muse tech - oct/nov '11
DESCRIPTION
Reviews on: Kurzweil SP4-8, PRS Tremonti SE, Fret King Super-matic, Shure Super 55, Z.Vex pedals, Studiomaster MX24, plus tutorials and gear newsTRANSCRIPT
OCT/NOV ‘11
muse | three
EDITION 17CONTENTS Join our newsletter...
tech34589101214162021242628303234 363738
Proud Supporters of SA Music!Simply email the word :
‘join’ to [email protected]
EDITOR’S NOTE
A
Editors Note and IndexCover Feature: Kurzweil SP4-8Cover Feature: Kurzweil SP4-8Gear NewsGear NewsGear NewsInstrument Review: The Wilkinson Fret-king Super MaticGear Review: Shure Super 55 Limited EditionInstrument Review: PRS SE Mark TremontiGear Review: Studiomaster MCX24 ConsoleGear Review: Studiomaster MCX24 ConsoleGear Review: Z.Vex Box Of Rock & Fuzz FactoryCompetition: Shure Drum Mastery CompetitionWhat's That Noise? Getting Better by David ChislettGuitar 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
nother block-busting edition packed with reviews, gear news, views and tutorials has arrived hot off the press for your reading pleasure. Now whilst the greater music industry comprises of so many different components, when it comes to gear, the stuff that really gets us excited and makes us tech-phobes get all giddy inside are the goodies that we can play nicely with; music instruments, mics, effects. These are the toys that allow us to create and express ourselves. Well in this edition we have plenty of those; our cover feature review, for example, is the brand new Kurzweil SP4-8 stage piano which was launched at NAMM earlier this year. Now those familiar with Kurzweil should know that this company has created some formidable products over the years, possibly not with the same high profile as some of its better known competitors, but certainly of equal quality. The SP4-8 gets taken through its paces and receives a resounding nod of approval from our reviewer, Damien Albetto.
We also tackle two contrasting guitars, both in price and usability; the Fret King Supermatic self-tuning guitar, according to resident guitar guru, Nic Roos, gets a huge thumbs up for more than simply being able to self-tune. He also finds himself wrestling his own conscience over the super creamy, uber smooth and generously priced PRS Tremonti SE. Check it out.
I also welcome Greg Bester to the team of tech reviewers. Greg is lead guitarist for the rock band, 4AM, as well as chief audio engineer at Shifted Audio. He takes a set of Z.Vex pedals through its paces and also interrogates the Studiomaster MCX24 mixing console.
And lastly, but certainly not least, the Shure Super 55 retro looking microphone is also tested with none other than Jack Parow spitting some lyrics down the mic amongst other comparative tests, all done by studio mastering and recording fanatic, Matthew De Nobrega.
So, all-in-all I think we’ve covered some interesting goodies this time around, not to mention the excellent tutorial section compliments of some highly respected musicians of the SA music scene.
So as always enjoy the read and drop us some feedback – agree to disagree!
Dave Mac
“...the new SP range is a worthy successor to an already revered instrument series”
K
muse | four
COVER FEATURE By Damien Albetto Kurzweil SP4-8
fact, aside from the length of the instrument – 140 cm (most are 138 cm) the SP4-8 is a trimmer, slimmer machine in every respect, albeit marginally so. Still every inch counts when it comes to packing and unpacking, I guess.
Unpacking the SP4-8 reveals an instrument that has not changed much in looks from its predecessor and this is probably a good thing as the familiar ergonomics means anybody used to the SP series of old will feel very comfortable from the get-go. It is also a tried and tested layout that has proven very practical and usable onstage so why try fixing what ain’t broke?
urzweil Systems was been responsible for some of their most Under the hood though, things founded in 1982 by Ray significant and endearing models such get a lot meatier. For starters the 16 Kurzweil, an American as the PC and SP series. For a short character LCD display (with front panel r e n o w n e d a u t h o r , while after the takeover by Hyundai contrast adjust for easier viewing) is a inventor and futurist. If things seemed to go south for the far cry from the 3-character LED of old. you’re a follower of the company with service issues and lack of Closer inspection also reveals 128 increasingly popular Ted new product being cited by frustrated presets, as mentioned earlier taken Talks on TED.COM you customers. from the acclaimed PC3 soundset, may have come across Until the PC3 in 2008! This release which also includes KB3 organ and KVA
him from a talk he did back in 2006 as he seems to have put them firmly back in synth sounds. There are up to 64 user set about predicting how technology the hunt as a quality producer of quality presets available for storing of your will transform us. keyboard based instruments and it is in own tweaked sounds. The SP4-8 is also
His predictions were somewhat fact that birth of the PC3 that has led to a fully featured midi controller and as accurate with regards to where the exciting new SP4 series. such includes 128 midi channels, 64 computer technology would be, factory set and 64 user setups available. incidentally. Anyway the story of The user MIDI setup, by the way, has 4 Kurzweil Music Systems is that his programmable zones for splits and The SP4-8 stage piano is the successor company developed a reading machine layers.to Kurzweil’s best-selling SP88/X range for the blind which somehow (I’m still There are also a host of effects and which was significant in affordability, asking myself how?) they adapted this effects chains available, once again build and most importantly the quality to produce their f irst musical taken from the Pc3, to include the of its piano sounds. Equipped with instrument, the KB250 back in 1983. obligatory host of reverbs, but also many of the same sounds and effects as
To cut a long story short, effects such as amplifier simulations their now acclaimed PC3 family, the throughout the 80’s Kurzweil keyboard which are useful for getting some of SP4-8 offers a variety of acoustic instruments grew in stature and in the those retro sounds. Controllers come in pianos, vintage electric pianos, dazzling 90’s became regular features on tour the form of Pitch wheel, modulation string sections, lush pads, KB3 organs, riders everywhere. A hotly debated wheel, 1 front panel knob, 1 stereo mallets, drums, basses, guitars and issue is the quality of their piano sounds switch-pedal input (supports two more. which many have regarded as superior pedals with Y connector), 1 continuous The keyboard has up to four to Yamaha although to be fair, the latter control pedal input and the unit is programmable zones, allowing one to has many supporters who will contest packaged with a foot-pedal. The analog create splits and layers enabling one to this. Needless to say Kurzweil products outputs are two 1/4" balanced TRS with adjust your sound in a live setting on-certainly developed a reputation for a rear panel 1/4" headphone output. the-fly. Notably this newer model is quality sounds and quality products. Midi connect iv i ty is both the lighter than the SP88/X, weighing in at
However it would be remiss of me conventional in, out ports as well as 17.7 kgs, compared to the 23.6 Kgs of its not to mention that the company also USB which includes ful l midi predecessor and having a quick look at suffered a somewhat rocky period functionality and is also useful for some of its competitors reveals up to a when, in 2006, Hyundai acquired the operating system updates as well as 10 kilo difference in weight which will Korean company Young Chang whom program and file transfers from PC or please gigging musicians, no doubt. In had owned Kurzweil since 1990 and had MAC.
Anatomy
SP4-8
muse | five
COVER FEATURE
Supplier: Tradelius | (031) 502-3080 | www.tradelius.co.zaSuggested Retail Price: R 13,695-00
Stage Piano
Get the free mobile app for your phone
http:/ /gettag.mobi
A notable feature of the SP4-8 is that the sheer depth of the samples makes hammer-weighted key derivatives are one can also load additional sounds/ for a very convincing soundset. I ever light) the new SP range is a worthy programs from the PC3 and PC3LE actually had tons of fun simply rocking successor to an already revered series keyboards, although these will the electric guitars – made me feel like I instrument series. only work within the limits of the SP4’s was wielding an axe on stage! Ease of use and the simplicity with DSP capabilities. Additional sounds are Like I mentioned earlier, the layout which one can select sounds, split the also available from the Kurzweil has not changed much and this makes keyboard or create layered sounds website, although I did not venture over for very quick interchanges between makes this the perfect live performance to check what these are. sounds with a set of Group Select instrument. But if you factor in the full
buttons to select either Piano, Electric USB midi functionality which includes Piano, Clav, Strings etc and from there loading of different soundsets and one can easily pick the sound within the naturally the ability to use the SP as a The hammer-weighted keys on a Group with the Sound Select buttons controller, the SP4-8 is a very handy Kurzweil keyboard have never which hosts up to 8 variants for each studio instrument too. disappointed and this tradition group. Layering two sounds is also a Lastly the price makes this a truly continues on the SP4. They feel cinch taking no more than 2 buttons to affordable instrument with superb responsive, have a wonderful after-pick your sounds such as a piano and a sounds and features well worth its touch and are just so easy and fun to string for example. price. play. Running through the patches the
Splitting the keyboard also takes obvious place to start is the piano no more than pressing the Split button sound as this is perhaps what Kurzweil and then picking your zones at the press is best known for. Again the SP4 does of a key. Another great feature Kurzweil not disappoint with 8 superb piano includes on all their keyboards is direct sounds and as mentioned earlier the access to transposing on the front facia ergonomics of the keyboard means one (up or down) something that a lot of its touch buttons to move between the competitors strangely require one to go different presets. The electric piano (a through menus to find. fave of mine) is so warm and inviting
but to be honest each of these 8 variants are really engaging. Another highlight is the clavinet and the strings both of With an updated facia yet 100% familiar, which are wonderfully authentic. tried and tested layout the SP4-8 will
The organs remain adequate and certainly please fans of the Kurzweil hugely improved from the legacy range. If you are an existing SP76 or 88 models and the woodwind instruments user the SP4-8 is a must-have upgrade to my ears are very authentic sounding. to the next level. A host of additional presets to include With superior soundsets, layering drums & percussion, basses, pads, and midi functionality, not to mention guitars, leads and brasses all exist and its portability (not that any of the 88
Playing the SP4-8
Watch a full demo of the SP4-8 online @ museonline.co.za
ORScan this tag to view on your
Smartphone
Conclusion
muse | eight
GEAR & INDUSTRY NEWS For daily gear, instrument and industry news visit museonline.co.za
Carlsbro Kickstart 25 Guitar Amp Combo
Carlsbro Kickstart Bass 20, 20W Bass Guitar Amplifier Combo
The d:fine™ Omni is sensitive to sound from all directions making the positioning of the headset less critical and can be done by untrained personnel. It is truly a plug-and-play solution for any situation.! Pristine audio quality! Easy and intuitive mounting! Minimal visual impact! Adapts to all pro wireless systems
The d:fine™ Directional rejects side and background noise while creating higher separation from nearby sound sources which improves the gain-to-feedback ratio and gives more channel control. Yet still, natural voice intelligibility is preserved along with its very high SPL capabilities one can both speak and sing with no hint of distortion.! Pristine audio quality! Easy and intuitive mounting! Rejects background noise! Adapts to all pro wireless systems
The Carlsbro KICKSTART 25 20W 2 Channel Overdrive Reverb Guitar Amp. Electric and bass guitar amplifier with great tone. The Carlsbro KICKSTART 25 is a budget guitar amplifier that represents a high quality at a low price, ideal for both electric and bass. This practice amp is ideal for bedroom and home use as it has a headphone socket for silent practice.The main features of the Carlsbro KICKSTART 25 include:! The KickStart 25 offers great tone, fantastic features and excellent value for money! 20W RMS! 8 inch Speaker! Twin Switchable Channels! Gain Control! 3 band EQ! Reverb! Headphone Socket! FX Loop! Dimensions (HxWxD)mm : 310 x 315 x 205! Weight : 5.5kg
The Kickstart Bass range features the same attention to the requirements of the modern bassist as the Kickstart guitar range. Their design enables anyone to start playing with the minimum of fuss, plus they have impressive features and sound quality to satisfy the more experienced guitarist.! 20W RMS! High Impedance Universal Input! Variable Input Gain Control! Input Limiting! Peak Power Indicator! Powerful Active Three Band EQ! MP3 / External Audio Input & Headphone Output! British Designed Kevlar Reinforced 8” Powertone Loudspeaker! Dimensions (HxWxD)mm : 336 x 320 x 209
Distributed by TV Audio | +27 11 805 9910 | [email protected] | www.tvaudio.co.za
The new d:fine™ headset mics join the classic DPA 4066 and 4088 headworn models which are loved the world over and widely used by the international theatre, broadcast and conference markets. The new d:fine™ headsets have been named to reflect their accurate audio definition and natural sonic characteristics. The very fine spring automatically adjusts the headset to each wearer, ensuring that the earpiece stays in place by applying consistent pressure regardless of ear size. It can easily be taken on and off by the wearer, returning to its original shape each time. Just by rotating the boom, the microphone can be moved from left to right ear, or into the optimum position. And as the microphone isn’t hard-wired into the headset, the cable can be replaced cheaply and easily. The d:fine™ headset is available in black and beige, in omni and a directional versions.Distributor: Prosound (Pty) Ltd | 0861 4SOUND | www.prosound.co.za
Introducing the DPA d:fine™ single-ear headset microphone
d:fine™ omni headset micd:fine™ directional headset mic
muse | nine
GEAR & INDUSTRY NEWS
Ikey Audio M3 Portable Digital Recorder
Big sound, small size!
Distributed by Tuerk Music Technologies | (011) 792-8402 | www.tuerkmusic.co.za
In a recent press release Tuerk Technologies announced that the company is proud to distribute this innovative brand of high-quality, ultra-compact loudspeakers. K-Array has developed ultra-compact sound solutions technologies since 1990. They have concentrated their efforts and resources into the design and manufacture of highly efficient audio systems that produce unparalleled sonic accuracy.K-Array has a complete range of products to suit any application from large-scale arenas to almost invisible systems for theatre, worship, corporate and on-camera presentations that demand speakers that are heard but not seen.
A lean tone machine.
Distributed by Tropical Music| (011) 025 7636 | www.tropicalmusic.co.za
The 2x12 Peavey 6505 212 Combo Guitar Amp pours out a punishing 60W through 2 Sheffield 1200 speakers in a closed-back cabinet for aggressive tone with plenty of low end. The Peavey 6505 Amp features a footswitchable lead/rhythm channel select and reverb defeat. Master controls include 3-band EQ, resonance, and presence. Rhythm channel uses pre/post gain controls and bright/crunch switches. Lead channel has pre/post gain controls only. Footswitch included. The 6505 Series guitar amplifiers are named in celebration of Peavey's first 40 years, (1965-2005). While known as the 5150 Series, these amps became the undisputed go-to guitar amps for scores of rock, hardcore, and metal bands because of their raw tone, relentless power, and road-proven reliability. Made in the USA.Features! 60W! Closed-back cabinet! 2 - 12" Sheffield 1200 speakers! 2 footswitchable channels! Reverb! 3-band EQ! Resonance! Presence! 5 - 12AX7 preamp tubes! 2 - 6l6 power amp tubes
Product Spotlight: Peavey 6505 212 Combo 2x12 Guitar Amp
Media recording is identical to audio recording, except that media recording usually occurs at lower volumes. It makes sense that companies who make premier audio recording products would also make great media recording products, provided that the design keeps in-mind those lower recording volumes.
The M3 is the latest in portable recording technology and has all the essentials you need to record your media instantly. Most importantly for recording media, the M3 has an input gain switch with 3 input gain levels: -20dB, 0dB, and +10dB to ensure that the M3 records at the optimal level for your media environment. The M3 also features a large bright full colour LCD screen and an easy recording interface. The M3 is perfect for everything from professional field recording to corporate meetings, training, and education. Record via balanced 1/8” line inputs or mic input directly on to the provided 1 GB SD memory card. The M3 offers you the choice to record as an MP3 with up to 320kbps or as a WAV format with 44.1kHz/16-bit mode (CD Quality) of pure sound quality.Distributor: Audiosure | 011 - 7904600 | 021 - 5551617 | 031 – 5699260 | 051 – 4304455 | www.audiosure.co.za
Tuerk To Distribute K-Array
muse | ten
GEAR & INDUSTRY NEWS
TUERK introduces a selection of G & L Guitars: Tribute Series, USA Series & 30 Year Anniversary Models
Ibanez has enhanced the comfort and playability of the traditional bass guitar design to make the Grooveline the perfect tool that works the groove as part of your body. The ergonomic body shape provides the perfect balance for playing, either sitting or standing.
GROOVELINE SERIES BASICS! Precision-made in Japan! The Tight-End bridge, made from solid brass, marries the string and body with no loss of vibration! CAP “Sonic Arch” pickups provide clean, thick bottom and crystal-clear highs! E4 3-band dedicated eq for 4-string model! E5 3-band dedicated eq for 5-string model! Includes deluxe hardshell caseDistributed by Midi Music | 011 417 3400 | www.midimusic.co.za
Recently Tropical Music moved offices from Germiston to Kyalami Business Estate, a move owner Joe Barros feels makes them more central to the hub of technology and gear companies. “Our new showroom has a lot of our product ranges on display for dealers to come and check out our products, touch them, feel them and even listen to assess the quality,” he added.Tropical Music are stockists of the following brands;Peavey , Palmer, Aroma, GHS Strings, Seagull Acoustic Guitars, Topp Pro Music Gear, American Drum Works, Vizcaya, Walden, Pro Lok, Rocktron, Godin Guitars
You can find Tropical Music @ Unit 3 | 27 Silverstone Crescent | Kyalami Business Estate | Kyalami | Gauteng | www.tropicalmusic.co.za | 011-0257636
Tropical Music Moves
A LITTLE BACKGROUND ON G&L GUITARS MADE IN THE G&L CUSTOMS CREATION DEPARTMENT:The G&L Custom Creations Department brings together a team of their most experienced craftsmen, in a venue where they find inspiration to explore ideas and freedom from conventional production requirements. The only requirement is that every CCD instrument must embody distinctive tonal or visual characteristics which sets it apart from the range of custom-optioned instruments that are built on a regular basis. While CCD instruments are not regularly available for order, these instruments are built to the same superb standard of craftsmanship as their ongoing line of hand-crafted G&L instruments.
Limited Edition instruments produced by the G&L Custom Creations Department will include special documentation, both in certificate form and on the instrument itself. Special hand-marked identification bearing the model name, the number produced, date of instrument completion and signature of the G&L Plant Manager will appear on the rear of the headstock, with corresponding identification discreetly located on the body itself. A certificate included will show all of the information found on the instrument, as well as details as to the origin of concept, purpose, and distinctive features.Distributed by Tuerk Music Technologies | (011) 792-8402 www.tuerkmusic.co.za
Pictur
ed h
ere: G
&L A
SAT
Clas
sic
Ibanez Grooveline Bass Guitars
eightBy Nic Roosmuse | twelve
INSTRUMENT REVIEW
The Wilkinson Fret-King Super-Matic Self-Tuning Guitar
“The Super-Matic doesn’t just tune well. It is a super-Strat on steroids”
Watch the video on your phone by scanning this tag or go to www.museonline.co.za to watch on your computer.
T
Get the free mobile app for your phone
http:/ /gettag.mobi
he idea of a self-tuning guitar the button again and strum all the strings must be as old as the electric once and watch the motors retune. Storing guitar itself. Surely, every tunings is just as simple once you learn all guitarist who’s ever performed the display symbols. On occasion I did live, let alone makes use of need to re-strum for the system to read alternate tunings, has thought it properly, but this was rare.would be a novel idea and in The thrill of moving from Standard E recent years a number of brands to Open G in seconds is incredible and it
have toyed with this concept such as does so with great accuracy. It’s one Gibson with their Robot Les Paul. limitation, however, is that it can only save
On review here is the Fret-King Super- tuning presets up to a full tone above or Matic designed by guitar mod guru Trev below standard tuning. So you won’t be Wilkinson, which features a self-tuning able to save your drop C tunings.system that seems by far the most practical, discrete and elegant solution to the self- tuning conundrum.
The tonal variety on offer here must be noted. The bridge pickup alone with its variable humbucking and single-coil
The Super-Matic doesn’t just tune well. It is sounds is very tasty and blending the two a super-Strat on steroids, featuring 24 frets brings out an unexpected palette of tonal and Wilkinson designed HSH pickup colours.layout mounted on a two-piece alder body. Through a clean tube-driven amp the The pickup configuration is rather humbucker mode is fat with a nice mid-ingenious, as the bottom tone control is a range bump and rich harmonics. The variable coil-splitting knob blending pickups are well balanced, each with its between humbucker and single-coil own character, but work well together. In sounds. This greatly expands the tonal single-coil mode the neck pickup really possibilities. accentuates the sparkle and compliments
The tuning system has six tuning open tunings very nicely. presets. One is standard E and five are user While humbucker mode is the reprogrammable. It also functions as an obvious choice for more distorted tones, onboard conventional chromatic tuner. It dialling in a bit of single coil adds a tad consists of the Wilkinson ATD HT440 more attack and grit. I found this Bridge with motorised machine heads and particularly useful for bluesy leads.a hex pickup mounted behind the bridge humbucker. It is through this pickup that one controls the system. There is a small
I must admit that at first I was not expecting LCD display on the bottom E side of the
much, aside from what I assumed would pickup and a single function button on the
be a gimmicky tuning feature, but, while high E side, with which the system is
this modern take on the Strat is not (in my activated and presets are selected. The
opinion) very pretty, it sure puts out. I am system runs off a standard 9v battery and,
blown away, not only by the accuracy, according to the manual, the battery lasts
practicality and ease of use of the self-for at least 250 tunings.
tuning system but also by the Super-Matics playability and sheer tonal variety. A definite winner!
The guitar is rather heavy, the body has sharp edges and the C-shaped neck with the large frets is quite chunky, but overall it is incredibly easy and comfortable to play. I was, however, a little irked that the input socket does not fit an angled jack.
Using the self-tuning system was incredibly intuitive: press the button once to activate the chromatic tuner display and, since the self-tuning mechanism is in the bridge and the standard headstock tuners remain unaffected, tune as normal. Or hold the button in for a second, scroll through the displayed presets by pressing
Sounds
Anatomy
Verdict
Playability
Suggested retail price: R 19,995.00Distributor: Technology Innovated Distribution (TID) | +27 10 5000 111 www.tidistribution.co.za
eightBy Matthew De Nobregamuse | fourteen
STUDIO REVIEW
Supplier: Wild and Marr011 974 0633 | 021 787 9378 | 031 573 7400
www.wildandmarr.co.za Suggested Retail Price: R 3,400-00 .
S Shure Super 55 Limited Edition
L E G E N D A R YP E R F O R M A N C E TM
hure's Super 55 is a very classy vintage-looking dynamic microphone aimed squarely at vocalists who want to look and sound good while performing. Unfortunately I didn't manage to get it onto a stage, but I took it through its paces in the studio against some comparative dynamic mics and a standard studio condenser.
The unit features an old-school metal grille with foam damping inside. It uses a capsule based on that of the ubiquitous beta 58, so I wasn't expecting any major surprises – the 58 is about as road tested as they come. It comes boxed with a pouch and instruction leaflet, which is on the minimal side compared to some of its more studio-orientated competitors, but it is all you need for stage use. The test unit was one of the limited edition, with red foam and a black grille – the standard model has a more civilised satin chrome grille and blue foam windshield.
The Super 55 uses a dynamic capsule with a supercardiod pickup pattern to reject off-axis sounds on stage and reduce feedback, which is apparently a common problem with this style of microphone. The series boasts a history going back 70 years, so let's see how it compares to some more modern competitors in the studio.
The first test was on some Jack Parow vocals, running into an A-Designs Pacfica and a Distressor. While the tone and detail were both good, there was a lot of breath noise, as well as some obvious plosives. The delivery was very regular though, with no obvious level changes or pronounced proximity effect, which bodes well for stage use.
After that we did a general shoot out on male vocals with a Rode NT1-A, a Shure SM7B, and a Samson Q8. In comparison to the Rode (a condenser) the Super 55 had a more tailored frequency response – dropping some of the lows and highs and focusing on the middle of the vocal. So it will need less EQ in a live setting – presenting only the necessary frequencies – but at the cost of being less versatile in terms of recording different sources. I clearly preferred the Super 55 over the woolly-sounding SM7B in this test, but the SM7B is probably the most hit-or-miss microphone I have come across.
The comparison with the Samson was the most pertinent – as a budget supercardiod dynamic the Samson is aimed at very much the same market, and is significantly cheaper. Obviously they look completely different, and for performers looking for a visual edge that could well justify the price difference. In terms of sound they both do the job, albeit in slightly different ways – the Samson was a little brighter, which gave some interest and excitement to the vocal, but also made it a little harsher. The Super 55 was a little smoother up top, with more power and body but less detail. While vocalists with delivery issues might prefer one or the other, for the majority either will do the trick on stage.
A quick comparison with a Shure SM57 on vocals and percussion yielded pretty much what I expected – the 57 doesn't have a wind shield so it had more detail for vocals, but also an unacceptable level of wind noise. On some random percussion the Super 55 was less cutting than the 57, but had some very cool body – it won't be useful for everything, but could come in handy for a meaty snare or tom sound.
So at the end of the day the Super 55 is pretty much a better-looking, vintage styled version of the standard stage dynamic, at a modest premium over the beta 58. For performers who want to add some vintage style to their show, the Super 55 is an excellent choice, with solid performance and a well tested capsule. In the end it all depends on budget vs. good looks as the Super 55 definitely has the looks.
eightBy Nic Roosmuse | sixteen
INSTRUMENT REVIEW
PRS SE Mark Tremonti
D
Supplied by: Rockit Distribution | 021-511 1800 Suggested retail prices: R 5,995.00
“Everything about the tone screams luxury”
isclaimer: I adore and loathe PRS guitars. There, I Unplugged the Tremonti resonates said it! I know it’s unfair to brightly and audibly from every part of say, but they’re just too neck and body yet doesn’t announce itself perfect for my taste. I get as aggressively as a Les Paul.toothache hearing their Plugging into a clean tube amp with sweet tone. Whoever reads bridge pickup selected and strumming this may be thinking, open chords reveals a bright, open tone.
‘They’re just too much machine for you to Every note rings with considerable clarity. handle,’ and maybe they’re right. Then It sounds more defined and sparkly than again, my taste is more Robert Johnson thick and syrupy. It even has a slight twang, than Eric Johnson. More ‘Woodstock’ likely due to the longer scale neck. The Santana than ‘smooth’ Santana. I just can’t middle and neck pickup positions are well get the grit I want from them, but that’s just balanced too, with no sudden jumps in crusty old me and I know many guitarists rightly swear by theirs.
PRS guitars are revered for their amazing build quality and impeccably smooth tone. They are musical tools that won’t hold you back. As displayed here on the very popular PRS Tremonti SE, a lower cost version of the Creed and Alter Bridge guitarist Mark Tremonti’s signature model, those qualities do permeate down to their lower price bracket.
The Tremonti is in essence PRS’s take on a Les Paul-style design – twin humbuckers (PRS designed SE Treble and Bass bass response. All this makes for great pickups), single cut-away mahogany body versatility. and a 22-fret neck. But unlike a Les Paul it With increased gain the attack stays has comfort contours on the back and cut- smooth yet crisp. Notes swell and decay away, a longer 25” scale length, and evenly, making finger vibrato bloom. Note weighs very little. It also sports a definition is retained exceptionally well at wraparound bridge as well as bird fret extreme gain settings, making fast lead inlays. runs and complex chords sing with clarity.
It simply refuses to get ‘dirty’. It’s always sweet.Everything about the tone screams PRS invented air guitar. Playing one is ‘luxury’ and while it seems to give you a bit effortless. The Tremonti’s light weight, of everything it does so with some neck shape and ergonomic body contours restraint, seemingly waiting for your input make playing a breeze. It simply relays to take it somewhere. I have no problem your finger movements to the amp, almost imagining this guitar being used in a big like playing nothing at all. The neck shape budget recording session, where a glossy is incredibly comfortable, feeling narrower
bridge, making one reach further for sound is needed. than it actually is.volume adjustments.
Manufacturers often cut corners with Also, this guitar has a tremendous
their tuners but these PRS designed amount of fret buzz, which does hinder the
tuners, along with graphite nut, stay in Its absolute effortless playability and smoothness of the tone and makes it tune after wild string bends and drop smooth, defined tone (bar the slight tone slightly brittle. A little note in the included tuning. hindering fret buzz) make this an excellent gig bag mentions that this may be due to
A notable flaw, in my opinion, is the instrument. While I do like my guitars to the neck bowing during shipping. It goes counter-intuitive placement of the volume put up a bit of a fight, I am very impressed into detail about how to correct this by controls. They are next to one another with the sheer luxurious quality this adjusting the double truss rod, which I above the tone knobs. This puts the bridge workhorse delivers on all levels. thought was nice of them.pickup volume below and behind the
Sounds
Anatomy
Playability
Conclusion
muse | twenty
STUDIO GEARby Greg Bester
SStudiomaster
tudiomaster consoles have a long and spotted market under the name Studiomaster. Eventually their history that is known to as many professionals name and brand grew considerably, producing notable in the audio field as it is not. Established in mentions over the years like the Series 2, Mixdown, P7 1976 in a chicken shed in Cheshunt, England and T24 studio consoles. under the name Recording Studio Design Nowadays the company is based in Bedfordshire, (RSD), the company was originally created as England and after building a new manufacturing facility an answer to the demand for high power in the Far East, their product line is bigger than ever,
amplifiers for PA systems which were at that time being including products like line arrays, digital DSP units and powered by expensive American brands. Before they studio monitors. Showcasing their mixer range is knew it, and from a little help from the endorsement of currently the MCX class of medium format mixing their amplifiers by Pink Floyd, RSD grew into building consoles, aimed at both the live and studio markets. mixing consoles, culminating in a focus on the studio
Channels
Inputs
Construction
Although features like channel count will certainly vary depending on which MCX console you get, the overall features are the same, particularly within the master section.
Focusing on the MCX24, you get 24 mic inputs and four stereo inputs. On each mic channel you will find a four band sweepable EQ, mute and listen (solo) facilities, a high pass filter (18dB/oct @ 80Hz), phantom power, and a pad. It is not specified how many dB the pad cuts and I found it curious that the pad was only reserved for the line inputs. The EQ on the stereo channels has a fixed frequency per band, which is pretty standard for mixers of this level. these consoles were built to take abuse
What’s handy about the stereo in a live environment but still retain a The MCX range is available in five sizes: channels is that they also include a mic feature set worthy of the studio. 12,14, 24, 32 and 48 channels. They all i n p u t , w h i c h c a n b e u s e d are ruggedly built; employing a stiff simultaneously with the stereo inputs, steel chassis all contained within a high
giving a total of three inputs quality wheeled branded flight per channel. This is indeed case, which comes standard with flexible. The mic inputs the MCX24 and above. What supply the now standard caught my eye about this console 60dB of gain; the mono line is that the channels are installed in inputs get 40dB, and the 8 channel modules, along with a stereo inputs 12dB which is modular master section. This more than enough for most makes servicing a lot easier and needs. Inserts are found on for some reason gives the every mono channel as well impression that they are of a for easy connection of higher quality than other brands in outboard gear. a similar class, such as Mackie or
Other inputs include a 2 Soundcraft. t rack input (ca l led a Overall the build quality playback input) and a handy seems solid and robust. The talkback input which can be knobs feel rooted to their bases - routed to either L-R, group some knobs on certain consoles 1-2, or any of the auxes with can seem flimsy – and the 100mm the push of a button.faders ride smoothly and feel well
seated. I would certainly say that
muse | twenty one
STUDIO GEAR
Supplier: Tuerk Music Technologies | (011) 792 8402
Suggested Retail: MCX24 - R 29,995-00 | MCX32 - R 37,995.00 | MCX48 - R 68,995.00
www.tuerkmusic.co.za
MCX24 Console “The MCX range of mixers have created a new level in price performance for the discerning sound engineer, installer, and band”
Groups, Auxiliaries and Oscillator
Master Section
Outputs
Conclusion
In Use
The MCX24 supplies four sub-groups that can each be panned individually within the L-R bus when assigned as such for mono or stereo operation. Alternatively they can be used in what is called “Stage Mode” which “swaps the group and mix faders with the auxiliary send controls effectively producing a monitor mixer”. This is a very handy feature that I’m sure rental companies will find alluring.
Every input channel on the mixer can be routed to either the L-R bus or the sub-groups by way of standard routing buttons situated next to the channel faders. Each sub-group also
insert too, which is great when you uncoloured, although lacking character. has its own four-tier LED meter, which want to, for instance, strap a stereo This is probably a good thing since a indicates signal below 0dBu, at 0dBu compressor over the stereo drum bus. console designed to fit into so many and +4dBu, and lastly indicating an
When not in Stage Mode there are applications would probably benefit overload. separate TRS outputs for auxiliaries 1- from a preamp that is clear and Regarding auxiliaries, you get six 6. All TRS outputs are balanced. Lastly, representative. and all are switchable to be either pre or there is a stereo recording output using The EQ sounded particularly good post fader, which is a welcome feature the RCA-type connector and a mono and I felt that it covered the spectrum that is only seen in higher end consoles. sum output which can be switched to well with minimal harshness when Something that made me happy when I either be fed from the L-R bus or the pushed hard. The oscillator was first looked at this console is the listen bus. particularly useful when calibrating and included oscillator that can be set to put
checking the room for inconsistencies out either pink noise or a 1kHz sine and I commend Studiomaster for wave. including it. Both are essential for system The master section houses all of the
Overall the operation was pretty calibration and room EQ adjustment master controls and faders for all standard for a mixer in this class so and when engaged can be assigned to auxiliaries, sub-groups and busses on anyone that is comfortable on medium any of the busses or auxiliaries via the the MCX24. Also included are two XLR format consoles will find it familiar. It talkback buttons. This is definitely sockets for two 12V lamps, a was most definitely the little things that something you do not find on other headphone output, monitor level made the mixer stand out and I think consoles in the medium format class. control, oscillator level control, and a that it will give other mixers in its class, 12-bar LED meter showing level from -like the Soundcraft GB series, a run for 30dBu to overload. their money.One notable feature that you do The MCX24 has a variety of outputs
not find on many consoles in this class which suit both the studio and a live is a mute and listen facility for each sub-situation. Starting with the mono group and for the L-R bus. This The Studiomaster MCX24 is an channels, you will find a direct out for effectively changes your sub-groups impressive mixer for this price point. I each. This is obviously handy if you’re into mute masters. have absolutely no complaints about it multi-tracking or if you’re making a live
and will even say that it rivals some of recording. As mentioned before, this the better known and established console was designed to be at home in console manufacturers. Two thumbs both live and studio situations and I found the MCX24 straightforward and up!being as such, there is also a monitor intuitive with all of the features one
out included for easy connection to would need for most if not all mixing your studio monitors. There are and recording situations. The mic outputs for all busses including L-R, and p r e a m p s s o u n d e d c l e a n a n d sub-groups 1-4. Each bus gets its own
eight
By Greg Bester
muse | twenty four
STUDIO GEAR
Suggested Retail Price: Fuzz Factory - R 1,995 | Box of Rock - R 2,295Supplier: Tuerk Music Technologies | Tel: (011) 792 8402 | www.tuerkmusic.co.za
Z.Vex Box of Rock and Fuzz Factory
Gu i t a r p e d a l s a r e wonderful things. They enable us to augment the sound of an amplifier t h a t w e m i g h t b e The Box of Rock is a pretty standard intimately familiar or drive pedal with a classic demeanour completely bored with and a couple of tricks up its sleeve. It
into something fresh and exciting. But was designed to emulate the preamp they can also just add noise and serve sound of a Marshall JTM45 at “10” and it to destroy instead of enhance your is highly recommended by Mr. Vex that tone. you try it with a Marshall at least once. It
Fortunately one sometimes employs a “high-headroom, unity-50X comes across specimens that are gain booster with nominal input inherent things of beauty. They impedance and low hiss”, not to possess soul and spirit and were mention, like all Z Vex pedals, it obviously made with love and care. employs a 100% true bypass. Enter Z.Vex Effects, the Minneapolis, What is great about this pedal is Minnesota-based company who has that it is essentially a two channel been supplying the world of guitardom device. It has two footswitches; one with hand-made, beautifully crafted that engages the distortion circuit and effects pedals since 1999. one that engages a boost for solos, etc.
On the other hand, you could feasibly use the boost channel as the “clean” channel as it does alter the clean tone
The Fuzz Factory is a deadly beast. It of your amp when engaged. The
will create fuzz sounds that you only results when I tried this were a firmer
dreamed of because as stated in the bottom and a smoother midrange
release notes rather understatedly, it is extending into the top end.
pedal designed to “shape you a Put another way, I preferred it to
personalised fuzz”. What first caught the standard sound of the amplifiers (a
my eye when reading the release notes Laney Lionheart L5T-112) clean
was that the pedal employs two new channel. The pedal has four knobs
old-stock germanium transistors from and, in contrast to the Fuzz Factory
the 60’s. Opinions are varied on the pedal, they are pretty straight forward:
use of this material but suffice it to say ! Drive
that they have been described as ! Tone
“smooth” and “warm”. ! Vol.
The Fuzz Factory is indeed ! Boost: Sets the boost level, which is
everything that is claimed, and more. It engaged with the left stomp switch.
has five knobs attached to its hand-silk sc reen sur face and they a re ,
I found the distortion really pleasing and respectively:
smooth and best suited to, well, rock, but ! Volume – output level.
it could easily be set to accommodate ! Gate - squelches noise after end of
blues or similar styles where huge sustain. says, “Although the five knobs are named amounts of gain are not a necessity. There
! C o m p r e s s i o n - a d d s a t t a c k for the parameters over which they seem was nothing harsh about this pedal and it’s characteristic when turned to left, which to have the most control, please don't hold safe to say that it is a modern classic and gets softer to right. me to it. They are controls for various safe to use in place of your classic Tube
! Drive - increases distortion when used operating levels and biases.” Screamer or DS-1. as a "normal" fuzz, and adjusts feedback After giving the pedal a whirl my ears pitch and tonal thickness. were immediately met with an onslaught
! Stability – supply voltage. Use to of delivered promises and a fantastic Z Vex effects pedals are truly soulful. The control feedback pitch. palette of fuzz sculptors’ delight. The Gate fact that they are all hand-made is also a and Stability parameters are particularly part of their allure and when you plug them As you can see, it’s not merely a case of fun and the party started at “set to in their quality shines through and it turning up the “gain” or “fuzz” knob. More annihilate”. I went from there on to “razor becomes obvious where the money goes. precise control of the fundamentals of death” and finally “total devastation fuzz I for one am a sucker when it comes to what makes a fuzz a fuzz is offered and slaughterfest”. You make up your own. these boutique-style pedals and I’m sure these controls are wrapped up in words you will be too, once you hear them. that we are familiar with. But as Mr. Vex
Box of Rock
Fuzz Factory
Conclusion
muse | twenty six Shure Drum Mastery Competition
TM
EVER BEEN TO ICELAND?DRUM FOR IT!
STCOMPETITION STARTS OCTOBER 1Shure are pleased to announce the first Shure Drum The 5 finalists will then battle against each other in front of a Mastery Competition which will be live in 20 Countries live club audience, who will vote for the winner. The winner from 1 October 2011. will receive a voucher worth 5000 euros to spend on Shure
equipment.
What is it?Due to licensing laws in Iceland the finalists travelling there Shure are looking for EMEA’s best drummers, who aren’t must all be over the age of 18. Contestants under the age of currently earning a living from their drumming.18 will still be allowed to enter and can stand a chance of winning a set of Shure Beta Drum microphones.So, if you’ve spent way too many hours annoying your
parents, friends or neighbours with your incessant Judgesdrumming and it was about time you were rewarded for it,
then this is the competition for you! The judges include Shure UK’s Tom Colman, Drum Lesson Academy and Drummer Magazine columnist Darren Ashford, Cassell The Beatmaker (The Streets / Plan B How to enterdrummer), and Dennis Poschwatta (Guano Apes).Simply visit ww.drum-mastery.eu (from 1 Oct), download
the playalong, practise, then upload a video of yourself Not just a competitionplaying along to it, not forgetting to add a bit of your own
style to your playalong. There is a whole host of educational videos on the website, from drum micing tips to how to choose the right microphone. Darren Ashford will also be providing a series When?of workshops for drummers of all levels. The competition will be live from 1 Oct – 16 December. The 3
entrants with the most votes in each country will be put Quotesforward to the panel of judges, plus one entrant voted for by
Shure in each respective country. Darren Ashford: "I have used Shure microphones for over twenty years and I can always count on them to capture my musical ideas with amazing clarity and fullness of tone Prizeswhether on the road or in the studio. I am really pleased to be The judges will select a total of 5 finalists from the shortlist. part of this exciting competition”All 5 finalists will be flown to Iceland in March 2012. They will
receive a one day drum masterclass with Darren Ashford, Please visit www.drum-mastery.eu from 1 October for and will spend some time with a Shure sound engineer to more details, the terms and conditions and to enter. learn some miking techniques and tips.
Author of “1,2,1,2: A Step By Step Guide To The SA Music Industry,” Dave Chislett offers Music industry tips for aspiring bands and musicians
By David ChislettPhoto by Jacqui Van Staden
muse | thirty
BAND TIPS
! !! !WHAT'S THAT NOISE ? ? ?Getting better!
I hate to break it to you laid-back, your song writing sessions and everyone these songs to an audience. In rehearsal, creative musician types, but knows their parts practice is the thing that you should be thinking about your show there is only one way to get happens at home for at least 1 hour every and the cohesion of the whole unit, NOT better, and that is by working day. Here you get to know your parts in about what part comes next. Here you very hard at what you do! No every song you are going to play. It is also think about everything from what order to Muse reaches down from high the time that you dedicate to getting play the songs in, how to work from one above and anoints you with better on your instrument of choice, be it tune to the next, what you say in between awesomeness, you have to guitar, voice or the decks. Gary Player numbers, when to do your star-jump from work your way there! once famously said that, “The more I the drum riser. All of it as a unit and
The good news is that there are 4 practice, the luckier I get!” The same without mistakes. This is where you simple steps to take you from asshole to applies to music. Put in the hours, your become that act that every other artist awesome and we are going to share them skills need to be second nature, free from dreads playing after. This is where you with you! cognitive thought. Then you start plan to clean up and impress.
stepping into the realm of the impressive. On ly then do those wonder fu l spontaneous, non-verbal things start to Every artist needs to dedicate serious When you step on stage you have got to happen when you pick up your axe or step time to the craft of song writing. If you look give it everything. Drive it like you stole it. on stage. Get so good at what you do that at any body of ten songs, there is one No matter whether there are 2 people your heart can guide the music, not your stand out, probably-going-to-be-a-hit there or 20 000. Hit it hard. This is why you mind.track, a couple of good tunes, some OK practice and write and rehearse. You want
ones and definitely at least 2 plain bad the money in every person’s pocket. Make ones. Now if all you have ever written are them WANT to give it to you by giving ten songs, that’s your legacy. If all you do This is what it says: when you get them value: put on a show, radiate is maintain a 10% hit rate, once you have together with your crew, you REHEARSE. intensity, never ever make mistakes and written 100 songs, you will have ten hits. You do not PRACTICE. What does this act like a superstar. Then before long you It’s simple. Work the muscle. Create and mean? It means your lead singer does will be one. Every single show is a chance dedicate time to practice song writing. If NOT sleep on the couch while the bass to make new friends, influence people you are in a band this is the time when player battles to remember his lines. It and sell stuff. Do not miss a single everyone works out their parts and knows means all those hours of practice you opportunity because you cannot perform what they need to be playing. spent at home now come together with or are fighting with your lover. Your life
everyone else in order to rehearse playing stays off the stage. On stage, you rule and those songs as a seamless unit with no you must SLAY!mistakes. This is where you work on your This is NOT what happens in the band show, on how you are going to perform room with your crew. When you have had
Writing Performance
Rehearsal
Practice
Author BlurbDavid Chislett has been in the SA music industry for 25 years. Bassist, journalist, manager, publicist, film maker, author and consultant, he has gotten his hands dirty.
His book 1,2,1,2: A Step By Step Guide To The SA Music Industry is an easy to understand, no holds barred self-help book for anyone wanting to do better in the business.
It is available from Exclusive Books, Look & Listen stores and all good independent shops.
He also hosts workshops and private consultations to help artists get ahead.
www.davidchislett.co.za
eight
by Alan Ratcliffe
muse | thirty
TUTORIAL
WPowering Effects Pedals
hile most effects pedals care must be taken in choosing the right work on 9V batteries, it is model for your needs. Features to look out expensive to keep feeding for are:them batteries on a regular basis (particularly the power Multiple outputs – Make sure that the hungry ones). So it is a supply has enough outputs at the correct logical step to get a power voltages and with enough current for your
supply (PSU, mains adaptor) to power needs. A switchable voltage on some of them from the mains supply. While a PSU the outputs is handy as it makes the supply costs a lot more than a single battery, they more flexible as your pedalboard changes. pay for themselves very quickly with the Some supplies offer a voltage "sag" circuit savings on batteries. so you can adjust the voltage lower than
Choosing a PSU is usually pretty usual (some folk like limiting voltage to +/-straightforward as most pedals use the 7V for overdrives or fuzz pedals to mimic same standardised power specifications the sound of an old battery).(9V, centre negative), but not always. So there are a few things you need to make Isolation – Better supplies have isolated
from each adds together – so two pedals, sure of when considering a PSU: outputs, where each output works as if
each drawing 100mA will need a supply they were a completely separate supply.
rated at 200mA or more. Voltage – While most pedals run on 9V, a Isolated outputs avoid earth loop few need 12 or even 18V. Always check the problems, but add to the cost.manufacturer’s specifications to be sure.
With smaller pedalboards it is common to Protection – When you have a board with a use a “daisy-chain” cable to power more lot of expensive pedals, it's nice to know than one effect from the same PSU, which that when something goes wrong (and it is is a simple and inexpensive but effective a case of when not if), that there is far less way to power all your pedals. chance of your pedals taking the brunt.
Unfortunately, the more complex the Pedals are expensive – especially the pedalboard the more likely you are to run better ones – so it's silly to skimp on the into issues with daisy chaining. Ground power supply to save money.loops can cause hum; and power hungry pedals can use up all the available current, Quality/durability – For the most part, you leaving little for other pedals in the chain. get what you pay for. The more expensive Also, as a pedalboard grows and becomes supplies will have more features, supply more complex, the chances are that it will cleaner power and last longer. include some of the more esoteric effects that use non-standard voltages or polarity Input voltages - For those people touring and/or operate at large current draws. the world, a switchable input voltage that AC or DC – the vast majority of pedals use Then powering the board can become a works in the US, Europe or Japan is crucial.DC power, but there are a few models that hodgepodge of different power supply
use AC power. adaptors running at different voltages. This is when a dedicated
Polarity – Most pedals that run on DC use a pedalboard PSU becomes a
standard where the centre pin of the necessity.
power plug is the negative power and the barrel is positive, but once again, there are a few that use the reverse polarity with the
A dedicated pedalboard positive on the centre pin.PSU allows you to supply a variety of pedals with the Current – the current is how much power power that each needs to the pedal draws from the PSU, rated in work at its best and goes milliamps (mA). The PSU must have at some way to neatening up a least the same current as the pedal draws complicated pedalboard. (but may have more without damaging the They come with a variety of pedal, as the pedal will only draw what it features – some more needs and no more). When powering important than others – so multiple pedals with one PSU, the draw
Daisy-chaining
Pedalboard PSUs
Distributed by Music Power South Africa - Tel: 011-466 9515 | [email protected]
The price may be
entry-level;
the sound is anything but!
Unmistakably Taylor in sight, sound, and touch.
MUSIC POWERMUSIC POWER
The Taylor 210ce is a full-size dreadnought acoustic-electric guitar that features a glossy
solid Sitka spruce top, gorgeous Indian rosewood laminate back and sides, and a
venetian cutaway for full fingerboard access.
The Taylor 214ce Grand Auditorium is an acoustic -electric guitar that features a satin
solid Sitka spruce top, gorgeous Indian rosewood laminate back and sides, and
a venetian cutaway for full fingerboard access.
ROCKBASS PRO SERIES
Streamer Standard
Corvette Basic Active
* Bolt-on* Available as 4- or 5-string* Left-handed and fretless version available** Swamp Ash body* Maple neck with Ekanga veneers* Rosewood fingerboard (fretless with tigerstripe ebony fingerboard)* Patented Easy Access™ electronics compartment
* Bolt-on* Available as 4- or 5-string* Left-handed and fretless version available** Swamp Ash body* Maple neck with Ekanga veneers* Rosewood fingerboard (fretless with tigerstripe ebony fingerboard)* Patented Easy Access™ electronics compartment
Corvette $$
* Bolt-on* Available as: 4, 5 or 6-string
* Left handed and fretless versions available** Warwick Machine heads
* Wenge fingerboard (Tigerstripe Ebony for fretless)* Maple neck with Ekanga Veneer Stripes
* US Cherry body
Streamer LX
* Bolt-on* Available as 4, 5 or 6-string
* Left handed & fretless available** Warwick Machine heads
* Wenge fingerboard (Tigerstripe Ebony for fretless)
* Maple with Ekanga Veneer Stripes* Ovangkol body
Thumb Bolt-On
* Bolt-on* Available as 4, 5 or 6-string
* Left handed and fretless versions available** Warwick Machine heads
Wenge fingerboard (Tigerstripe Ebony for fretless)* Ovangkol neck with Black Veneer Stripes
* Bubinga body,
* Bolt-on* Available as 4, 5 or 6-string
* Left handed and fretless versions available** Warwick Machine heads
Wenge fingerboard (Tigerstripe Ebony for fretless)* Ovangkol neck with Black Veneer Stripes
* Bubinga body,
Corvette
* Bolt-on* Available as 4- or 5-string* Left-handed and fretless version available** Carolena body* Maple neck with Rosewood fingerboard (fretless with tigerstripe ebony fingerboard)* Scale length: 34" (long scale)* 24 frets
* Bolt-on* Available as 4- or 5-string* Left-handed and fretless version available* Alder body* Maple neck with Ekanga veneers* Rosewood fingerboard (fretless with tigerstripe ebony fingerboard)* Scale length: 34" (long scale)
114ce
GS MINI
214ce
110ce 210ce
GS MINI
The Taylor 114ce is a grand auditorium sized acoustic-electric guitar that will change your expectations about what a serious entry-levelguitar can be. The 114ce has a solid Sitka spruce top with sapele laminate back and sides.
The Taylor 110ce is an acoustic-electricguitar from the 100 series. A full-size Taylor,this dreadnought will change your expectationsabout what a serious entry-level guitar canembody.
114ce
214ce
Designed to be the ultimate musical companion, wherever you go - or stay.
From the couch to the campfire to the concert hall, the GS Mini promises big fun for everyone. Inspired by the big, bold sound of Taylor'saward-winning GS body shape, the GS Mini scales things down without skimping on sound, packing a lot of tone into a comfortable, portable size and giving you a guitar that's incredibly fun to play.
Grand Auditorium Acoustic-Electric
Grand Auditorium Acoustic-Electric
Dreadnought Acoustic-Electric
Dreadnought Acoustic-Electric
Acoustic Guitar
We dealt with some Rhythm aspects in Mexican Son Music first appeared in World Music in Part One in the previous the 17th century and is a fusion of issue. In this edition we will look at indigenous, Spanish and African some more of the Melodic approaches. traditions (slaves were imported from The bass lines used are very much Africa by the Spanish), much like derived from scales used in the Cuban Son.melodies of the various regions. There Ranchera is an outgrowth of Son is so much music around that I would Jalescenses. A type of song that was have to write several books just to literally sung on a Mexican ranch. touch the tip of the iceberg. Ranchera songs are not just one
rhythm; the music is basically a waltz, polka or bolero.MEXICO has a musical history that is
filled with cultural contrasts, dating Mariachi is not actually a style of back more than one thousand years music, but a group of musicians. The before any contact was made with Mariachi orchestra is composed of at Europeans in the 16th Century. The least two violins, two trumpets, a area was dominated by the Aztec Spanish guitar, and two other types of culture, a culture that maintained an guitars - the Vilhuela and Guitarron. important and complex musical (Mexican acoustic Bass Guitar).tradition.
The Rhythms are based on the Clave. In this style the bass is 'felt' as well as heard to lay the solid grooves down. Melodically the bass-lines are built on Standard Western Scales.
by Alistair Andrews
muse | thirty two
TUTORIAL PLAY BETTER BASS
... Continued on pg 34
BASS in WORLD MUSIC (Part 2)
Abraham Laboriel is one of the best known Mexican bassists.
JAPAN has several types of traditional, music (hogaku). Some of the most important ones are listed below:Gagaku: Ancient court music from China and Korea. It is the oldest type of Japanese, traditional music. Biwagaku: Music played with the Biwa, a kind of guitar with four strings. Almost like a Piccolo Bass.Nohgaku: Basically consists of a chorus, the Hayashi flute, the Tsuzumi drum, and other instruments. Sokyoku: Music played with the Koto, a type of zither with 13 strings. Later also a c c o m p a n i e d b y S h a m i s e n a n d Shakuhachi. Shakuhachi: Music played with the Shakuhachi, a bamboo flute that is about 55 cm long. The name of the flute is its length expressed in shaku an old Japanese unit of length. Shamisenongaku: Music played with the Shamisen, a kind of guitar with only three strings. Minyo: Japanese folk songs.
The Eight- Tone Spanish Scale in C (played from the lowest note on 4-string bass)1 b2 b3 3 4 b5 b6 b7 C Db Eb E F Gb Ab Bb
The Afro-Cuban bass-line, also called a tumbao, glues the piano montuno to the conga tumbao; mediating the space in between them, providing rhythmic integrity when both behave under tension. In this space beats the heart of the song.
Japanese Bassist Tetsuo Sakurai who played with Casiopea in the 80s, is playing with greats like Greg Howe and Dennis Chambers.
The Japanese Scale in C (played from the lowest note on 4-string bass)1 b2 4 5 b7C Db F G Bb
Another Japanese Scale:1 2 4 5 b6C D F G AbThis is a type of Pentatonic Scales.
The Western Major Pentatonic Scale.1 2 3 5 6C D E G A
More Scales to Check out:
Arabian1 2 b3 4 #4 #5 6 7C D Eb F F# G# A BGypsy1 2 b3 #4 5 b6 7C D Eb F# G Ab BRomanian1 2 b3 #4 5 6 b7C D Eb F# G A BbIndian1 b2 4 5 b6C Db F G AbPersian1 b2 3 4 b5 b6 7 C Db E F Gb Ab BByzantine1 b2 3 4 5 b6 7C Db E F G Ab BOriental1 b2 3 4 b5 6 b7C Db E F Gb A BbJewish1 b2 3 4 5 b6 b7C Db E F G Ab BbThe Double Harmonic Major scale in C (played from the lowest note on 4-string bass)1 b2 3 4 5 b6 7C Db E F G Ab B
In Indian the Raga even affects the tuning of the notes. Indian classical music is usually accompanied by a tanpura, which plays a drone background. It becomes quite a challenge when this gets fused with other styles. The Bass of India is called the Veena.
In other music traditions, modes are much more like Indian ragas, featuring important variations in tuning and melodic expectations from one mode to the next, so that each mode may be seen as a collection of related melodic ideas, phrases, and ornamentations that are traditionally played with a certain set of notes tuned in a certain way. All of these music styles have long traditions that are very different from the familiar major-minor tonal system, and usually also have a different approach to harmony, rhythm, and performance practice.
Most native Chinese instruments tend to be high pitched and nasal, which suits very well with most traditional Chinese music. The Gehu was created to form an instrument that could produce a sufficiently full and low pitch sound, enlarging the scope of Chinese music.Bass Players today use more and more elements from other styles and cultures to stay “fresh ” and relevant. World Music Festivals are mushrooming globally. Do not be left behind!!!!I trust that this information will encourage you listen to more music from other cultures, widen your horizons, as well as coming up with a new and different sound.
by Alistair Andrews
muse | thirty four
TUTORIAL BASS in WORLD MUSIC (Part 2) ... Continued from pg 32
Till next time, LET THERE BE BASS!!!
THE WORLD’S FINEST MUSIC STRINGSMADE IN THE UK SINCE 1958
The Veena (Bass Sitar)
Alistair Andrews endorses
bass stringsROTOSOUND THE WORLD’S FINEST MUSIC STRINGS
MADE IN THE UK SINCE 1958www.rotosound.com
W PLAY BETTER
muse | thirty six
TUTORIALby Kurt Slabbert
elcome back to player? Imagine playing solos and one result and are any of them wrong?play better guitar. I melodies that are not controlled by Let’s look at Aural; this is all about have thought long shapes but purely by the music you how your ears hear music. Can you hear and hard about hear. So how do I achieve this? musical intervals between notes? (An wha t I shou ld Well one of the starting points is to interval is a musical distance between cover in this article play melodies that you hear or licks that two notes for example from A to B is a and have decided you like by transcribing them. This will Major 2nd and also the starting interval to look at the aural open a new musical world especially if for a song like Happy Birthday).aspects of music you have never done it before. You may There are ways to train your ears
and how to escape the trap of shapes. have to invent new shapes and new and if you go onto Google you will find Let’s begin with shapes since as ways to play chords that you already many resources that are designed for
you learn guitar everything is taught in know and this kind of practice will be ear training that can be purchased over shapes, Chords, Scales, Arpeggios and challenging but extremely rewarding. the net.mostly everything. This works and Transcribing is great for the ears So let’s look at some practical gives a starting point relatively quickly and a way to practice writing music as ideas. The one player that opened my but how does that train the ears? You well. Another cool thing about eyes to possibilities was Frank will be surprised how many guitarists transcribing is that it allows for you as Gambale. He would always find new are not able to sing a scale. The big the player to make the piece your own; ways to play old scales, for example A problem is that music does not lie in you might be playing the lick in a minor pentatonic scale would normally shapes it lays in notes, so yes shapes completely different way to how it was look like this:are a way to organise those notes but recorded but that’s the beauty of it. In how do you escape becoming a shape music there are many ways to get to
But Frank Gambale enjoys sweeping and this does not lend itself to his style of playing so he found different ways of playing the same scale like this:
So this is a really small glimpse at how you can invent ways to suit your style of playing.
GUITAR Escape the Shapemuse | thirty seven
TUTORIAL
Copyright Kurt SlabbertBluenoise Productions
Okay so now let’s have a quick look at intervals. An interval is a musical distance between 2 notes. These are named according to distance i.e. 2nd and the type for example a Major 2nd would be from A to B.A simple interval is an interval spanning at most one octave. Intervals spanning more than one octave are called compound intervals. Let’s take a look at naming some simple intervals and their sounds.
Here are a couple of ideas on how an Minor 2nd: Theme music from the musical genius. A lot of this stuff might interval should sound. There are other movie Jaws be intimidating at first but give it a good songs that you could use so try and Major 2nd: Happy Birthday try and it might just change your come up with a couple of your own. Minor 3rd: The Impossible Dream approach to music altogether.
Some intervals are more stable Major 3rd: When the Saints go I remember sitting in class at than others, so try and listen out for Marching in college and the teacher had a request that. It is fascinating the way two notes Perfect 4th: Wedding March that we try and decipher the notes of interact and the sounds that they create Perfect 5th: Star Wars theme tune car and truck hooters and try and hear but remember dissonance doesn’t Major 6th: My Bonnie the intervals between the notes. This mean it’s wrong. Dissonance works if Major 7th: Somewhere Over the might seem way out there but it teaches used with care, so spend some time Rainbow you to listen and that was the aim of the checking out intervals and try and get exercise so I hope this inspires you to your head around them. In the next issue we will begin to look at look at music in a new light…….
There are many papers and some players and decoding some of tutorials on the net that cover intervals their licks and musical ideas, so in the so this really is just the tip of the meantime give some thought as to how proverbial ice berg. you should be practicing and what is
really important to make you into a
Tby Jonathan Pike
muse | thirty eight
YOUR PRIVATE UNIVERSE
Unconventional Recording Techniques:
Bass Guitar
Techniques for
the home studiohe bass guitar has been the source of much frustration for recording and mix engineers for many years. It is one o f t h e m o s t
important elements of modern music as it carries most of the low-end energy and groove and yet it can be one of the trickiest to capture in the recording stage.
There are a couple of fairly traditional ways to capture your bass guitar sound. In this article however, I am going to take a look at some less conventional ways to record this unique instrument. These techniques will give you a more unusual sound than we traditionally associate with the bass guitar, but they could lend an interesting twist to what could otherwise be a rather conventional sound.
The first recommendation I can make when recording a bass guitar (whether you are going for a pick attack sits) through. You could highs and accentuate the lows and traditional sound or not) is to always take this idea further and come up throw a large diaphragm dynamic record the bass through a DI box. with some weird and wonderful mic, like the Shure Beta 52 in front of This gives you a clean direct signal sounds by carefully choosing which this cab. That’s the low frequencies that you can use as a back up if all frequencies you want to cancel out taken care of. I will then take a direct, else fails. Alternatively it can act as a and which you want to shine unprocessed output into a smaller s ignal wi th which you can through. studio amp like the line 6 Low Down experiment on later, either by re- Most people agree that reverb Studio 75 Watt Bass amp, dial the amping or by using some In-The- doesn’t necessarily sound good on EQs on it to remove most of the lows Box processing. low frequency elements, but if you and to accentuate the highs (around
Many engineers will blend the want to give it a try when mic'ing up 2.5 KHz or so) and throw a small DI signal with a signal from a mic'ed a bass amp, set up a room mic. A diaphragm condenser or dynamic up bass guitar amplifier. This blend large diaphragm condenser set to mic in front to capture the high can go a long way to getting you a an omni-directional polar pattern frequencies. You can then blend great sounding bass tone. Mike should do the job. Place this mic at these two sources to create a unique Hedges, who has engineered for varying distances away from the cab sound that fits your track.The Cure amongst many others, has within the room and have a listen to One last thing that can help bass a rather unconventional technique the result on its own as well as to really stand out is to record with of using phase cancelation to blended with a close mic. You may some distortion. This can be achieve bass equalization. He find this could help to create a achieved by using dedicated suggests for example to phase moody and ambient sound. distortion pedals or by external or In-reverse a DI signal, boost the mids Another technique that I find The-Box processors. and roll off the lows and highs with very effective is to use multiple As with any recording, the EQ, then blend this with the mic’ed amps and heads to create your bass sounds you choose must fit the amp signal. This will have the effect tone. A simple example is to split requirements of the track and the o f cance l l i ng ou t the m id your frequency range over two genre. If you have the time, frequencies and letting the lows amps. What I like to do is to run the experimentation is the key to (which carry the body of the sound) bass guitar into a large 4X12 cab, creating your own unique electric and the highs (where the finger or dial the EQs to remove most of the Bass guitar tone.
www.audiosure.co.zawww.audiosure.co.zaImported and Distributed byImported and Distributed by