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Issue 140
November 2014
MUSIC TO
PICTURE
ELVES, MONKS,
WITCHES AND DEMONS
Meet the man putting the
magic into music making
KATE
BUSH
OVER
The recording
of HOUNDS
OF LOVE
ALL NEW
WORKSHOPS
OF ROYALTY-FREE
SAMPLES!
www.musictech.net
MT140.cover.indd 1
REASON 8
1GB
5.99
www.musictech.net
02/10/2014 12:18
Also available:
www.novationmusic.com/launch
Welcome MT
Expert Panel
Studio Hardware John Pickford
Tech?
New to Music
r
Check out oude
ui
G
rs
ne
in
Beg
et
at musictech.n
DONT MISS
OUR GREAT
SUBS OFFER!
MT140.welcome.indd 3
|3
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MT Contents
MT Contents
Issue 140 November 2014
12 MUSIC TO FILM:
THE HOLLYWOOD
SOUND
Mark Cousins looks at the
history of sound to picture,
examining how film audio
has enhanced some of the
greatest Hollywood
movies of all time and how
you too can compose
successfully for film
6 Reason 8
The latest version of the legendary DAW
is here read our exclusive review now!
Technique
Interview
24 CLOAKS, ELVES
MONKS & WITCHES
4 | November 2014
MT140.contents.indd 4
59 How to record
acoustic guitar
MAGAZINE
01/10/2014 14:13
Contents MT
p79
p71
p66
PROPELLERHEAD
REASON 8, IZOTOPE RX 4
Plus reviews from RME, Best Service and
DAW Tutorials
AMAZING
NEW SERIES!
p75
TC Electronic
COVER FEATURES
006 | Reason 8 Full review of
Propellerheads latest release
p40
TECHNIQUE
040 | Music to picture
Working with hit points
044 | Composition techniques
Understanding how keys work
p59
p48
Bluffers Guide
106
A BLUFFERS
GUIDE TO EQ
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MT Lead Review
In-depth review
Hands-on guide
Details
Price Reason 8:
349/405/$449
Reason Essentials 8:
99/120/$129
Reason 8 Upgrade
(from any previous
Reason version):
89/129/$129
Contact
Sound Technology,
01462 480000
Web www.soundtech.
co.uk
System requirements
Dual-core CPU
Mac OS X 10.7 or later
Windows 7 or later
4GB RAM 3GB disk
Key Features
PROPELLERHEAD
Reason 8
Choice
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So what is it?
Lets start with a quick recap for those
new to Reason. Its a dual-platform
MIDI and audio production
environment with a focus on the Rack,
a central area where you can load a
near-infinite number of instrument
and effect modules in order to
generate and process sound. You can
keep going until your computer runs
out of power, but Reason is so well
optimised for modern hardware that
any decent system should rarely come
close to suffering actual performance
problems. The sequencer enables you
to record, edit and arrange audio and
MIDI parts, and the mixer contains
pretty advanced channel strips and a
master processing section for shaping
your mixes.
Theres a lot of other stuff too, much
of which has been in Reason for a little
while. Automation of devices is
straightforward, and an integrated
system of internal controller
assignments means you can quickly
map controls to almost any parameter.
Reason uses virtual patch cables to
enable you to manually route sound
anywhere, with a similar system for
Control Voltage just like youd get in a
MAGAZINE
30/09/2014 14:21
Method spot
Reason 8 has a redesigned, flatter look and a new integrated Browser that
enables you to preview audio samples and also drag and drop any module or
patch straight into the Rack. The sections are all linked too, so for example if
you click an insert effect patch button in the mixer or a Kong sample load
button, the Browser will update itself to show that folder or that section of the
sound bank. This quickly becomes second nature to work with, and really
speeds up workflow.
Find my stuff
Related to the new interface design is
the second major new feature: the
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Alternatives
Reasons appeal has always been its self-contained nature, so unlike most
DAWs it doesnt support plug-ins, except in a roundabout way by using ReWire.
As noted, Rack Extensions also provide a way to expand your system. Apples
Logic Pro X is effectively subsidised by Apple at 139.99 and is a very powerful
DAW with some great bundled content. Its Mac-only, though, and arguably not
as easy to get to grips with as Reason. The standard edition of Ableton Live
costs around the same as Reason and has 11GB of sounds but only comes
with three instruments and 37 effects. Ultimately Reason users tend to value
its accessibility and unique Rack system.
Rack em up
In terms of the modules that come
with Reason itself these are largely
unchanged, though its still a great
selection. Old staples such as
Subtractor and ReDrum sit alongside
the NN-XT multisampler, Kong Drum
Designer, Thor synth and others.
Theres cool retro delay from The Echo,
tempo-based trance effects from the
Alligator, pitch correction, voice
synthesis, dirt from the Pulverizer and
excellent dynamics processing from
the MClass effects, plus a fair few
other units. With Rack Extensions you
are free to try or buy from an evergrowing range by third-party
developers who make utilities,
instruments and effects of all kinds.
Rack Extensions kind of frees the
Props up from having to make so many
of their own modules, though they do
continue to be active in this area. The
only two new modules in Reason 8 are
called Softube Amp and Softube Bass
Amp, two amp/speaker emulators
developed in collaboration with
Softube (as the name suggests). These
will eventually supplant the Line 6
modules (still available) and are really
nice emulators that do a great job of
warming up stringed instruments but
also anything else you put through
them such as beats or vocals.
Beyond these are many smaller
changes and tweaks, some
rearrangement of the furniture, and
nice touches such as double-clicking to
add or remove notes in the MIDI editor.
MT Verdict
+ New Browser really helps
improve workflow
+ New look is more modern
+ Still an excellent set of
modules supplied
+ Sequencer is powerful but
friendly
+ Mixer is advanced and
professional
+ Stable and well optimised for
modern hardware
+ Expandable with ReWire and
Rack Extensions
+ Send MIDI out to real hardware
+ New guitar processors sound good
+ Flexible window management
- Probably not a huge upgrade if
youre on version 7.1
- Still most effective on a twoscreen setup
- Function to play patches from the
Browser has gone
- Waveform editing could integrate
more cleanly into the workflow
Reason is still one of the best DAWs
out there, with a unique approach
to music production that offers
flexibility, power and a workflow
that prioritises creativity over
digging around in menus.
Reason to be cheerful?
Some clever stuff has doubtlessly
gone on behind the scenes with
Reason 8 in addition to the obvious
changes. Its always been among the
very best optimised and most stable
DAWs around, and in some ways
details out of the way of your musicmaking. Whether the upgrade from 7 to
8 is for you will depend on whether you
like the idea of an integrated browser,
new look and the new guitar modules.
What does seem likely is that more
stuff will be added in the next minor
updates, and for that you will need
Reason 8. MT
9/10
New modules such as the Softube Amp sit alongside Reason mainstays
Malstrm and NN-XT in the trademark Reason Rack.
MAGAZINE
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MT Feature
THE HOLLYWOOD
SOUND
Big-screen scores have evolved over decades of filmmaking, but
what really makes a piece of music truly cinematic?
Mark Cousins unlocks the secrets of soundtracks
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MAGAZINE
25/09/2014 13:55
Although few could deny the power of music, its early relationship
with cinema was a complicated one, fraught by both the logistical
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A sound revolution
Like popular music, its interesting to note how
developments in technology changed the way
composers and directors thought about the role of
music. Throughout the 50s, 60s and 70s, therefore, film
music witnessed some major innovations, partly in
response to developments in recording technology
(particularly the advent of stereo recording), but also in
response to composers and directors seeing music in a
different way. One of the key players in Hollywoods
modernist phase was Bernard Herrmann, whos
pairing with Alfred Hitchcock arguably produced some
of the some of the most imaginative (and daring)
combinations of music and picture ever created.
Through a series of iconic scores for films including
Psycho, Vertigo and North by Northwest, Bernard
Herrmann demonstrated that sound itself, or more
specifically the colour of sound, was just as important
as melody and harmony. In many ways, Bernard
Herrmann seemed to actively avoid the romantic
trappings of a full-sized symphonic orchestra, often
assembling a unique combination of instruments
MAGAZINE
25/09/2014 13:56
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Leitmotif mastery
One of the key techniques John Williams returned to
with Star Wars was the Korngold/Wagner concept of
leitmotif. Indeed its hard to separate John Williams
MT Spotlight Technique
Recording a
Hollywood
Soundtrack
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MAGAZINE
02/10/2014 14:11
Contemporary Hollywood
If theres one composer whos wholeheartedly
embraced and capitalised on the possibilities of new
technology, though, it has to be Hans Zimmer. From
relatively humble beginnings (writing the theme tune
for the BBCs Going For Gold back in the 80s), Hans
Zimmer has revolutionised the sound of Hollywood
and the role of music in film in much the same way
as Erich Korngold, Bernard Herrmann and John
Williams did before him.
Like a growing number of technology-based
media composers, Hans Zimmer is notable for his
lack of formal music training. In interviews, he has
suggested he spent as little as two weeks learning
piano, instead preferring to spend his time
modifying his instrument to create new sounds.
Clearly these early experiences have shaped his
Electric dreams
Despite the apparent success of Star Wars and the
flood of other orchestral soundtracks that followed it,
the more electronically-driven score was still making
slow and steady progress. One key shift came with
Vangelis scores for Chariots of Fire and, more notably,
Blade Runner. Up until these two films, the
assumption was that an electronic score could offer
little in the way of humanity, thanks to its other
world-y sound, so perfectly optimised in Forbidden
Planet in 1956. Vangelis sound world was different,
using instruments such as the Yamaha CS80 in an
almost symphonic way, all drenched in sumptuous
Lexicon 224 reverb that imbued the Blade Runner
soundtrack with a tangible sense of atmosphere.
The sound of Blade Runner marks a significant
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MAGAZINE
25/09/2014 13:56
Essential Listening
Star Wars
John Williams
Star Wars reignited the
traditional Hollywood
score, ushering in
a series of colorful
orchestral soundtracks
(many by John Williams
himself) that still
dominate cinematic
music to this day. Star
Wars is a masterpiece in leitmotif writing where the
themes have become as famous as the characters
themselves, as well as defining the narrative journey
across all six films.
Vertigo
Bernard Herrmann
The pairing of Bernard
Herrmann and Alfred
Hitchcock undoubtedly
produced some of the
finest combinations
of music and images
ever created. Just
listening to the first few
opening bars of Prelude
and Rooftop from the Vertigo soundtrack perfectly
illustrates Bernard Herrmanns genius, with its
undulating arpeggios on strings, harp and vibraphone
punctuated by strident low brass.
Inception
Hans Zimmer
Inception is Hans
Zimmers finest work
and a perfect pairing
of sound and picture,
even to a point where
the music embeds itself
into the narrative of the
film. The sound of the
kick, a song by dith
Piaf, is re-orchestrated and slowed-down multiple
times so that we hear it just like the characters in the
film do.
A new hope
Rather than throwing away the orchestra, as happened
in the 50s and 60s, the sound of contemporary
Hollywood seems to embrace both the cinematic sound
that we all know and love, as well as pushing new
sonic boundaries that challenge and alert our ears
attention. The sound of a 400-year-old musical
phenomenon the symphony orchestra is
still a crucial part of
our
cinematic experience,
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MAGAZINE
25/09/2014 13:56
New M-Series...
...same sonic signature
www.eu.audio-technica.com
ATH-M20x
ATH-M30x
ATH-M40x
ATH-M50x
MT Feature Interview
INDUSTRY GURU
Eduardo Tarilonte is producing some of the best sample
libraries around, taking us on mystical journeys to
places and times both real and fantastical. Andy Jones
meets the man at the forefront of sound design
f you are of a certain age you might remember the pop/dance phenomenon
that was Enigma. It was an act formed by Michael Cretu that very much
tapped into the chilled Ibizan vibes that were doing the rounds during the
first sunset of dance music around the early-to-mid 90s. Cretus Enigma
embraced the post-rave feel with laid-back grooves, sensual female vocals
and monks. Gregorian chants would be his key ingredient and helped him shift
24 | November 2014
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MAGAZINE
25/09/2014 09:46
one Eduardo Tarilonte and his Best Service libraries. MusicTech was one of the
first to pile plaudits on Tarilontes early Forest Kingdom series, but its been his
vocal fantasy series that has put him on the sound designing map. Precision
vocal recordings have made these essential packages for anyone wanting
original soundscapes, whispering, chanting, spoken word and phrases within a
wide variety of genres. Hes covered everything from elves (Shevannai) to the
Renaissance (Altus) while Mystica (reviewed on p71) offers bewitching female
vocals that act as a counterpoint to the Gregorian chanting from Cantus.
And that Gregorian chanting brings us full circle back to Enigma, because so
good is Cantus that Mr. Michael Cretu himself has endorsed it. And so good are
the rest of Tarilontes collections that we are endorsing him with this coveted
MusicTech Industry Guru interview
MusicTech: How did you get into recording in the first place?
Eduardo Tarilonte: I started my career as a musician, although my dream was
being a soundtrack composer. When I was a child I started playing accordion
but I got hooked on synthesizers the first time I listened to them. I remember
during my childhood playing lots of soundtracks, TV themes and Jean Michel
Jarre music on a Technics organ. I still remember the day that I could afford my
first Korg synth it took me almost two years to pay for it! But I was then
composing every single day, so when I turned 18 I decided to dedicate my life to
music and fight for my dream of being a composer. Over the next 14 years I
struggled to make a living from music, playing in many bands, mainly folk and
Celtic and rock, while I composed music for some TV companies.
Despite all the troubles, which were a lot, I never gave up.
Besides synths there was something I loved even more: virtual
instruments. I am 41, so when I started, the idea of making a
great mock-up just with a computer was almost a dream, but I
had the chance to see how that world evolved. Of course, I never
thought I could end up being a sample library developer! In 2004
I composed a track using a library from Bela D Media. I was
surprised when they contacted me asking if they could use it as
an official demo. Of course I said yes!
Some months later, Frank Belardino, the owner of the
company, asked me if I would like to be a sample library
developer. I was shocked, but didnt think twice, since virtual
instruments were fascinating to me. I started to think what I
could do to create a great sample library. Since I was playing in
Celtic groups for a long time, I decided to make a Celtic sample
library dedicated to winds: Celtic Wind. It was released in 2006
and was one of the first ones to use the advantages of the new
Eduardo
Tarilonte
MT140.Interview.indd 25
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K812
TECHNOLOGY
Distributed in the UK and Eire by Sound Technology Ltd | 01462 480000 | www.soundtech.co.uk | info@soundtech.co.uk
MT140.Interview.indd 27
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Welcome Home
EGG 150
MONITORING SYSTEM
Designed in the UK. Now made in the UK. Loved by the World.
Our unique monitor chassis and custom amplifier give near-zero diffraction and resonance and an
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MT: How did you get involved with the Best Service
vocal collections?
ET: As I explained I started my career as a composer,
but soon I realised that virtual instruments were
even more appealing. In 2009 I started to work with
Best Service. That was my best decision so far as
not only did I get perfect business partners but also
best friends. A big part of my success is thanks to
Best Service. Regarding the vocal libraries they
have always been in my mind since the beginning,
but there is no doubt that vocals are the hardest
thing to sample. You can tweak any sample from any
instrument and it still sounds good, but if you tweak
a vocal sample even slightly it will sound fake
One of the first things I wanted to do when I
started developing vocal libraries was a playable
library: something easy to use in a single patch
like the other instruments I did before. So, a mix
between true legato and words and syllables was
a must. Thats how the auto vowel idea came up.
I wanted to be able to play words and syllables
and blend them with the true legato articulation
automatically. So I recorded true legato in five
vowels there is no playable vocal library without a
good true legato. The auto vowel feature looks like
something simple and logical once you play it, but no
one had done it before.
Another decision I had to make was choosing to
be able to write and sing almost everything or not.
In my opinion a library with a full word builder will
never sound good even with the technological tools
and advancements we have nowadays, so I decided
to record quite a few words that could be split later
to create a lot of sonic possibilities. I prefer to create
a real feeling of a spoken language without any
meaning rather than being able to write everything
and having it sound fake.
Speaking about Cantus and Mystica, one of my
main goals was recording the choirs without filtering
the samples. I wanted the real sound. Many choir
libraries sound great, but you can notice that some
have been heavily filtered to avoid resonance issues.
That removes the soul from them and doesnt allow
you to use them in an out-of-the-box context.
It has been a huge challenge, but since I love
challenges I will still release more vocal libraries. I
have learned a lot since Shevannai was released.
MT: Where did the idea and inspiration come from to
produce the range in the first place?
ET: Shevannai was my first vocal library and its
inspiration came from The Lord of the Rings. When I
listened to the track Twilight and Shadow featuring
Rene Fleming I was so impressed that I said
to myself: I must sample a vocal library able to
transmit such deep feelings. That was in 2009 and
Shevannai was released in 2013. That shows that
I take a lot of care to record exactly what I want. It
took me a long time to find the right singer. After
Shevannai, the dream of recording a Gregorian choir
came true. My main inspiration has always been to
create emotional yet cinematic sample libraries.
MT140.Interview.indd 29
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25/09/2014 09:46
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MAGAZINE
25/09/2014 09:47
www.the-komplete-instrument.com
Landmark
Productions No. 32
The tracks
Engineers Del Palmer, Haydn Bendall, Brian Tench, Paul Hardiman, Nigel Walker,
James Guthrie Producer Kate Bush Produced at Wickham Farm Home Studio
In light of her glorious return to the stage weve decided to revisit Kate Bushs
finest hour. The textured, melodic Hounds of Love found the artist firing on all
cylinders. Andy Price throws his shoes into the lake
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MAGAZINE
25/09/2014 09:49
growl the word throw on this, the albums title track. Hounds
of Love kicks off with the sampled phrase Its in the trees, its
coming! (taken from horror movie Night of the Demon) before
exploding into a gorgeous synth-underbed, pulsing with a big
drum sound. Very soon Bush once again demonstrates her
powerful vocal range, and even though a fascinating musical
tapestry is created here it is this vocal that is impossible to
ignore. The songs synth-pad base is countered by a folk-y,
repetitive string section that serves to fuel the paper-thin
tension evoked by Bushs singing.
The Big Sky is dominated by a funky, bouncy bass guitar,
multi-tracked vocals and what is essentially a singular hook
that is repeated throughout the song. The simplistic guitar riff
that kicks in towards the songs conclusion serves as a
secondary hook before Bushs gospel chorus of multi-tracked
vocals rounds off the song in an unexpected way.
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Dont give up
As were sure youre aware, the music world has been
all-a-fluster of late due to Bush returning to live performance.
She has just finished a 22-night residency at the
Hammersmith Apollo, and the Before the Dawn show focuses
The players:
Kate Bush
Conceptual singer/
songwriter and
producer, Bush created
her own studio at
Wickham Farm, giving
her the freedom and
time to craft her
musical landscapes.
36 | November 2014
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Del Palmer
Paddy Bush
Kates multiinstrumentalist
brother Paddy
contributed guitar,
mandolin and a variety
of other unusual
instruments, including
the didgeridoo!
James Guthrie
MAGAZINE
25/09/2014 09:49
STEP ASIDE
Find out more about TFP's amazing workflow and arsenal of content at
M-AUDIO.COM/TFP
2014 inMusic Brands, Inc.
MusicTech.indd 3
23.09.2014 16:06:39
www.thomann.de
MusicTech.indd 4
23.09.2014 16:06:39
Powered by
Working with
hit points
Requirements
Our Producing
Music To Picture
feature is illustrated
using Logic but you
can apply the
principals to
whatever
DAW you use.
Getting your soundtrack to follow the action on screen is an essential part of composing
music to picture. Mark Cousins shows you how to hit your marks.
On the disc
Accompanying
project file included
on the DVD
Just in time
Before diving in at the deep end its worth considering the
broad overarching tempo of your cue, balancing the need to
precisely hit all the markers as well as matching the
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MAGAZINE
25/09/2014 10:15
Were using the first bar to cover the two-pop, so well leave this
at 120bpm unless you want more silence before the music
starts. On bar two, therefore, insert a new tempo event that will form
the basic tempo of our cue.
Adjust the tempo event on bar two to find a best fit for the given
hit points. Ideally the markers should align themselves with a
downbeat or a subdivision of the bar. 98bpm works well, but were
going to choose 128bpm for a faster cue.
In situations where the marker falls mid bar, you always have the
option to spot the action with a music feature say, a chord stab
or percussive effect on the accompanying beat. If the hit point
needs more impact, though, this isnt a good strategy.
For trickier alignments you can always use a small bar of silence
before a given marker point, something that can also work to
your musical advantage. To start with, place two tempo events at the
beginning and end of your chosen bar.
01
03
05
02
04
06
MT140.Tutorial Logic.indd 41
41
25/09/2014 10:15
Adjusting the tempo of your silent bar will enable you to precisely
align the next marker. Raise the tempo to pull the marker closer,
lower it to move it away. Consider using a reverse sound to fill the gap,
or just leave it empty for dramatic effect!
While it wont necessarily help align your music to a hit point, its
also interesting to contrast simple time signatures (like 4/4) and
compound time signatures with a triplet feel (12/8). To maintain the
4/4 pulse, though, youll need to raise the tempo.
Starting off in your original 4/4 tempo, insert a new region and
then ensure that it is time-locked to SMPTE. Now, when you
change to 12/8 notice how the region effectively becomes shorter than
a bar, as the DAW is counting triplets as quavers.
07
09
11
42 | November 2014
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08
10
12
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25/09/2014 10:15
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25/09/2014 11:09
Requirements
Understanding how
keys work
Our Composition
Techniques features
are illustrated using
Cubase but you can
apply the principals
to whatever
DAW you use.
Before we begin composing we need to understand the importance of keys and how a
working knowledge of them can help us devise creative ideas. Andy Price explains
On the disc
Accompanying
project file included
on the DVD
Notes of note
Harmonically, the notes in each key all lead back to the
tonic, as a sense of resolution is achieved when we end up
back there. Music is considered tonal when it adheres to
this structure, and the human ear (and brain) experiences
pleasure when resolution is achieved through the use of
keys and tonics. When the whole piece doesnt adhere to
this you might call the music
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MAGAZINE
25/09/2014 10:11
Key of F Major
F, G, A, B , C, D, E
Every key has three major chords contained within: the first,
fourth and fifth chords are the majors. The fourth chord is a
perfect fourth from the first (the tonic) and the fifth chord is a
perfect fifth away.
As you can see on the circle of fifths, the root notes of the fourth
and fifth chords are arranged to the left and the right of the
tonic note, therefore you can easily work out the notes that make up
your chords.
03
Useable chords for your songs can all be found in the same
quadrant as the chord youve started on using chords from
opposite areas of the circle usually results in dissonance.
This can be a great way to alter the atmosphere and mood of your
compositions practice upping your keys by a fifth often and
soon the process will stick. Your DAW makes this process even simpler.
01
05
02
04
06
chords work and sound the way they do can really help you
on your artistic journey. Writing music may come from the
heart and you may have already written great music before
reading this feature. Indeed, dont limit yourself if you
stumble upon a chordal combination that strangely works,
despite not being part of the same key, then by all means
use it to build a piece of music. I hope this has given you a
solid overview of how keys work if you grasp the theory it
will make the songwriting process far easier the next time
you sit down to write a future classic! MT
MAGAZINE
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November 2014 | 45
02/10/2014 14:14
Look at the circle of fifths. As you can see, the major keys and
corresponding minors are handily arranged, with the minors
laying within the circle. Memorising these relationships
subconsciously is crucial.
The tonic of a relative minor is the sixth note of a major key. For
example, the sixth note in the C major scale is A. Am is therefore
the relative minor of the C Major scale.
01
03
02
04
03
Now its quite possible that this new section sounds completely
unlike the initial four-chord major loop you began with, and may
be totally dissimilar to anything youd write otherwise, so use this as a
starting point for an entirely new composition.
05
46 | November 2014
MT140.tutorial cubase.indd 46
As you can hear, using the circle of fifths to tweak your chords is
undeniably useful and can quite often lead you into musical areas
youd perhaps not naturally go for. Over time youll detect a keys
relative minors by ear!
06
MAGAZINE
25/09/2014 10:11
eDNA
ELECTRONIC DNA
PHASE #ONE...
EARTH
ORGANIC SYNTHESIS
S P I T F I R E
w w w. s p i t f i r e a u d i o . c o m
Build beats
from scratch
Requirements
Our Beat
Programming And
Sound Design feature
is illustrated using
Reason but you can
apply the principals
to whatever
DAW you use.
In the second part of his beat programming and sound design series Hollin
Jones build his own beats from scratch. And its easy!
On the disc
Accompanying
project file included
on the DVD
Going further
If youre looking to get even further into drum synthesis its
not just Kong that can do it, even though its Reasons
dedicated drum synth. Many other synths from many
King of Kong
The genius of Kong is that you really dont have to be a synth
expert to build your own custom drum kits. The modules are
48 | November 2014
MT140.TUT.reason.indd 48
MAGAZINE
25/09/2014 10:05
Click the Drum 1 pad, then click the Show Drum and FX button to
open the module area. From the Drum Module area, click on the
Selector menu and choose a generator type. Here we have chosen a
Synth Bass Drum.
Hit the pad or press a key to trigger the sound. Use the knobs
on the generator to control pitch, tone, click parameters and
attack and decay times. You can easily design a cool-sounding kick
drum sound.
Move on to Pad 2 and this time select a snare module. Here its a
Physical Snare Drum, and you can alter the pitch, tuning, snare
tension and how much signal from underneath the snare is included in
the signal.
Move to the FX1 slot for the snare module and use the menu to
add an effect. Weve chosen an Overdrive / Resonator unit and
dialed in some drive and resonance to give the snare sound more bite
and power.
Repeat for the second FX slot if you like to add more processing.
Weve chosen a Tape Echo unit and modified the feedback and
dry / wet level to create a pleasing dub-style echo on the snare, which
remains tempo-synced.
01
03
05
02
04
06
MT140.TUT.reason.indd 49
| 49
25/09/2014 10:05
Do the same for as many of the remaining drum pads as you like
to continue creating the kit. You can have as many snares, hi-hats,
kicks and toms as you like, so maybe consider using two or three
different snares within a kit for variety.
07
In the Pad Group section, hit the Q button to open Quick Control
view and you will be able to control link, mute or alt settings for
any pad. For example you can use this to make one pad, when struck,
also trigger another pad.
08
the Buss and Master FX slots you can assign effects to process
10 In
the whole signal. Buss effect send levels can be controlled per
pad in the main LCD area of Kong at the top left. Aux levels relate to
any connected aux effects you may have added.
Hit Tab to spin the rack around and you will see individual channel
outputs for all 16 modules in Kong. Pick any of these up to route it
manually or right-click to see a list of available destinations anywhere
inside the project.
Kong can even process external audio signals. From the rear
panel, right-click on the Audio Input jacks to direct sound from
anywhere else inside the Rack into Kongs effects. Reason will only let
you patch together compatible ports so its safe.
09
11
50 | November 2014
MT140.TUT.reason.indd 50
12
MAGAZINE
25/09/2014 10:05
W W W. P O I N T B L A N K LO N D O N . C O M
For course enquiries call +44(0)20 7729 4884 or email advice@pointblanklondon.com
Audio
Editing Tips
Youve finished your recording sessions, and now its time to process your audio. Get on the
fast track to sonic success with Hollin Joness essential advice
02
ZOOM IN
Software enables you to zoom in on any waveform to
sample level, and this gives you a great deal of power.
Glitches or other events that last for only a fraction of a
second can be identified and processed or corrected by
zooming right down. The finer the zoom level the quicker the
playhead will disappear offscreen, so it can be a good idea to
set up a loop and disable autoscrolling as this will probably
drive you mad otherwise.
02
01
The accuracy of your
edits will be heavily
affected by your snap
settings (above).
01
52 | November 2014
MT140.Tips.3aj.indd 52
03
MAGAZINE
29/09/2014 08:46
05
03
04
Spetrographic
analysis will give
you a whole new
view of your audio
(above left).
Cant get a perfect
take in one go?
Simply paste
together the best bits
of multiple passes
(above right).
(Below left) Process
isolated parts of your
audio without having
to cut it up first.
(Below right) Learn
how to batch process
to save huuuge
amounts of time.
software will have a name for it) and audition each one.
Maybe youll find the first line of take one sounded great,
then the next line of take three, then the last bit of take one
again. By cutting or marking each take appropriately you can
build a perfect take from the constituent clips. Mini
crossfaders are often available to smooth the transitions
between takes.
BATCH PROCESS AUDIO FILES
This is more applicable to situations where you have
already made edits or set up plug-in chains and you want to
apply the same settings to a number of files. Loading lots of
audio tracks into a DAW, applying a track preset to each one
and then exporting them as stems is possible but its a
long-winded approach. Ideally what you want to do is batch
process all your sounds at once. Software such as Sound
Forge or WaveLab has built-in batch processing options. With
these tools you can make all your settings for a single audio
file, say, for example, a plug-in and EQ chain to clean up some
voiceover recordings, and then apply it to a bunch of files at
once. Hit go and leave it to work. Its a massive timesaver and
you can even sometimes specify things such as auto fades at
the start and end of each file, further saving you time.
06
04
05
06
MT140.Tips.3aj.indd 53
| 53
29/09/2014 08:46
07
10
08
09
09
Quickly create
presets with
groove extraction
tool (above).
EXTRACT GROOVE
Many DAWs will enable you to extract the groove from
either a MIDI or an audio part, store this as a quantization
preset and then apply this to another part. So you can impose
your own groove maps onto recorded or sampled audio parts
using this technique to change their feel. Software such as
Melodyne and Cubase also lets you extract pitch data to MIDI;
so, for example, you can analyse a vocal take and create a
MIDI-triggered duplicate.
10
11
SNAP-TO-ZERO CROSSINGS
Many DAWs have a snap to zero crossings option that
you can turn on when editing audio waveforms. This works
independently of your main application snap settings and
ensures that a cut is not made at a point in the waveform
where signal exists, but rather where the level is zero. This
means that when you edit two parts together you shouldnt
get any nasty clipping caused by clashing waveforms.
12
54 | November 2014
MT140.Tips.3aj.indd 54
MAGAZINE
29/09/2014 08:46
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T+S_mtech140.indd 1
02/10/2014 14:53
17
USE REGIONS
Instead of making physical cuts to audio files you can
often define regions within a clip and then use markers or
similar commands to jump back and forth between regions. If
you decide you want to make edits permanent there is
usually the option to divide clips to new clips based on the
regions you have set up.
18
14
Get more out of
your audio by
creating your own
REX loops (above).
13
14
Keyboard shortcuts
will make your
workflow markedly
quicker (right).
Never used the Pen
tool? Learn now its
more useful than you
might first think
(below left).
17
Set up regions to
quickly navigate your
way around your
tracks (below right).
15
19
15
18
ALWAYS BE CROSSFADING
When you edit audio clips and arrange them on the
timeline, there can be occasions where two clips glitch as
they cross over because one or both waveforms are not
perfectly cut. To avoid this, apply short crossfades to remove
any glitching. Some DAWs such as Cubase are able to
automatically add these for you.
16
56 | November 2014
MT140.Tips.3aj.indd 56
tools to make working with audio easier. These can save you
lots of time, with tools for trimming, cropping, deleting
overlaps and moving data to preset locations all available in
many applications. These tools typically cut out tens of
mouse clicks on your part, so if youre spending hours on the
donkey work of editing, look to see if youre missing a trick. MT
MAGAZINE
29/09/2014 08:46
NEVER BEFORE has this performance been available in THIS PRICE RANGE.
www.scvlondon.co.uk
Distributed by SCV London: Call 03301 222500 for your nearest dealer
How to record
Guitar part 1
Capturing the true essence of the humble acoustic guitar can be a tricky task, but with
some basic know-how and just one (yes, one!) microphone you can record a truly
electrifying tone. John Pickford tunes up, turns on, and rocks out
On the disc
Accompanying
example audio files
included on the DVD
| 59
25/09/2014 15:27
01
Acoustic guitars
benefit from the
natural reverb of a good
recording room
microphones to record acoustic guitars, as they are
often more flattering than dynamic types. Opinions
differ as to whether a large or small diaphragm
condenser is preferred; however, the sound of the
instrument and the role it will play in the final mix
should influence the choice to a greater degree. Even
with the best EQ and compression a midrange-y parlour
guitar will just not cut it if your track requires a bass-y
jumbo-style sound.
Large diaphragms tend to have a fatter, full-bodied
sound, which is often desirable if the guitar is a featured
instrument, as you would hear in, say, a solo singer/
songwriter performance. Small diaphragm mics are
usually favoured for their exceptionally detailed
top-end response, which is useful to help the guitar cut
through a busy mix.
Thats not to say that dynamic mics are completely
unsuitable, though, as a well-positioned dynamic mic
will sound better than an expensive but poorly placed
condenser. Ribbon mics (which are a type of dynamic
microphone) can sound gorgeous on acoustic guitar, as
they often sound big and warm but still capture the
60 | November 2014
Start by making sure the guitar sound good in the room. If your recording room is
small, boxy and dry-sounding, try another room. Alternatively, increase ambience
by removing soft furnishings and adding some reflective surfaces. A handy trick in
heavily carpeted rooms is to place a sheet of hardboard or something similar beneath
the player in order to pick up some reflections from the floor. When all else fails, add
some artificial room ambience during processing.
02
03
MAGAZINE
25/09/2014 15:27
L E G E N D
R E B O R N
Sound decisions
The most common mistake made by novice engineers is
to point the mic straight at the sound-hole. Sure, it
looks like the right thing to do, but this position often
exaggerates any low-end boom that could potentially
clutter up your mix.
Its far better to find a position that picks up a more
even balance of the instruments sound. Remember, an
acoustic guitars sound is made up of several elements:
resonances from the sound-hole, wooden panels and
internal bracing, as well as the sound of the strings, so
finding a spot that captures a larger slice of the
complete sound is best.
Aim to find a position that offers a decent overview
of the guitars sound without too much unwanted
low-end information, especially when using a
directional mic with a fixed cardioid polar pattern. If you
have a mic with an omnidirectional pick-up pattern you
can afford to move in a little closer if desired, as the
low-end boost caused by the proximity effect of
directional mics isnt an issue. Also, an omni mic will
capture a nice, even amount of room sound.
One problem with this mic position is that with some
instruments the sound can lack body, which can be an
issue if the guitar is a main part of the recording. If,
however, the guitar forms part of a busy mix, the thinner
sound can be positively advantageous, particularly if
you want the rhythmic strumming of the strings to cut
through without too much midrange frequency
information cluttering-up the production.
Another problem can arise from unwanted noises,
either from the players fingers sliding along the strings,
or annoying fret buzzes. A good solution to this problem
is to position the mic away from the neck and further
along the body towards the bridge.
For a more full-bodied tone, experiment with
positions that have the microphone placed above the
sound-hole, angled downwards this position is
excellent for capturing a well-rounded sound while
avoiding the blast of air emanating from the sound-hole.
If the guitar youre recording is an electro-acoustic
then you can DI it onto a separate channel (preferably
through a preamp first to add warmth) and then blend it
in later (if required) to thicken the sound. (Granted,
were meant to be talking about recording with just one
mic but as this is a pickup we can get away with it!)
Listen to the sound the guitar produces by moving your head around in front of
the instrument (whilst someone else is playing it, obviously!). You will hear the
sound change quite significantly from one position to another. The sound should
become lighter as you move away from the body and towards the neck of the guitar.
Try to find a spot that captures a full, resonant tone without excessive boom, while
also picking up the detail of the strings being plucked and strummed.
01
Once you have set up a microphone, put on some headphones with a feed of the
signal and sweep the mic around, moving along the guitar at various distances
and heights to find the best sound. Make sure the headphone level is sufficient to
block-out the ambient sound of the instrument without being deafeningly loud.
Better still, if you have someone to assist you, get them to sweep the mic around
while you audition the sound on your monitors.
02
Guitar hero
With these tips and techniques you should be able to
produce a recorded tone that gets the best out of the
natural sound of the instrument. Next month well
look at some multi-micing set-ups as well as
recording acoustic guitar in stereo, double-tracking
and how best to record someone singing and playing
acoustic guitar simultaneously.
Finally, well see how subtle EQ, dynamics control
and reverb can help bring out the very best in your
acoustic guitar recording. MT
62 | November 2014
03
MAGAZINE
25/09/2014 15:27
New baby
The Genelec family expands with the new 8010
Producers and recording musicians everywhere rely on Genelec 8000 Series monitors for
the unadulterated truth about their mixes. But what happens when youre away from the
studio?
Now you can pop a pair of the new 8010s in your bag and youll always have access to
consistently accurate, industry-standard Genelec 8000 Series monitoring, wherever you
find yourself working.
Visit the Genelec family of monitors and see the new baby at www.genelec.com
www.genelec.com
UK distribution by Source www.sourcedistribution.co.uk/genelec T: 020 8962 5080
facebook.com/sourcedistribution
twitter.com/sourcedist
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01/10/2014 13:51
MT Reviews
Hardware
Software
Mobile Technology
Samples
iZOTOPE
RX 4 Advanced
Adding a host of new modules, can iZotope really
improve on the prowess of RX 3? Mark Cousins
finds out what version 4 has to offer
66 | November 2014
MT140.Rev.RX4.indd 66
Restoration home
As with previous versions of the
application, RX 4 comes in two principle
flavours the standard edition, RX 4,
and a feature-rich version called RX 4
Advanced. Before you get too excited,
though, its worth noting that theres a
big difference in the pricing (around
Choice
9/10
9
9/
10
Details
Price 729 (RX 4
Advanced), 215 (RX 4)
Contact Time + Space
01837 55200
Web
www.izotope.com
Key Features
Dialogue
Denoiser
Spectral Repair
Leveler & Clip
Gain
Loudness
Ambience Match
EQ Match
ZX spectrum
With the spectral editing concept in
place, RX then lets you tweak your
audio using a number of processing
modules, including: Declip, Denoise,
Dereverb, Time & Pitch, and Spectral
Repair. As an off-line audio editor,
transformations are rendered to the
audio clip, but thanks to a stepped
undo history (that can even be recalled
after youve saved the file), theres no
need to fear that youll permanently
damage the file in any way.
For those that prefer working solely
in their DAW, RX has always provided a
number of plug-ins that replicate many
of the key modules used in the
application. One distinct shift thats
come with the introduction of RX 4 is
MAGAZINE
25/09/2014 09:59
New modules
As youd expect, theres a variety of new
modules and audio enhancement
features introduced in RX 4, including
non-destructive Clip Gain, Leveler,
Loudness, EQ Match and Ambience
Match. One interesting development
from a workflow perspective is the
non-destructive Clip Gain, which
enables you to create a series of nodes
to control the amplitude of your audio
clip. Its a simple feature, but one that
makes a big difference to the workflow
in RX 4, especially when youre working
with problematic dialogue.
Alternatives
Clean sweep
RX 4 may not be a gigantic leap on from
the features included in RX 3, but it
does demonstrate iZotopes intention
to provide the ultimate fix-it tool for a
range of audio dilemmas. New features
such as the Clip Gain really transform
RX 4s usefulness, making RX 3 seem
surprisingly limited when we stepped
back to compare the older version. The
Method Spot
Differing levels of
background noise
can cause problems
between dialogue
takes. Usually a
small amount of
wild track is
recorded to cover
these issues, but in
situations where
this isnt available
you can use RX 4s
Match Ambience to
synthesize new
background noise.
Match Ambience
works in a similar
way to Noise
Removal, where the
software learns a
fingerprint from a
source recording.
The Noise
Fingerprint is
then used to
generate the
required wild track.
MT Verdict
+ Leveler and Clip Gain really aid
workflow
+ Connect system improves DAW
integration
+ Perfect for a range of postproduction tasks
+ Spectral-level precision and
transparency
- New modules biased towards RX
4 Advanced
- Connect integration varies
between DAWs
iZotopes RX 4 continues to lead the
way as the most versatile audio
restoration tool around, saving
countless damaged audio files from
a one-way trip to the bin!
9/10
MT140.Rev.RX4.indd 67
| 67
25/09/2014 09:59
Alternatives
If youre willing to
spend the time you can
program these kinds of
effects using various
different software
synths and your DAW,
though they do take
time to create. You can
also use samples for
transitions but these
will limit how flexibly
you can alter them. The beauty of The Riser is that its a dedicated and fully
tweakable transition instrument, so you can quickly change or automate
the level of modulation, the blend of oscillators and the depth of the
effects with just a few clicks.
Innovation
The Riser
Price
47.99
Contact
Via website
Web
www.airmusictech.
com
Needs
Windows 7 or higher
OS X 10.7.5 or higher
2GB RAM
Key Features
Transition
designer
Three editable
oscillators
Three LFOs
23 filter types
300 presets
Randomizer
MIDI learn
Onboard delay
and reverb
AU, VST and AAX
formats
Choice
9/10
9
9/
10
Pump it up
Theres a second filter stage with 23
filter types available and control
sections for cutoff and resonance, plus
a distortion stage with variable
distortion modes to add crunch and
bite to the sound. The effects you tend
to use most on these kinds of sounds
are delay and reverb, and there are
appropriate effects built in, with
extensive tempo-sync options available
for the delay section and four reverb
types with controls. You can also vary
the effect blend, and these effects help
the synth sounds to sit comfortably in
your tracks. Panning and width controls
also let you position the sound more
accurately in the stereo field.
You could well find that the bundled
presets contain everything you need,
MT Verdict
+ Excellent for all kinds of
electronic transitions
+ Easy to learn, fun to use
+ Saves a load of time
+ Could also be used for sound
design
+ Very affordable
+ Beefs up your electronic tracks
- Its best at transitions, so for a
more generalist synth, look
elsewhere
Even if youre doing experimental
stuff its well worth a look for the
creative possibilities it offers.
9/10
MT140.Rev.Riser.indd 69
| 69
25/09/2014 14:22
Alternatives
Im getting tired of
recommending Best
Services own
Shevannai, but in
this case it really
does stand next to
Mystica as a true
option. Cantus will
offer the male
equivalent but
Shevannai is female
so closer (even though its in Elvish. Or Elven).
Check out the big sample CD companies for
other Gregorian vocal collections too.
BEST SERVICE
Mystica
For PC
& Mac
ET at home
Eduardo is clearly at home recording
vocalists and, as with all of his
previous libraries, the vocals here are
sublime. The library includes the now
usual word builder where you can
combine syllables into words and
phrases to make Gregorian-style
passages. And, as weve said before,
whether these words or sentences
Evil FX
The second folder is FX, not present in
all of Eduardos other collections, and
you can soon see why as its used very
well with the female voice, covering
some eerie vocal effects, (rising and
falling) emotional laments, cackling
laughter, spell casting and so on. This is
where the library takes a darker turn
and its a good counterpoint to the
nicey nicey Gregorian stuff.
So now its a case of Good 1 versus
Key Features
Eight vocalist
Numen
Ensemble
5GB
Five Gregorian
legatos (a,e,i o,u)
24 words, three
articulations
Words split into
120 syllables
100 Gregorian
vocal phrases
12 soundscapes
Details
Price 159
Contact Best Service
+49 (0) 89 45228920
Web
www.bestservice.de
Minimum system
requirements
PC: Windows 7
Mac: OS X 10.7
MT Verdict
+ Excellent recording quality
+ Word Generator is great
+ Has a darker edge on the
Soundscapes
+ FX also offer an edgy side
- Narrow focus (again)
Mystica is a female vocal dream
world, full of phrases, chants,
atmosphere, fear and beauty. Its
four out of four for Eduardo and the
Best Service team.
Octo/Decem
MAGAZINE November 2014
MT140.REV Mystica.indd 71
| 71
25/09/2014 09:52
Excellence
10/10
DIY RECORDING
EQUIPMENT
COLOUR
Key Features
Space for three
modules
Expanding range
of third-party
modules
Requires
500-series
chassis
Alternatives
In addition to the three Colour Modules from
DIY|RE, third-party modules have already
started to appear. We tested the TB Audio
CMOS Steezer, which uses a CMOS fuzz circuit
to produce a distortion that quickly became
a favourite of ours on bass guitar and synth.
The Eisen Audio TM79 manages to cram two
transformers and a selection of MOSFET stages
onto a module to emulate the 3M M79 tape
machine, as used in the Rolling Stones mobile
truck. Finally, we were able to get our hands
on early prototypes of Louder Than Liftoffs
Pentode and Pulse modules. The Pentode uses
a Raytheon 6418 subminiature pentode valve
to generate 2nd- and 3rd-order harmonics.
The Pulse meanwhile takes things in a very
different direction by emulating a tape echodeck. Louder Than Liftoff has also released
Implode, which somehow squeezes a 1176
compressor into a single Colour Module.
MT Verdict
+ Great fun
+ Expandable with a variety of
modules
+ Build your own modules
- Requires 500-series chassis
The Colour is one of the most fun
tools weve played with in a long
time. Youre doing yourself a
disservice by not adding one to
your rack!
10/10
MT140.Rev.DIY colour.indd 73
| 73
25/09/2014 09:54
B U N D L E
EQ
Phase Interactions Mixer Dynamically optimizes your tracks
for best phase correlation to achieve
deeper, tighter sounding mix.
SOUNDRADIX.COM
RME
Fireface 802
The RME Fireface 802 is described as a
full-blown studio within a 1U enclosure,
with up to 60 channels of audio,
FireWire and USB connectivity,
powerful monitoring software and four
well-regarded microphone/instrument
inputs. Huw Price sparks up.
Details
Price 1,169
Contact
Synthaxe
01727 821 870
Web
www.rme-audio.de
Key Features
30 inputs and
30 outputs at
44.1kHz (22/22
at 88.2/96kHz
and 18/18 at
176.4/192kHz)
12 x analogue
I/O at all sample
rates
4 x mic/
instrument
preamp
1 x AES/EBU I/O
2 x ADAT I/O (or 1
x ADAT I/O plus
1 x SPDIF I/O
optical)
1 x Wordclock I/O
1 x MIDI I/O
FireWire and
USB operation
TotalMix FX
Advanced
Remote Control
(optional)
Alternatives
The Universal Audio Apollo Duo (1569) is a FireWire audio interface (an extra 369 buys you
Thunderbolt) with four mic inputs, eight line inputs, eight line outputs, two headphone sockets, two
ADAT I/O, S/PDIF, Wordclock, FireWire 800, Thunderbolt card, and UAD Duo Core real-time processing.
The package also includes UAs Analog Classics Plus Bundle. The Metric Halo Mobile I/O 2882
Expanded 2d (1070) is a 24-bit/96kHz FireWire audio interface with DSP processor, eight analogue
mic/line/instrument inputs (4 x XLR + 4 x balanced jack), eight balanced analogue outputs, front panel
LED I/O meters, headphone out, ADAT I/O, Wordclock I/O, coaxial S/PDIF I/O and AES/EBU I/O.
Crossing channels
Each input channel has a single effects
send for reverb and delay, and every
output channel has an effects return
fader. So you can add reverb to one or
both headphone mixes while
maintaining a dry sound in the main
monitor mix. The send feeds both
effects equally and they can be
activated individually or together.
The balance between them can be
Essentially, TotalMix is
designed to route anything you
want to anywhere youd like
MT140.Rev.Fireface.indd 75
| 75
25/09/2014 09:58
76 | November 2014
MT140.Rev.Fireface.indd 76
It certainly qualifies as an
upgrade from entry-level and
semi-pro interfaces
enhance input signals without forcing
you to commit to processing that you
may regret later.
On fire
So its a thumbs up on the sonic side,
and the RME Fireface 802 certainly
qualifies as an upgrade from entry-level
and semi-pro interfaces. Having said
that, TotalMix adds a degree of
complexity that will require some
commitment if the user is to make full
use of its processing power. The range
of features on offer impresses, however
many will be surplus to requirements
for those mixing in Pro Tools or Logic,
and some may find the dark and
cluttered appearance of the user
interface a bit off-putting.
The manual is hefty and difficult to
navigate. The UK distributor assured us
Method spot
The TotalMix faders only effect the routing within the Fireface and do
not change the signal level sent to your DAW. Each line and microphone
channel has its own input gain control, so recording the level can be set
remotely without having to touch the Fireface unit itself. Click the Stereo
button on a microphone input and it joins forces with the adjacent mic
input to form a stereo microphone channel. TotalMix enables you to control
stereo width, and theres even mid and side decoding. For matched pairs
of microphones theres a ganged gain control, but you can still set the gain
of each microphone individually. The Auto Level feature may also come
to your rescue during frantic sessions because it senses overload and
reduces microphone gain automatically.
MT Verdict
+ Impressive sound quality
+ Versatile connectivity
+ Hassle-free installation
+ Remote access/control
+ Powerful, fully featured
monitoring package
+ Includes Wordclock
- TotalMix is complex
- No Thunderbolt
- No front panel level metering
A hassle-free 1U audio interface
offering an impressive number of
analogue and digital channels,
FireWire 400 and USB 2 connectivity
and sophisticated monitoring
software for PC and Mac.
8/10
MAGAZINE
25/09/2014 09:58
distributed by Audio-Technica
TC ELECTRONIC
Alter Ego X4
Guitarists they just love a
stompbox, dont they?
Marcus Leadley pokes
around a delay emulator
that even hardcore vintage
enthusiasts may like
Details
Price 199
Contact
0800 917 8926
Web
www.tcelectronic.
com
Key Features
12 vintage echo
models
Three delay
presets for each
model
Dedicated rotary
controllers for
Time, Feedback
and Delay Level
Four TonePrint
Slots
Subdivision
selector: quarter
note, dotted
eighth note
repeats or both
MIDI Control
Stereo In/Out
Expression
pedal socket
Computer
(via USB) and
smartphone
interfaces
(wireless) for
editing and
updating
Looper function
9V power supply
(included)
represented by
Roland, Watkins,
Binson and
Maestro; ElectroHarmonix and Boss
cover the solid-state
territory. The Tel Ray Organ Tone, an
eccentric device that relies upon a
spinning canister of conductive oil, is
also modelled.
Different models are selected using
the left-hand rotary control and there
are four additional locations for
TonePrints of your choice more on
this later. There are four switches: three
presets for each model and a dedicated
Tap Temp button. There are Time,
Feedback and Delay Level knobs
these are the default settings and you
can reassign them to a wide variety of
other parameters using the TonePrint
Editor software. In a similar way you
can assign different parameters to the
control of an external expression pedal.
A mini-toggle switch lets you select
either quarter note or dotted eighth
note repeats, or both at the same time.
The unit is MIDI enabled so program
change messages can be used to
switch between delay models, and a
MIDI clock signal can control the delay
time. The pedal also features a Looper
function. You can layer sound using
delays and theres an undo option.
However, youre limited to 40 seconds of
recording time and you cant save loops,
so it has a limited range of
performance-oriented applications.
Vintage up-cycling
The Alter Ego sounds very good. The
differences between the hi-fi quality of
the Space Echo model and the faster
tone roll-off of the Copycat really nails
the different characters of the two
units. The softer, vintage tone of the
Echoplex works extremely well for
rockabilly, and the Binson models
warble to great effect. The more
contemporary Memory Man patches
deliver authentic vibrato and chorus as
well as longer echoes.
Some aspects of peripheral
functionality are missing, though: while
the DM-2 patch sounds like the classic
Boss pedal, the controls interact
differently and you cant play the
feedback to the same extent. And you
cant use the Alter Ego Copycat as a
preamp. The flip-side is that the Alter
Egos models can deliver longer delay
times than the originals and multiple
delays can work in stereo.
Connecting the Alter Ego X4 to a
computer increases its power
Alternatives
There are a number of digital hardware devices
designed to recreate vintage echoes. The Line
6 DL4 Delay Modeller has 15 presets including
tape, solid-state and valve emulations. The
Danelectro Reel Echo is a basic tape echo
simulator with control over tape warble and
solid-state/valve character. Echoplex fans
will appreciate the Carl Martin DeLayla XL,
and Boss has a twin pedal dedicated purely to
recreating the sounds of the vintage Roland
Space Echo.
MT Verdict
+ Accurate vintage delay
simulations
+ Wide range of analogue
technologies represented
+ Stereo input and output
+ Edit and update effects using a
computer or mobile phone
- Not essential if you already have
a collection of vintage echo units
- Avoid if you prefer contemporary
digital delay tones
The ability to update sounds and
edit on computer is very useful, and
the straightforward design
makes it a very practical live tool
thats ideal for guitarists or
keyboard players. Its a very quiet
unit and the general sound quality
will be much appreciated in the
studio environment.
8/10
MT140.Rev.Alter Ego.indd 79
| 79
25/09/2014 14:07
LS-100
Multi-track
Professional HD Audio
TOUGH
XLR CONNECTION
RECHARGEABLE BATTERY
BROADCAST WAV
SUPERIOR TO CD QUALITY RECORDING
MULTI-TRACK
140 DB SPL MICROPHONES
PRE-RECORD
LISSAJOUS MONITOR
LS is more
www.olympus.co.uk/audio
16/10/2012 10:01
Alternatives
Studio Electronics
was one of the few
companies to stick
by analogue during
the dark days of
digital, but now
everyone is on the
case: from
Novation (Bass Station II) to Korg (Volcas).
Doepfer is a company that has also waved the
analogue flag for years well look at some of
its modules soon. Then there are other
Boomstars in the range including the 4075 we
looked at in MT136 (above).
STUDIO ELECTRONICS
Boomstar SEM
Ober what?
And so to the SEM. I must admit that
the ARP and Oberheim were the models
I wanted to get my hands on, being a big
fan of the sounds of the originals for
many years (the SE80 might have to
be next).
Layout-wise its very much similar to
every other model in the range Studio
Electronics clearly keeps costs down by
designing each model to a template
with only the colour and filter changing,
plus the odd knob or rotary. In this case
controls specific to the SEM are a notch
filter with bandpass option (to enable
frequencies only within a certain
sweepable range through).
Again theres more detail in the 4075
review, but you get two stackable
waveform oscillators: osc.1 mixes
triangle or saw, or sine or square
waveforms with a Wave Mix knob, and
has a Sub Level switch to take the
square wave a full or half octave down.
A Pulse Width dial also controls the
square wave. Osc.2 can be synced to 1
or tracked, and its waveform can be
switched between sawtooth or square/
triangle. Its frequency can be
modulated by filter and amp envelopes.
The SEM filter is controlled by the
frequency and resonance knobs while
envelope and mod depth are below,
switchable between the LFO and VCO2.
Details
Price 799
Contact +44 (0)207
118 0133 or email
contact@mslpro.
co.uk
Web
www.mslpro.co.uk
Key Features
Analogue
synthesizer
Architecture:
2 stackable
waveform
oscillators, 2
envelopes, LFO,
Xmod, Ring Mod,
feedback
Controls: 34
rotaries, 19
switches
Connectors:
Audio out, MIDI
in/out, CV in,
Gate in, VCF FM,
VCA AM, Osc out,
Ext in
MT Verdict
+ Big, fat, and nasty when wanted
+ Flexible analogue architecture
+ Fantastic to experiment with
+ Compact and sturdy
+ You can lose control quite easily!
- You can lose control quite easily!
- You will want to store sounds
More true analogue classic sounds
and an uncompromising nod to the
past, and all the better for it.
8/10
MT140.REV_Boomstar.indd 81
| 81
25/09/2014 09:53
Value
WARM AUDIO
WA76 DISCRETE
COMPRESSOR
Modern recreations of classic units are
more than just nostalgic strolls down
memory lane. Mike Hillier fires up the
latest blast from the past
Details
Price 499
Contact Nova
Distribution
020 3589 2530
Web www.novadistribution.co.uk
Key Features
Completely
discrete signal
path
Class A output
amplifier
55dB of gain
Ultra-fast attack
time
All-buttons-in
setting
XLR and TRS
inputs/outputs
Choice
9/10
9
9/
10
MT140.Rev.WA76.indd 83
| 83
25/09/2014 10:03
MT140.Rev.WA76.indd 84
Sound design
So, the WA76 certainly looks and feels
like a traditional 1176, but does it
possess that classic Urei sound? In a
word, yes; the magical bright, explicit
sound is present and correct. Of course,
there will always be golden-eared
aficionados who will detect minute
differences in character, even between
vintage machines with an identical
revision status.
However, the unmistakable sonic
qualities of the design will be familiar to
anyone who has used any good quality,
on-spec 1176 variant. Strapped across
a lead vocal the WA76 added that
By experimenting with
response times we were able to
craft some fabulous sounds
84 | November 2014
Alternatives
Lindells 17XS (779) is an 1176-influenced
design that features a number of extra
features such as a wet/dry mix control and
several filters. Similar features can be found
on Lindells 7X-500 (229), which comes in 500
series lunchbox format. Universal Audios 1176
(1,599) is an authentic re-issue based around
the original D and E revisions.
MT Verdict
+ Authentic 1176 sound
+ Fully discrete signal path
+ Compression and limiting
capability
+ Solid metal work with brushed
faceplate
+ Easy to use
+ Reasonable price
- Wall wart external power
transformer
- One orange logo too many
The WA76 sounds as good as any
1176 weve heard and probably
better than well-worn originals
that change hands at collectors
prices. Construction is solid, and it
looks and feels far more expensive
than its price would suggest.
Anyone wishing to enrich their
recordings with the ear-catching
sounds that grace so many hit
records should audition this unit. A
convincing replica at a remarkably
low price.
9/10
MAGAZINE
25/09/2014 10:03
Monster
from the Deep
www.u-he.com
Urs Heckmann - Audio Software
*while youre at it, check out the award winning Zebra, Diva, Uhbik, Filterscape and More Feedback Machine too. Same developer, same website, same fun factor.
Alternatives
sE ELECTRONICS
sE5 Stereo
Pair
sE has a new small diaphragm
condenser to replace the sE4. Mike
Hillier finds its strengths.
Details
Price 399
Contact
Sonic Distribution
Web
www.seelectronics.
com
Key Features
Fixed cardioid
polar pattern
Three-year
replacement
warranty
100Hz high-pass
filter
-10 and -20dB
pad
MT Verdict
+ Matched pair
+ Open, enhanced top end
+ Bundled shock mount
- Large body may be difficult to
place
- Fixed cardioid pickup pattern
The sE5s make a great stereo pair
for acoustic instruments, with fast
transient tracking and a tight
cardioid pattern.
8/10
MT140.Rev sE5.indd 87
| 87
25/09/2014 14:02
A NEW FACELIFT
www.studiospares.com
www.studiospares.com
studiospares
2014 Studiospares Ltd. All Rights Reserved. All prices inclusive of VAT and are correct at time of going to press. Prices and specifications subject to change without notice. E&OE.
@studiospares
2+2=5
Key Features
Discrete, Class A
circuitry
+/- 24V power
supply
Custom-wound
transformers
and inductors
Excellence
10/10
MT140.Rev.RND5050.indd 89
| 89
25/09/2014 14:25
Method Spot
Studio success
We were provided with the two-slot
wooden enclosure and the five-way
power supply, and sat next to each
other in the enclosure the two modules
make a formidable channel strip, with
the 5052 and 5051 providing a mic
preamp running into a three-band EQ,
into a compressor, and back into
another EQ.
Before hitting any of the additional
options we ran the mic preamp clean to
gauge its qualities. It was pretty obvious
very quickly that this was something a
little special. The acoustic guitar we
were recording instantly sounded
larger than life, the low-end was
forthright without being woolly, while
the top end sparkled without feeling
artificially boosted. We engaged the
HPF and dialled it up to around 60Hz,
which further tightened the low end and
left us with a signal that on its own
sounded superb. In a sparse mix this
may be all that you need, but in a more
dense mix this guitar would probably
sound a little big. So we engaged the EQ
and within seconds we were able to pull
out a little of the low end to thin out the
MT Verdict
+ Incredible sound
+ Huge dynamic range
+ Stunning EQ
- Not standard rack sizes
- Requires custom external
power supply
Improving on a classic design isnt
an easy task, but its one the
Shelford Series has been more than
a match for.
10/10
MT140.Rev.RND5050.indd 91
| 91
25/09/2014 14:25
PLUGIN BOUTIQUE
VirtualCZ
For PC
& Mac
Value
Excellence
$ 10/10
See me
The front panel has been designed to be
purely retro, and in that sense you
wonder how much more welcoming it
could have been at the expense of some
of the realism. You get the impression
that should you give VirtualCZ a hug
youll come away with dust up your nose
and feel a need to wash, such is the
original, grey look of its GUI. But many,
of course, will welcome this authenticity
Details
Price 59.95
Contact
Plugin Boutique
+44 (0) 1273 692 313
Web
www.pluginboutique.
com
Minimum system
requirements
PC: Windows XP+,
Intel i5, 4GB RAM
Mac: OS X 10.6+, Intel
i5, 4GB RAM
Key Features
Emulates
original CZ range
synth engine
VST2, VST3, AU
and AAX plug-in
formats
SysEx editor
for original
hardware
Two phase
distortion
oscillators
Six envelope
generators
32-voice
polyphony
200 presets
included, 1000s
available online
MT Verdict
+ Stunning and surprisingly
varied sounds
+ Youll realise why the originals
are so well regarded
+ As easy as digital synthesis gets
+ Just like the originals
- Just like the originals! (the
interface might be off-putting)
VirtualCZ is a real gem of a synth in
a world that has become obsessed
with analogue. A must-buy to
increase your sonic palette.
10/10
| 93
30/09/2014 14:25
Mini Reviews MT
Celesta - Keyboard
Operated Idiophone
Manufacturer Sonokinetic Ltd.
Price 60
Contact via website
Web www.sonokinetic.net
he celesta is a keyboard
instrument that looks similar to
an upright piano but, instead of
strings, the keys connect to
hammers that strike metal plates over
wooden resonators. Which explains the
rather unusual title of Sonokinetics
new sampled celesta, the Keyboard
Operated Idiophone, which is a musical
instrument that creates sound by
vibrating, without the use of strings.
Originally a three-octave instrument, a
five-octave model is now the norm, and
thats what we have here.
Celesta runs in the open Kontakt
format (4.2.4 or 5) for complete user
customisation. It is not, however,
compatible with the free Kontakt player
a full version is obligatory.
Recorded in a medium sized, high
ceiling studio, three microphone
Key Features
3.1GB sample
pool, 4000+
samples
Three velocity
levels
Separate
samples for
sustain pedal on
and off
Multiple round
robin samples
Celesta reverb
Three mic
positions
MT Verdict
Celesta captures all the magic and
beauty associated with one of the
most delicate instruments.
9/10
Xplorer
Bluetooth
Richard Barbieri
Sound Bank
Manufacturer StudioSeries
Manufacturer Nord
Price 110
Price free
Web www.nordkeyboards.com,
www.soundtech.co.uk
Web www.editorskeys.com
Key Features
MT Verdict
Small, compact, good sound
quality, a great mobile music
solution and very easy to use.
8/10
Key Features
50 A1/A1R
performances
50 A1/A1R
programs
Ethnic,
rhythmic,
atmospheric
and percussive
presets
Excellence
10/10
MT Verdict
If you own an A1 this is a must
have. If not get an A1!
10/10
MT140.REV minis.indd 95
| 95
30/09/2014 11:35
ABLETON LIVE 9
MTF35.ad.indd 1
04/09/2014 09:14
Mini Reviews MT
iKlip Xpand
Stand
Music
Marketing
for the DIY
Musician
Manufacturer IK Multimedia
Price 54.99/39
Contact +44 (0)1223 234414
Web www.ikmultimedia.com
Key Features
Step by step
plan of attack
Uses many
similar tactics
you can find in
industry
18 chapters;
330+ pages
MT Verdict
If your iPad is crammed full of
music apps but always seems
to get lost within your studio
gear, then this is what you
need to keep it in a prominent
position.
8/10
Autotheory
Manufacturer Mozaic Beats.
Price $59.99
Contact via website
Web www.autotheorybymozaic.com
Key Features
Web www.halleonardbooks.com
Key Features
Eight virtual MIDI
outputs
Chord and
melody generators
Extensive
chord type and
customisation
options
Generate
musical parts
MT Verdict
We agree with the methods
but more artistic musicians
might baulk. Youd have to
separate yourself completely
from your music to market it in
many of the ways suggested
which is certainly something
not all of us could do.
7/10
MT Verdict
A useful tool for the less
experienced keyboard player and
interesting for those looking to
generate new ideas.
7/10
MT140.REV minis.indd 97
| 97
30/09/2014 11:35
MT Mini Reviews
Restoration
Suite
Complete Guide to
Compression
Manufacturer Producertech
Price $99.90
Price 12.95
Contact info@acondigital.com
Web www.acondigital.com
Web www.live-courses.com
Key Features
Four audio
restoration and
noise reduction
plug-ins
32-bit/64-bit
Windows & OS X
VST, AAX and
AU formats
DeNoise,
DeHum, DeClick
& DeClip
Easy to use,
clear GUIs
I
Choice
MT Verdict
An excellent sounding, well
designed suite of plug-ins
thats great for quick and easy
restoration work. The
Restoration Suite offers an
effective and affordable
alternative to its more
expensive counterparts.
9/10
Vier
Price 99
Choice
MT Verdict
A clear and concise look at
compression techniques
thats well paced with good
use of audio and visual
examples.
9/10
Manufacturer Loopmasters
Contact info@eisenberg-audio.de
Price 19.95
Web www.eisenberg-audio.de
Contact info@loopmasters.com
MT140.reviews minis-p98.indd 98
Key Features
Guide to
compression
Covers
basic and
intermediate
techniques
65 Minutes of
streaming video
Includes
course notes in
PDF format, plus
accompanying
Live Projects
Retro Synths
for Logic X
98 | November 2014
Key Features
Soft synth
modeled on the
Doepfer MS-404
Anti-aliasing
oscillators and
zero-delay
feedback filters
Four units
in one with
intelligent voice
management
Eight
Macro knobs
with flexible
modulation
Windows, OS
X, VST, AU, RTAS
& AAX formats
Web www.loopmasters.com
T
Innovation
MT Verdict
A decent sounding analoguemodeled synth with a few
nifty tricks up its sleeve, only
hindered by the limitations of
the unit it emulates.
7/10
he deceptively versatile
Retro Synth in Logic X gets a
fresh batch of sounds
courtesy of producer Colin C, who
has previously brought us packs
of Ultrabeat presets and Logic
mixing channel strips. The presets
simply need to be dragged to the
relevant folders. There are a range
of more standard growling basses,
retro pads, searing leads and
whooshing FX plus some more
avant-garde sounds that make
use of the FM and Wavetable
aspects. Although there are a few
volume discrepancies between
presets, and theres nothing that
out of the ordinary here, the extra
processing in the bonus channel
strips offers an insight into some
more interesting and inspiring
sound design techniques. MT
Key Features
100 Logic X
Retro Synth
presets
50 Bonus
Channel Strips
Pads, basses,
leads and FX
Designed by
Colin C
MT Verdict
Although theres nothing
massively ground breaking
here, its a good example of the
versatility of Retro Synth, and
the bonus channel strips
provide some more interesting
and in-depth sound design.
8/10
MAGAZINE
30/09/2014 11:15
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learn your music
software?
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25/09/2014 09:11
Read
on any device,
anytime!
01/10/2014 14:31
A BLUFFERS
GUIDE TO EQ
This is what a boost in the highs
looks like. Our node is at about
5kHz, and weve got a very high
Q. Expect seriously snappy
snares here.
The first step in becoming a mix master is getting to grips with the
simplest of tools at your disposal: EQ. Rob Boffard shows you
how to bring balance to your musical force
he Equaliser, or EQ, is the Tetris of audio effects. Youll figure out how
it works in seconds, but it takes an age to master. No other effect, if
used subtly, can make such a dramatic difference to your sound. If you
know what youre doing with an EQ itll make your mixes sound as if
theyve popped out of a top-of-the-range studio. Conversely, there is no
other effect that, when mishandled, can screw up your mixes so badly. A heavy or
badly managed hand with EQ can wreck a good song.
Dont stress, though. EQ may sound intimidating but in practice its not
difficult to get the hang of. Give us a few minutes with this guide and well show
you exactly what you need to know about this powerful effect.
MAGAZINE
25/09/2014 09:42
Revert to type
So what exactly are you going to see when you bring in your EQ? Well, that
depends. There are a few types of equalisation, some of which are more useful
than others, and its
worth going through
them all.
First, youve got your
fixed EQ, the most basic
of all the types.
Essentially it gives you a
bunch of controls
knobs, usually each
set to a specific
frequency. You cant change that frequency, but you can raise and lower the gain
(read: volume) for each one.
Then youve got your graphic EQs. Instead of the few controls youd get in the
fixed EQ youve now got dozens, usually appearing as faders instead of knobs.
Each one of them is still locked to a specific frequency and you can still raise and
lower the gain as before, but what this EQ does is enable you to create curves by
setting the faders in increments. You usually see this sort of EQ on an old HiFi,
and frankly, theyre a pain to work with.
Paragraphic EQs are what you want. Now you dont have fixed frequencies;
instead, your EQ display will have nodes, each of which can be dragged to any
frequency you want. You can raise or lower each node to change the gain, and
(this is the clever bit) adjust its Q to change the shape of the curve. The lower
the Q, the more space there will be under your EQ curve, which means more
frequencies will be boosted or cut. Itll look like a hump. Raise the Q, and youll
get a spike, with far fewer frequencies affected by the boost or cut.
| 107
25/09/2014 09:42
A high-pass filter. Any and all frequencies under about 700Hz will be cut. This is very useful for
elements such as vocals or strings.
Make room
So youve got your EQ. Youve loaded it up, you
understand how Q and gain work, and youre ready
to go. What exactly do you do with it?
On an individual level, when applied to a specific,
solod sound, youre going to use it to make things
sharper. Youre going to use that EQ to take the sound
from where it is to where you want it to be. You will
boost the frequencies that bring out the sounds best
qualities and cut the ones that muddle it. A big,
booming bass drum will not suffer indeed, will be
improved if you use a shelving filter to remove
some frequencies above, say, 15,000Hz.
But thats not difficult. The tricky part is what
happens when you un-solo a sound because then you
See that greyed-out mountain range? Its a frequency analyzer. It gives you a visual representation of
your sound, showing you the dominant frequencies useful for EQ.
teach you how it works but the only way you get
good at Tetris is by playing, and the only way you
get good at EQ is by doing lots of mixing. You need
to learn how different sounds work together and
which cuts and boosts you need to bring out their
best qualities. You need to listen to a sound
really listen and discover where its most
important frequencies are, as well as the ones
which you can cut.
That being said, there are a few principals to
abide by. Cut first, boost later often, things can be
improved just by dropping the gain in a few places.
And be gentle. You dont need big Q spikes; and if
youre boosting or cutting over -3dB, then youre
going too far.
Most of all, remember that EQ doesnt exist in
isolation. Youre going to be using a whole whack of
other tools to help you along, such as compression,
which well deal with next time MT
MAGAZINE
25/09/2014 09:42
NOV 14-15
TheEmirates/London
SEMINARS
TUTORIALS
DEMOS
AND MORE
www.musicproductionexpo.co.uk
Show off
your studio
We asked you to post pics of your
set-ups and hundreds responded. Its
the second in a new MusicTech series
in which you show off your studios
MAGAZINE
26/09/2014 10:15
GoodLuck Music
Interviewee: Ben Peters (producer)
Web: www.goodlucklive.com
Kinetic Global
Media Group
Interviewee: Terrany Johnson
Contact: terrany@kineticglobal.net
Web: www.teedouble.com
Recording in the
Namibian desert
| 111
26/09/2014 10:16
Magazine
www.musictech.net
Next Month MT
Whats in
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KEYBOARD SYNTHS
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MUSIC TECH MAGAZINE
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MT140.next.indd 113
| 113
29/09/2014 08:42
MT Your Disc
YourDVD
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MAGAZINE
29/09/2014 08:56
Your Disc MT
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MAGAZINE November
2014 | 115
30/09/2014 15:33
NEW!
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00:00:19
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