating four instant
Mute buttons on the
front panel, with
all our FX Sends assigned to the first
Mute Group.
Stuck in the box
One of the flaws in the design of the
Qu-24, like the Qu-16, is the lack of
analogue insert points.The built-in
effects engine replace the need for
insert points, and on the smaller Qu-16
we would see that as a logical
assumption, but on the larger Qu-24 it’s
a notable oversight. And owners with an
existing investment in outboard
hardware won’t necessarily want to
replace it all with the built-in digital
effects engine, no matter how good it is.
Outboard send effects can be used by
using up one or more of the 10 mix outs,
but it would be nice to place your own
EQ and compression across an insert.
Other than this, though, the Qu-24 is
an incredible desk and one we hope
find its way into small- to medium-
sized venues. It’s not as intuitive as an
analogue console, but all the extra
features and the fairly fast learning
curve mean that it will be a huge
improvement in the sonic quality of
performances in these sized venues
over much of the competition. MT
MT Verdict
+ 24 mic inputs
+ iLive digital effects
+ EQ and Dynamics on every
channel
+ 800x480 touchscreen
+ iPad app
- Limited dynamics control
- Control of one channel at a time
- No inserts
The Qu-24 looks set to quickly
become a favourite small venue
live console.
9/10
MAGAZINE June 2014 | 89
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 Symphobia Orchestrator Reviews MT
WorldMags.net
Alternatives
Cinesample’s CineOrch ($99) offers a
range of sampled chords,Tutti oc aves
and so on, although importantly, it
should be noted that none ave been
sample with the legato technique used in Orchestrator. Ignoring the
lack of legato, though, it’s sti l a usable library t at ets you fill out an
orchestral soundstage with minimal ef ort.

sustains, chords and staccatos that can

be accessed as individual instruments,
or as part of an impressive collection of
multi instruments. These demonstrate
the full symphonic potential, creating a
full orchestral sound palette, with
dynamics from just a single pass on a
keyboard. If you’ve experienced any of
the excellent multis found in Lumina,
you’ll know what to expect.

Easy Orchestra
As with many of these orchestral
libraries, there’s a balance to strike
between some ingenious sampling that

SYMPHOBIA delivers hyper-realistic results, and a

tool that confines and restricts your

Orchestrator
musical creativity. In some respects,
For PC
& Mac Orchestrator is somewhat prescriptive
in the result it creates – with aspects
like the chord voicing and instrument
ProjectSAM’snewSymphobiaColoursseriestakesamore selection somewhat defined for you. It
might have been nice to have strings
affordable,focusedapproachtocinematicsampling. separate from choir, although the
MarkCousinsmeetstheOrchestrator… combination of wind and brass is
certainly a nice pairing with plenty of

H
Details aving created some of the familiar concept to any musicians musical potential! There’s little doubt
Manufacturer finest sample-based working with orchestral samples, but that Orchestrator can deliver excellent
ProjectSAM orchestral instruments of the the possibilities of legato chords may results, with the performance legatos
Price £169
last 10 years, ProjectSAM has be a new experience. With monophonic really adding to the realism. There are
Contact Time + Space
01837 55200 an enviable reputation at delivering a lines, a true legato instrument uses a also some great serendipitous results
Web truly cinematic sound, arguably best transitional sample to move from one to be had when playing Orchestrator’s
www.projectsam.com encapsulated in the company’s note to the next, capturing the realistic chords in a free-form way.
Requirements
Kontakt 5.3 or
excellent Symphobia series. However, portamento-like effect as one note Ultimately, Orchestrator forms part
Kontakt Player 5.3 none of the Symphobia instruments slides to the next. With chords, the of a palette of tools and techniques,
requires OS X 10.7 have been particularly affordable, but concept is similar, but here ProjectSAM something that enhances and expands
or higher (Mac) or
Windows 7 or 8 the Symphobia Colours series changes has sampled the transition from a C to an existing orchestral soundstage,
this by offering smaller, more focused an F, for example, or from Am to Fm. rather than a one-stop-shop for the
libraries that build on the concepts entirety of your composition process. MT
developed throughout the originals. Symphonic chords
The concept and sound of Orchestrator
MT Verdict
The Orchestrator is immediately apparent.The keyboard
KeyFeatures Symphobia Colours includes two is divided between major chords across + Fantastic ‘true legato’ chords
instruments: Orchestrator, on test here, one octave and minor chords in another + Expressive dynamics
O Orchestrated
major and minor
+ Full symphonic sound in one pass
and Animator, which we’ll look at in a – simply move between the appropriate
chords + Flexible mic sets
future issue. With both, the scope is single notes and Orchestrator will
O Recorded for 2
ensembles smaller than we’re used to and focuses produce a smooth, sumptuous - Prescriptive voicing
O Double on a particular technique or facet of the transition between the different chords. - Strings and choir combined
basses & choir - Some content ported from
orchestral sound palette. In The Mod Wheel can be used to add
basses ´Dark Symphobia
Basses´ legato Orchestrator’s case, the concept is dynamic movement (great for a
instrument firmly on legato chords – sampled with crescendo and diminuendo over the A unique application of the legato
O 3-Layer mod strings and choir, and wind and brass length of the chord) and you can also concept applied on chords –
wheel dynamics Orchestrator creates a deep and
combinations – alongside other move between three different
O Bonus tremolo expressive symphonic sound with
chords, flageolet value-added content (some ported microphones sets to change the relatively little effort.
sustains and from the original Symphobia series) perspective of the orchestra.
staccato
instruments that helps extend the musical potential.
Monophonic ‘true legato’ should be a
You also get a collection of legato
double basses, plus various non-legato
8/10
WorldMags.net
MAGAZINE June 2014 | 91
WorldMags.net

distributed by Audio-Technica
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 Reviews MT
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Chris Octane Presents Drum & Bass Core
Manufacturer Loopmasters beautiful pads, with more snarling and
Innovation raspy synth lines.
Price £29.95 (download)
Alongside the loops you’ll find a
Contact info@loopmasters.com large collection of bass and lead hits
Web www.loopmasters.com and multisamples, plus fx, percussion,
and a superb folder of crunchy and

T
he latest artist pack from
Loopmasters sees producer
Chris Octane delve into the
darkest recesses of his studio
for a unique collection of twisted neuro
bass lines, glitched-out drum and
bass-style breaks, and moody pads,
leads and fx.
There’s around 1GB worth of loops
and hits, presented in Wav, Apple Loops
and REX2 formats, with other options
also available from the Loopmasters
website. Most of the loops are divided
into bass, breaks, music, and perc
folders, with a further folder containing
10 construction kits of short tracks and
drum ideas. From the off, it’s clear to
see that Octane is a bit of a scientist
when it comes to production and sound
design, as every loop and sound is
meticulously worked over and crafted.
The bass loops are particularly
impressive, with unique and warped
riffs in constant movement and
Choice
1 on the same bass and lead sounds,
, Although the unique programming
effects to give maximum impact
through the speakers. Some also have
separate layers alongside the full bass
loop, which gives an interesting insight
into the production process. On to the
KeyFeatures drum and percussion loops and there’s
O Breaks, bass, a surprising amount of variety, from
music loops
140bpm glitch dubstep grooves, to
O Drum/inst hits,
121 patches faster 170bpm live breaks, with plenty
O 24-bit Wav, of original and quirky rhythms and
Apple Loops sounds thrown into the mix. Also of
and REX2, or
Live and ReFill interest are the music loops that
combine deeply spooky and eerily
interestingly-processed drum hits.
There are plenty of rhythmic variations
which offer an easy way to craft
complex neuro bass patterns. However,
at times, as with the rest of the pack, we
found some of the sounds to be a little
too complex and evolving, arguably
making it hard to process further and
make your own.
and heavy processing in this pack may
prove a little too off-the-wall for some
users, this is the very definition of
cutting-edge production. MT
MT Verdict
Occasionally overly complex but,
overall, a dark and original
masterclass of exquisite
production and inspiring hard
-edged sounds and loops.
9/10

The Experts (see p3) 147 -4187, is ished l ( 2t s

Rob Boffard, ark o sins, Keith er ear) b nth u l i U C
Ge mell, im allas, Mik i lier, Hollin Me ia is . . C r . t 26 o er D
Jo es, And c ug l , J h ck or , Su e -S3, l ts , 1 1 or
H Price, Liam O’Mul ane US 2 . e r. Peri as o t g
MUSIC TECH MAGAZINE a d Plat s r h, a d at d i al
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MAGAZINE June 2014 | 93
MTReviews
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Unusual Percussion Samples this with a transient/envelope plug-in.
The playing is slightly sloppy in
places, which again adds to the organic
Manufacturer Prime Loops
‘instrument’ so you’ll feel, but you may want to use quantise
Price £14.95 (download) robably end up chopping if you’re writing tighter-sounding tracks.
Contact via website things up and combining You’ll also find a small handful of
Web www.primeloops.com patterns. You can expect to heavily-effected versions, but this isn’t
find conga style grooves really explored in any real depth. Finally,

W
ith such a large amount of
music around, it can be
difficult to stand out with
original tracks. One
solution is to ditch or supplement
traditional drums with more esoteric
sound effects to craft unique grooves.
Unusual Percussion Samples from
Prime Loops serves up a library of over
200 found sound loops and hits, with
over 200MB worth of audio.
Everything is played in live, with the
percussion loops divided into folders of
box, bucket, computer case, flower pot,
keys, lamp, shoes, stapler, suitcase, and
other. Most of the grooves themselves
are fairly short and simple, but there
are generally several variations on each
played on the bucket, box
and suitcase; pitched
sounds on flower pots and
lamps; and some superb
alternatives to your
Value
standard shaker or
£ tambourine played using a
keys and a stapler! There
are also some great industrial-
sounding rhythms pounded out on a
computer case, which could be good for
KeyFeatures composers looking for something a
O Over 200MB little different for an action scene cue.
O 200 loops and As mentioned you may have to get
one-shots
creative if you want to extend the short
O Acid Wav, Apple
Loops, REX2, loops out into full tracks. Most have
Live and ReFill been recorded with a little ambience for
a live feel, although you could remove
there’s a folder of excellent one-shots to
play in your own unique rhythms.
This is a simple but excellent value
pack that could be used to spice up a
variety of genres. If your tracks are
sounding a little too obvious, then this
could be just the ticket to inject some
subtle originality. MT
MT Verdict
A useful collection of organic
sounding loops and hits that could
be used in the place of more
traditional percussion or drum
instruments to add a lot of interest
to your tracks.
8/10

Trance 2.0 MT Reviews What our ratings mean

Excellence Let’s be honest Choice A very good

– this product product – one
Manufacturer Sonic Academy is,at the very that we would
least,the best single out.
Price £34.99 3 months £99.99 one year Excellence in its class.
Contact info@sonicacademy.com
Attractively Indicates a step
Value Innovation
Web www.sonicacademy.com priced as well forward in the
as capable of implementation
delivering or application of

T
rance is a genre that’s existed
since the early 90s which has
evolved in many ways.Trance
2.0 covers the more popular yet
great results. a technology.
then s ow you ow to create s m ar. EXCELLENCE AWARD 10/10
Ableton Live projects are included The best in its class.This product produces superb results, is well
but rely heavily on plug-ins, so a user’s implemented and sensibly priced.

still credible sound of today’s trance
and the track being produced in the
series is on par with current releases.
A collection of five free videos called
Rewinds are available to all that cover
the basic aspects of starting a track.
These track ideas are then expanded in
the subscriber-only videos.
experience will vary on how useful
these are. Drums, bass, pads, leads and
SFX are all covered here at a basic, but
high standard level of production.
The main 2.0 videos go into more
detail and explain the aspects needed
for creating a full arrangement.There’s
time spent auditioning keys, sounds
CHOICE AWARD 9/10
This product comes highly recommended and has an effective
balance of features and performance.
8/10
A recommended product with features, performance and pricing
that meets the needs of its target market.
7/10
A good product but with one or two question marks over ease of
use or price.

The series is presented by Phil
Johnston and Chris Agnelli who do a
good job of presenting their sessions in
a radio show type of way. Phil takes the
hands-on control of engineering while
Chris presents and probes Phil for more
in-depth details on techniques. Both
tutors are clearly experienced in
producing this style of music which is
reflected in the working methods on
show, their reflection on what needs to
be done and the final level of quality.
All of the Rewind videos take the
approach of analysing a handful of
respectable commercial releases and
and ideas to make sure each decision is
the right one for the track being
created. With guide vocal creation,
mixing, mastering, and then a second
mixdown being covered in-depth, this is
a great educational package for anyone
trying to nail the 2.0 sound. MT
MT Verdict
A well-presented and technique
-filled series with emphasis on how
to use specific techniques for
creating Trance 2.0.
10/10
6/10
This product has merit, but some improvements or a more
competitive price would bring it closer to its target market.
5/10
Certain oversights in this product’s design and performance could
limit its usefulness.
4/10
Buyer beware: this is a sliding scale of poor quality, overpricing
and/or disappointing performance.
OURREVIEWSPOLICY
At MT we take our reviews very seriously indeed. We aim to offer
you nothing but the best information and expert op nion,helping
you to make t e right purchasing dec sions.Our reviewers are
experts in t eir field and talk to the manufacturers throughout the
reviewing process to ens re accuracy.

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94 | June 2014 MAGAZINE
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FIRST WITH NEWS
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UR

Q 24-bit/192 kHz USB 2.0 audio interface with 6x4 analog I/O and MIDI
Q 4 Class-A D-PRE mic preamps
Q Rugged full-metal casing for ultimate durability
Q Latency-free DSP-powered monitoring with effects
Q Cross-platform compatibility with Mac OS X and Windows, runs with iPad www.steinberg.net/ur44
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MT Your Disc
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Welcome to June’s MusicTech DVD. We’ve got a
DVD135 4GB+ PC&Mac massive pack of cutting-edge bass hits, trance

YourDisc kits and an eclectic mix of Loopmasters samples.

There are also pro videos, the latest demos, and
workshop files to go with this month’s tutorials.

SAMPLE HITS//ROYALTY FREE & EXCLUSIVE Size 68MB Format 24-bit/44.1kHz WAV,
EXS24, NN-XT, Kontakt, Structure

//BASS It’s interesting to witness how things change

n both electronic music as certain styles
come in and out of fashion. We’ve noticed a
definite move from sustained bass sounds to

STABS more hard and percussive hits so sample

maestro Richard James has concocted a
collection of 215 percussive bass hits: from
garage organ style hits, and dark dissonant

& HITS strikes, to more obviously pitched, hard-

edged synth hits, perfect for heavy techno
tracks or EDM. A large range of soft synths
and post processing was used to make sure
each sound will sit perfectly in the mix.

SAMPLES HITS//ROYALTY FREE & EXCLUSIVE VIDEO FEATURE//70MINS+

//TRANCE SSL SIGMA,

DRUM KIT
Size 62MB Format 16-bit/44.1kHz WAV
This month’s exclusive free sample pack from
Equinox Sounds comes in the form of 300 top-notch
one-shot drum samples for producing all types of
trance music, with folders of claps, snares, kicks,
cymbals, hats and percussion, all in 16-bit, 44.1 kHz
quality. Many of the claps and snares are tight and
hard with heavily-compressed hits, and the kicks
have a punchy sound to cut through the mix. There
are several effected hits to add interest. All sounds
can be easily loaded into your sampler or mixed and
matched to build the ultimate trance drum patches.
Web www.equinoxsounds.com
UAD APOLLO
Size 783 MB Format MOV, WAV, MP3
We have got a bumper selection of promotional video and
audio so you can see and hear the latest kit in action. There’s the
high-end SSL Sigma analogue summing box (see next issue for
the review), Elektron’s polyphonic Analog Keys, and Universal
Audio’s compact and affordable Apollo Twin interface with Unison
amp emulation technology. You’ll also find videos showing Arturia
Keylab, PreSonus Eris Monitors (next issue), Toontrack
EZdrummer 2, VSL Dimension Strings, and the latest orchestral
libraries from ProjectSAM. Plus we have audio demos of
Garritan’s new Abbey Road Studios CFX Concert Grand Piano,
and Native Instruments Supercharger GT compressor/saturator.

DEMO//SOFTWARE

//SOFTWARE SINEVIBES HEXONATOR

DEMO//SOFTWARE
NATIVE INSTRUMENTS
SUPERCHARGER GT
(Windows, Mac OSX)
Compressor plug-in inspired by
the tube-driven sound of
boutique hardware. Dedicated
saturation modes allow for fine
tuning warm sounds.
www.native-instruments.com
DEMO//SOFTWARE
NATIVE INSTRUMENTS
MOLEKULAR
(Windows, Mac OSX)
A complex, modular multi-effects
system for Reaktor 5 and 5 Player
with 35 creative, futuristic effects
(delay, stutter, glitch, resonator,
flanger, chorus, and more), 16 mod
sources, routing and a morphing field.
www.native-instruments.com
(Windows, Mac OSX)
A unique spectral effect built on six tuned resonators for
creating organic melodic textures, chord progressions, or
ambient drones from any signal source. It also includes a
multi-mode filter, chord sequencer with up to 32 steps, and two
modulators with multiple waveforms and adjustable chaos.
SERANO HORUS FULL//SOFTWARE
(Windows, Mac OSX)
Create inspiring pads with this poly synth, string-
machine instrument. Features include four oscillators,
64-voice polyphony, chorus, phaser, auto-wah, stereo
delay, static formant filter and low-pass filter, LFO, and
full MIDI learn.. http://bserrano.free.fr
EMBERTONE CANJO
(Windows, Mac OSX requires Kontakt 4.2.4+)
Create beautiful plucked melodies or rich cinematic
ambiences with this unique, sampled string instrument for
Kontakt. Canjo can be played with muted, fingered and
picked styles, with flexible articulation control and a
powerful arpeggiator. www.embertone.com
FULL//SOF WARE

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98 | June 2014 MAGAZINE
 Your Disc MT
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SAMPLE LOOPS//ROYALTY-FREE
Size 218 MB Format 24bit/44.1 kHz WAV

//OCTANE DNB, An eclectic bunch of free instrument, vocal, beats

and bass samples from Loopmasters latest and greatest
releases. There are dark and mysterious pads and

DISCO BEATS punishing drum and bass breaks and synths courtesy of
producer Octane and his Drum & Bass Core pack. You’ll
find shimmering neon melodies and chilled beats taken

& MORE from Atalanta Chill 2, and Underground City FX, and
dubbed out Latin-American rhythms and synths from Nu
Cumbria. And finally, live and electronic drums taken
from Live Disco Electro Beats, and a mix of male and
female, lead and backing vocals from Iconical Vocal
Acapellas 3.
Web www.loopmasters.com

DVD13
35 4GB+ PCC&Maac
SAMPLE HITS//ROYALT
LTY FREE
E & EXCL
CLUS
U IV
VE

PLUS
PLUS
S
If your DVD is missing
please contact your newsagent
Hundreds of dark bass hits TRRANCE
ANCE DR
AN
HIITS
TS & 215
DRUM
2115 MB
UM
M
MB OF
OF
and synth stabs perfectt for LOOP
LO OPMA
OP MA ASST
TER
ERS
S
house, techno and EDMM SAAMP
MPLE L S
LE

SAMPLES HITS//ROYALTY FREE & EXCLUSIVE SAMPLE

ES LOO
LO PS
PS//ROY
ROYALT
ALTYY FRE
FREE
E

//300 TRANCE KIT

T //215MB DNB,
SAMPLES DIISCO AND MORE
VIDEO TUTORIALS/
//1.5HRS
/ H + V EO
VID O TUT
T TORI
O ALS
ORIAL
L //35
3 MIN
MINS
S

//TODD
D TERJJE //BITWIG & FX
DECONST TRUCTED IN ABLETON LIVE

VIDEO TUTORIALS//1.5HRS+
VIDEO FEATURE//35 MINS
//TODD TERJE //BITWIG & FX IN LIVE
DECONSTRUCTED Size 739 MB Format MOV
Size 1.77 GB Format MOV
Another Loop+ helping of studio know-how. Dance
Norwegian Producer Todd Terje has been
producer Dom Kane looks around BitWig and Rob Jones
producing masterful summer disco jams for over
presents a break down of the BIGKICK plug-in from
10 years. The good people at Point Blank Music
PluginBoutique.com. For Ableton users, certified trainer
School have seen fit to deconstruct his excellent
Keith Mills offers some nifty tips for creating
Delorean Dynamite track, using Ableton Live to
atmospheric FX in Live, plus producer Dan Larsson talks
rebuild its constituent parts. Plus we have course tutor Ski
about his new Ableton Operator preset collection. Finally,
Oakenfold offering up tips for vocal comping in Logic X, and an in-depth
trailers for Niche Audio’s PrimaTech Maschine and Live
look at the complex new modular effects plug-in from Native Instruments,
pack, and for BIGKICK from PluginBoutique.com.
Molekular. As ever, for best performance, be sure to copy all the videos to
Web www.loopmasters.com/loopplus/
your hard drive before viewing. Web www.pointblanklondon.com

WorldMags.net
MAGAZINE June 2014 | 99
 www.solidstatelogic.com
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SSL SIG A


Remote Controlled Analogue Summing.

Because nothing inside your DAW is analogue.

• SSL SuperAnalogue™ summing unit controlled by DAW mix automation
• Studio monitor controller with front panel & MIDI remote control
• Separate iPad friendly remote control software

Clever, cool, effective and affordable hybrid studio technology

by Solid State Logic. The world’s leading pro audio innovator.

Audio Innovation. This is SSL.

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TECHNOLOGY
01462 480000 | www.soundtech.co.uk | info@soundtech.co.uk