www.nmkelectronics.com

Pro6 takes over abu Dhabi

avatar uses the air 20

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2Nicolas Kyvernitis Electronics Ent. Ltd.P.O. Box 3191, Sharjah, United Arab EmiratesTelephone: +971-4-2665244, Telefax:+971-4-2626682Email:info@nmkelectronics.comWeb:nmkelectronics.com

Europe, Middle East, Africa:Shure Europe GmbH, Wannenäckerstr. 28, 74078 Heilbronn, GermanyPhone: 49-7131-7214-0 Fax: 49-7131-7214-14 Email: info@shure.de United States, Canada, Latin America, Caribbean:Shure Incorporated, Phone: 1-847-600-2000 US Fax: 1-847-600-1212 Int‘l Fax: 1-847-600-6446 Asia, Pacific:Shure Asia Limited, Phone: 852-2893-4290 Fax: 852-2893-4055

www.shure.com

For more than 80 years Shure rugged, professional audio products have been defined by a legacy of legendary performance. This passion for audio excellence also drives Shure Professional Headphones. These headphones live by a simple rule: What goes in must come out. Designed to withstand the rigors of everyday use, they are an excellent choice for music professionals and music obsessives − for recording, monitoring, DJing and personal listening.

This area for DC logo and contact information

www.shure.com

SRH240 SRH440

The SRH750DJ Professional DJ Headphones feature 50 mm neodymium dynamic drivers tuned to deliver high-output bass with extended highs, perfect for meeting the demands of live professional DJ mixing.

PROFESSIONAL SOUNDFROM EAR TO EAR.

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Editor’s Note

So Valentine’s Day just passed and you still want to get something for your loved one? I think you need the new SHURE DJ Headphones. If that’s not your style you can always check out the other SRH headphones. If your a rocker you can always check out the DRUM ROCKER which you can get for your PS3 or XBox. Do check out Virgin at MOE if you want to see an actual piece.

Anyway we got CABSAT and PALME exhibitions coming up soon plus a boat exhibition we might be participating in as well so things are going to start getting busy in March. Again if you guys want to see anything in particular in the mag please do let me know. PEACE

richie@nmkelectronics.com Richie Lozada Hiranandani

www.nmkelectronics.com

sound&stage.indd 1 9/1/2009 5:18:25 PM

www.nmkelectronics.com

sound&stage.indd 1 9/1/2009 5:18:25 PMdjmag.indd 1 10/29/2009 12:26:37 PM

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sMidas PRO6 adds golden touch to Abu Dhabi

Nicolas Kyvernitis Electronics Enterprises, exclusive distributors of Midas and Klark Teknik products have sold the UAE’s second Midas PRO6 digital live audio system. The customized system includes the PRO6 control surface, the DSP engine, two XL8 micro-phone splitters, a XL8 IO module and the Neutrik fiber optic digital snakes.

The customized system has been supplied to MTP Productions who have installed the equipment in the Raha Theatre in Abu Dhabi, for their events and is being primar-ily used for the Million’s Poet competition which is broadcast live from the venue. The Million’s Poet competition is the biggest Nabati poetry competition with a staggering grand prize of 5 million UAE Dirhams and a total prize money allotment of 22 million UAE Dirhams.

This deal makes it the fourth Midas digital console sale by NMK in the region, where the list includes a PRO6 in a Qatar theatre, a PRO6 and the XL8 to two separate rental firms. The Midas PRO6 Live Audio System is the second networked digital audio system from Midas. Employing technologies developed from the class-leading XL8, the PRO6 offers the same exemplary sample - synchronized audio performance in a compact package.

“We are proud to have both the Midas brand and the PRO6 system associated with such a prestigious venue and event,” commented Richie Hiranandani, Marketing Man-ager. He added, “the configuration of the system has been developed in such a way that any future requirements can easily be entertained.”

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The star-studded 2010 Brit Awards was broadcast live from Earls Court with a Mi-das XL8 handling front of house for the first time. Sound designer and live sound coor-dinator Derrick Zieba, who’s been working on the UK record industry’s annual awards ceremony since 1994, specified the XL8 after witnessing its capabilities at December’s Nobel Peace Prize concert, which featured a networked system of two XL8s and three PRO6s.

“I’d been terribly impressed with how the XL8 was used out in Oslo, and this was an ideal opportunity to get it onto one of my shows,” he says. “When I started on the Brits in 1994, it would take around six consoles to run a live show like this, with short change-overs, almost all of which were Midas XL4s and Heritage 3000s. With the introduction of digital consoles, the benefits were huge in terms of space saved and ability to recall what the bands had played in rehearsals, but the thing that people would comment on was the sound quality.

“For me, the sound through the XL8 was almost indistinguishable from the best ana-logue performance I have heard. Sound-wise, it really has something else to offer. And from an operators’ point of view, the use of the POPulation Groups, around which concept the operation of the console is really based, makes setting up and accessing everything very quick.“As a result of using the XL8 on the Brits I’m now determined to use that console on other projects.”

The XL8, supplied by Britannia Row, handled a quick-changing succession of artists including Lady Gaga, Florence and the Machine, Dizzee Rascal, Robbie Williams and Jay-Z and Alicia Keys.

Britannia Row system tech Josh Lloyd, who also mixed some of the artists including Jay-Z and Alicia Keys’ brilliant performance, became extremely familiar with the XL8

Midas XL8 takes starring role at Brit Awards 2010

7Global News

during Oasis’ final world tour. “For a show like this it offers us absolute flexibility, which is what we need, he says. “There were two main reasons for using an XL8 on the 2010 Brits. Firstly, we need a board that engineers can get around quickly and the XL8 is very analogue in its operation. It’s easy for people to understand, even those who aren’t familiar with it.

“Secondly, it’s fantastically quick for patching: you can change virtually every single setting on the console. It’s scene specific so there’s no need to load in new sessions, you can have multiple patches changing from scene to scene. In addition, the Area B section of the console allows me to operate it while another engineer is mixing. The basics, things like gains and compressor thresholds, are right in front of them. The POPu-lation groups make everything incredibly accessible and are a feature which people get their head around very quickly, as opposed to other boards which are based on layers, where people can be unsure where they’ve put something.

“On top of that there’s the bus structure; you can change from sub groups to auxilia-ries from scene to scene, allowing you to change the setup of the board specific to a band. Finally, we were also able to use a whole variety of onboard effects from band to band.”

8 Local News

Vasundara Das uses BETA Microphones

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New: PG27/PG27USB Multipurpose and PG42/PG42USB Vocal Microphone, X2u XLR-to-USB Signal Adapter

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Sound, like a Pro.

Europe, Middle East, Africa:Shure Europe GmbH, Wannenäckerstr. 28, 74078 Heilbronn, GermanyPhone: 49-7131-7214-0 Fax: 49-7131-7214-14 Email: info@shure.de United States, Canada, Latin America, Caribbean:Shure Incorporated, Phone: 1-847-600-2000 US Fax: 1-847-600-1212 Int‘l Fax: 1-847-600-6446 Asia, Pacific:Shure Asia Limited, Phone: 852-2893-4290 Fax: 852-2893-4055

www.shure.com

PG48 PG58 PG57 PG81 PG52 PG56

PG Series Microphones, the entry point to profes-

sional Shure quality, ruggedness and sound, offer a

wide range of microphone and connectivity options for

rehearsing, gigging and home recording. Now, with the

new Shure X2u XLR-to-USB Signal Adapter, you can

connect your PG Series microphone to your Mac or PC.

Offering easy, zero-latency Plug and Play functionality,

the X2u connects to all PG Series microphones inclu-

ding the new PG27 and PG42 condenser microphones.

Interesting in PC recording only? Shure also offers

PG27 and PG42 models with integrated USB

connectivity.

Shure - Legendary Performance for over 80 years.

This area for DC logo and contact information

www.shure.com

Nicolas Kyvernitis Electronics Ent. Ltd.P.O. Box 3191, Sharjah, United Arab EmiratesTelephone: +971-4-2665244, Telefax:+971-4-2626682Email:info@nmkelectronics.comWeb:nmkelectronics.com

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A world class sound designer with world class speakers!

“A mix developed in my sound-design suite will translate accurately to any dub-bing stage or screening room.”

Designing sound for motion pictures re-quires a rare combination of art and sci-ence. To paint a picture for the ear in-volves a deep appreciation of how sound affects people in ways that can suggest a range of emotions, while the manipulation and processing of audio signals involves access to the sharpest tools in the tool-box. For leading practitioner Christopher Boyes, accurate playback monitoring is a key ingredient to his success. “I have been using Dynaudio Acoustics AIR 20 monitor loudspeakers for several years and like the smooth sound that I get from them. I have a tremendous amount of confi-dence that a mix developed in my sound-design suite will translate accurately to any dubbing stage or screening room.” For many years this Oscar-winning sound designer and re-recording engineer has worked at both a number of lead-ing post-production facilities around the world, and his own personal-use facility in Inverness, Marin County, Northern Califor-nia.

Boyes was most recently nominated this past year for an Oscar® for his outstand-ing work in Ironman, and has won Oscars for Best Sound Editing on Pearl Harbor and Titanic, in addition to Best Sound Mixing for King Kong and Lord of The Rings: The Return of The King. His current projects include Lovely Bones and Avatar.

“I love the sweet sound produced by these Dynaudio AIR speakers,” Boyes continues. “The warm sound means that I am not working with a harsh and brittle response that you get with some other

monitors – with the AIRs you take that distraction out of the mix.”

“My AIR speakers push me as a sound de-signer because I need to bring out subtle-ties in critical elements. I can work with confidence and know reliably the tracks I produce will sound good elsewhere - wherever I take them.”

Unusually, Boyes has mounted his array of AIR 20 Active Reference Monitors upside down at his private editorial and mixing facility, where he uses six self-powered AIR monitor arrays with three up-front for left, center and right, and three behind as LCR surrounds for EX-format 6.1-channel mixing. A companion BM 14S Active Sub-woofer houses a single 12-inch driver.

“I prefer to use the three-way full-range AIR 20 speakers when they are mounted fairly high on stands, above the video monitors. That configuration, which was designed and laid out for me by [local acoustician and room analyzer] Bob Hodas, works very well for me,” the sound designer offers. “Also, the 20’s unique de-sign with built-in D-to-A converters means that I can feed them from my Synclavier keyboards, for example, or a DVD, or directly from the 48 kHz digital output from my Digidesign Pro Tools|HD digital audio workstation. That is a very flexible option that I wouldn’t get with other brands of monitors.”

Boyes also uses another product from the TC Group: A TC Electronic Reverb 6000 Processor. “I use the 6000 all the time to create realistic-sounding ambiences and reverberant spaces,” the designer states. “I love the range of multichannel spaces I can call up from the factory and user presets, including Reflector, VSS3-Series and a whole raft of other user-friendly algorithms.”

Christoffer Boy-es uses AIR20 in sound design for Avatar

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It looks like a huge remote control but the VFX-1 is one of the best DJ products of 2009. If you don’t have a VCI-300 yet then you better check it out at any Istyle or Virgin Megastore.

Global News

Best DJ Product of 2009

12 Global News

13

Pearl’s Forum Series made an appearance on the NBC hit show, The Office on Febru-ary 4, 2010.In the episode entitled “Sabre”, Michael (Steve Carell) goes to David Wal-lace (Andy Buckley) for advice, but he finds David in a sad unemployed depression and his son playing a Forum Series in the living room. The episode closes with a vignette of David Wallace and his son playing a rock song dedicated to the “Suck It” toy vacu-um.

Forum Series in the Office

Global News

14

Rock Legends Rely on Shure Microphones and New PSM 900® Personal Monitor Sys-tems for Classic Halftime Show Performance MIAMI, FL, February 9, 2010 — A big part of the Super Bowl telecast is the halftime show, which has become a major production in its own right, with the biggest names in music performing their hits live on a gigantic yet temporary stage. “It’s really an incred-ible production,” says Simon Higgs, monitor engineer for The Who. “I mean, what’s really amazing is the stage set-up, which has to be put in place and assembled in minutes. And, everything working on the first go – sound, lights, and pyro. That’s quite a show in itself!” The Who are, quite simply, rock legends. Among the iconic images in rock history are lead singer Roger Daltrey swinging his Shure SM58® like a lariat, and guitarist Pete Townshend’s dramatic windmill guitar riffs. “The Who have worked with Shure micro-phones for over 40 years,” notes Bob Pridden, the band’s audio consultant/producer. “Getting ready for the Super Bowl, one thing I knew I could count on was that Shure wouldn’t let me down on Sunday night.” In addition to a full stage of Shure microphones, The Who used four channels of the new PSM 900 personal monitor system in their performance. Lead singer Roger Daltrey, guitarist Simon Townshend, and drummer Zak Starkey, along with monitor engineer Simon Higgs, used the PSM 900. “We had the chance to try PSM 900 prototypes on the (autumn 2009) Daltrey tour,” notes Higgs. “Roger and I both think they sound incred-ible, and they have been absolutely flawless for us. So we were keen to use them for the Super Bowl.” Longtime Super Bowl audio vendor ATK Audiotek was again present to support the au-dio mission, with wireless guru James Stoffo as Entertainment RF Engineer and Thomas Pesa to handle monitor system design. “Normally, I would be quite hesitant to use any new product at an event like the Super Bowl,” says Pesa. “But the band really wanted to use them, so we gave it a try in rehearsals and found it to be rock solid. And since we had on-site technical support from Shure and James Stoffo, we went with the band’s request. And I’m happy to say everything went off without a hitch.” Out of more than 1,000 total wireless frequencies being coordinated by the NFL, James Stoffo was responsible for around 100 intercom, microphone, and in-ear channels be-ing used by the musical acts and their support. “This was my first time using the PSM 900 at a major event, and it performed flawlessly,” he notes. “I’d be happy to see this system on any of my shows as the go-to in-ear system.” Monitor engineer Higgs is a big fan of CueMode, a patent-pending feature in the PSM 900’s compact P9R bodypack receiver. “Basically, CueMode lets me hear any moni-

The Who Rock Super Bowl XLIV With Shure

15Global News

tor mix with a button-push. It saves me so much time and trouble, and really shows this system was designed for monitor engineers.” Using CueMode, up to 20 mixes can be directly accessed via the up/down buttons on the receiver. The PSM 900 system also features Shure In-Ear Monitor technologies such as variable RF output, digi-tal stereo encoding, Scan and Sync, automatic RF Gain Control, dedicated RF Mute, MixMode capability, and Audio Reference Companding. All microphones on The Who’s stage were Shure hardwired. Ranging from Roger Dal-trey’s classic SM58®, wrapped in trademark white gaffer tape for strain relief, to new models like the KSM313 ribbon mic and KSM44 studio condenser on Pete and Simon Townshend’s guitars and Pino Palladino’s bass. Zak Starkey’s drum kit used the SM91A boundary mic in kick drum, Beta 98s on toms, Beta 56®A on snare, KSM137 on hi-hat, and a combination of KSM32s and KSM44s overhead. Backing vocals are by Pete Townshend, Simon Townshend, and John “Rabbit” Bundrick; all sung through Beta 58A® microphones. One burning question often asked after events like the Super Bowl is, “How live was that performance?” The Who’s audio consultant, Bob Pridden, explains. “There is an amazing amount of planning that goes into this. In fact, we were asked to record the medley live in the studio by January 1, so they could plan the timing on the pyro and other production elements. I can assure you that every instrument and microphone on stage was live. But the producers have backing tracks in place from our rehearsals last week, because you can’t risk losing a vocal. So the answer is, The Who played their Super Bowl show 100 percent live.” Reflecting on the experience the day after Super Bowl XLIV, monitor engineer Higgs says, “Basically, it was a rock solid performance with great sound…just what you would expect from The Who, and what The Who always expect – and get – from Shure.”

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ALAMEDA, CALIFORNIA, FEBRUARY 3, 2010 ─ Clear-Com® Communication Systems, a Vitec Group brand, is pleased to announce the sale of its innovative Hybrid Network (Hybrid Time-Division Multiplexing [TDM] Matrix/IP Server Network) to KPIX-TV/KBCW-TV, a major group-owned duopoly in the San Francisco Bay Area. KPIX has purchased a Hybrid Network, a solution comprised of the Eclipse® Omega Version 5.1 digital matrix intercom system, an IVC-32 32-channel high-density IP connection card, IP-enabled V-Series user control panels, Clear-Com Concert™ 2.0 user licenses, an E-Que card and integrated wireless CellCom system.

The Hybrid Network combines IP server-based communications with Clear-Com’s Eclipse TDM matrix technology to create a single, fluid communications system that offers broadcasters like KPIX unlimited communication workflow options, whether in the studio or out in the field. With Clear-Com’s breakthrough I.V.Core technology deliver-ing Intercom-Over-IP (IOIP) capabilities to new and traditional intercom systems, users of the IP-enabled V-Series panels or Concert software have seamless access to the same network as their colleagues working on the Eclipse. Whether they are in the of-fice next door or at a remote news bureau across the globe, IP-enabled V-Series and Concert users can always connect to the main Eclipse system or even wireless belt-pack users roaming the station.

For example, if covering a live event, station ENG crews can simply bring a laptop loaded with Concert 2.0 software and a headset to the venue and connect to the studio’s main Eclipse system through any standard internet connection on-site.

Further, the new Hybrid Network at KPIX will also support future station growth, with the ability to expand by adding more IP-enabled users to the intercom system via the IVC-32 card. Thanks to I.V.Core technology, KPIX users will experience low latency and high-quality audio regardless of the number of users.

“A clear plan for communications system evolution is critical when it comes to stations like KPIX who have developing requirements in response to shifting market demands,” says Bob Boster, Director of Sales, Americas and Asia Pacific, Clear-Com Communica-tion Systems. “As one of our most advanced communications solutions, the IP quali-ties of the Hybrid Network provide an excellent path for future system expansion. KPIX will also have full access to our extremely dedicated local service and support team, who will be working closely with KPIX in the coming months to install and configure the network.”

KPIX Selects Clear-Com’s Hybrid Network for Broadcast Operations

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Lady Gaga uses the UR2/Beta58 at the Brit Awards with a lavish dress get-up. I don’t really know what it looks like but all I can think about is watching Alien vs Predator and see the Queen get wasted by one of the Predators.

Gaga goes Lala at the Brit Awards

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21Coming Soon

The all-new Mikey is the perfect tool for mobile recording. Featuring two custom-tuned Blue capsules for stereo recording, a line-input, USB pass through and a stylish updated 230-degree rotating design. Mikey’s three gain settings allow for a versatile recording experience for everything from a loud concert to a whisper. Record lectures, voice notes, live music, interviews, and more. Mikey also comes with its own carrying pouch and headphone adapter or playback and monitoring. Mikey turns your iPod or iPhone into the coolest mobile recording device around!

The New Mikey: Record Anything. Anywhere. Anytime

22 Coming Soon

23

The opticalCON powerMONITOR is a cost-saving, purpose-built measurement (moni-toring) device for professional fiber optic broadcast, audio and video applications.By monitoring the attenuation of up to 4 transmission channels simultaneously the pow-erMONITOR informs “on air” and at first sight about the fiber optic quality status and simplifies troubleshooting work. Programmable alarm signals control the power budget of the fiber optic transmission lines at all times. As the user is supported with clear sta-tus info, potential problems can be identified early and maintenance intervals can be optimized. Features & Benefits• On air monitoring of fiber optic transmission quality• Simultaneously power measurement (0.1db attenuation measurement accura cy) of up to 4 channels• Programmable alarms (threshold settings)• Mains or battery powering possible (rechargeable batteries)• Low loss (0.5 dB max split loss)

Frequently Asked QuestionsIs the opticalCON powerMONITOR a fiber optic power meter?The powerMONITOR is more than that. It is able to monitor fiber optic attenuation of up to 4 channels simultaneously even while being on air. The cost effective design allows the widely use of the device in order to establish a comprehensive monitoring of all active fiber optic transmission channels.

Is on air troubleshooting possible with the powerMONITOR?Yes, this is one of the most distinguishing feature compared to an ordinary fiber optic power meter.

Can I save maintenance costs with help of the powerMONITOR?Yes, you will! The powerMONITOR helps saving money, eliminating the need of fixed maintenance intervals. It avoids needless cleaning and expensive measurements by reporting attenuation increase related to a fixed value.

Does the powerMONITOR simplify work with fiber optics for laymen?The powerMONITOR allows to define attenuation thresholds. Attenuation values be-yond a defined working range will lead to an alarm, indicating to non fiber specialist clearly that the cable has to be cleaned or that something else happened with the fiber optic transmission line.

Is a network based attenuation monitoring of all active transmission channels possible?The hardware of the powerMONITOR is prepared to enable such a possibility. The cor-responding software could be developed on request.

The New powerMonitor from Neutrik

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What’s NEW?

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Cloud Electronics is a UK manufacturer of high quality installationaudio mixers, zoners and multi-channel amplifiers with an

outstanding heritage of reliability and proven performance.

The new DCM1 Digital Zone Mixer is the first multi-processorcontrolled device with simple analogue user interface functions,

with optional remote controls and active input devices.

Simple. Flexible. Reliable.

Cloud Electronics Ltd 140 Staniforth Road Sheffield S9 3HF UK www.cloud.co.uk

47 Advert 225x84 v3:Layout 1 2/4/08 10:07 Page 1

The new VTX range was recently shown at the IEC Exhibition so watch out for more updates on this soon.

26

Monte Pittman uses Voice Live 2

February 8, 2010 | 07:10:02 PMFrom teaching Madonna to play the guitar to appearing with controversial American Idol singer Adam Lambert during ‘that’ night at the American Music Awards, you can certainly say that Monte Pittman has been there, seen it and done that in music. Here he tells us what it’s like to play with the biggest stars and also the best gear as he reveals how his TC-Helicon VoiceLive 2 has revolutionized his live playing…

Monte Pittman’s story is the stuff of films. He moved to LA from Texas to form a rock band and ended up teaching guitar. Word obviously got out that he was pretty good at do-ing just that because one of his first pupils was Guy Ritchie whose then girlfriend Madonna had bought him a guitar. Monte ended up teaching both Ritchie and, when he returned the favour, Madonna herself! So how does it feel to have taught the first lady of pop the guitar?

“It’s definitely something you take great pride in and we became friends so I didn’t have to audition for her!” Monte laughs referencing the fact that he has now played with Ma-donna, both in the studio and on tour for the best part of a decade.

“With Madonna we just got off of a long tour,” he continues, “possibly the longest tour she’s ever done, certainly the longest I’ve done with her and I’ve been with her for close to ten years.”

Being so close to Madonna has clearly influenced how Monte leads his own life as he ex-plains…

“One of the things I’ve learned from Madonna is variety. You go to a Madonna gig and you get everything and if there’s one thing I could have about me it would be variety. So I could be playing with [Monte’s industrial rock band] Prong, with Madonna, with Adam Lambert and doing my own acoustic stuff. I just like to keep it varied.”

Ah yes, Adam Lambert. As runner up on American Idol he’d already courted some con-troversy with many people thinking he should have won the show but a performance at The American Music Awards caused all sorts of outrage Stateside and Monte was there to witness it first hand as he is now playing alongside Lambert as he promotes his new album.

“I’ve know Adam since 2004 since we met on a show called the Zodiac Show,” says Mon-te. “I’ve studied music history and I don’t remember it being as safe as it is now. I think the American Music Awards and American Idol are just too safe and what Adam did was just get in there and shake it up a bit! Now he’s coming out with his album and we’re doing promos for that. We’ve just done Lettermen and The Early Show and many others.”

After having completed such a long tour with Madonna and with Adam’s album promo-tion going strong it’s incredible that Monte has had time to produce an album of delicate

27What’s New

acoustic solo material called The Deepest Dark. For this he used a very stripped down and traditional recording process and he gets help reproducing this live from TC-Helicon’s VoiceLive2.

“It was recommended to me because I needed to get some kind of processing and I know that TC-Helicon make the best,” says Monte. “It just so happened that they were coming out with the VoiceLive 2. It was recommended to me as a good vocal proces-sor and it has completely changed my live performances.”

“One of the things I love about the VoiceLive 2,” he continues, “is that you can plug your guitar into the pedal and that does any kind of pitch correction or determines your harmonies. I also love how you can just turn the effects on and off. Every once in a while I’ll use the harmonies out of the VoiceLive 2 like in a chorus and I can simply turn it on and off with the footswitch.”

Monte went to some extraordinary lengths to record his album traditionally and with as much atmosphere as he could muster and, as he reveals, VoiceLive 2 allows him to take some of that atmosphere out live…

“We recorded it at Paramount Studios in Hollywood and there’s this room where al-bums have been made for decades,” he says. “They have records there made by everyone from Hendrix to Led Zeppelin and I wanted to record my album to tape like they did. To me there’s a quality in that music that you don’t always have today. So I did this as ‘right’ as I could do it and I got John Dent who worked on some Nick Drake remasters to master the album.”

“We used really subtle tape echo and we also had access to some amazing mics that we set up around this big room in a golden spiral. We set them up to get an interest-ing atmosphere in the background and subtly mixed what they were picking up with the direct instrument sound to get this incredible atmosphere. But the thing with the VoiceLive 2 is that I can simulate the sound of the album when playing it live by having delays and things like that and just switch it on and off.”

He sums up his feelings for the pedal in three ways…

“Number one with TC-Helicon is that you have the best quality voice processors. Num-ber two is that you can plug your guitar in and if I’m strumming a G-chord and I’m singing something in G then it will take the harmony from the guitar, the inversion of the chord. And the third thing is that you can turn all of your effects off and on right there. You can turn your harmony off right there, your reverb, your chorus, and the doubling effect… And if you turn on the harmony it really sounds like there is another person singing with you. I’ve been experimenting when recording and writing just to use a dif-ferent harmony to come up with something completely different for the way you are singing your song.”

So what has Monte got lined up for the future? As you might expect, it’s as much and varied as ever…

“I’m going to be playing with Adam and doing my solo stuff in between and I’m work-ing on ideas for my next album,” he says. “It will have more strings and percussion, building on the first album. I’ll also always be involved with Prong too, with Tommy Victor the singer and guitar player, and we were talking the other night about doing more. I don’t like labels where you do this one thing and that’s what you are. Like I said earlier, I have to keep it varied.”

28 Artists

When Travis McCoy and drummer Matt McGinley first became friends in their up-state New York high school gym class, they could have never anticipated the success that awaited them.

After learning of each other’s talents, the two decided to start a band, and thus Gym Class Heroes was born. With the addition of Disashi Lumumba-Kasongo on guitar and Eric Roberts on bass, the foursome have achieved success beyond their wildest dreams. Their hit single “Cupid’s Chokehold” reached #4 on the Billboard Hot 100, and the single “Clothes Off!!” peaked at #5 on the UK Singles Chart. Also, the Gym Class Heroes were fortunate enough to take home the trophy for Best New Artist and were also nominated for Best Group at the 2007 MTV Video Music Awards.

Focusrite had the pleasure of running into Gym Class Heroes’ guitarist, Disashi in Miami, Florida at a red carpet event. Here’s what he had to say about Focusrite gear:

“When I record, I’ve been using the Focusrite Saffire. It’s extremely convenient, porta-ble and it gets the job done when I am recording in logic. I haven’t had any problems with it!”

Watch this video to hear more about why Disashi loves Focusrite gear, especially dur-ing his recording session with Busta Rhymes!

Disashi from Gym Class Heroes on Focusrite Saffire and Red Series

29

ALSO AVAILABLE Saffi re PRO 24Saffi re PRO 24 gives you similar i/o and the same class-leading audio

performance as its DSP brother. However, without DSP-powered

dynamics, reverb and VRM, it’s even more affordable.

Saffi re PRO 24 DSPIts 11pm, you’re at the most crucial stage of your track - the mix.

The baby next door has just stopped crying, the city slicker is

checking his stock portfolio and downstairs are dancing towards

bed. But you’re just getting started. Unfortunately you’ve been

told, wind your monitors down to whispering level, or wrap up the

session. We all know you can’t mix on headphones - or can you?

Imagine if you could use your headphones to hear your mix as you

would in the studio. Imagine you could model an ideal control room,

choose between 10 pairs of industry standard monitors, and select

from different listening positions. Imagine being able to reference

your mix on hi-fi , radio, television or computer speakers, all through

your headphones.

The Saffi re PRO 24 DSP comes with ‘VRM’ (Virtual Reference

Monitoring) - a Focusrite technology that models different rooms,

monitors and listening positions. VRM transforms headphones into

listening environments that are essential for mixing. With VRM you

can mix anywhere... and did we mention you also get an industry-

leading 16 in 8 out Focusrite Firewire Interface?

Find out more at www.focusrite.com/Saffi rePRO24DSP

30

Dj Mo Tiger

DJ Mo Tiger is a local DJ in Dubai who plays around in various clubs as well as teaches in SAE Dubai which has the only DJ course you can apply for in the country.

Mo is a big fan of the TTM57SL and uses it for live video jocking. If you would like to check Mo Tiger play you can always visit him at SAE or google him to find our where he plays next in your area.

Artists

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The TTM 57SL integrates the best of Rane hardware with Serato Scratch LIVE software, allowing you to fully

control Scratch LIVE without touching your laptop!

SCRATCH LIVE CONTROL SURFACE

Control Scratch LIVE without taking your hands o� the mixer. Navigate through your library, load tracks, hit cues, loop and control e�ects via the integrated control surface.

Foot-switch connection for hands-free looping, sampling and e�ects.

HARDWARE FEATURES

• Internal universal power supply

• 4 line / phono inputs• EQ kills on low, mid & high• Dual headphone outputs:

1/4” and 1⁄8” jacks• Rane’s famous “FlexFX”

e�ects loop system, in addition to built-in e�ects

• RCA, TRS and XLR outputs, each with dedicated level controls

EXTERNAL AUDIO INTERFACEUse the TTM 57SL as a high-quality USB audio interface for your favorite Mac or PC software – USB 1.1 with 8 channels of streaming 16-bit / 44.1 kHz audio and on-board DSP processing.

MAGNETIC FADERSRane’s legendary patented magnetic faders are the fastest, most accurate, and longest-lasting on the planet.The TTM 57SL uses the same faders and performance-oriented layout that made the TTM 56 famous.

EFFECTS24-bit effects using Rane and Serato’s award winning studio and live sound software technologies gives you professional studio-quality sound.

ADVANCED RECORDING CAPABILITIES

Record your mix directly to hard drive. Choose between one single mixed output, or channel 1 and 2 post-fader separately. Perfect for editing after the mix – a mixtape DJ’s dream!

FUTURE PROOFThe features and functional-ity of your mixer will improve with each new Scratch LIVE software release – and all Scratch LIVE updates are free!

Nicolas Kyvernitis Electronics Ent. Ltd.P.O. Box 3191, Sharjah, United Arab EmiratesTelephone: +971-4-2665244, Telefax:+971-4-2626682Email:info@nmkelectronics.comWeb:nmkelectronics.com

djmag_fullpage.indd 1 11/23/2009 4:38:58 PM

Contact Details

General EnquiriesTelephone: +971-4-2665244Telefax : +971-4-2626682Email : info @ nmkelectronics.com

Sales SupportRomeo Dela Torreromeo @ nmkelectronics.com

Donnie Chavesdonnie @ nmkelectronics.com

Randy Quizonrandy @ nmkelectronics.com

Shajahan K.Kshajahan @ nmkelectronics.com

Order ProcessingIda Rosauroorders @ nmkelectronics.com

LogisticsServando “Toto” Caraigalogistics @ nmkelectronics.com

ServiceShaju Thomasservice @ nmkelectronics.com

AccountsRoy Vargheseaccounts @ nmkelectronics.com

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Distributors of Professional Audio Equipment

www.nmkelectronics.com