muse tech -apr/may '11
DESCRIPTION
Reviews: Samson 510i, Presonus StudioLive 16.4.2, M-Audio Venom, AKG 820 Perception, Line Pod HD300TRANSCRIPT
THE POWER OF TEN
G R E AT G E A R N E W S & R E V I E W S F O R M U S I C I A N S
TT E C HE C H
FREEAPR-MAY’11
Reviews on...
SynthesizerSynthesizer
Industry interview with:Industry interview with:Steve GrindrodSteve GrindrodSteve Grindrod
GEAR & INDUSTRY NEWSGEAR & INDUSTRY NEWS GEAR & INDUSTRY NEWS
TUTORIALS by
WWW.MUSEONLINE.CO.ZA
KURT SLABBERT & JON PIKEALISTAIR ANDREWS|ALAN RATCLIFFE |
KURT SLABBERT & JON PIKEALISTAIR ANDREWS|ALAN RATCLIFFE |
www.AUDIOSURE.co.za
PresonusPresonusPresonusStudioLive 16.4.2 Digital MixerStudioLive 16.4.2 Digital Mixer
M-Audio VenomM-Audio VenomM-Audio Venom
AKG 820 Perception Mic AKG 820 Perception MicAKG 820 Perception MicLine 6 Pod HD300 Line 6 Pod HD300Line 6 Pod HD300
SAMSONSAMSON Expedition 510IExpedition 510iExpedition 510i
APR/MAY ‘11
muse | three
EDITION 14CONTENTS
really do feel like MuseTech is going from strength to strength. It’s been an important goal of ours to maintain and indeed strive to improve the quality of our reviews, tutorials and general news reporting. Variety has also been high on our agenda and I do think that this month’s offering ticks all the boxes.
Firstly on the review side we look at Samson’s cleverly packaged XP510i portable PA system. This package is the perfect PA for small gigs with great features and minimal fuss. Then we also look at one kickass digital mixer (Presonus Live 16.4.2) designed specifically to make recording live bands a real cinch. In fact this mixer proved such a hit our reviewer, Nic Roos, immediately started enquiring about prices to purchase one. I don’t think you can get a better endorsement than that.
We also look at AKG’s new perception 820 – a tube mic all serious studios should consider looking at. The Line 6 Pod HD300 also gets the shakedown from Alan Ratcliffe and anybody who knows Alan’s reviews will appreciate that nothing goes unnoticed with him. We actually wanted to review the flagship HD500 but alas stock was not available. M-Audio’s new Venom synthesizer also interested us a lot. It’s the company’s first new keyboard since the Avid takeover and for the price it’s an absolute steal for what you get. Stefan took it through its paces, suitably impressed in the end.
I also had the honour of meeting Steve Grindrod. Ever heard of him? Neither had I but a little research told me he’s quite the man when it comes to guitar amp technology. With almost 40 years in the business, both with Marshall Amps and Vox, Steve’s designs and innovations can be heard on countless albums over four decades. Anyway he was out here to promote his new brand, Albion Amplification and made for a very interesting conversationalist. Read all about it on Pg 24.
Elsewhere you’ll find the same top tutorials, gear news and other bits ‘n bobs. Enjoy.
Dave Mac
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EDITOR’S NOTE
I
Editors Note and IndexCover Feature: Samson Xp510i Cover Feature: Samson XP510i Gear NewsGear newsInstrument review: M-Audio VenomStudio Review: StudioLive 16.4.2 Digital MixerStudio Review: StudioLive 16.4.2 Digital MixerStudio Review: AKG Perception 820 Tube MicrophoneInstrument Review: Line 6 POD Hd300Instrument Review: Line 6 POD Hd300Industry Feature: Steve GrindrodEvent Review: Marshal Music Gibson LaunchBand Tips: 10 Tips on Writing MusicGuitar Maintenance with Alan RatcliffePlay Better Bass with Alistair AndrewsPlay Better Bass with Alistair AndrewsPlay Better Guitar with Kurt Slabbert Play Better Guitar with Kurt Slabbert Your Private Universe with Jon Pike
muse | four
COVER FEATURE By Dave Mac Samson XP510i Portable
First Impressions
Sound
Anatomy
deactivated individually, however, cable. there is a single master rotary to But that’s not all folks... (!) Once My impressions of Samson as a control the depth. you’ve stuck all your cables away company is that of a dynamic
Likewise there is also only a and neatly put your mixer back in the organisation with their ear close to single knob to select which of the 10 cabinet (two easy to turn rotary plugs the ground when it comes to filling reverbs you wish to use. So one ensure the mixer fits snugly) the two the gap for decent quality audio gear setting fits all is the name of the game speakers slide into each other at reasonable prices. They also tend with this option. Two additional nifty making one package to carry to be rather innovative with their features include a monitor out weighing a paltry 22.6 kg’s (see fig product lines, living proof of which is channel with separate volume below). This feature is amazing and the popular Expedition 308i PA control and a set of RCA-outs for means that the XP510i lives up to its system. In fact the success of this plugging in a recording device. name as a truly portable PA system.product has lead to
them introducing a slightly higher spec version, the XP510i, subject of this review. The package consists of a pair of 2-way speakers with 10-inch woofers and a 500 watt Class D powered mixer. On first inspection the X P 5 1 0 i i s n e a t , concise and seems Naturally there is a master volume well thought out for an all-in-one out knob too. Master outputs are The amp kicks out a maximum of 250 portable PA system. It is perfectly twin jack connectors. watts per channel so right off the bat suited to the market it is addressing Finally we have the iPod docking you need to realise that this is not a with all the right features and some bay (iPhone fits perfectly too) to plug massive system. Whilst Samson’s very smart innovations. the device into. What’s particularly sales material claims the rig to be
useful with this docking station as suitable for a “DJ entertaining 500 opposed to simply plugging a 2-to-1 people at a large club,” that I'm afraid
Firstly, a look at the powered mixer; cable into a channel of the mixer is is slightly exaggerated although the the mixer houses a 500 watt (2 x 250 that when docked, your iPod/iPhone overall delivery of the sound is W) Class D amplifier equipped with a will charge at the same time. All adequate with good dispersion from total of four line/mic stereo inputs connections are found on top of the the speakers. complete with XLR and stereo jack unit which is really handy and makes If you’re after some bass best to connectors (plus phantom power for for easy access and plugging in. place them on the floor or a solid your mics), one channel with stereo The speakers each house a 10- ra ised sur face as they are jack ins, one with optional stereo jack inch woofer and a 1-inch titanium understandably lacking in some real in or RCA and one channel with just tweeter in a 60° x 90° horn. The presence when pole mounted. RCA which also doubles up as your plastic molded enclosures have a Overall though the sound is well iPod channel. useful handle on top for carrying and balanced and there is a built in limiter
All channels include volume- are angled so they can be used as on the mixer to avoid any nasty blow gain rotaries as well as 2-band EQ. floor monitors too. They also have outs. This rig is the perfect setup for a That’s a total of 7-channel inputs integrated 1-3/8-inch speaker stand singer/songwriter performing in a which is ideal for this configuration. mounts. But perhaps the most small to medium sized coffee shop The first four channels, with the impressive feature of all with these or restaurant or for small band mic/line inputs, also include the 24- cabinets is the clever portability in practice sessions. It of course will be bit DSP effects which are basically 10 their design. You see one speaker ideal for presentations requiring reverbs. This is great for adding a bit houses the powered mixer (which integration of musical performance of depth and ambiance to your can easi ly be disconnected, and speech which, incidentally, the vocals or possibly a guitar/keyboard depending on your preference) mixer also has – a speech/music etc. Each of the four channels can whilst the other cabinet stores your button to toggle between desired h a v e t h e e f f e c t a c t i v a t e d / speaker leads and mixer power requirements.
Suggested Retail price: XP510i - R 8,995.00 | XP308i R 6,995.00Supplier: Audiosure | Tel: 011-790.4600 | 031-534.6460 | 051-430.4455 | 021-555.1617
Web: www.audiosure.co.za
muse | five
COVER FEATURE PA with iPod dock“This rig is the perfect setup for a singer/songwriter performing in a small to medium sized venue”
Cons:
Conclusion Features:
Pros:
! Well built! Good feature list on mixer
! Struggles a little at really high volume
! Single control of all FX
Also try out the XP 308i if you’re looking to save a few Rands. A slightly smaller rig (150 watts per channel) it contains all the same marvelous features except the onboard DSP effects and will adequately fulfill the one-man-band role too.
!There are aspects that really impress Dual 2-way speaker enclosures, with the XP510i. Firstly it has been powered mixer with built-in 500 very well thought out in terms of watt (2 x 250) Class D amplifier
!portability and versatility. The fact Packs up into a single portable unit that you can plug up to four mics in, that weighs just over 50 pounds
!or up to seven line inputs means that 10-channel mixer with built-in iPod any average sized band can utilize dock, four mic/line inputs, three this for intimate gigs or rehearsals. stereo inputs and phantom power
!However it’s the one or two man Custom 10-inch woofers in 2-way band setup that I think will be the vented enclosures with 1-inch most interested in this package. You high frequency driver
!can plug your mics in, plus have 2 or Ten studio-quality 24-bit digital 3 guitars/keyboards plugged in, plus effects
!a sampler, drum machine or any Integrated 1-3/8-inch speaker playback device (iPod or otherwise) stand mounts
!that you desire without the hassle of Enclosures tilt back for use as floor plugging in and out during monitors
!performance. Add to that the useful Cables includedreverbs and you’re pretty much set to play.
I f you’re del ivering your ! Great all in one portable PA
performance to an intimate crowd in packagethe aforementioned environment
! All components fit into one unit for then the XP510i could prove a really carrying/transportsmart investment.
! Versatile connectivity options
Prices are recommended retail, incl. 14% VAT
V-HLA10V-HLA12V-HLA15
R 16,317.00
R 29,333.00
R 35,834.00
...more compact, more affordable ...more compact, more affordable The new Aero 8A was designed to provide audio professionals with
exceptional line array performance from an ultra-compact enclosure.
FeaturesPowered ultra-compact two-way line array module
Class D two channel amplifier 250W LF + 100W HFOne 8” loudspeaker with neodymium magnet assembly
New M-60N Neodymium compression driverSERPIS BPS-191 high frequency plane wave generator
Captive rigging system intergrated in the cabinet design
D.A.S Audio Products exclusively available through
For trade enquiries or to find your closest retailer call: [email protected] | [email protected] | [email protected] | Tel: 011 2503280 www.hybrid.co.za
Prices are recommended Retail, Incl 14% VAT
Powered Line Array R 19,667-00
muse | eight
GEAR & INDUSTRY NEWS
Sterling by Music Man: The John Petrucci Signature Series Models
SurgeX Power Protection
Shure unveils new and exciting products for 2011
SurgeX Advanced Series Mode® Technology is superior to conventional MOV circuitry or MOV-Hybrid designs and is completely non-sacrificial. Their zero let-through technology provides the most reliable protection available. It stops all surges up to 6,000 volts (unlimited surge current) without producing harmful side effects such as earth contamination or common-mode disturbances.
SurgeX SX1215i Surge Eliminator & Power Conditioner - provides guaranteed surge protection and power conditioning for audio, video, broadcast and computer equipment. The units are 15-amp load-capable and have 10 industrial grade earthed AC receptacles (8 switched, 2 always on) plus a front panel courtesy receptacle.
The SX1215RTi has remote turn on capability for use in AC power distribution systems and can be interfaced with other SurgeX products with remote turn on capability. Switched receptacles can be controlled with an applied voltage (5-30 vdc) or contact closure switch connected to the Phoenix connector on the back panel. The connector can also be used to cascade multiple units or provide status to a central controller. The unit features both common mode and normal mode Impedance Tolerant® EMI/RFI filtering for a comprehensive power conditioning solution.
The SX1215RLi is designed for broadcast / recording studios, custom design/build installations and sound reinforcement applications. The unit features both common mode and normal mode Impedance Tolerant® EMI/RFI filtering, SurgeX ICE® -Inrush Current Elimination and COUVS® -Catastrophic Over/Under Voltage Shutdown for a complete power conditioning solution. Distributor: Audiosure | 011 790-4600 | 021 - 555-1617 | 031 569-9260 | 051 430-4455 | www.audiosure.co.za
At the NAMM Show in January 2011, Shure introduced several new products for a variety of different applications. The ground breaking PSM 1000 In-Ear Personal Monitoring System, offering professional users a range of new sophisticated features, the Shure SRH550DJ and SRH940 headphones and the SE215 Sound Isolating Earphones with detachable cables.
The PSM 1000 In-Ear Personal Monitoring System offers a dual channel, full-rack professional monitoring solution. It is designed to tightly integrate with Shure Wireless Workbench software for the most efficient set-up and control plus with a true diversity-equipped,
Sx1215i
SX1215RLi
SX1215RTi
SRH940
PSM 1000 SE215
Highly respected in the metal/prog community, John Petrucci of Dream Theater is known worldwide for his incendiary chops, creative songwriting and incredible tone. His devotion to his craft inspires legions of players across the globe.
Sterling by Music Man® has announced an expansion of the John Petrucci signature series. New models feature appointments you have come to expect, from one of metal’s most respected players. For 2011 they have introduced the new JP60 and JP100 models to their line up. This compliments the awesome JP50. Says John, “I’m so happy to be part of the Sterling by Music Man family! The new JP100 continues in the tradition of amazingly beautiful, high quality instruments at friendly and affordable prices.” Distributed by Musical Distributors | 021-799 4950 | www.bothner.co.za
muse | nine
GEAR & INDUSTRY NEWSGrammy-award winner
Ricky Lawson discovers sE
Visual Sound - the new V2 Series Pedals
In the world of drummers, none come bigger than Ricky Lawson. The legendary sticks-man has played with some of the biggest names in the business, including Michael Jackson, Whitney Houston, Quincy Jones, Al Jarreau, Bette Midler… such is the calibre of Ricky’s CV that he’s even become known throughout the music industry as “Drummer to the Stars.” As well as being twice nominated for Grammy awards – winning one – Ricky also regularly appears in Top 10s of the world’s best drummers, be it for his contributions to Pop, R&B or Soul. Ricky not only knows about hitting drums, he also knows how to record them, and he is a recent convert to the sound of his sE4 matched pair condenser mics that he’s now using as main overheads in his California-based studio.
“I’m using a set of sE4 mics right here in my recording studio in Los Angeles. I have a nice little set up here with a G5 [Mac] where I can record, mix and master all within one facility.”
“The matched pair of sE4’s are being used as my main overheads on the drum kit. They’re each about as big as a real nice cigar… and they sound just fantastic!”Distributed by Tuerk Music Technologies | (011) 792-8402 www.tuerkmusic.co.za
As used by the ultimate guitarists. U2, Kings of Leon, Metallica, Fleetwood Mac, Larry Carlton and many more. Everything Visual Sound has learnt about making effects pedals since 1995 has gone into the design of the V2 series. Here are a few things you might appreciate about these first class effects...Reliability: Custom designed switches rated at 10 million hits | Circuit protection against AC (vs. DC) adapters | Hand wired jacks | Knob protection built into the die-cast aluminum housingsNoise Reduction: No more white noise with distortion or compression!New Features: H2O, Jekyll & Hyde and Route 66 all upgraded | Single effects now availableNo expense was spared in making the V2 Series as good as they could possibly be. The best parts, the best designs, and the best tone you could ask for.Distributed by Tradelius Music Group | (031) 502-3080 | www.tradelius.co.za
If you’re looking for the ultimate keyboard instrument for performing and creating, Yamaha have put it all together for you in this exceptional instrument, the S90XS and S70XS.
The keyboard features the ultimate in piano sound sampling technology. A truly realistic, naturally expressive instrument with convenient, comprehensive control. Real-time controls for tweaking of the sound as you play. Audio recording to USB memory.
Extensive computer music features. Ease of use, plus compact size and portability. Introducing the S90XS and S70XS Music Synthesizer. Designed specifically for players, particularly those who want the highest quality piano sounds and expression, the S90XS / S70XS is a performer's dream. Yet, casual players and hobby musicians will appreciate the exquisite sounds, advanced features and superb playability just as much as top professional artists.
The S Series features all the Voices, Performances, arpeggiators and Virtual Circuit Modeling effects found on the flagship MOTIF XS Music Production Synthesizer. Plus Yamaha has added a huge 142 megabytes sample dedicated exclusively to high-quality piano
waveforms, for a total of 456 MB of instrument samples. These piano sounds are the new samples taken from Yamaha's world-
renowned S6 concert grand piano. These samples fully capture the rich texture of the S6, and provide a warm concert grand piano sound beyond any keyboard ever produced.Distributed by Global Music | (011) 454-1131 | www.yamahaproaudio.co.za
V2H2O
S70XS
S90XS
V2JH V2RT66
The S90XS and S70XS YAMAHA Synthesizers
eight
By Stefan Wyethmuse | ten
REVIEW M-Audio Venom
M
”A powerhouse of synthetic sound and inspiration”
Suggested Retail Price: R 7,599.00 incl. 14% VAT (estimated)
Supplier: Midi Music Tel: (011) 417 3400 | (031) 564 3886
M-AUDIO
Every musician, regardless of their discipline searches for character of sound when choosing an instrument. This tends to be very difficult when dealing outside of the 20k upwards price bracket, which makes the Venom a formidable contender as it is by far the most versatile in its price range. The true power of the instrument lies in its sound. A great deal has gone into the analogue modelling sound engine to ensure its great tonal characteristics and the filter really does have it’s very own feel to it. The patches, combined with the sound creation capabilities of the Vyzex editor allows one to not only
edia giants Avid have launched their first M- create styles of pop and dance music, but the edge to delve Audio product since the company ’s into slightly darker genres too. The smooth warmth of the acquisition. This hype driven release comes at analogue with a bright digital sheen, the aggressive mod and you in the form of the new Venom synthesizer, glide controls enable one to achieve snappy, up-close and another first for M-Audio. Their bold leap into personal direct sounds and anything in between. A huge the deadly realm of hardware synths has been effort has been made to streamline this instrument into a
highly calculated from both a practical and a market viewpoint powerhouse of synthetic sound and inspiration. in order to give us the best for the price. Despite being a so-called entry level synth I wouldn’t be
The Venom is a 49-key, 12 voice, multi-timbral, virtual the least bit surprised to hear the Venom on new record analogue synthesizer with audio interface and the Vyzex releases or even on tour with the likes of Nine Inch Nails.integrated software editor to give you comprehensive control and patch management. Its design and appearance is unmistakably reminiscent of the legendary Virus TI Polar
. Bang for the buck.virtual analogue synth from Access music with an all-white-
. 12-voices. 4-part multi-timbral. with-grey-knobs scheme, taking the modern rather than the
. Powerful, full-featured synth engine. vintage aesthetic approach. The sound engine, on the
. Can process incoming audio through internal effects.contrary allows you to choose from 94 oscillation waveforms
. 30 synth parameters available through performance from some of the greatest true analogue synthesizers in control matrix. history, allowing purists to get their fix of warmth and texture
. Separate volume controls for mic and instrument gain. regardless of their budget. I/O options include 1/4” main outs
. Arpeggiator with tap tempo.and mic and instrument inputs, stereo RCA inputs, expression and sustain pedals, MIDI I/O and USB as well as a phones out on the front panel. The Venom’s main console is focused
. Mic input is 1/4-inch, rather than XLR. around the 4 performance control knobs with which 30
. Audio interface limited to 44.1 kHz.parameters on the 3 envelopes, 4 LFOs and 16 node mod-matrix may be accessed.
As a live instrument the Venom proves very powerful indeed. The two modes of operation(512 single and 256 multi patches) along with the in-depth Vyzex software will allow you to easily design your sounds and setup multi-timbral performance patches. The Venom is also equipped with a mutli mode arpeggiator with tap tempo making it even more suited to live use. The Venom’s versatility presents a number of options when playing live. As it is both an interface and a controller its integration with Ableton Live would allow access to the Vyzex plugin as well as provide assignable MIDI controls for further hands on operation. The 4 part multi mode also allows you to use the Venom as the entire rhythm section of your band with 4 layers of latched arpeggiation possible and a great range of drums and rhythmic sounds to select from.
Use the Venom as an effects processor for guitar or vocals on stage or simply as a very powerful standalone synth keyboard with the ability to tap tempo and layer sounds while playing. The Vyzex editor also gives you the power to preload and assign 2 bar MIDI sequences which can then be triggered live as part of your set. The easy and rather appealing interface will quickly become part of your musical makeup rather than just another accessory.
Pros:
Cons:
muse | twelve
FEATURE REVIEWBy Nic Roos
I
“The best mixer for band-orientated live mixing and recording.”
The PreSonus StudioLive
n 2008 PreSonus, revered headroom Class A XMAX mic preamps channel/bus has its own Select button s t u d i o - o r i e n t a t e d found on PreSonus’ FireStudio which calls up that channel or bus’s manufacturer, released the interfaces, each with a line-in and an settings. This also allows the Fat StudioLive 16.4.2, their first insert point for outboard gear.+ Channel to take up more board real-mixer, aimed at both the live The high-definition AD converters, estate, giving you quick access to and studio market (hence the with JetPLL anti-jitter clock syncing, processor parameters.name). have an impressive 118dB dynamic Apart from the Master Section
With more people mixing range. meters, there are 16 meters in the Fat ‘in the box’ on affordable The Fat Channel is a collection of Channel section that can display
DAWs the idea of working with a desk d i g i t a l p r o c e s s o r s o n e a c h processor settings, channel input, has increasingly been left to live sound channel/bus, including a gate, output and gain reduction levels, aux and big studios. Only recently have compressor, 4-band semi-parametric output levels, aux and effects send manufacturers incorporated an audio EQ and limiter, all with great presets levels as well as a fader-position locater interface into a mixer for easier and user presets. Each channel also has display – a cost-effective alternative to connectivity to computer. The phase reversal and a HP filter. There are motorized faders.StudioLive is part of this new two effects busses with dozens of Channel settings can be copied to generation of mixers, able to function reverbs and delays, also with presets one another and mix settings for the as a FOH mixer while recording onto and user presets. entire board can be saved and recalled your laptop via Firewire. Easy to use For live applications, a 31-band as Scenes.and packed with features, it’s become graphic EQ is found on the Master T h e S t u d i o L i v e i s 1 0 0 % very popular globally. Section and I’m told there will be a free compatible with most DAWs, showing
To list all its features would take up firmware update, adding six mono up as a multi I/O interface. 32 in/18 out the whole magazine. What follows are graphic EQs for the six aux buses. Firewire recording and playback some highlights. The StudioLive’s ease of use is streams make it a versatile recorder
another big feature. Unlike most digital w e l l b e y o n d i t s 1 6 - c h a n n e l desks where functions are controlled designation. The StudioLive tracks at through a paging system on an LED either 44.1 or 48 kHz sample rates. The StudioLive 16.4.2 is a powerful 16-screen, the StudioLive provides easy While higher sample rates would be channel, 4-subgroup digital mixer and access to most controls on the board more luxurious (and expensive), would Firewire interface with onboard itself while only a few system functions your computer cope with 16 tracks at processing on each channel, six auxes are controlled on screen. For a desk 96kHz coming at it simultaneously for and two digital effects busses.packed with features it has an an hour at a one-take live show? Yeah, I A major feature is that each ingeniously simple layout. Each didn’t think so.channel boasts the same revered, high
Anatomy
muse | thirteen
FEATURE REVIEW16.4.2 Digital Mixer
SA Distributor: Tuerk Music | 011- 792 8402 | www.tuerkmusic.co.zaSuggested retail Price: StudioLive 16.4.2 R 25,995 | StudioLive 24.4.2 R 35,995
The desk ships with a special software bundle: Virtual StudioLive allows you to control the mixer from your computer and if you download the StudioLive Remote app you can control your StudioLive in VSL through a wireless network…wait for it… via your iPad!
This means that, should you, at a gig, need to move away from the desk to replace a faulty mic, you would still have control over the mix.
Also in the software bundle are Capture, a ‘set it and forget it’ live recorder designed specifically for the Apart from providing great front band-orientated live mixing and StudioLive, and Studio One Artist, end, the advantage of a mixer interface recording.PreSonus’ powerful yet ‘bloat-free’ is its ability to mix down pre-recorded The pre-amps alone, with their DAW designed by two top ex- tracks too. Once mixed, desk smooth transparency and generous Steinberg designers. Also included are parameters can be saved for full recall headroom, set it apart from the Native Instruments’ Guitar Rig 3 LE, later. competition but in conjunction with the Toontracks’ EZdrummer and a special Similarly, in a live context, Scenes Fat Channel’s wealth of processors, the Native Instruments Kore sample set. of each act’s mix can be saved and tremendous (shall I repeat it?)
Shou ld you have another recalled after sound check. tremendous ease of use, its recording StudioLive on hand you can daisy- Working in Studio One is a joy. capabilities and integrated software, chain both together via the second Think Cubase meets Pro Tools without the StudioLive 16.4.2 is a big winner.Firewire port in a master/slave the bloated extras. It’s incredibly stable Of course, if 16 channels aren’t configuration, giving you 32x34 with a ‘drag and drop’ GUI and includes enough for you, there is the StudioLive recording and playback streams and great sounding sample packs, soft 24.4.2, adding, amongst other things, various linking options. synths, instruments, comprehensive another eight channels to play with.
plug-ins and third-party VST and AU It would have been nice to be able compatibility. More than just a recorder, to use the StudioLive as a control sequencer and mixing tool, the Pro surface in Studio One or other DAWs. The XMAX preamps deliver on their version of Studio One allows you to I’m told there are as yet no plans for this promise of transparency, deeper low master and sequence whole albums. kind of upgrade but it is not entirely out end, smoother highs and headroom!
of the question. Alternatively, do it the Oh, sweet headroom! Transients are old fashioned way of automation in real well represented. The Fat Channel time during final mix-down. processors are all high quality tools that While similar mixers exist in the same
Personally, I’m blown away. It’s sound surprisingly musical. price range, such as the Phonic easy to see why the StudioLive is so The speed and ease of use cannot Summit, some with more features, the popular. Anyone working with bands in be overstated, with virtually no learning StudioLive looks like the best mixer for
South Africa’s small but thriving curve. Tracking in Capture was as music scene should definitely sit simple as arming the appropriate up and take notice.tracks and hitting record. Tweaking
is quick and easy, a two- or three-For more information, visit button affair – Select channel, select www.presonus.com.parameter, set parameter. Simple! I
felt completely focused on the music I was mixing and not bogged down by the process, as if thought and execution were one.
In Use
Conclusion
eight
Muse Reportsmuse | sixteen
GEAR REVIEW
AKG Perception 820 Tube Microphone
A
Distributor: Rockit Distribution | Tel: 021 511-1800 | Suggested retail: R 8,995-00
“...a great way to get your hands on a tube mic from a respected brand at an affordable price.”
design features dual 'back to back' 1-inch if necessary. The mic itself is just under 8-diaphragm capsules which combine 1/2" in height with a 2" diameter and with ECC 83 dual-triode tube circuitry to weighs just shy of 2 lbs. Sharing the deliver the 820's warm tube sound. The signature look of the current Perception architecture is designed to enhance line, the 820 has a chrome silver grill and even-order harmonics which in turn head basket with a "vintage" light-blue
brushed-metal body.
With a frequency response of 20 Hz to 20 kHz (±5 dB) and its ability to handle SPLs of up to 155 dB (with the pad engaged) this makes it a modern, multifunction tube mic: It can handle chores such as recording drums and guitar amps traditionally, jobs for dynamic mics - as easily as it does vocals and acoustic instruments.
Whilst the word ‘warmth’ is the obvious description to use on a tube mic the 820 is just that but in a subtler way. With the nine polar positions one has plenty of choice and you'll find what you need to
form the backbone of a tube get a great sound almost regardless of microphone's distinctive sound. The the source you're looking to record. actual microphone has no on-body Sonically it is much clearer and clean
KG’s Perception Series was controls as, once it is connected to its sounding than you may expect from a launched in 2005 essentially control unit via the supplied seven-pin tube mic, and its warmth seems to be to introduce affordable power/microphone cord, all setup is more of an absence of harshness in the microphones to the market. controlled from there. top registers than the thickness in the Notab ly though, tube The remote control unit itself is cast mids that is sometimes associated with a microphones have been in classy silver and looks like a scaled- tube mic.
surprisingly missing from their range, down high-end hi-fi amplifier, with a notwithstanding of course the C 12 VR, pleasingly minimalist front panel.the only other AKG tube model still in The prominent central dial here is
By now you may have gathered that the production. But at a price of well over used to control the microphone's polar
820 gets a massive thumbs up from us. It R35,000 it’s not the type of mic you’ll find pattern and nine detented positions are
easily competes with mics almost twice in the average recording studio. So the available, from omni-directional mode at
its price and its bulletproof design 820 is a welcome addition as the new the 7 o'clock position, through cardioid
coupled with its amazing versatility make flagship for the Perception Series. There at noon, through to figure-of-eight at 5
it a utility microphone every studio could are two significant features that make o'clock, with intermediate positions
do with. This is indeed a great way to get this microphone particularly interesting; available between these poles. The other
your hands on a tube mic from a it has a tube design and its polar patterns controls on the front panel include a -
respected brand at an affordable price.and other controls are located on a 20dB pad switch and a bass roll off separate remote control unit. option which provides 12dB per octave
Solidly built. Nine polar patterns. high-pass filtering below 80Hz. Remote switching capability. Great As far as actually feeding the signal sound quality.from the remote control unit to your Yes it’s made in China but the Perception
audio interface or mic preamp of choice No stand-by switch.820 looks as good as its European is concerned, a regular XLR cable is tradition belies. This is a beautiful required, although this is not included. looking piece of kit, well built, heavy and You'll also find a ground lift button on the solid with superb finish and top notch back panel which will help eradicate hum switches and knobs all round. Internal
Versatility
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Verdict
Pros: Anatomy
Cons:
RAM Audio available exclusively from
The amp'sQuantaPulse EVObrain, in the line of our classic function controllers, watches over more parametersand is far more compact as a result of SMD technology. Communication between the powersupply and the Audio amplifiers is absolute
Newly designed short tunnel coolingsystem forces air directly onto thehigh efficiency heat-sinks and the o/pdevices bolted directly to them
21 step detented level controls areintegrated with four LEDs to displaythe amp status at a glance:ICL, PMS, SIGNAL and TEMP.
Location of the actual and future connection bays.
Back removable plate can host the interfaces for
DSP Processor, Analog Processor,EtheRAM
Control, EtherSound,Cobranet, AES3 Input, etc.
All low power electronic components are SMD, mounted upside down
on the circuit board and shielded from the
cooling air flow, which is very positive where
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Gain, Subsonic, bridge-dual and ICLswitches, let you select your preferred
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Industry reference Neutrik® Speakon®connectors are directly soldered to thepower supply board to shorten the outputcurrent path and its return, to dramaticallyimprove the damping factor.
Output Power ( ) 1 S-2000 | 2x W S-3000 | 2x 1100 W S-4000 | 2x 1380 W S-6000 | 2x 2025 W S-6004 | 4x 1000 W S-6044 | 4x 1480 W
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790
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For trade enquiries or to find your closest retailer tel. 011 2503280 | [email protected] |[email protected] | [email protected] | www.hybrid.co.za | www.hybrid.co.za
- R13 109.00
- R15 167.00
- R18 000.00
- R22 592.00
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Introducing the brand newIntroducing the brand new
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• BT-10 - 10" 2-way, 1" HF, 300W RMS - R 2,542
• BT-15x - 15" 2-way, 1" HF, 600W RMS - R 3,933
• B-215x - Dual 15" Bass, 1200W RMS - R 4,850
• B-18x - 18" Bass, 800W RMS - R 4,700
• B-218 - Dual 18” Bass, 1000W RMS - R 6,333
For trade enquiries or to find your closest retailer call (011) 250 3280 | [email protected] | [email protected] | [email protected]
Prices are recommended retail, incl 14% VAT.
Higher spec - same great value
Also available in the range (not pictured here)
R 3,682 .00 R 8,433 .00
BT-12 BT-15 R 2,767 .00 R 3,250 .00
12" 2-way, 1" HF, 300W RMS 15" 2-way, 1" HF, 400W RMS
18" Bass, 500W RMS Dual 18" Bass, 1600W RMS Dual 15" 2-way, 1" HF, 800W RMS
BT-152 R 5,367 .00
muse | twenty
REVIEWby Alan Ratcliffe Line 6 POD HD300
Line 6's new POD HD line of amp/effect modellers are the successful M9 and M13 stompbox modellers. Each of the much anticipated updates to the POD line of amp and effect three models in the HD range share the same amp models, modelling floorboards. The basis of the POD HD range is a sound quality and 80 of the same effects. The HD300 is the selection of 16 all-new HD amp tones coupled with 80 – 100 entry-level floorboard in the HD line. effects models (depending on model) taken from Line 6’s
First impressions
Controls
Connection
home or studio setup where you often level unit, including both unbalanced want to be able to turn off without ¼” jack and balanced XLR outputs as The HD300 has a solid feel to it thanks unplugging. well as a ¼” headphone socket. It also to the all metal chassis, switches and
has a USB port for connecting directly pedal. The knobs, switches, pedal and to a computer, allowing direct even the toe switch under the pedal all recording and playback as well as have a solid feel and firm action. The The onboard controls are the bare letting you edit and save patches via metal “roll bar” between the minimum for amp and effect control, an easy to use and comprehensive footswitches and knobs also inspires which makes them quite easy to use patch editor/ librarian. confidence as a road-ready piece of live although they do not offer quick
Alongside the expected ¼” guitar gear. access to deep edit ing. The input, there is a 3.5mm input socket My usual gripe with multi-fx pedalboard is well thought out to which allows you to connect a CD or floorboards is the “wall-wart” power make use of the six switches: a MP3 player for jamming with pre-supplies that most use, which is tap/tuner button; a switch to toggle recorded music or backing tracks. The usually the single biggest source of between the three modes for the last rear panel also sports an extra XLR problems with these units. The HD300 four switches; and the last four connector labelled “L6 Link” which does use a wall-wart, which is switches which can be toggled lets you connect to Line 6’s DT50 amp understandable as an entry-level between calling up four patches in a and integrate control and patches model (although the bigger models bank, a manual mode which allows together. What is notable is more what also have this problem and can’t claim you to turn effects on and off and a the HD300 doesn’t have – an effects the same excuse). It is however, a mode to control the looper functions. loop. better than usual supply, with thicker The pedal has a toe switch to turn the
So aside from putting a few power cable and a range of clip-on wah effect on and off.effects between guitar and the HD300, adaptors for different territories there is no way to expand on the (sadly, no round 3-pin adaptor effects capabilities. It also means that though). The HD300 has more connections it is not possible to use the common The HD300 also lacks a power than you would expect from an entry “four cable method” with an amplifier.switch, which is inconvenient in a
muse | twenty one
REVIEW
Main features. 16 HD amp models. 16 Speaker cabinet models. 80 effect models. Up to 6 simultaneous effects. 128 user presets. 24-second on-board looper with dedicated controls. 1/4" Main, 1/4" headphone and XLR outputs . MP3/CD input. Expression pedal. Comprehensive software editor/librarian. Metal chassis, pedal and footswitches
Amp Models Effects Sound
In conclusion
While 16 amp models may seem Effects are a comprehensive set of 80 The good news is that the new amp minimal compared to some other models which are generally very high models are great – they all have a modellers (including older PODs), Line quality and most are very usable and noticeable tonal edge over the last 6 stress that the emphasis is on quality musical. g e n e r a t i o n P O D s a n d m o r e rather than quantity and the models The effects are divided between importantly, they respond much more are all new, higher resolution models six effects location slots: three with convincingly to playing dynamics and with improved feel and tone over the user selected effects; one fixed reverb guitar volume control changes. older PODs. only slot; a fixed noise gate slot; and a I was especially impressed when I
Amongst the 16 models, most of volume/wah slot. There is, however, took the Twin amp model and paired it the expected classic amps are covered one major bugbear – each selectable with a blue speaker and compared it to alongside a few boutique models and slot can only hold just one effect at a my Fender Twin kitted out with Weber they do cover a comprehensive range time and each effect is limited to a Blue Dog speakers – bar a few small of musical styles – just about specific slot. differences, it nailed the tone and feel everything you could reasonably This means that there are many convincingly.expect to need. Also, as with all of the effects which cannot be used newer PODs, the HD300 can be simultaneously – for instance, the first updated via USB and it is expected that s l o t h a s a l l t h e d i s t o r t i o n , The HD300 sounds great, is easy to Line 6 will expand and add to these compression, pitch and envelope use, is compact and solid enough for models with future updates (and effects, so if you want to use overdrive travel and makes a great headphone possible dedicated expansion packs you cannot use a compressor, practice tool. The limitations in effect too). harmoniser or autowah at the same placement and the lack of effects loop
time. This is very limiting and probably will force many to use it with other means that most users will resort to pedals or to upgrade to the HD400 or using at least a separate pedal probably the HD500 though.compressor and overdrive before the HD300.
Supplied by: Active Music Distribution | 011 466-9510 | [email protected] Retail Prices: HD300 - R 5,595.00 | HD500 - R 8,995.00
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Steve Grindrod: 50 Years of Guitar Amp Design
Muse Report
muse | twenty four
FEATURE
“Albion amps are like boutique amplifiers such is their feature
set and sound quality...”
Sometime in March this year “There’s a lways something in amplifiers should be. My objective is Steve Grindrod paid his first retrospect that I feel could have been simple; produce the best possible visit to South Africa. Now for done slightly different or improved amplifiers for the most reasonable those not familiar with the upon but ultimately the product has to price. I don’t want to be the cheapest on name, Steve has been go into production so one has to move the market, but I want to be the most designing and engineering ahead.” affordable for what you get.” ampl i f ier and speaker Celebrating his 50th year of And what you get is quite
products for two of the world’s most producing guitar amplifiers – he something as Nic Roos, the Sleepers famous guitar amp companies for designed his first one at 13 years of age lead guitarist and Muse Magazine almost four decades. “out of necessity,” he adds – this 63 year reviewer will attest to. Says Nic, “Albion
From 1973 to 2000, Grindrod old, somewhat hippyish looking amps are like boutique amplifiers such served as Chief Engineer and Director eccentric guitar player is clearly a is their feature set and sound quality, of Research and Development for perfectionist and can tell you about but amazingly at way more affordable Marshall Amplification. In 2000, design flaws that some of the most prices. In fact some of the top brand Grindrod was invited by Vox to become esteemed players and reviewers of his names do not have features I can list on Managing Director and Chief Designer, products are unlikely to have ever the Albion amps.” a position he held until 2008. The picked up on. “It is no secret that my products are products of Grindrod’s work have been On enquiring about his years at built in Shenzhen, China. But what I heard on countless recordings and are Marshall and Vox Steve is reasonably would like you to appreciate is that we
non-committal, suffice to add really do own our factory. I live here, that after 36 years with the next to the factory, full time, and work companies he’d had enough side by side with my manufacturing of the ‘bean-counters’ and team on a daily basis. This enables me non-musical people having to constantly monitor products as they such a big say in his designs. are built. To the best of my knowledge He relates a story where at Vox there is no other guitar amp company
he was instructed to ensure using off-shore manufacturing who can that a particular segment of an claim this dedication. Most brands who amp needed to have valves build in China use a nameless, i n s t e a d o f s o l i d s t a t e unknown O.E.M. factory. We don’t!” technology, this despite the states Grindrod emphatically.fact that he knew and had Shooting the breeze with Steve, advised ‘the suits’ that solid it’s no wonder then that all products state would sound better for reviewed by us thus far have received a this module. “All they knew massive thumbs-up for innovation, was that valve was considered build quality, sound, feature set and as better and that’s what their affordability. Here’s a man that has had customers wanted. They had such a major influence on amp design no idea of sound quality or for for over 40 years finally able to produce that matter any understanding guitar amplifiers totally with his own of when and where valves vision and it shows in the Albion range. should be used. In the end I set Originally branded as Wharfedale, up a ‘blind test’ for them – one the products underwent a name and
featured on more concert and club with valve and one without for the styling change but the heart and soul of stages than could be counted. He has effects loop on this particular amp and each amp as reviewed by us remains since embarked on a new adventure asked them to listen. Of course in the the same. with International Audio Group to form end they chose the one I wanted To read our previous reviews Albion Amplification, a partnership he without even realising it,” he chuckles. online follow these links...says has offered him the creative It’s these sort of restrictions and freedom to produce the kind of guitar “dealing with corporate bullshit” as he http://museonline.co.za/?p=958amplifiers he has been wanting to puts it, that made leaving Vox and http://museonline.co.za/?p=517design for sometime; “There’s no such embarking on this new venture so http://museonline.co.za/?p=1260thing as the perfect design, not when appealing to him. “Albion Amplification you’re the designer,” he explains. is 100% designed the way I think
ibson. It’s a prestigious name for every serious guitar player. Yet 4 years ago, South African shredders got a shock as the famed guitar brand disappeared from local instrument retail stores without an explanation or even a goodbye note.
Sadly, six string aficionados could no longer purchase Gibson guitars from stores nationwide and had to rely on overseas orders to get their fix; it need not be said that our local postal service probably did a good job in raping and pillaging more than a few packages and leaving many guitarists unhappy and frustrated at this situation.
Bringing Back The PowerHowever, Marshall Music’s flagship store in Woodmead heeded the calls from virtuosos countrywide and decided to do everything in their power to get Gibson back on our shores – and guess what? They succeeded and are now the official and exclusive dealers for the brand in SA.
In other words, as licensed dealers, they are able to sell the guitars at the same competitive prices as the online and overseas retailers and supply you with the Gibson of your dreams – after all, choosing a guitar is a very personal experience and you shouldn’t just settle for any old piece of wood.
Additionally, if you stay far away from the store (but still within the borders of South Africa), don’t sweat; you can order the guitars directly from them and they’ll ship it to you and cough up for the courier fees.
Celebrate Good TimesTo celebrate the awesome news of this illustrious partnership, Marshall Music Woodmead threw a bash at Tanz Café in Fourways, Johannesburg, on the 25th of January 2011. The venue was painted red that night as the party was ignited by enthusiasts, guitar collectors, party goers and local rock stars, such as Prime Circle, Wonderboom, Watershed and Chromium, who use and abuse Gibsons on a regular basis.
Also, on the night, a raffle was held and a prized Gibson Les Paul got handed out to one lucky winner, who must probably be polishing that guitar and posturing like Slash from Guns ‘n’ Roses every day since. Arno Carstens and Flies (a cover band featuring the members of Just Jinjer) provided the entertainment for the evening and churned out some quality rock ‘n’ roll with the mandatory “local is lekker” flavour. At the end of the evening, the performers further thrilled the audience by unexpectedly joining forces for an impromptu jam session right on stage.
Interestingly enough, amidst the sound of music, it was worth noting that the artists also used Gibson guitars for their performances – Arno strummed along on the J-200, while Flies’ Gavin Morein let his fingers do the talking on the Gibson Les Paul model.
The Future Of Gibson In South Africa late 1890s, no one could’ve predicted that down the line he’d be instrumental in creating not just a recognisable brand, but a After such a smashing event, Marshall Music Woodmead’s cultural icon. Even though Gibson was gone for a while here, it resident guitar specialist Stuart Goodwin explains that this was was never forgotten. In fact, you know how the saying goes: only the beginning of great things to come from the partnership “absence only makes the heart grow fonder”.between Marshall Music and Gibson. “Marshall Music
Woodmead are the first official dealers. The next one will be Remember, Marshall Music Woodmead is the only official Marshall Music Cape Town; they’ll be holding a launch in about a
dealer of Gibson in South Africa, at the time of writing, so if you month or two, so look out for a big party in Cape Town. We’re also want to purchase one, you’ll have to chat directly to them.hosting the Gibson Acoustic competition every Tuesday night at
Tanz Café, which is a competition for singers/songwriters to Marshall Music Woodmeadshowcase their skills. The first prize will be a R20 000 Gibson
acoustic guitar.” Tel: 011 804 | www.marshallmusic.co.zaWhen Orville Gibson started manufacturing mandolins in the
eightmuse | twenty six
FEATURE
G
By Sergio PereiraYou know how the saying goes: “absence only makes the heart grow fonder”…
GIBSON IS BACK!
Band Tips: Ten Tips on Writing Music
Muse Reports
muse | twenty eight
TIPS
1. Write the lyrics for your Song
7. Define your music composition goal
a.4. Look for musical inspiration
8. Seek advice and opinions
b.
9. Do something different
2. Listen to and learn from other composers
5. Have fun
6. There is no wrong answer in music 10. Practice, practice and more practicecomposition
3. Use music composition software
by organizing your work and allow stanzas. It's all right; that's why we you to see what you're playing. have revisions. Remember this Many musicians write their own Quality software packages provide while writing music: it will make you melodies as well as the lyrics. If you features including a metronome to feel better and help you avoid already have lyrics, consider them keep beat, playback, so you can writer's block.when writing your melody. Some listen to what you've composed, questions to ask yourself before input, so you can hook your composing the music are: What instrument or microphone directly words do I want to focus on? Are Are you writing music for yourself or to your computer and notate a song there note lengths or timing that will for other people? This alone will you play or sing and tons of editing accommodate certain words better totally change the tone and style of tools so you can easily compose a than others will? your music. If you are writing for riff. yourself, you have more freedom to
Consider the following line: I write what and how you want. In DROVE my CAR down the contrast, if you are writing for other HIGHWAY. The emphasized Before writing a piece of music, it's people, it is a good idea to identify w o r d s D R O V E , C A R a n d cr i t i ca l to feed your mind your target audience and write HIGHWAY give the listener an idea inspiration. Inspiration comes from music they will enjoy.of what is going on, even if these all around us: our emotions, are the only words they hear. On relationships, nature, people and the other hand, if you sing the experiences - some songs are even People are always willing to give same line but emphasize different about surreal situations. A big part advice and opinions; take their words: I drove MY car DOWN THE of finding inspiration is putting comments into consideration when highway. The listener might have yourself in situations that rouse writing music. Give your music to no idea what you're singing about. inspiration and then recognize it family members and friends to get
when it comes. We all have different their opinion of your songs. Though You can emphasize words with people come into our lives; people close to you may be biased,
a louder note, changing the note relationships have always been a their comments are still valuable.itself, a longer note or including a hot topic for song-writers. To rest before or after the note. generate other ideas get out of the Experiment with your song and house, go somewhere, and do It's easy to get stuck in a rut and all of see what sounds the best. something. This could even be your songs begin to sound the
something as simple as walking in same. Even if you've found a great the park or down the street. You'll be combination of notes or a catchy amazed where inspiration can be beat, changing it can be good and found. help you grow as a composer. An There is something to be learned
easy way to try something new is from every single musician or band pick up an instrument you haven't out there. Listen to how your
You first started writing music played before. Sometimes you find favourite musicians construct their because you love music. If you're yourself playing the same old keys songs - examine the style, the tone, not enjoying composing music, or strumming the same chords on how different instruments work then do something else for a while. your guitar. A different instrument together and so on and so forth. You People tend to do what they love can lead you to melodies you may can implement many of the same best. not have thought of otherwise.ideas into your own music or even
take some of their riffs and tweak them to fit your style. This is a great
There is no substitute for hard work way to come up with new melodies.Writing music is one of those things and practice—it is the only formula you can do and never make a that will guarantee you will become mistake. Some melodies are a better songwriter.Music composition software can be catchier than others are, and a musician's best friend. These everyone will write some bad Source: TopTenReviews.comprograms aid in the writing process
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eight
by Alan Ratcliffe
muse | thirty
TUTORIAL
ARecording Electric Guitars
n electric guitar is capable of a wide range of sounds and is unique in that the amplifier and the speakers are as much a part of the sound as the instrument itself. This means that to record the "true" sound of the electric guitar, you need
to capture the sound coming from the speakers. The key to getting a great guitar sound is to constantly experiment, trying lots of things until you get the sound that is most pleasing to your ears.
Amp modelling effects such as the line 6 PODs, Boss GT series of multieffects or Native Instruments Guitar Rig software can offer a quick and easy way to record an electric guitar with decent tone and offer a range of amp tones to choose from. However many players are more comfortable with a real amplifier and will want to omit using the room mic. If you are usually nothing to gain by miking more give their best performance when using going to use a room mic, take time to find a than one speaker. So listen to each to see one. spot in the room where the amp sounds which sounds better and mic that speaker.
good and a spot distant from the amp which sounds good. Use your ears and AMBIENT MICwalk around the room listening for "sweet A mic placed a few inches to a few feet The single most important detail in getting spots" where the amp sounds good - you'll back can fill out the sound and create great electric guitar sounds is that the know them when you find them. interesting tonalities. Just be careful of the sound coming out of the amp should be
Try different mics at different delay which causes phasing - cancelling great. This is determined by the guitar, distances, positions and angles. Move the certain frequencies when mixed with amp, speakers and the person playing it. amp around the room: try putting the amp another mic, which can be pleasing or So make sure the guitar is free from buzzes in a corner, on a concrete floor, on a wood horrible, depending on the frequencies and rattles, the strings are relatively new floor, on carpeting - basically just try cancelled. So experimenting with and the intonation is set properly. everything you can think of! distances is very important. If you are If needed, take it for a professional
recording to a DAW (Digital Audio setup before recording. Similarly, the CLOSE MIC Workstation), it is possible to sidestep any amplifier (particularly valve amps) need to The close mic gives a dry, punchy, detailed phasing issues while keeping the ambient be in a good state of repair and any sound. Usually dynamic mics such as the mic's tonality by dragging a mic track into problems should be sorted out before you Shure SM57 or Sennheiser MD421 are time alignment with the other mic tracks.go into the studio.used for close mic as dynamic mics can easily handle the extreme volume levels ROOM MICfrom electric guitar amplifiers. Set up the For the room mic, place a condenser mic
Open backed guitar cabinets emit sound mic right against the amp's grill cloth, anywhere from half a metre to two metres from both the front and the rear of the pointing it straight at the amp will give a in front of the amp (at the same height as cabinet, and you must often capture both clearer, more detailed sound, but with the amp) and point the mic at one of the to reproduce the real and best tones of the more highs and a harsher edge. Angling speakers. The further the mic is from the amp. Usually a guitar amp is miked close the mic slightly will soften the tone at the amp, the more bass and less midrange it up with the mic up against the grille of the expense of a little detail and highs, and will have and the more the room sound will amp to capture a dry isolated sound. It also moving the mic towards the edge of the be captured. If you have enough tracks on pays to add in an ambient mic a short speaker will result in a mellower sound, as your recorder, print each mic to a separate distance away from the amp as well as a will moving the mic away from the cloth track (if possible) to be able to decide the room mic a few metres away. This gives slightly. balance between them later, otherwise if you a range of sounds to play with. Speakers vary a little, so if the amp recording to one single track, be very
In smaller home studios, or those has a multi-speaker guitar cabinet, there is careful not too add in too much room mic.with an unflattering room sound, you may
Amp Modelling v. Miking
First & Foremost
Miking
by Alistair Andrews
muse | thirty two
TUTORIAL PLAY BETTER BASS
... Continued on pg 34
As bassists, it is essential that we learn to trust and openly 1) On TOP of the beat (slightly ahead of the metronome communicate with our comrades on the drums. Bassists and Click) drummers should have a healthy, honest and trusting 2) In the MIDDLE of the beat (dead center with the relationship. Below, I have outlined several key points that metronome click) you should consider when working and locking in with your 3) BEHIND the beat (slightly behind the metronome click)drummer.
Both the bass Player and the drummer are responsible It is not always that bass and kick need to hit every note for keeping the rhythm section together. Nothing drives a together. Each instrument may add independent 8th or 16th song like the bass and the kick working together. Even if the notes, but as a general rule the quarter, half and whole notes bass is playing a cool groove or some kind of slapping should be locked together. Sometimes there is a need for pattern, it should still be locked in with the kick so that they space in the music; it sounds better if the drums and bass are hitting the major "groove points" together. parts are not both busy at the same time. However, if the bass
Most professional bass and drum masters understand player tends to keep a very steady low end (less busy) feel the subtleties of “beat placement.” Essentially there are three free to "play around the beat" more. You do not want to have ways of playing “time” in any musical situation: the bass and drums going in different directions wildly.
Listen to bass players like Rocco Prestia, Jaco Pastorius, Flea and apply it to the bass drum and snare drum where it and Mark King for bass lines that are busy but perfectly belongs, thus freeing up the right hand to play more locking in with the Drums. interesting patterns on the cymbals.
In a lot of rock classics the kick drum plays on every The legendary Sly Dunbar and Robbie Shakespeare second quarter note, while the bass lines are straight 8th combination is a wonderful example of how drum and bass notes or in a shuffle swinging 8th. In rock and pop styles of can sound as one unit. They are Jamaica's most prolific drum music, the solid relationship between the bass drum and and bass duo: since they started working together in 1975, snare drum is vital to a deep groove and feel; the dependence they have played on more tracks than any drum and bass of keeping time on the hi-hat or ride cymbal. Good drummers partnership I know of. They have backed and produced take the dependence of right hand (or left) as time-keeper, virtually everyone on Jamaica, from Peter Tosh to Sean Paul.
The Relationship Between Bass And Drums
Sly Dunbar and Robbie Shakespeare
This image shows how EQ could be used to create space in the mix.
Besides the music the sound (tone) also plays a very Kilohertz. Just make small adjustments, listening carefully important role, both for live playing, and in a recording and checking how your bass and kick reacts to moderate context. The key to EQ'ing drum and bass tracks is to contain increases or decreases in each of these frequencies. This is a each track in its own space to keep your tracks from way of finding where a particular sound “lives.” In other competing for the same frequencies. It's important to words, the main frequencies that give this sound its main remember to do this all in moderation if you want a natural “colour.”sound, but the rules are always different depending on the If you boost a frequency in the kick it could be a good genre and the sound you're going for. idea to cut the same frequency in the bass. If you boost the
To highlight “snap”, “attack” or a “plucked” sound, make same frequency in both instruments you might get an gradual tweaks of the frequencies between 800 Hertz and 2 artificially hot mix that does not sound as loud as it should.
DYNAMICS—Soft, loud and all points in-between. The bass Oftentimes, this will expose how well you and the drummer and drums should aspire and utilize dynamics as a rhythm are locking in and how much you are really listening to each section, thus propelling and lifting the musical ensemble to other. This seems like a given, yet dynamics are often higher levels of tension and release. When there are overlooked by many performers. Try just getting together moments of opportunities to rise and fall with the music, with your drummer and have a bass/drum rehearsal. Find the define these sections and work them out dynamically. moments in the song that you can add dynamics.
by Alistair Andrews
muse | thirty four
TUTORIAL The Relationship Between Bass And Drums... Continued from pg 32
Till next time, LET THERE BE BASS!!!
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Lick 3Here we’re going to take the same idea and add some elements from the Lydian b7 scale, which is the 4th mode of the melodic minor scale. Therefore we have elements from 3 scales, being A Minor Pentatonic, A Mixolydian and A Lydian b7. The Lydian b7 is going to add an outside sound. Always make sure that at the end of a lick when playing outside that you resolve the lick properly, that means you land on a strong note like a chord tone which in this case that would be A, C#, E or G.These 3 scales are the preferred scales for guitarist Robben Ford, definitely an amazing feel player, be sure to check him out.
PLAY BETTERmuse | thirty six
TUTORIALby Kurt Slabbert
i and welcome back to Play Better Guitar, I So let us begin with a little blues. This must be one of my hope you have all had a great start to 2011. favourites as well as one of those styles where nuances and In this issue I have decided to look at some personality really permeate through the music. Blues is one licks in different styles of playing, almost a fun of those styles that can be slow, fast, happy, and sad and lesson, and some extra licks for your lick bag. everything in between, using all forms of slurs and bends to We will get back into the caged positions from get the notes sounding good and believable.
the next issue, but for now let us have a little fun. So let us begin with an A Mixolydian inspired lick. Here we go!!
H Lick 1Here we have a typical A Myxolidian Blues type lick, once again the feel you put into this lick will determine how it will sound and feel. This style of music usually goes from strong attack to gentle legato, so always change your feel, and play it your way, make it your own!
Lick 2Lick 2 is very similar to Lick 1, the difference being that it is written with a triplet feel.Please play this with a metronome so you can hear and feel the vast difference between swung 8th and triplets; it might be slightly trickier but is so sweet on the ears.
GUITAR Fun Lesson:
SOME EXTRA LICKS FOR YOUR LICK BAG...
muse | thirty seven
TUTORIAL
Copyright Kurt SlabbertBluenoise Productions
Lick 4Now that we have got some cool notes let us add some fire. It is nice to mix it up going from really slow to some really quick passages.The next lick is definitely some fire; practice it slowly building it up to tempo and once again make it your own; try and find other creative ways of using it.This run incorporates the use of 8th notes and 16th note triplets.The use of triplets can bring some spark and interest into your improvisation.
For this lick be sure to try using legato style playing incorporating pull offs, focusing on the beats and the landing notes on the beats of bar 3.
What about sound for this style of playing?I think it is very personal as to the sound you prefer as a player and I think the best way to look for a sound is to listen to other players and see what they are using. This can be a great starting point, however cloning another player shouldn’t be your ultimate goal but instead try and find a sound that suits your playing style.
Go visit your local music shop and try out some pedals and different amps even different guitars until you find something that works for you.
Good luck with your endeavour till next time, work hard!!!
T by Jonathan Pike
muse | thirty eight
YOUR PRIVATE UNIVERSE
Techniques for
the home studio
Unconventional Recording Techniques:
VOCALS
his year I want to take Your Private Universe in a slightly different direction. Over the past 14 issues we have looked at con-ventional recording and processing techniques for
a number of the usual instruments you are likely to record at home. I want to continue with recording and processing tricks in this coming year, however I am going to focus on much more unconvent iona l methods that can help you to get some weird and wonderful sounds.
Making your recordings stand out in this modern world where there is so much competition can be very difficult and often you will need to t ry some very d i f ferent techniques to create a ‘new’ and ‘exciting’ sound.
In this issue we are going to look a t s o m e u n u s u a l techniques for recording vocals. Once again, to remind you; when it your vocals to stand out. comes to recording You can hear the effects v o c a l s , i t i s v e r y clearly on his album Mule dependent on the genre Variations. Of course Tom of the track as well as the Waits has a unique style to particular feel you want. his music so bear in mind Some people prefer these techniques are recording the signal very great effect (Muse and Tom Waits to going to result in an ‘dry;’ that is with minimal room name just two). This technique can unnatural vocal sound, but if you ambience and other effects and then lend a unique sound to a vocal, want something more unconven-applying ambience and effects at a helping to create emphasis on a tional they can be used to great later stage. Others will try to get the certain phrase or part. Check out effect.desired sound in the recording Muse's cover of Feeling Good on There are almost endless ways process so little has to be done in the their album Origin of Symmetry for a you can get weird and wonderful mix. Each approach has its pros and great example of this in action. vocal effects in the recording stage. cons, but I will be focusing primarily Another way of achieving a Some other examples are to record on recording with the desired similar effect is to run a vocal your vocal through a Vocoder or to sound. through an electric guitar amplifier, apply the much used Autotune to
One very interesting and quite apply tonal or distortion effects to your vocals. The Vocoder will give popular vocal recording technique the signal with the amplifier’s you that synthesized sound that was is to record the vocal through a controls and record the signal back first heard on Cher’s track Believe, mega-phone; this will give you a in. This will give you more control and Autotune will give you the vocal filtered and slightly distorted sound over the exact tone and distortion sound synonymous with the Hip-somewhat similar to running a you desire, but will of course give a Pop star T-Pain. These techniques signal through both high and low different sound than the mega- however are nowadays considered pass EQ filters with some applied phone. to be a bit overdone and cheesy.distortion. I would suggest setting Another trick used by Tom There is really no limit to what up a dynamic vocal mic like the Waits is to put a microphone at one you can do to vocals to create the Shure SM58 about 15 cm in front of end of a long PVC pipe and sing into unconventional, just make sure that the megaphone. the other end. This gives a very the vocal sound you settle on works
There are a number of bands unique sound with an unnatural well with the genre of music you are that have used this technique to ambient character that can help creating.
