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PAGES OF LIVE 9
TIPS & TRICKS
BECOME AN
ABLETON LIVE
POWER USER
30 pages of workshops POWER UP in Live now!
Produce a track from start to finish 40 essential tips
9 781909 590090
EVERYTHING
ABLETON LIVE!
MAKE MUSIC NOW!
Everything you need to produce a track in Ableton Live from start
to nish! We have six brand new series of in-depth Live workshops
plus features on remixing, creating an incredible studio space, the
best 12 soft synths, your Live studios on show and the best
hardware and software for your Live studio on test
6 incredible
workshops Whats new in Live 9.7
Find out here p58
From p6
All new Live workshops
for every level of user
Follow Actions
The expert guide p38
4 | Ableton Live 2016/17 FOCUS
Contents MTF
p92
cool! 110 | Zero-G Epica Bass inst.
112 | Sonimus EQ range effects
p32 114 | Splice subscription samples
116 | NI Una Corda piano plug-in
117 | Blocs Wave app
118 | Spitre Hans Zimmer 2&3
120-125 | Mini Reviews
130 | On your MTF DVD
W
e did argue over whether to call this The themselves intermediate and expert users who choose not
Lazy Persons Guide To Live as we thought to use some of these short cuts as they might not be
it could be a little too demeaning. But, considered clever or they dont know about them. Either
lets face it, using a DAW is basically using way we feel that all users should give this workshop a spin
technology as a short cut, so all of us who and were sure that everyone will discover, or rediscover, at
use DAWs are either lazy or and we certainly prefer this least one choice short cut
option using technology to realize our creative dreams
more quickly. Yes, thats good well stick to that! 1. The template factor
So the crux of this tutorial is that the main problem with The rst feature well cover is less about creative looping
technology and DAWs is that its very easy to fall in to some and arranging but more about making sure you have a good
bad habits. You might, for example, just use the features base to start with and covers how to set up a Default Set or
available in a non-creative way and end up with something Template. We cant recommend having one enough. When
quite tedious. Live suffers especially from this largely down we started experimenting with loading in a standard Set
to its central selling point of being able to play loops in when starting a new project, we were a little sceptical. Ten
time, so that everything sounds pretty good, very quickly. tracks later ten times more than wed have previously
This is both its main draw but also a feature which might produced in the same time period we were hooked.
make you think: Sounds ok, lets just run with that The idea is that you start with a favourite set of
We want more than OK! The beauty of Live is the instruments, effects and even audio, each time you start to
not-so-hidden depths that you can explore to take these compose. Youll end up moving between clips and scenes
looped ideas onwards and upwards. A few tweaks here and faster and putting tunes together faster. You might think
there and you suddenly introduce a dynamic to your tune that having the same set of sounds to
that gives it life. Add a bit of variation to your clips, either start
by changing the notes within them, the sounds they trigger,
or their start and end points and you suddenly have a lot
more variation and creativity going on.
And you know what the best bit of all of this is? Its
pretty easy to accomplish! Its why weve labelled this
with a Beginner tag although if we were betting people,
wed guess that there are people who consider
Whenever you start a new Set in Live you could, of course, hit Instead load up a project that you have been working on and are
01 Cmnd>N and start from scratch. Its a nice empty project that you
02 happy with the range of sounds and effects already loaded in.
have to start from scratch with, yet looks like a lot of effort to ll With tweaking you could make this the new Default new le that loads.
If you havent got one that you are happy with simply load in one You could even load in a selection of beats, maybe some 4/4
03 04 beats if you are a house musician, so you know youve always got
and build it up from scratch. Put your favourite instruments on
different channels, line up effects, even load in some clip melodies if something reliable to underpin your new project.
you like
When youre happy that you have all of your favourite Make sure to Save Your Live Set As something new at this point
05 instruments, effects and audio clips loaded in, click Lives
06 otherwise your Default File may be altered as you explore new
Preferences/File Folder tab and the Save Current Set As Default. It will tangents and ideas with this notepad way of working.
now load in whenever you start a new project.
with is limiting, but actually setting constraints sometimes youll probably be using Live with an external keyboard.
enhances creativity. We can certainly tell you that our ten Well, as good as they are, at a very early stage of your
tracks dont sound anywhere near as similar to each other notepad composition process we reckon that Lives
as you might think. Another way to look at it is that your Computer MIDI Keyboard option takes some beating it
Default Set is your scratch pad for melodies. You can does the job of auditioning and recording and again lets
return to the ingredients later once you have some basic you jump from clip to clip quicker. It also takes Live use
ideas; change sounds, change percussion loops, change back to its early days of laptop-only composition. As good
everything just use the Default Set to capture the vibe! as Live is at breaking out of a software-only environment
with Push (and our tutorials in this issue) which seems to
2. The virtual keyboard be something of a theme these days what it was really
Unless you own Push or Push 2 in which case lucky you good at offering in those early days was a laptop only way
Lives Computer MIDI Keyboard makes both auditioning and It turns the Q and A rows of your computers keyboard into a
01 recording a lot more mobile and faster. Engage it with the icon
02 virtual piano keyboard with the A row taking the white notes; Q
shown top right or the drop down menu of Shft>Cmnd>K. the black; Z and X octave down and up respectively.
Load up any instrument and youll miraculously be playing its And recording is also something that it can take care of, but you
03 keys, that is if you have the right track armed, of course. It makes
04 may have to select a couple of quick edits. On the MIDI IN drop
auditioning sounds on clips a dream. down menu select Computer Keyboard.
Make sure you Arm Record (top) before playing. Now you can We found that playing in notes like this and just jamming ideas
05 record ideas over your existing loops allowing for solos and non
06 gave us more of a freedom, to the point where we left bum notes
looping parts to be played making your overall song structure less in or at least those slightly played out of time for a more natural feel.
loop heavy.
of putting ideas together which gave it a huge amount of Enable clicked at the top of the track. Youll also need to
appeal. You engage the computer keyboard either by select the Computer Keyboard as a MIDI IN. When you
clicking the keyboard icon top right or hitting Shft>Cmnd>K. record your notes youll nd that its a fabulous and mobile
Play notes using your computers A and Q rows and use Z way of breaking quickly out of rigid loops the clips grow
and X to shift octaves up and down. as you record and you can easily jam ideas over existing
In order to record these, make sure you have Record clips. And talking of clips
Live is all about simple clip editing for variation. It is so easy to do Copying it to another track is particularly good if you have a
01 this on a very basic level. Select a clip, hold down Alt>drag and
02 template arrangement set up (from two pages back) as you can
copy it either to another track or another clip within the same track. then trigger more of your favourite sounds with the same MIDI clip.
Here were fattening up our original bass sound from one synth Here weve done the same thing three times. Weve copied the
03 (FM8) with bass sounds from another (Carbon Electra) just by
04 same pad clip (FM8) to three string sounds from three instances
copying an obvious ploy but Live makes it so easy to do, why not?! of the same synth (Oddity) to create an instant string section!
Its also very easy to change a few notes around within a clip and Selecting a couple of different notes to change will be enough. A
07 use this as a variation. First copy the original clip to the same
08 couple of notes on each clip within a track will make a difference
track (Alt drag) as shown. Double click it to edit the notes again its very basic but worth doing for variation.
Make a group of ve such varied clips on a track which well Well now look at clip lengths. Live makes it very easy to keep
09 return to for several steps in this tutorial (and the one opposite).
10 everything rigid and perhaps set to 4- or 8-bar lengths. Everything
Make sure they each have slightly different notes. locks in nicely but can sound dull if youre not doing dance.
For eachof our ve clips we can set the start and end points Try this on larger tracks too. Here we have two identical string
11 differently to shake things up a bit which breaks out of the rigid
12 tracks placed on massively different clip lengths and with
dance music box. Here weve set the fourth clip to start and nish on different start and end points. They both cycle very differently resulting
the second beat. in a more ambient feel even though the notes are lazily the same!
Another lazy trick is to move a melody clip onto a other way around too often with bass sounds. Try placing a
rhythm track to quickly get some beats going. These programmed beat on a bass track. It might just work!
probably wont be very typical beats as they will come So far so simple. Copying clips and throwing different
from a melody MIDI clip but will be something unusual to ideas at clips is what Live is all about. But now well try a
start with and perhaps not something youd have come up couple of other simple clip ideas out to get things moving
with just programming straight beats. This also works the by using odd numbered clip lengths and different start and
We have a more in-depth tutorial on Follow Actions later in this Well now bring together everything weve done in this tutorial up
01 issue. For now were going to use them just on beats, specically
02 until now to bring some variation in on the beats. So rst copy the
a loop to create easy variation within it. Load in any loop! clip ve times onto the same track as shown using Alt>drag.
Now were going to adjust the start and end points of each of the On the second repeated clip (third clip overall) well home in on
03 new audio clips weve just created to home in on specic areas of
04 the snare sound plus a little bit of the percussion action. As youll
the drum loop. Here well start with the rst kick drum. see this is a start point of 1.2 for a duration of 0.2.
Keep going until you have dissected the audio clip into four You can also do shorter sections but weve kept ours fairly long,
05 different sections to make up the ve clips overall. You can do
06 each over half a bar in length (wed even recommend going to one
more clips, of course, but well stick to this number. bar). Now go to the Follow Actions by hitting the L in the Clip area.
end points. What Live is really good at doing is playing try experimenting with clips that stop and start at different
four- or eight-bar clips together in a standard dance way, timings or have very different lengths. They might even
but if you break out of the mould even a little and have clips have the same note content but they are playing at
cycling around on odd bar lengths, they start to drift away different times and with different sounds
from each other creating a more random song. Obviously
this might not be too good for the tightness of dance music 4. Follow Action for easy beat creativity
but if you want something a bit more ambient or random, Next for clip variation its time for Follow Actions. These
The Follow Action section will now determine how the clips you Click on the drop down menu and you will see a list of Follow
07 have just set play and interact with each other. Click on each and
08 Actions that determine what happens after the selected clip
you can determine how long each plays with bars, beats and ticks. plays: from nothing to playing another selected clip at random.
Now you simply need to go through the ve clips you have on the And on the nal clip we have selected Any as the Follow Action
09 track and determine what you want to happen after they play by
10 so any of the selected audio clips will play at random afterwards.
selecting one of these options from the drop down menu. Here we have This is obviously great for adding a completely off-the-wall variation to
the third clip selected and have selected to simply play the next clip. proceedings, but doesnt have to be completely random!
A really good option within the Follow Actions section is the Another cool thing is to use a second drop down menu to
11 probability number. Set it to 1, as shown, and the probability of
12 determine what happens the rest of the time so you could, for
the next clip doing the selected Follow Action will be 100%. Set it example, have a random other clip triggering for half the time and the
higher and that probability drops proportionally. rst clip in the track triggering for the other half of the time.
might seem fairly complex at rst but, believe us, they are We go into more general detail on Follow Actions and
a lazy persons dream feature! They essentially allow you to clips in a tutorial later in this issue so for this tutorial well
trigger clips in a more random way to bring lots of variation use them on an audio clip to create a variation in beats.
to a tune. In our example were going to have variations of a Youll see that you never need to think of Live as a straight
clip all within the same track and well use Follow Actions looping tool ever again as your loops are suddenly
to determine how they are played. creatively transformed into very varied beats!
Now to hear all of your Follow Actions in, well, action! Select all of And its a bit wild to start with, almost as if someone has taken
13 your clips as shown and press one of them to start playing. We
14 control of your Live session and is triggering clips for you. The
have all of ours set to play another clip at random after each result is a bit too DJ Shadow-like on ours to start with
Experimenting with the original clip length that you create (from Essentially the more stuttery beats you want, the shorter you
15 step 3) is key here. You can either go back and adjust them from
16 make the clips. You can go completely wild here by slicing into
scratch or adjust the clip length in the Follow Action area for each. beats for some old skool mid 90s Aphex beats.
We did nd on our particular loop, that increasing the clip length As if thats not enough, you can of course go into editing each of
17 to a bar for all clips gave the best results and took it far away
18 your new clips to make the variation on the original loop even
from the original loop, but this will vary depending on your loop. greater. Here were transposing the audio from one clip.
First we need to follow some of the clip edits we have the same initial audio clip and all on the same track.
already covered i.e. repeating and copying clips into the Now select Follow Actions in the clip area. You then go
same track and changing the start and end points so that through all ve of your clips and select an Action for each
we home in on certain parts of the percussion loop. We are i.e. what happens after it plays. You can play another at
essentially cutting out half-bar chunks of the loop to play random, or the next or previous clip you have a choice of
individually and using Follow Actions will determine just nine. This creates a completely new playback version of
how. So we get four additional but different clips all from your original loop but importantly doesnt sound looped!
One nal element in clip management that enables more The yellow icon (with two arrows in the transport bar) shows that
01 creativity is clip automation. This means that you can record
02 automation is enabled (if not click on it) but you will also need to
several parameters over a recorded clip to give it life and movement. arm each track
All sorts of automation parameters can be recorded here The automation will be shown by way of a red line along the clip
03 including panning and volume. As you pan from left to right, for
04 as you record. Here the panning goes from left to right and back
example, your movements will be recorded into the clip. again as the clip cycles around.
If you want to switch to another parameter, like volume, simply If ever the automated data is greyed out by clicking off a clip, for
05 move a fader and its automation will be recorded over the top. If
06 example you might need to click on the orange back arrow
you want to go back to the panning, simply click the pan control. Heres which should be illuminated, to re-highlight the clip automation back
our volume coming in and going out over a clip. to its red editable status.
5. Clip automation and record some movement and everything you record will
So to our nal way of easily getting variation from your be kept within your clip in Session View. Edit it later to
clips, and its time for some automation. Again this is a make it perfect!
subject that we could go into some depth with, but as this Simply arm the track and enable the automation. We
is The lazy persons guide lets not go too deep. All you start by showing you how simple panning and volume
need to do to get things moving is to hit a couple of keys changes can be recorded per clip. Then we detail how you
You can edit any automation by selecting a point with the cursor Better still, select the Pencil tool (top right) and draw the
07 and dragging it as shown (in blue) as you would in the
08 automation in yourself. Here weve adjust the panning position
Arrangement view. ourselves and completely redrawn it. Looks a bit chunky though
Thats because the automation draws to the snap value so use You might want to start from scratch we certainly always get
09 the dropdown menu to turn the snap off and you can draw your
10 over excited by automation and end up doing too much so
automation in as a ner resolution (shown on the left here). simply select all and delete and start again. Easy.
So thats panning and volume, hows about we dig deeper and And now as it appears as one of the envelopes of automation
11 record some synth parameters changing into a clip? No problem!
12 being recorded. Simply select from the drop down menu and you
Heres the frequency opening being recorded on a synth. can edit it. So clip automation really can take your clips to new levels
can edit the results or draw in completely new versions of well beyond what is possible in some other DAWS and
the automation. Finally you can even record the changes makes it a completely creative and immersive experience.
you make to MIDI instruments on the track in question So we hope that this tutorial has enabled you to get
we show you how to record a synth frequency fader being more creative with your clips in Live and, importantly, to do
opened and then how to select that recorded automation that without spending too much time or effort getting
(from a drop down menu) to then edit it. Automation is a there. Using technology to make music should make it
key feature in any DAW and Lives clip automation takes it easier after all! Happy creative clipping! MTF
PRODUCE A TRACK
FROM START TO FINISH
Its time for the ultimate advice on music production: how to produce a
track, from start to nish! In features spread through the issue see the
full contents below we have top tips from the pros and advice to get you
inspired, composing, mixing, arranging and mastering your music
T
he art of music production can, like adjusting EQ not only to enhance certain
MTF Features
most processes, be broken down frequency ranges, but also to prevent elements
into several stages some creative, clashing the art of mix breathing, and PRODUCE A TRACK
some perhaps more scientific than adding space to enable your main song FROM START TO FINISH
others. For this special feature on elements to shine. Top producers offer advice in all
producing a complete track, weve explored In our penultimate feature, we bring you aspects of track building
the best advice ever assembled on the art of essential advice on making the ultimate move
017 | 7 ways to start a track
music production and broken it down into five in composition: finishing! Here, we also team
Lets start with a look at ways
main areas: starting a track, arranging it, up with Novation to bring you insight into the
to capture ideas, sources of
mixing it, finishing it and mastering it. ways certain top-name producers complete
Well start with the best ways and their songwriting process. inspiration and how to prepare
practices to help you to get moving, to get Finally, its time to tackle the mastering 019 | 8 ways to arrange a track
creative and to make the most of inspirational process, with top advice on how add a Going beyond the loop and turning
thoughts when they strike; to capture the professional sheen. Well suggest ways to add your ideas into songs is a stumbling
moment fast! Well tell you how to avoid that elusive sprinkling of sophistication and block, but heres how to overcome it
using other peoples ideas, and also magic dust to your tunes, to make them sound
(confusingly) when to use other peoples ideas! as good as your reference material the track 046 | 10 way
ways s to
to mix
mix a track
track
track
Then theres the all-important stage of that you initially admired, which inspired you The mixing process is where your
turning those ideas or simple loops into to go full circle, back to the start of your music track comes to life. Here are our
complete works. This is often the stage you making in the first place. Without dwelling on top tips for perfecting the art
get caught up in. Like us, your hard drive the clichd journey analogy, its true that 068 | 7 ways to nish a track
might be full of great ideas which will become music production is a process that can be
Here are some effective
incredible killer tunes one day. But for now, massively enjoyable, but also have the odd
strategies to make sure you
they are one, two, five or six sounds and stumbling block or creative frustration along
actually nish your tunes
melodies that might work together, but the way. With our feature, were hoping to
nothing more. This part of our feature will make your process smoother and your 126 | 8 ways to master a track
help you turn them into complete tunes. songwriting experience more fulfilling. Mastering dos and donts to add a
Then we move onto the art of mixing: As ever, send us links to your resulting pro sheen to your productions
checking levels, checking pan positions, tunes at editorial@anthem-publishing.com.
7 WAYS
TO START A TRACK
Part Its the rst step: how to get those ideas you have in
your head onto your virtual notepad and also how
03 Favourites, favourites
And while were at it, keep on choosing your
favourite sounds and presets. Home in on a set of
8 WAYS
TO COMPOSE AND
ARRANGE A TRACK
Youve got your ideas down into Live. They might be
Part loops or simple scratchpad ideas. How do you esh
them out into full arrangements? Read on
02
04
plus every software DAW will encourage you to 2. The trick is to get to the point Thats not such a bad comment, actually, because
loop, and you will sound excellent by doing so. But when you are happy with your dance music does demand a certain amount of
loops, and then switch looping
the next step is the crucial one, the one that takes off. Look at all that space to fill formula in the arrangement. Well gloss over the
you away from every other bloody looper on the arguments that say that its the blander and
3. Duplicating parts in Live is
planet. You are the girl or the guy that stops looping formulaic styles of dance music that are killing it
also easy within an arrangement,
and starts arranging. And you know what? Its but is arguably less used than in people have been saying that for three decades now
other DAWs and point you in the direction of some of the more
03 Easier than you think obvious rules instead Open with your beats.
4. Starting off any dance
In certain DAWs like Live, arranging can simply be a arrangement with beats is Obvious, yes, but DJs will want to mix your beats,
matter of recording whatever clips you launch and one of the golden rules to not your notes. Technology such as NIs Stems is
help the DJ
stop all movements get recorded, and you can making this one a little more redundant, as DJs are
tweak them afterwards if you make any mistakes. 5. Use the arranging features in getting more and more access to your song parts, but
your DAW to move big chunks
Lo and behold, you have an arrangement! In other its still safe to open on a bunch of tuneless beats
around in one go, like the chorus
and verse than it is your breakdown. There are other
arrangement tips, which will be specific to your
genre of music, so a really useful and more general
03 tip to follow here is
07 Use automation
To our minds, automation is one of the great music
technology advances. Its up there with MIDI, virtual
instruments, audio recording and Bro Country. Its
08
07
MTF Feature
S
itting down with a guitar or a computer 1970s blended a lot of instrumentals with new
and trying to create something from vocals, but that wasnt quite the same thing. Official
scratch can be one of the hardest things remixes really started to appear in the 1980s along
for a musician to do. Everyone has good with the rise of MIDI-capable equipment, early
days, of course, when the music flows sequencers and 4/4 dance beats. These factors made
easily. Other times though, the pressure we put on syncing elements of different tracks together much
ourselves to write music can make things tougher. simpler, and so remixing grew in popularity.
This isnt as often the case with remixing, that As the 90s gave way to the 2000s, computers
long-established technique of re-interpreting and and DAWs were becoming more powerful than
reworking music made by others to create anyone could have imagined in the 1980s. As it
something new and sometimes even radically turns out, these are the perfect tools for remixing.
different. When you remix, the building blocks are Theres no loss of quality when swapping digital
handed to you and its up to you to turn them into files, everything can be synced precisely, and
something. In a way, much of the legwork has virtual instruments mean a much wider sonic
already been done and all thats left to you is to palette than had ever been possible before. With the
interpret it in your own style. rise of the internet, remixing was no longer even
This is why remixing is so popular and why some constrained by where you lived. It became big
people even prefer it to writing original music business, not just in the dance world but in pop too.
although some remixes depart from their source Getting remixes of a track can be a great way not
material so radically that they could arguably be just to pad out a single release but also to broaden
described as new compositions. As well as being the appeal of your music, to take a great acoustic
great fun, some remixes even end up being more song and translate it to the dancefloor, for example.
commercially successful than the original song. If you are a remixer, re-imagining the tracks of
other artists gives you great creative freedom and
Starting the remix also the possibility of a payday if things go well.
You might tentatively suggest that bands playing Remember, remixing doesnt necessarily just mean
covers of other bands songs were the original sticking a 4/4 dance thud under something, even if
remixers, but it wasnt until the advent of electronic thats still common. With the tools available to you
music that the concept of the remix properly entered in almost any DAW, the sky is the limit when it
popular consciousness. True, early hip hop sampled comes to reworking tracks for a remix. Well show
a lot of funk and disco records, and dub music in the you how it all works over the following pages
T
he ground rules for sending or receiving
material for a remix are really two sides of the
same coin, and rooted in basic good practice
for producing music in general. They begin with the
really core stuff like setting a project folder for your
material, knowing what sample and bit rate your
project is going to be at, recording to a click track,
and setting markers correctly when exporting.
Computer-based recording and DAWs make both
ends of the remix process considerably easier than
it would once have been, but you can help yourself
by following the correct procedures.
Getting started essential both to editing inside your DAW since they
Lets begin with a look at how you ought to be all work on a grid system, and to someone else
working if you are planning on having a track adapting your project to their setup.
remixed after you have finished it. Actually, you Below: A beat calculator Your tempo doesnt even have to be sensible, it
can help you sync up stems
should always work to these rules because you never when you dont have tempo just has to be consistent. Most DAWs will allow a
know if you might need something reworking or information decimal point in the BPM, like 117.6BPM, for
changing down the line. While its possible to remix example. And while theres no real reason not to go
Right: Setting the left
or overdub a track thats not been recorded to a and right markers with
for whole number values most of the time, you can
click, for example, its far easier if it has been in the snapping active is essential use any tempo as long as you stick to it, make a note
first place. This is really the key: make sure youre when exporting stems and of it and tell the remixer so they can set their DAW
importing at the other end
locked to a click. Having a solid time base is to the same tempo. The same goes for formats. Pick a
setup like 32-bit, 48kHz WAV files for example, and
convey this to the remixer. Files can be converted on
ould always work to
You sho o these import but its better not to have to. In the event that
your track contains tempo changes, youll want to
rules yo
ou ne
eve
er kn
now
w iff you mig
ght be using a DAW that can export a tempo track or
map if the change is gradual, or simply make a note
need something reworking laterr of the tempo changes and where they occur so they
can be recreated at the other end.
This assumes that you are both using different
DAWs, though you may not be. Indeed if you are
both using the latest version of Logic, just as an
example, you can send a project folder with a raw
project file and audio files. Youll still need to
account for any difference in plug-in collections of
course, as the likelihood of your having absolutely
identical systems is small. In most cases you will be
using different DAWs and have different plug-in
collections, so its better to take the all in approach
of providing properly formatted material.
The easiest approach to exporting stems for Above: Embrace the new!
remix is to just export every track as a separate, Use a service like Splice to
upload, collaborate and
continuous stem. Yes, you might have a horn part remix tracks.
that only comes in on the chorus, but trying to cut
the stem up can just create confusion. The remixer
will be quite capable of chopping that horn part out
to move it around if they wish. Working with simple
stems, one for each track, is the most
straightforward approach.
Of course you can export loops and individual
MIDI files if you prefer, itll just take longer than
batch exporting. Or, export a bunch of stems and
also provide MIDI files, which gives them extra
flexibility to rework your parts in MIDI. For the
W
hen you remix music you may be given a
brief or you may be left entirely to your
own devices. This depends on who you are
remixing for and what the goal of the remix is
supposed to be. A club remix of a pop song, for
example, is likely to need to be heavy on the beats
and bass. If youve been commissioned to do one of
these, you will have parameters inside which you
will be required to work. For a B-side however (more An Arranger Track is
invaluable for trying
likely to be billed as a bonus track in todays digital
different arrangements
world) you may have much more freedom. A remix as simple as keeping a vocal hook but you then
can be literally anything, but it will usually need to discard everything else. Alternatively, keep most of
retain at least a small amount of the material from it but speed it up and add more drums. There are
the original track in order to be recognizable as a lots of examples of remixes that take wildly
remix and not a completely new track. This could be differing approaches and still succeed.
Break it down
A re
emixx can be any ything but will A good starting point once you have established any
requirements for a remix (like it needing to be a
need to retaiin at lea
ast a smalll dancefloor filler for example) is to break a track
down into its constituent parts. This is why its so
amount of the orriginal materrial important to provide the component parts of the
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MTF Feature The Ultimate Guide To Remixing
AN EXPERIMENTAL REMIX
When the going gets weird do a remix.
Putting a thudding 4/4 beat behind a track is the
stereotypical way to remix, and it is indeed still popular.
You can go the other way though, taking a song or a
track in a completely new and unexpected direction.
Some artists specialize in this and while these projects
might not get the dancefloor moving, they are often held
to have greater artistic merit. Youll start as before by
splitting a track into its constituent stems or parts, but
this time instead of adding drums you might take them
away, or add ominous electronic percussion where
before there was a drum kit. Adding textures is a good
way to create an atmosphere, and synths and guitars
are really great for this. If theres a vocal, consider
changing it in some way. Perhaps tempo or pitch stretch
it, add vocoding or layer multiple versions of it on itself
or add extra harmonies or backing of your own. Ghost a
and embellishing to create something altogether Fatboy Slim: artist, DJ, and vocal with a distorted guitar or piano part.
more majestic. Truthfully, the proliferation of prolific remixer While youre being more experimental you can mess
methods by which people consume music these days with structure more as well. Reverse things, take
means that you have more freedom. A 12-minute choruses out and add new sections that werent
noise epic isnt likely to make it onto the FM radio, present in the original. If youre remixing into a different
but more conventional style, give it the full treatment.
but it could find an audience on Soundcloud or one
Add a dubstep underpinning to an acoustic track, or an
of the many online radio stations dedicated to niche orchestral backing to a piece of dark electronica. Some
genres. A club version of an indie song is more likely of the most interesting re-versions of tracks occur when
to find an audience now than when you had to fight an artist goes in a completely unexpected direction.
for attention on national radio. The possibilities are There are limits of course, so make sure it works!
not quite endless, but theyre many.
MTF Feature The Ultimate Guide To Remixing
REMIXING IN PRACTICE
Heres how to remix in your DAW
W
hen it comes to remixing, your DAW told what tempo the stems are at, a beat calculator
already offers most of the tools you will will usually let you tap the tempo to work it out,
need. Naturally they all take a slightly though again youll have to spend time realigning
different approach but the basics are the same. Set and stretching parts. If things get really fiddly, one
up the project based on the format of the material trick is to cut parts up and stretch sections
you have received for example 120BPM, 48kHz, individually then reassemble them in the correct
24-bit files and then set the left marker to a tempo, but its a hassle. Like we say, dont be afraid
definite bar marker, ensuring that snap to bar is to ask for what you need
switched on. Then import the audio stems all at How you proceed depends on what your aims are
once, making sure they start at the left marker. If for the remix. You may want to, for example, mute
the person supplying the material has done their job everything but the vocal and then bring in
you should find that the audio tracks are all in time completely new beats underneath it to start with. If
youre planning to time- or pitch-stretch the vocal
track, now is the time to do it to cut down on work
Iff the person supplying the later. If you pull a vocal up by 10BPM or a couple of
semitones, it will be easier to start building the new
materiial has done th heir job then track around it from this base rather than changing
lots of tempos later.
you sho ould nd that the
d fin e audioo Some DAWs will make life a lot easier even if you
do change your mind later. Some, for example,
tracks are alll in time and perrfectly render all audio elastic, so tempo changes en masse
arent too arduous.
synchronized. Thats iif Much of the time you may want to keep hold of the
basic character of the track by keeping certain
elements in place such as a bassline, synth or guitar
and perfectly synchronized. Thats if they have hook if they are particularly good. But you can mess
done their job with them for example by adding effects like delay or
If this doesnt happen you might be better off distortion to alter the feel of the track while
asking for properly exported files. If thats not maintaining its basic melody. A common technique
possible you can expect to have to spend some time when producing electronic remixes of rock or indie
looking at waveforms and trying to work out why tracks is to identify the hook and then repeat it
the timing drifts off as the stems play back. You can creatively. Drums might be replaced or supplemented
use your own click track to work out how badly off to beef them up, and arrangements altered to change
the timing is if this happens. the structure of the track. Of course you could take
Most DAWs are pretty good with time stretching the opposite approach and substitute new melodies,
though it can still be a pain to align entire tracks to beats and basslines and simply keep a few key
your musical grid. In the event that you havent been elements of the original the choice is yours.
Ableton Live takes a slightly different Add a new bass instrument and either use Use Lives great MIDI effects like
01 approach and one thats useful for
02 the extracted MIDI information from the
03 arpeggiators and randomizers to help you
remixers. Here, some stems have been bass clip imported previously or program a new compose new clips and parts underneath the
imported and then a loop identied. Right part. Use Clip view to work with audio and MIDI bones of the project you have kept from the
clicking, we are able to slice it to a new MIDI clips for a more DJ-style approach to remixing. original, to make something new and unique.
track and then trigger it as a new instrument.
MASHUP TOOLS
Modern tools can take a lot of the
legwork out of the remix process
W
hen remixes first became a popular thing
to do in music, the tools on offer were
significantly less advanced than they are
today. The process would involve editing tape,
sampling into hardware samplers and
manipulating the results, and recording overdubs
largely using real or hardware electronic
instruments. Even when more outlandish stuff
became popular in the electronic world, a lot of it
was down to many hours spent programming and
automating MIDI to get the desired effects.
These days, a relatively small outlay will get
you access to some mind blowing software tools for
reinterpreting digital audio in ways which didnt
really used to be possible. Plug-ins can now take a
real-time audio signal and mangle it in amazing
ways without you ever having to worry about
tedious stuff like staying in sync. Most of this even
remains virtual if you so choose, meaning you
dont even have to render effects down if you dont
want to. Sugar Bytes Turnado is a
of any music project. Izotopes Breaktweaker was
powerful mashup multi- designed in collaboration with electronic producer
Mash it up effect BT and is technically a virtual instrument into
Lets look at a few of the best plug-ins for remixing, which you can load any samples and completely
beyond the kinds of mix tools you would use as part re-sequence them based on its advanced onboard
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MTF Feature The Ultimate Guide To Remixing
sequencer. Although billed as a beat making tool, in of complex effects on that audio. The result is that
practice it can be used on anything you like. It has a you can create incredible stutters, runs, sweeps,
MicroEdit Engine that lets you repeat or chop up repeats and much more by assigning notes to
any audio slice at an incredibly fine resolution so effects and then tweaking the behaviour of those
you can turn beats into melodic notes, texturize effects. There are a stack of available effects and
melodic sounds with rhythms or use beats as a even though youll want to invest a little time in
synthesis tool by locking drum hits to individual setting it up to your liking, its like a remix in a box.
pitches. Different internal sequencer tracks can use Not dissimilar is Sugar Bytes Turnado, a multi
different tempo and step lengths so its almost like a effect thats a little more approachable and has a
mashup studio inside a single instrument. ton of multi fx to route your sounds through. It can
Manipulating samples becomes far more flexible do everything from slicing to distortion and
than anything you can achieve with regular audio filtering at the same time. To add a new dimension
edits. to your remixes it never hurts to have a good pool of
Also from Izotope is Stutter Edit, an audio effect samples and loops to work with such as those from
that lets you play effects like an instrument. It Loopmasters. As well as being used straight out of
continuously samples live audio input into a buffer the box these can be mashed up in effects like the
and then you use MIDI notes to trigger multiple sets ones mentioned above for cool results.
Load an instance of Breaktweaker and Select any of the note events in the Use the Pattern section at the bottom
01 load a preset. Each of the lanes
02 sequencer or add your own using the
03 right to build up a series of different
represents a different sound and these can be mouse, and change its position and duration. patterns. These can be sequenced in the main
swapped for different samples or some of your Click in the MicroEdit window and drag the DAW sequencer or exported or bounced down
own sounds. Press a MIDI note to trigger the mouse up or down to change the tension and to audio in order to play with them in the
sequence. behaviour of the step for cool sounding results. context of the main remix project.
T
he days of sending material to the CD association is. If the track contains any third party
pressing plant are more or less gone. samples you need to know that the artist has
Nowadays youre much more likely to simply cleared those too, since that adds another layer of
send someone a WAV of a mixed and mastered complexity. What you shouldnt do is just start
remix once its done, and they will deal with selling something yourself, unless you have
releasing it if thats the arrangement you have
made. If you are releasing or hosting stuff yourself
you have several options, but there are some things The person whose track you
to be aware of first. If yours is an official remix, the
person whose track you have remixed will own the remix
xed will proobabbly own the
e
copyright in at least part, if not all, of the recording.
They will probably have written the track and will copyrig
ghtt of the recorrdin
ng
have the rights to the name, melody and any
recorded material they supplied to you. So its vital explicitly agreed this first.
to be clear (preferably before you even start any
work) about what the deal will be for the finished Look to the cloud
track. Maybe you will receive a fixed fee to sign over Hosting music nowadays is easier than ever, and
the rights to the remix entirely, or perhaps there Soundcloud is still the go-to destination for
will be a cut of sales that can be attributed to you uploading your own music and embedding it on
via your membership of a collection agency like the other sites. Mixcloud is great too, especially for
PRS, MCPS, ASCAP or whatever your national remixes. Bandcamp is still one of the best ways to
TECH TERMS
IJ;CI
Individually exported audio files that collectively
contain all the material in a project. Batch export is the
quickest way of creating all of these in one go.
J;CFEC7F
A special file or MIDI data you can export to tell the
remixer about any speed changes that happen through
the course of a track.
8EKD9?D=
Rendering MIDI or audio down to audio files, often with
effects. This provides the remixer with all relevant
material even if they are running a different system.
;NJH79JJEC?:?
Many DAWs let you analyse audio clips and convert
their note and pitch info to MIDI which is great for
capturing melodies or beats and reprogramming them.
H;N<?B;I
Combinations of MIDI data and sliced audio files that
can be re-sequenced and generally manipulated.
Some DAWs have dedicated REX player modules.
8WdZYWcf_iij_bbW]h[Wj
mWojei[bbcki_Yedoekh EC<7D:77<<?B;I
emdj[hci
Special files that contain some but not all content
and info about a project. Useful for sending a remixer a
8[bem0C_nYbekZ_if[h\[Yj
\eh^eij_d]oekhc_n[iWdZ
project without having to export everything first.
h[c_n[i
J?C;IJH;J9>?D=
Altering the speed of an audio part without changing its
pitch. Pitch stretching is also commonly available.
Ulttimattelyhh[c__n_d]
]Y
YWdX
X[W
W C7I>KF
Taking two or more tracks or parts of tracks and
]eeZm mWo
o tof
fhe ecejj[X
Xej^oeeka
and blending them together to make something new.
J>;9BEK:
the Whj_ijo
oek^ ^Wl
l[h[[c_n[Z Online, server-based methods for either swapping
large amounts of raw project data or in some cases for
collaborating on projects using web-based tools.
C?:?IOD9
Synchronizing tracks or equipment or both so that
the original material and the new stuff you add all stays
in the correct time.
sell your own music and set your own price, with all
levels of quality options including lossless. Most of
these sites have decent free plans that give most
people what they want though theres also usually
an option to upgrade for extra features like sales
stats. Beatport now only deals with labels but has
an associated site called Baseware that still allows
independent artists to sell music through online
stores. Services like iTunes, Amazon and Spotify
can also be used though you will have to go through
an intermediary service such as Mondotunes since
they rarely deal with people on an individual basis.
Radio and blogs are still a great avenue for
promotion and all the usual rules of tenacity and
casting your net wide apply here just as with
promoting any music.
Of course if you have remixed an established
artist or even someone who is doing their own
promotion it should be easier to get them to promote
your remix under the banner of the work they are
already doing. Ultimately, remixing can be a good
way to promote both yourself and the artist whose
material you have remixed, so its in everyones
interests to see it succeed. MTF
02
MTF Feature 6 Ways
S
o should you really be concerned about tidying] There, thats better. Spend 10 minutes
how cool your studio looks? Were clearing your work space and your next session is
certainly not saying that it is as guaranteed to be more productive.
important as how it sounds in fact, we
always say that the sound is the most 02 Less is more (and, okay, more is more)
important aspect, right from getting the perfect For a magazine that shows you a ton of gear pictures
recording through to listening to the end results on every month, it pains us to say: if you are working
the most accurate monitors. BUT, lets not forget that towards specific musical goals, then very often the
music production is a creative process, so once you fewer distractions you have in terms of gear, the
have your preamps, your monitors, your mixer, your better. And as is shown by (some of) the pictures on
mics and your computer sorted and even your these pages, having a very stripped back setup can
chair, for that matter why not consider the
environment around you? No, not that environment
[actually, yes, that environment, too Ed], but the
room in which you sit, the room in which you create?
For a mag that shows you a ton
Make it look great and you will make it a welcoming
and creative place to be. So in order to do that
of gear, it pains us to say that less
01 Tidy, tidy, tidy
is more. Sometimes, that is
Got kids? You will understand this. Stuff on the floor,
stuff on the desk, stuff everywhere, more stuff. mean a very cool one. Having said that, and this is
LEGO. Bloody LEGO, everywhere! The easy route to a where we justify having a ton of gear, having a huge
creative environment is a clean environment. Yes, its bank of outboard lights come on when you flick that
obvious, too obvious, so obvious that you might not master switch, can be just as inspiring. Its about a
notice untidy creep, i.e. as you work within your work/gear balance
creative space you will make it more untidy. In fact,
as were writing this feature within our studio setup, 03 Surround sound
weve just noticed: its untidy. Hang on [noise of Theres no doubting that there is some kind of
04 Personalise
It it your studio? Then, in the words of the best
03 captain on the bridge: make it so. You can have a
mountain of gear, the coolest of sofas, the best of
lights, but if its not yours, then you might as well be
anywhere. To make it personal, make sure you have a
couple of reminders about whose space this is,
05 Lights, action
We know that this has become an important one to
so many of you. Good studio lighting not only looks
cool, but can also be very inspiring. Theres nothing
worse than having the most incredible gear setup, a
great-sounding acoustic room, only to turn on an
05 artificial industrial office light to see what is going
on. Invest in up lighting, strip lighting, even fairy
lights if you must. Make it warm and welcoming, not
cold and frightening. Green is good. As is blue. And
lava lamps. Ooh, lava lamps
06 Go wireless
As the world goes wireless, we in studio land should
be rejoicing. Unfortunately, latency and other issues
mean that a completely wireless recording
environment is probably a few years away yet, so
while you have to plug one thing into another and
lets face it, modular fans, that is still an attractive
06 pastime in its own right at least keep those wires
out of sight as much as you can (unless you are the
aforementioned modular fan, naturally). Invest in
cable tidies, cable extensions and simply getting
down on your hands and knees to push power leads,
audio cables and computer connectors out of site
but, importantly, still within reach. A good old
fashioned patch-bay might be in order here.
And while were on the subject of modular synths,
yes we all know that they look cool, but the cables
can look a mess. Try colour coding or even LED
cables to blend points 1 and 5. Very cool MTF
Beef up your
Ableton Live audio
ins and outs
Do you need more audio inputs and outputs for your Live rig? Before rushing out to buy
another interface, make sure youre fully exploiting what you already have
S
ooner or later, we all have a moment when Ableton Live-specic topic here, but its incredibly
something changes unexpectedly in our relevant, because Live is at the centre of so many stage
studio or live setup; maybe we borrow a drum and jam rigs. The understanding of aggregate audio
machine or synth from a friend, or somebody devices ts very neatly into that world, just as you ought
comes over for a jam, and suddenly the to know how to ReWire different DAWs, how to use MIDI
well-organised rig doesnt quite have enough audio Sync, and so on.
inputs or outputs to go round. In the longer term, you Typically these days, wed be using USB audio
can plan to buy another soundcard, or you can use interfaces for this. Its the most common form of
external audio inputs on your hardware instruments, if connection for audio and MIDI peripherals, although
they have any, and bodge something together that way. FireWire is still around, and there are a few Thunderbolt
Either way, right there on the spot, you need something
to make it work, and this is where aggregate audio
devices come in, if you have an unused sound card Combine multiple devices
lying around.
Under Mac OSX, we can combine two or more audio to create the monster aggregate
interfaces, including the one built into the computer, so
that our favourite music software sees all of the device of your dreams
connected physical inputs and outputs as one virtual
device. This device will be available system-wide for any interfaces available, like the Apogee Ensemble, and
software, including Ableton live and other DAWs. In FireWire interfaces are still around and FireWire is
some ways, you might think were not talking about an compatible with Thunderbolt if you have an adaptor.
Just to be clear, when I talk about an audio interface, or
Workaround or long-term plan? a sound card, Im referring to the same thing.
Is it worth buying another soundcard just so you can do this? Truthfully, Id say no! I view aggregate You can combine multiple devices to create the
audio devices strictly as a workaround for those situations where youre caught short on the input monster aggregate device of your dreams, although
front, like when theres a gear failure in the studio, or youre having a jam with a group of players and
there simply arent enough physical inputs to do it properly. If youre looking to expand on your after a certain point, Im not sure whatd happen
available inputs long-term, a better option would be to add something that connects to your regarding computer performance and latency I dont
existing interface via an optical cable, like Focusrites OctoPre or RMEs OctaMic. think Ive ever gone further than two interfaces plus
built-in audio. I always make a point of using the mains
An aggregate audio device is a name for the connecting and Youll need a Mac running Live, and one or more audio interfaces,
01 conguring multiple hardware audio interfaces, so that they
02 to follow our steps. Any relatively recent version of Mac OS X
appear as one continuous set of inputs and outputs in software. should do, and Im afraid that, yes, this is Mac-only.
This can scale up from small to very big rigs. For starters, lets say You can combine your Macs headphone output with soundcard
03 you want a simple DJ cueing setup, which requires two separate
04 output to make a virtual interface with two stereo outputs, and
stereo outputs, but you only have a basic stereo soundcard. set them up so one outputs to PA/mixer, the other to your headphones.
Make sure your soundcard is connected as usual probably via From the Audio Devices window, youll see a panel that lists all
05 USB. You dont want Live open yet. Go the OS X Utilities folder,
06 recognised interfaces and any existing aggregate audio devices.
which is inside the Applications folder, and open Audio MIDI Setup. Click + to add a new one, and rename it something sensible.
power adaptors for any interfaces in these setups as interfaces like the Alesis Core 1, right up to, for example,
well. The ability to create aggregate audio devices is the RME Fireface UFX. Live wont recognise a new
built into Mac OS X, which is why this entire tutorial is aggregate audio device until its relaunched, so bear
Mac-only. OS X is very convenient for handling these that in mind if you dont see it listed in Audio
audio tasks, as well as having deep MIDI routing Preferences. Talking of which, youll also have to visit
capabilities also built in like the ability to congure Audio/Input Devices/Congure and Audio/Output
wireless MIDI networks. You can use little audio Devices/Congure and enable every input and output
In the panel at the right of that, you should see a list of all Tick all of them you might as well include the inputs as youre
07 available audio inputs and outputs, including Built-in Microphone
08 not adding many, anyway. Quit Audio MIDI Setup. You can return
and Built-in Output which are the Macs own hardware connections. here whenever you need to manage your aggregate audio devices.
Now when you open Live, go to the Audio tab in Preferences. Click the Input and Output Cong buttons and you can enable all
09 Where you choose Audio Input Device and Audio Output Device,
10 of the inputs and outputs in the device. From now on, Live will
you can view and select your new Aggregate Audio Device. treat this as one device, just like any other. Close Preferences.
Open a Live set. Anything with some clips in Session or Under the Master Track, you can dene the Master Out and Cue
11 12 Out destinations the one that will go to your headphones. By
Arrangement View will do, though its easier to view routings in
Session. Open the In/Out View to see all four outputs available. default, all tracks will go to the Master Output.
that you want to use which is probably all of them! outputsthatll plunder your cable stash in double-
After that, of course, theyll all be available in in Lives quick time. Same with audio effects you can wire up a
In/Out View. How you use all those spare connections is hardware reverb, or compressor, and create a
up to you; one thing that comes to mind is routing out convenient recall by using Lives External Audio
and back to external hardware synths and drum Instrument and Effect devices, effectively letting you
machines, especially if youve got something like a include your hardware in chains of presets. By the way,
Machinedrum, which has six separate physical the OS X Audio MIDI Setup utility is the most important
Click the solo/cue switch in the Master track, and the solo button You may need to experiment with the In/Out View settings to nd
13 in every track becomes a headphone-cue icon. Now you can use
14 the right stereo output, and dont forget theres a cue volume
these to direct a tracks audio to the cue output. control below the switch, which you could assign to a MIDI controller.
View it in Lives Preferences whoo, thats a lot of connections! If you own an interface with ADAT connections, you may not need
17 Enable them all. In theory, having more enabled ins and outs here
18 an aggregate interface. Ive got a Ferrosh A16 adding 16 inputs
can increase CPU usage, but Ive never had an issue with it. to an RME Fireface UFX it simply appears as one unit.
place to view and troubleshoot your audio and MIDI well, so the two units dont have to be physically
routings, especially as Live users are so fond of using together. In my studio, I have a ve-metre optical cable
the IAC Driver to create weird audio setups, like sending connecting a Ferrosh A16, positioned near the
MIDI out of Live and back in again. hardware synths, to the UFX which is positioned near
A better long-term solution for this is to buy a the computer.
soundcard with more inputs, and if thats still not Aggregate devices arent always the most elegant
enough, combine it with a mic pre that connects via long-term solutions. But if you have a spare interface
optical cables. Naturally, youll also have to make sure lying around and suddenly you need more, it gets the job
your main interface has optical connections, too. If you done. Under Mac OS X, creating and managing
take a Focusrite 18i20 for example, and you want to add aggregate devices is about as easy as it gets, and Live
eight more inputs to it, get a Focusrite OctoPre and has no problem identifying and using them. Whether
connect them via optical. The 18i20 will appear to Live youre going to use this on a day-to-day basis or not, its
as usual, without any special conguration; itll just something to get familiar with in advance of the day
have more inputs. You can buy long optical cables as when you might need it to get you out of a hole! MTF
Follow actions
and what they
can do for you
Its so easy to let software lock everything down nice and tight and be
predictable but, says Martin Delaney, it doesnt have to be like that
F
ollow Actions are settings we can make in different Chance values, and combining two different
Ableton Lives Session View clips, that determine behaviours, selecting from Stop, Play Again, Previous, Next,
how and when one playing clip will automatically First, Last, Any, and Other. I guess those names are mostly
move on to another, and what will happen when it self-explanatory, although the difference between Any and
gets there. We can use Follow Actions for creative Other is that with an Any Follow Action theres a chance it
purposes, such as in evolving sound art installations, or to will play the current one again immediately, whereas with
create unpredictable sequences of instrument parts, but Other itll never repeat the current one straight after
we can also use them as purely practical tools, for example playing it once. Personally I lean towards Other and the
creating timed intervals in a live performance theyre very more random selections in general, as thats what I like
exible. Follow Actions can be thought of as Abletons take about them in the rst place!
on generative music music which composes or arranges Just like (nearly) everything in Live, Follow Actions can
itself in a semi-automatic way. Brian Eno fans will know be recorded, in this case, into the Arrangement View
what Im talking about. Go back to his Discreet Music timeline. One of my favourite Follow Action moments is to
album from 1975, which wouldve been made with trigger and record a group of clips which have short Follow
hardware devices and tape in those days, to the Generative Actions of 1 or 2 beats, then go to the Arrangement View,
Music 1 album from 1996, which he made using Sseyos select the captured clips, and consolidate them, creating
Koan software. If you want to get some of that old-school one new clip which contains all of those little parts this
Eno action, Koan evolved into Noatikl 3, and its still works equally well with MIDI or audio clips. If you prefer to
available from www.intermorphic.com. do it all inside Session View, like maybe during a live
Follow Actions only work in Session View, and only performance, you could create a new audio track, and use
vertically with adjoining clips in the same track. If or when the resampling option to capture either the entire mix back
the follow action clips arrive at an empty clip slot, they
stop, so thats worth remembering when youre trying to
prevent Follow Actions from running on into the wrong
areas of your set.
Follow Actions let your clips behave in a genuinely
random way, or you can limit their freedom by applying two
Well be using Follow Actions in Session View to create random Lets use the three adjoining white clips in track 1. Click to select
01 and not-so-random behaviour between adjoining clips in the
02 the top clip, then hold down Shift and click on the bottom one,
same track. You should use the example Live set provided! this will highlight all of the clips in that block.
If youre not seeing the Clip View, click the Clip View Selector near You can see a section of Follow Action controls in the Launch Box.
03 the bottom right. Also make sure you can see the Launch Box
04 The top three relate to timing how long will the clip play before
you might need to click the small L button at bottom left. Follow Action occurs, in bars/beats/sixteenths. Leave that for now.
The middle boxes let you choose what the Follow Action will be. Launch one of those clips and Follow Actions begin theyll play
05 For now choose Other from the rst box and leave the second
06 in a random order, and keep going forever unless you stop them!
one. Finally, choose a Chance value set it to max out at 999! You could hit record and capture them into the Arrangement View.
into the new track, or else just select the source track with its as we can use an arpeggiator on Live clips. It can get
Follow Actions, and record it as incoming live audio. These even more hypnotic, though, if we use more than one track
are great techniques if youre stuck on a project and you of them at the same time. Of course, two (or more) tracks of
need a new sound, a new perspective, or just a bit of randomly launching clips have far more potential for
spontaneous reorganisation. Plus, of course (unless you non-repeating patterns. As stated in the tutorial, though,
choose not to let them), Follow Actions are always synced there is also more risk of sounds clashing then, so you cant
to the rest of your project. always just dump two lots of sounds into parallel tracks
Follow Actions are really hypnotic and totally addictive and expect them to play nicely together you might have
For bonus coolness, consolidate clips in the Arrangement View More? Lets use the clips in track 2. Make sure all clips in track 1
07 with Cmd>J, creating a new clip you can paste back into Session
08 are off. Select all the clips again, as we did before, and this time
View. Follow Actions and Consolidate work with MIDI and audio clips. choose a time value of 0/2/0.
Choose the Next action, and set the Chance to 999. Select the To make things sound more interesting, send Sends A and B to
09 last clip alone, and choose the Stop action. Launch the top clip,
10 the 12 oclock position those are going to Delay and Reverb. I
and theyll play in sequence, until they reach the last one and stop. love adding Ping Pong Delay, especially, to these kinds of sounds.
Stop all those clips. In fact, you can use the Stop All Clips button Set the timing value to 0/2/0. Youll see this affects clips across
11 12 all three tracks. Choose the Any action in the left hand box, and
under the master track. Now go to tracks 3, 4, and 5. Select all of
those clips and go to the Launch Box. set Chance to 999 again.
to tinker with the timings, and adjust parameters and EQ to regular, predictable, outcomes, so you can have a set of
get a nice t basic mixing in other words. instrument parts that play and move on of their accord
You can blur the lines between organisation and chaos while you sing or play along, like a little interactive backing
by adjusting the chance settings for each action - an action track. You want a clip to stop playing after 8 bars? Easy. You
assigned to a value of 0 will never happen, while identical can always add empty MIDI clips, or silenced audio clips, to
chance values will give an equal likelihood of occurrence. insert timed pauses or breaks into the ow as well. Taken
But going further, you can dictate specic steps and create to extremes, you could have just one track that plays
Instead of launching each track individually, use a scene from the Sounds good, but track 4 is clashing with the others in the low
13 Master track to re the top clip in each track. Clip playback
14 end. So add an EQ Three to track 4 and roll off the low end a bit.
diverges, building a more interesting and unpredictable sequence. That thins it out some more.
Having xed that EQ issue, now you once again add delay and Go to the bottom clip in track 4 and set one Follow Action to Stop,
15 reverb sends to give more depth and even more rhythmic variety
16 and the other to Any and their Chances to 50 each. Now, when the
to the parts. Experiment with different project tempos as well. Follow Action reaches that one, the track 4 clips sometimes stop.
Follow Actions only apply to blocks of adjoining clips in the same As weve already seen, Follow Actions are recorded just like
17 track. They stop when they arrive at an empty clip slot. If you need
18 everything else that happens in Live, so its easy to use them as a
a silence section, add a silent audio or MIDI clip! way of semi-randomly generating new parts and even mixes.
through an entire song structure following just one click to going, it comes truly alive.
launch the rst scene especially if you combine with You might have noticed that Im quite partial to Follow
instruments racks, Simpler and the Chain Select Envelope Actions. Its true, Im Fanboy, and not ashamed to admit it.
so you can have different clips loading different Follow Actions are built into every version of Live, and you
instruments, audio loops (thats why I mentioned Simpler), dont need any extra hardware or plug-ins, just some audio
and audio effects! Its as always with Live: the individual or MIDI clips to play with. No matter how you use Live,
features are really cool, but once you get the combinations theres room for Follow Actions in your work ow. MTF
Creative clip
management
with Push 2
Abletons Push hardware controllers especially Push 2 interact
with Lives Session View clips in ways that no other controller can
achieve. Martin Delaney explains how to get creative
I
ts not often we run a tutorial thats dedicated to one Our example Live set contains a selection of audio and
controller but, of course, Push isnt just any piece of MIDI clips for you to tinker with. Youll need Live 9.6 or later
hardware its built by Ableton itself to complement its to open this set as we need to be right up to date to make
Live software, which it does, with unmatched depth. This the most of Push. Any necessary Push rmware updates
means that there are enough Push users and Push- are included within Live software updates the Push
curious Live users out there to justify this kind of workshop display will let you know whats going on!
coverage. Push is primarily focused on Session View which In Session Mode, Push does a good job of reecting the
is, of course, all about clips and were focusing on those contents of your Live sets Session View and youll get clip
here. But lets not claim that this is everything you wanted positions and colours clearly laid out, ready to launch with
to know about Push and clips that would be kind of a single tap. The colours should be reasonably close to
dangerous, especially given Abletons ongoing habit of what you see on the computer screen. Get familiar with
adding new features. whats in the example set by tapping any of the clips to
As Ableton itself stated in the past: once you create start them playing. If Live isnt already running, launching a
your clips with Push, and browse and load instrument and clip will start the transport. If Live is already running, the
effect devices, then record a little jam or performance, pad will ash and wait until the start of the next bar before
maybe youll be better off putting Push to one side and playback begins. (If you ever want to play loops in Live
working more directly with your computer. What Push does without starting the transport, you can do it from the
is provide a more dynamic, hands-on, instrument vibe for Looper and Simpler devices.)
that brainstorming creative process; that physical part of it In the walkthrough we see how launching clips from the
is based around the controls the encoders, buttons, and Push pads will reect launch mode settings youve made.
the control strip and maybe most importantly, the Lives default launch mode is Trigger mode, which is ne
dynamics and excitement that come from the way Push
lets us get hands-on with audio and MIDI clips.
It used to be that audio clips were kind of a poor relation
on Push in some ways, but not any more, as with Push 2 we
can view waveforms for samples contained within Simpler
and also for regular audio clips. This is a major advance in
terms of getting a full DAW experience from the hardware.
This is one of our rare Push-only tutorials, so youll need a Push to Tap the Session button, so the Push pads are ready to launch the
01 make the most of it (ideally Push 2). Load our example Live set,
02 clips contained within the focus box displayed on your computer
which has some clips ready for you. screen. Youll see the clip colours are the same as on-screen.
Launch some of the clips in the set it doesnt matter which for Thats because theyre following Lives global quantise settings,
03 now. They are exhibiting the default Live/Push launch behaviour.
04 which youll have to change from the software as Push cant do it
Theyll ash before playback starts and ash while theyre playing. not yet anyway (you can change record quantisation from Push).
To stop a clip, press a pad to activate an empty clip slot in the Live clips can be assigned different launch modes behaviours
05 same track or use the Clip Stop button. You could also use Stop
06 such as Toggle and Repeat and Push recognises these. Toggles
transport or (on Push) Stop All Clips with Shift then Stop. very useful because a second tap of the same pad will stop the clip.
most of the time, but it does require you to tap theres no way for Pushs pads to send velocity, so you
elsewhere or use the Stop button when you want the cant use them to change how loud or quiet a clip plays
clip to stop but Lives transport to continue. If the clip is upon launch. There are two ways to deal with this: one is
set to Toggle, itll simply stop when you tap it again, to use another controller instead anything with a MIDI
which is generally a much smoother behaviour when keyboard or drum pads will work, although of course
youre using hardware with Live clips. You can even there are signicant trade-offs in other areas. The other
change a clips launch mode from Push, which is great is to use Simpler, which has become arguably the most
for mid-gig changes of direction. In Session Mode, important device in Live. Not only is it a great tool for
Although audio and MIDI clips are different to work with in some Push doesnt offer a relationship between pad velocity and clip
07 ways, when it comes to launching them from Push, theyre the
08 volume, something that some hardware can do. The work around
same. But thats just like with Live itself, so you knew that already! is to load samples into Simpler; then you can apply velocity to it.
You can select a clip without launching it by holding down Select When youre viewing the clip details, including waveform for audio
09 as you tap on it. This also works with other things such as tracks
10 clips, you can change the clips loop length, start position, gain,
and pads in drum racks, very useful, and no noise! and Warp modes (thatll be audio only, of course).
With Live 9.7 in public beta as Im writing this you can change When youre recording MIDI notes via Push, you can leave your
11 12 clip lengths open ended, so they just keep on going as you play, or
clip colours from Push. Hold Select and press the clip, then press
and hold Shift and select a colour from the grid. use the Fixed Length button to set a bar value.
hosting one-shot samples or building sample-based Live sets where all of the audio material is contained
instrument patches, its a fantastic loop host as well. within Simpler working like this opens up a lot of
Drop an audio clip in there and you can immediately potential for building instrument racks containing audio
trigger that loop from the pads on Push and dial in as loops, and building your tunes in a whole new way.
much velocity response as you desire. Simpler works Personally I nd Im doing this more often. And while Im
brilliantly well with Push 2, especially as you can view on it,dont forget to click on Simplers little expand
the waveforms, and it could well be that you build entire button when you want to get a really large scale view of
Once the recording reaches the limit of that bar value, the clip Its possible to copy and paste clips from Push. All you have to do
13 goes straight into playback, without interruption. This works with
14 is press and hold Duplicate and tap the pad you want to copy,
audio clips as well, which is great for live loopers and beatboxers. then tap where you want it to go.
Likewise you can delete clips by pressing the Delete button, and Were allowed to mention scenes, because theyre rows of clips!
15 then the clip you want to dump. Use Undo to bring it back if
16 Launch them by tapping the Note Value buttons at the right of the
necessary! Delete also works with tracks, scenes, and devices. pad grid. Press the New button to create a new scene.
As with individual clips, we can select and view some scene info As I mentioned earlier: for velocity sensitive loop launching, put
17 without launching it. Press Select and then the Note Value button
18 your sample into Simpler and trigger it from the Notes Mode. You
corresponding to the desired scene, youll see the scene name. could build a set using Simpler for content instead of audio clips!
10 WAYS
Part
TO MIX A TRACK
Its our produce a track special and its time to mix
01
3
Keep it simple
your tune. Here are some pro ideas to take your mix up
a level and let your musical ideas shine through
02 Take a break
As cool as spending the whole night mixing sounds
or how good a days eight-hour session at the
monitors feels, the truth is that the longer you spend
listening to one mix, the more negatives will come
from the experience than positives. Firstly, your ears
will get tired and then so will your brain. Youll start
01 edging volume levels up across the board until you
are mixing at excessive levels and your ears will
soon start ringing. Your brain will start to turn to
glue and your decision making will suffer; youll
soon go from making vital and essential tweaks to
undoing all the good work you put in at the start of
your sessions. So, stop! Hold on a minute! While
distractions can be regarded as your enemy at the
start of the production and compositional process,
they might well be your friends here. A good video
game or pool table might be just the accessory your
studio needs. Just make sure you return to your mix
at some point, though
03
06
05Breathe
03 Loud. Loud. Loud more easily
While were talking volume, you might find that Use your mixing
you end up with the kind of mix creep mentioned skills to allow the
earlier, especially over longer sessions; but you most important
should always try and reduce volume levels, no 3. Dont let those levels get too parts of your mix
matter how long your sessions are. You can give your loud. Here they are in Live going to breathe. If you happen to have Adele in your
into the red
mix the odd big blast just to make sure it kicks at studio, the last thing you want to do is mask her
high levels, but always bring it back down for the 4. One simple way to mix is to voice with a bunch of things that sit in the EQ range
consider your mix in the
main mixing session. Remember that a really or pan position of her vocal part. Move everything
positions that a band
well-engineered mix will sound good at any level. traditionally takes on stage, and away from the most important part of your mix and
pan the instruments accordingly give it room. If necessary, dont shy away from using
04 Fill it up, but not right to the top EQ reduction to help take other mix elements away
5. If you have a vocalist like Adele
One of our favourite mix analogies is to consider in your song, then the last thing from the most outstanding part of your tune.
your mix not only as a stereo left-to-right picture, you want to do is crowd her out of
the track 06
but also as one going up and down. By this, we mean Compress and limit
that when panning, think about filling the space left 6. Use a compressor in your DAW Getting your levels right is not just about adjusting
mix for extra clout and power
to right, and if its a band youre mixing, consider faders per channel. More subtle adjustments can be
using the positions of the band members as they made with compression, while less subtle ones can
would play on a stage as references for your main be made with limiting. In general, the entire mix is
positions within the mix. And when EQ-ing, you compressed and limited at the mastering stage, so
could do worse than thinking top to bottom. Your dont use this method so much in mixing. However,
low-end frequencies are at ground level, and your do consider applying compression to individual
highs are, well, at the top. In this way, you can use parts, so that your bass can pump and your snares
judicious panning and EQ to fill up the entire 05 can have more bite. Limiting helps cut out stray
picture. But having said that, dont fill your picture levels across the board, too.
up completely
07 Use references
As well as using several different reference monitors
04 to check your mix see the boxout you should
remember to use musical reference material to check
your mix against, too. This could be as simple as
loading in a similar type of music to the one youre
mixing as a reference point. You arent so much
checking the volume here, as this will be done in the
mastering process; its more the style and the mix.
You can get a great idea on EQ types and levels here,
too. How does their bass cut through the mix
compared to yours? Does your kick have as much
clout? Its a great way to learn from the pros, by just
hearing their efforts side-by-side with yours.
Beware, this can be a little depressing at first, but do
bear in mind much of the extra shine comes from
mastering, so dont get too down.
08 Effects
With effects, as with virtual instruments and synths,
technology is spoiling us rotten. Back in the day (oh,
07
09
tempting to smear effects across everything simply 10. You need to make your
because you can, but the technology message is, once mixes sound good on any
device, including mp3
again, that its great to have it on tap, but use it
players.
sparingly. So dont, for example, slather reverb on
everything, or your mix will sound like its recorded
in a cathedral, which could be a bad thing.*
* Unless you want it to sound like its recorded in a cathedral, in
which case this could be a good thing.
09 Groups
Grouping is a powerful feature. Your DAW should
allow you to do this, so learn how to do it now!
Grouping can save a lot of time and a lot of effort as,
essentially, groups allow you to process several 7. (Above) Juxtapose some
(usually similar) mix elements at the same time. Your reference material with your mix
vocal harmonies, for example, might all use similar so you can compare your efforts
with the best music out there
effects, so group them as might your percussive
elements. Then you can automate, mix, and process 8. Just because effects are
available, it doesnt mean you
multiple tracks to your hearts content MTF should automatically use them
10Best mixing
tip ever?
And the most popular mixing tip award goes to
Listen to your mix on as many different systems
as possible. And this top tip still holds true, today
more than ever. People consume music on a vast
08 array of different devices: from minute players
and phones right up to high-quality recording
studios, so you have to make sure your mixes
sound as good as they can on as many of these as
possible. This means that as well as sounding
great within the confines of your own studio and
on your expensive monitors, they should also
sound good through the headphones of your
phone, compressed down to mp3; they should also
sound great on the CD player in your car; and they
should also sound great on your mates hi-fi. In
the olden days, people even made them sound
great in mono for radio play its not so vital now,
but if you can, then why not?
Oliver Nelson
With a studio setup just like yours and ours, Oliver Nelson can not only offer production
advice on his successful nu disco productions, but also has a lesson for all of us on how
to make it in music production in the 21st century. MusicTech sits down with the man
who has mastered the media
he phrase up and coming is often thrown on SoundCloud and YouTube: his remix of Justin
lazily at any artist releasing their first Timberlakes Suit & Tie garnered 16 million alone.
recording on a major label. But while So how has this young producer already made a
Oliver Nelson is most definitely doing the name for himself before his first release? Well, lets
latter his first release on Polydor, Found start at the beginning
Your Love, should be out as you read this he is not
exactly new to music production, having amassed a Mus sic
icTech
ch: How did you get into music production?
huge social-media following with a stream of Oliiver Ne
elso
son
n: My brother started playing drums
remixes and productions, way before the single when I was a kid. He was both my role model and
came out. inspiration, so I jumped on the drums myself and
Indeed, the 25-year-old Swedish producer is found my love for creating beats and rhythms. My
giving us all a lesson in how to carve a career in parents were heavily interested in music, so in turn
music making today. Before the single came out, you could say my whole family were, and are, a huge
Nelson had notched up millions of plays across influence. My first major step I took myself was
various platforms. Found Your Love had scored over deciding to attended a music high-school and that
1.5 million plays on SoundCloud, while his led me to start making my own music.
reworkings of tracks by Janet Jackson, The Knife,
Marina And The Diamonds and Whitney Houston MT: From there, then, how did you break through
among others have scored nearly 100 million plays to become successful?
ON: I met my manager and we formed a great desk and analogue recorders, even though that
personal and professional relationship. He helped equipment has its own charm.
me find remixes and I worked tirelessly to make
them as perfect as I could, and then they kept MT:
T: How does it feel to have this much power
coming and raised my profile. He worked for Sony inside a computer?
for 12 years, so its a perfect combination of our very ON: When you think about it, it feels quite
contrasting talents. He provided the advice I needed strange, actually. I think its amazing what you
to help me make the transition from amateur to can do on a computer nowadays. The fact that you
professional. Hard work, determination and passion can do what you love and make a living out of it is
are my personal key drivers. really cool, especially when you dont need that
much. A computer, a MIDI keyboard and you can
MT: Tell us about your first production setup be set for life. Thats the modern age, but you
ON: My good friend Jakob introduced me to my first need passion.
music-software program when I was 17. It was fresh
and fun; we just played around and my interest
grew from there. I was amazed by the fact that
making music digitally has infinite possibilities.
m a mass
II am sive fan
n off Abletoon
I know electronic music production has been around
for a while, but Ive embraced modern techniques
Liv
ve andd I th
hin
nk we cou
uld we ell be
that come with improvements in technology and
software. You have to move fast in this dynamic,
pals foor a lo
ong time
competitive and rapidly paced environment.
The Oliver Nelson Studio
MT: So it was really the possibilities that MT: So which software did you use back then
technology offered that drew you into production? compared to now?
ON: Yes, absolutely! I couldnt do what I do without O I used Reason in the beginning, but then went
ON:
todays technology. I dont see any problem with it, over to Ableton and became a massive fan. I think
Im just happy theres an easier way today for a that as they are so dynamic and always updating,
creative mind to do what he or she wants to do in we could be pals for a long time.
terms of music.
Computers have really revolutionised modern MT: What else do you have in your setup?
M
music making. I do everything in front of my ON: Im working on my PC desktop in my home
computer with some outboard analogue gear, but studio. My main synth is my Prophet 12 that goes
even so, I control those with plug-ins. Ive always along my other ones like the Moog Sub 37, Roland
been interested in computers, so it suits me D-50, Yamaha Reface CP, Korg MS2000, Roland
perfectly. Its also much more effective and more JV-1080, Elektron Analog Rytm, Nord Lead 2X and
advanced than working with, lets say, a mixing more, all going through my RME Fireface 802.
OLIVERS PLUG-INS
Oliver details his favourite software instruments and effects
PLUG-IN SYNTHS PLUG-IN EFFECTS
I have four favourite go to plug-in synths: My absolute
B;DD7H:?=?J7BIOB;DJ>'0The first software synth I favourites are the
used and I was totally blown Soundtoys
away by how amazing it plug-ins. They are
sounded. The fact is that I have just all-around
never really found any other one amazing-sounding
that could match that sound effects. The
quality; maybe DIVA, but for me, Decapitator is the
Sylenth1 takes the money. It best saturation plug-in out
also has a sentimental value for there in my opinion, along with PrimalTap,
me, as its one of my first and which I use a lot on leads
I use it in almost every to make them more
production. interesting. MicroShift
is also a plug-in that I
J7BK#DE#BN0?cW^k][
always use on vocals.
fan of the Roland Juno 60
and TAL Uno does a great I also use FabFilters
job simulating its sound Pro-Q 2, a really good EQ
I dont need to say any plug-in that has a really simple interface.
more than that. For reverb, I always use Valhallas plug-ins, especially its
VintageVerb, which sounds incredible. I use it on everything
from synths to percussion. It has a very warm, round sound
that makes every difference.
MT: Thats a great list of hardware both old and SELECTED KIT LIST
SE T Im working
new but you also use a lot of software [see Ampsandsound SE-84 on my bad-boy desktop,
boxout]. What do you like about each method? Audeze EL-8 but now when Im touring all the time and
ON: Its the simplicity with software! To be able to Audeze LCD XC meeting other artists and vocalists for
start your DAW and start using your favourite synth Audio Technica ATH-50x collaborations, my desktop is useless. I do have a
in seconds is a dream theres always some hassle and M70x good laptop, but I dont find it as powerful as I need
with using analogue synths, but it goes both ways, DSI Prophet 12 it to be. So I guess one of the things on my wishlist
I guess. You also get the unreliability with software, Elektron Analog Rytm is the new MacBook Pro. Must work harder (laughs)!
not knowing when things are going to crash, and Korg MS2000R
even if you save every five minutes, you never know Moog Sub 37 MT:: What would you like to see developed in
if every little tweak is going to be the same as where Nord Lead 2x production technology?
you left it last time after a restart. Its happened a RME Fireface 802 ONN: My top wish right now is a good software I can
lot that one soft synth has a totally different preset Roland D-550 use for my Analog Rytm to drag-and-drop drum
after a restart, and hours of work is lost. That never Roland JV-1080 and 880 samples to it and use directly within Ableton. At the
happens when I use my external synths. Yamaha Reface CP moment, its just possible to transfer samples to it
plus girlfriend, to make outside of the DAW, but the problem is that I have so
MT: Is there anything on your studio shopping list? me have breaks many samples I want to use, and different samples
ON: On top of the wishlist right now is a new laptop. in different projects.
MT: What about playing live? Do you take any of ON: I started out with using Traktor, but to be
this tech out on the road? honest, I had too many problems using it. It can be a
ONN: Ive always admired people using computers pain with an external soundcard, all the cables etc.
live, like Madeon, playing his live sets with a Especially if you are going up directly after another
controller. Ive not come to that point yet and I dont DJ and want to make a smooth transition between
know if I ever will, but I do respect people doing it. the sets. I now DJ with USB sticks; it seems to be the
safest and handiest way of doing it. It is easy to
MT: But you have dabbled in DJing travel with and using it with rekordbox is just really
easy and fun.
OLIVER NELSON ADVICE
Oliver Nelson Productions
MusicTech: What advice do you have happen, sooner or later. That way of
MTT: What would you say inspires a typical Oliver
for people wanting to get into thinking can be applied to all kinds
Nelson track?
remixing/production? of creative work
ONN: Everything Im into at the moment, usually the
Oliver Nelson: Just find software
tracks that stick with me scrolling through Spotify.
you feel comfortable with. Most MT: What about using social media
Also, everyday things that happen and feelings
programs do the same things, just in to help your profile any tips?
affect the outcome of the music Im making.
different ways and with varied ON: I have been a user of SoundCloud
designs. A very important thing is to for a long time and it got me where I
MTT: How does a track usually come together?
learn stuff by yourself, and be very am today. I think its in anyones
ONN: I usually start with chords, with a simple piano
patient. It takes many years to learn right to upload and market their
or synth around a vocal, and lay down some simple
and perfect the craft. Im still own music, if its not bootlegs. Im
drums so you get the hang of the composition. Its
learning new things every time I fascinated by the way the industry
like a basic skeleton that you then add things to and
work on a new track. That is also has changed from consumers buying
build, from the foundation up. The most important
why I love to work with electronic CDs and downloads to streaming
basic thing with a track is the chords but with
music, theres always something new music online.
dance music, the drums obviously play an essential
to learn and the techniques are
part as well.
always improving and going MT: Finally, with such success in
MT: What do you think makes your sound and
forward. You need to move at the the area, what advice would you
what production tricks do you use to get it?
same pace and roll with it. give to use social media to get a
ON: I think what has made my sound is the drums,
following and raise your profile?
in combination with a certain type of vibe in the
MT: What about advice for making a ON: The foundation of any success in
chords. I tend to spend a lot of time on said drums
living in music production? this industry at its core is the music,
ON: The music industry has changed so initially, I didnt take social media
massively the last 10 years. Artists into consideration as much as I do
have gone from making money from now. The plays I have gathered
selling records to earning money online have played a very big part in
from streaming and having big my career. Justin Timberlakes Suit
followings on social media, etc. & Tie and Ella Hendersons Ghost
I believe that music should be gave me a lot of exposure via social
accessible to all people, despite what media and YouTube, and have
their income allows them to do, but opened many doors. As Ive grown in
the royalties need to be fair. A lot of popularity, its become really
people all over the world might not important to engage with my fans
be able to afford to subscribe to and to keep them up to date.
Spotify or Apple Music. Theres loads Above all else, it has to be about
of ways of making money as a the music! Focus hard on producing
musician; it might be harder making your best work with every track. If
the big bucks today, as the main your music is good, then it makes
income will be selling out arenas. creating and growing a social-media
Although, as a smaller artist like me presence much easier. People will
I can still make a living out of what naturally want to share things with
I do, even though Im mostly getting others that make them feel good, or
traction on SoundCloud, which that they genuinely enjoy. Its also
doesnt give me any direct income, important to have a solid identity
but rumour has it, thats about and to reflect this in your brand,
to change think about what defines you as an
So just keep doing it because you artist and what makes you different
love it, work hard and it will come. I and promote that. Last but not least,
didnt start producing music because its crucial that you try your best to
I planned on making a living out of stay connected to your fans, the
it, I just made it because it was a big people that support you. Keep them
passion for me. The rest is just a updated, share pictures and updates
bonus. It takes time and you have to with them, reply to comments and be
believe in your own talent and it will yourself, be relatable.
MT:
T: Tell us about the new single
ONN: Found Your Love features vocals from Heir aka
Skogsr. It wasnt really meant to be my first single
initially, it was just some chords that I made
jamming on my piano, but everyone seemed to love
the chords, so I just kept working on it. The track is
a funky nu disco tune with a fat beat!
My next project is a single with my good friend,
and Perfect Havoc management colleague, Tobtok
which Im working on as we speak. Its a solid mix
between our unique styles and has a great pop/
dance sensibility. Its a more uptempo track than my
usual stuff, and Its going to rock. This year, you
guys are gonna see a new side of me, with more
experimental and varied productions.
It ta
akes tim
me and d you
u haave to
o
beliiev ve in
n you
ur own taalen
nt and
itt will happe en, soon
ner or la
ater
MT: Finally, then, what musical plans do you have
for the future?
ONN: Im really excited about touring regularly, but
its basically a balance between that and recording.
My plan is just to keep making as much music as
possible and do what I love. Im focusing on original
music right now, more than remixes, and cant wait
to show you what I have been doing.
6 PIECES OF
EQUIPMENT TO
BLOW A YEARS SALARY ON
What if money was no object and we could indulge our
wildest gear-hoarding fantasies and buy whatever we
wanted? Rob Boffard has the answer
W
hen it comes to buying gear, money
isnt actually the primary
consideration or it shouldnt be,
The Slam! is terrific. It offers
anyway. Buying studio kit is all
about your needs, what it can offer
superb dynamics, lightning-fast
you and how it can affect your mixes. Not that that
stops us from jumping on kit websites and filtering
FET and pin-point control
by price, seeing just what the top end really looks
like. What would we do, if money was absolutely no amount of money (heads up: weve largely steered
object? Which pieces of gear would we splurge on? clear of vintage equipment here, as prices can often
Fortunately, weve saved you the trouble. Here are six fluctuate and we could spend a long, long time
pieces of hardware to spend a years salary on and rounding up the best and most expensive vintage
by a years salary, we mean a truly staggering gear out there).
02 Manley Slam!
Its worth gracing our list with this outstanding
Whats new
in Ableton Live 9.7?
Ableton isnt rushing to release Live 10, but we can forgive the
company as its been feeding us new features for Push and Live in
various 9.x updates. Martin Delaney details the newness in 9.7
B
y the time you read this, Ableton Live 9.7 will regions. For the Manual mode, you can tap a pad to specify
either still be in public beta and about to get a the slices, and also tap the Delete button, then the pad to
full release, or it will already be fully released. I erase those slices. Genius! This is a great way to put those
should mention that given this status, things pads to work. The ability to access the In/Out View controls
may change before our publication date, so from Push is a major workow bump as well this goes
check the Ableton website for the very latest release notes. with the existing mixer controls to make Push a more
Live 9.7 will be (or is sorry!) a free update for anybody credible front end for your Live based mixing rig. The
using Live 9 so download it as soon as you can. menus are divided into very logical columns and fast to
Youll see that alongside the typical xes and tweaks, navigate. This is denitely a Push function that will be
there are some major new features in 9.7, especially quicker than using the mouse!
relating to Lives interaction with Push, as that increasingly For real-time drum pad players I hate to say nger
becomes the de facto control surface for our favourite drummers, but there you go, Ive said it the additional
DAW. In ongoing efforts to keep as up-to-date as possible, drum rack layout is a real gift. Playing beats becomes a
Im using Push 2 for all of these tutorials it probably wont totally different experience and gets great results. You can
make any difference in most cases, but its something to create really dynamic lls and breaks its one of those
bear in mind. things I couldnt see the point of until I tried it! Make sure
In recent times, Simplers been getting a lot of love from you edit your drum racks Simpler instruments to be
Ableton, as it should, and the new slicing modes are responsive to incoming velocity changes (if theyre not
interesting: Beat, Region, and Manual. Theyre really just already) using the Vel>Vol setting in Simplers Controls tab;
simple variations on whats already possible but theyll it makes a big difference when it
speed up a lot of common slicing and sampling tasks and,
like many features in Simpler, seem optimised to help
make Push 2 more of a serious sampling platform/
interface. That integration is working, as full control over
these new features is available from Push. You can choose
Mode, Slice By and then the relevant value such as
Transient/Sensitivity, Beat/Note division, or Region/No of
FOCUS ON VERSIONS
You can safely install Ableton Live betas alongside your regular version.
Make sure youre always saving work on a full version though theres no
guarantee a project created and saved in a beta version will open in the
future. When you install the nal full release of the new version and replace
the old one, your Live library should remain intact but here Ill add the
usual comments about the value of backups! And I leave Get Automatic
Updates in Preferences/Licences Maintenance turned off; I dont want
updates occurring the week before an important project or event!
As usual weve provided an example Live set. This one was Ableton have stated that because of the changes in 9.7s Simpler
01 created with Live 9.6.2, and youll be able to open it in any
02 modes, projects created in 9.7 will not be backwards compatible
versions from that update. Its unlikely to be backwards compatible. with previous versions of Live. Consider yourself warned!
Simpler has more features and its relationship with Drum Racks Slice By Beat lets you divide your sample with specic note
03 and Push is more intimate. Expanding on Transient Slicing the
04 selections rather than following the transients in the waveform,
Slice By mode has three new options: Beat, Region and Manual. using values from as little as 1/16ths up to 4 bars.
With Slice By Region you can slice your sample into anything Finally, Slice By Manual gives you a clean slate, where no dividers
05 between 2 and 64 segments. These are only slight variations on
06 are inserted automatically and youre free to add your own by
the Slice By command but in different situations could be very useful. double-clicking on the Simpler sample display.
comes to personalising your racks. you employ, the faster youre likely to work. They are
There are a number of visual feedback even more important in live performance situations
improvements relating to Push 2, and if youre new to where its so easy to be distracted and lose focus. In my
Live or DAWs in general, you might not appreciate how live sets Im using renaming, colour coding, display
important colour coding and visual information are. zoom, different skins, whatever it takes! Push now
They quickly become habits you depend on in the studio provides a visual count-in a little segmented bar
especially when youre working with more complex across the display so you can refer to that in
projects, where the more labelling and identication situations where you dont want to hear, or cant hear,
We can change track routings from Push. Select a track, press Next, select whether to manage inputs or outputs, then choose
07 Mix, then the I/O button above the display. With audio tracks, the
08 Sources or Destinations. For MIDI tracks choose MIDI inputs and
left column lets you select monitoring options: In/Auto/Off. audio outputs, or MIDI destinations if there are no audio signals.
In an effort to keep the lists shorter and cut down on scrolling Drum Racks now have a third layout available. The currently
09 time sensible routings for Pre FX, Post FX, and Post Mixer
10 selected pad can be triggered with one of 16 pre-dened
appear in a separate list. velocities; a rst tap of the Layout button goes into this mode.
The 16 pads on the right, traditionally used for loop length, are Select a kit sound from the 4 x 4 grid on the lower left, then use
11 12 the lower right 4 x 4 grid to play it with different velocities. You
now used to activate different velocities. Theyre shaded in
intensity from more-or-less black to bright white. can create great-sounding dynamic drum lls!
the usual metronome count; very useful! option to start Live playing when loops are triggered.)
Live 9.7 also includes a small but important Link Although Push has functioned as usual with mixing
tweak Ableton Link, of course, being the means by and device controls, when Lives been in Arrangement
which Live and various iOS music apps can sync over View it hasnt had much else to offer for when we must
WiFi. The timing of connected iOS apps will line up work in a timeline. So not only is it good to see the
correctly when Lives transport is started with either tap changes to enable either Global or Session recording
tempo or the Looper audio effect device. (Looper has an when working in either view with Push, its now also
You want pretty colours? We can change the colours of clips, There are further visual feedback improvements, as youll see if
13 tracks and drum rack pads from Push. Select the item rst, then
14 you look at the Push display when you begin recording. If youve
hold Shift and choose a colour from the coloured pads on the grid. enabled count-in, youll see a broken bar count from left to right.
Similarly, any time you have clips running in your set, in any Push has always been about the Session View, and really not so
15 display view that includes track names, the Push display will
16 exciting when it comes to the Arrangement View. Ableton has
show a small playback progress bar for each track. addressed this as the Push Record button is now view-dependent.
So when youre in Arrangement View, the Push Record button In Session View this works the other way round, so the Record
17 starts global recording (into the Arrangement View timeline),
18 button starts Session recording while pressing Shft>Record will
which pressing Shft>Record can still initiate Session recording. stat global recording very logical and youll get the hang of it quickly.
possible to delete Arrangement View clips from Push resources to concentrate on making Push integrate as
its a small step in the right direction! tightly as possible, if it doesnt affect Lives usability for
As I said, most of the Live 9.7 update is concerned other people and of course everybody gets to use the
with Push which I think is perfectly reasonable at the new features like Simplers enhanced slice modes.
moment, especially given that its a free update its not Theres no sign of Live ten/10/X, whatever it will be
like, if you dont use Push youre being asked to pay for called, so lets enjoy the little and not-so-little additions
features that you wont use. It seems like a good use of that Ableton is including along the way. MTF
Create custom
Drum Racks with
Ableton Live
Drum Racks are one of Lives most powerful features, whether youre
using them for just for drums or far more. Martin Delaney exes
those nger drumming ngers
D
rum Racks are the main building blocks for at the left to fold and unfold elements on demand, or else
programming or re-sampling beats in Live. double click on the Rack name and fold it right up, in the
Whether youre entering notes with a mouse or usual Ableton style. As Ive said, there are many ways to
trackpad, or recording in real time from pads, trigger the sounds in a Drum Rack, but I nd that it usually
Push or a MIDI keyboard, Drum Racks are comes down to the computer keyboard if Im travelling, or
Abletons most important beat making tools, as well as Push if Im at home one extreme to the other.
being useful hosts for other types of sounds and effects. I love to add synth tones to Drum Racks, whether its to
A Drum Rack is a group of Live devices which contains add simple synth-based drum sounds or squelches, or to
up to 128 drum pads, and uses Lives Simpler instrument to incorporate some full-on instrument sounds and patterns
host the sample content for each of those pads. Alongside within the Rack. Operator is my go-to synth for this I like
Simpler, you can also expect to see MIDI and audio effect how it sounds and how the interface works, and Ive been
devices, as well as third-party instrument or effect using for a while so I have a good idea of where Im going
plug-ins. This is backed up with the potential for very when I start it up. Youll have your favourites but if you
sophisticated MIDI and audio routing, as well as macro havent tried Operator, Id recommend giving it a go.
controls for more accessible hardware controller Another angle on this would be to add the external
assignments and, vitally, the ability to save the entire thing instrument device so you can incorporate your pet
as a single preset. Did I mention that each pad can also hardware drum machines and synths into your Rack of
contain another Rack? That means you get Racks within course that means you always need them connected and
Racks within Racks. This is powerful stuff, but luckily its powered up when you use that Rack. When you start using
also easy to get started with. software instruments inside Drum Racks, its a
Our focus heres on customising existing Drum Racks, good moment to
but theres an empty Drum Rack provided in the Live
Library, so if you want to start from scratch, use that, and
drag in your samples, letting Live put them into instances
of Simpler automatically you can also browse and load
samples from Push. Drum Racks are visually complicated
things at times, so its a good idea to use the small buttons
FOCUS ON IMPULSE
Live did drums before it had Racks, you know. Originally Live used the
Impulse instrument to contain sample-based drum kits. Impulse is a very
basic-looking device, but it has its fair share of sound shaping tools, and of
course you could always put it in a Drum Rack. Impulse is still included with
Live mainly, I guess, for legacy purposes like opening old projects. I could
imagine Ableton dumping it altogether and creating a Drum Rack Impulse
legacy mode where it automatically creates a Rack with eight chains when
you open a project with Impulse in it.
The Drum Racks youll have available in your sets will vary Keep clicking on the black buttons at the left of the Rack until
01 depending on which Live Packs youve got installed, so weve
02 youve unfolded everything. Going from left to right, youll see
provided a Live set with a custom Rack with a mixture of samples. Macros, pads, the chain list, an instrument and audio effects (if any).
The effect situation is complicated by the fact that Racks can Trigger the sounds in the Drum Rack in several ways. Use Lives
03 include effects that apply to individual chains or the entire Rack,
04 virtual MIDI keyboard aka computer keyboard or any MIDI
and also it can include other Racks! Its deep get used to it! keyboard or a pad-device like Novations Launchpad or Abletons Push.
Drum Racks usually default to note C1 triggering the bottom left The very lowest black button is Auto Select a very useful
05 pad, which is typically a kick drum. If youre using the computer
06 navigational aid. When enabled and a pad triggered, the relevant
keyboard (Shft>Cmd>k), use z and x to transpose octaves. chain is highlighted. This saves a lot of scrolling in complicated Racks!
consider using MIDI effect devices as well; other than could be launching loops from inside Simpler
Velocity, the most obvious candidate is probably instruments in the Rack at the same time, and theyll
Arpeggiator, which means that when you play a pad, run and loop even if Lives transport isnt running, which
youll get a pattern playing, even without a clip in the I think is pretty damn cool. You can have a whole bunch
track. By combining Arpeggiator with time-based audio of looping tracks as a single recallable preset. This
effects like Beat Repeat, Simple Delay, and Ping Pong instant recall of complex Racks goes on with audio
Delay, you can get a lot of activity out of one note. On the effects as well. Not only can you add audio effects to
same topic sounding busy without doing much you the entire Rack or individual chains, you can use the
Now, lets suppose we want to begin customising the kit, by We have more sounds in Drum Samples; try dragging those into
07 replacing the kick. Drag the clip 909 kick from the Drum Samples
08 the Rack. Empty pads show their note number, occupied pads
track onto the existing kick drum pad to replace it. reveal their note number in the Status Bar at the bottom of the screen.
Our Drum Rack has 13 samples to begin, so theres room to add Once you exceed 16 pads, you can navigate around them in
09 three more samples to the 16-pad layout. If you keep adding
10 blocks of 16. Use your mouse to click/drag in the left grid, or the
beyond that, no problem as Drums Racks have 128 pad slots. control strip or octave up/down buttons on Push.
Push users, take note if youre in Note mode and youre seeing Velocity response is a huge part of Drum Rack design, so dont
11 12 forget you can go into the Simpler instruments that are hosting
the contents of a Drum Rack, press Layout twice to enter 64-pad
mode, so you can access and trigger more pads at once. your samples, and edit the Vel>Vol value in the Controls tab.
Racks built in send effects slots, then mix each chain to is unfold the tracks containing Drum Racks, and view
them just as you would with Lives return tracks. The each chain in a more typical Session View type layout.
advantage of this is that once again its recallable one You can access this view from Push, as well. Those
Drum Rack preset with your sounds, MIDI effect chains can be rearranged by dragging them around to
patterns, Simpler loops, and effect sends and returns. I reorder them and naturally you can also duplicate or
wish there was a way to expand the chain list upwards, delete them, as well as rename and colour code them.
so I could see more chains at once, but what you can do You can also drag chains out of the Rack to create new
You could also add the Velocity MIDI effect device in front of the Using instrument devices and plug-ins other than Simpler is a
13 entire Rack if you needed to smooth out incoming velocities for
14 great way to expand the sonic range of Drum Racks. Abletons
some reason, or even go the other way, and randomise them! Operator synthesizer, for example, is perfect for this.
Audio effects can be placed at the end of a Rack so they affect We also have the in-Rack effect sends put a Ping Pong Delay in
15 the entire kit, or on individual chains; try some different
16 there and send some of the percussion sounds to it. Effects in
compressor settings on the kick in our example Rack. here are also saved with your Rack presets.
MIDI effects other than velocity can also be used inside Racks. You can reorganise the chain list at any time by dragging them up
17 Drag the Arpeggiator to the kick chain in our Rack and set the
18 and down to reorder them. You can also duplicate or delete, as
rate to 1/4 when you trigger the kick pad you get patterns! well as rename and colour code them.
tracks, and drag the contents of pads to other pads. Rack into a new project.
As of Live 9.7, Drum Rack pads can be coloured Theres more we could mention, like choke groups or
individually, directly from Push. Its great if you need to MIDI note ltering, but that just gives us something to
highlight certain pads, or you dream of creating an 8 x 8 look forward to! The best way to get a handle on Drum
pixel image for your Rack. These colours are Racks is to explore Lives factory Racks and then start
remembered by Push whenever you load the set or building your own and a hardware controller with
select the individual Rack, or reload the saved preset pads will make all the difference. MTF
7 WAYS
Part
TO FINISH A TRACK Were nearly at the end of our produce a track special
01
4 Learn to delete
and now its time for some advice on that hardest
of tasks: nishing a track
01
03
05
03 Work to a deadline
If you have someone waiting in the wings demanding
you finish something, theres a much better chance
that youll actually finish it! Were not advocating
employing someone to stand next to you looking at
their watch and shaking their head every few
minutes, but having a deadline is a good way to get
focus and, as you might be realising by now, focus is
the key! Set your own deadline, if you must, but try
getting a track done within a certain time period and
you are almost certain to get more done (whether you less focus. Did we mention the focus word again?
finish it or not). 3. Set your own deadline if you
have to and try and stick to it 06 Limit your options
04 Accept that it wont be perfect This one could be applied to the whole process, not
4. Accept that no track is going to
Dont take this the wrong way, as its always good to be perfect and you might finish it. just finishing a track. If you limit your options, you
aim for perfection the higher you set your sights, You could even consider can get things moving and get to an end point
deliberate imperfection!
the better your results. But and its a big but if quicker. So you might want to consider keeping your
your level of perfection is too high, theres a very 5. Astronautica offers advice at track-count down why not go old-school with eight
www.novationmusic.com
good chance you wont hit it. If you accept your work tracks? or keep the number of instruments and
will never be perfect, you will finish it. Why not 6. Novation has created a video effects you use to a minimum. With far fewer options
deliberately add subtle mistakes, so you know asking artists such as Floating youll not only start your productions more quickly,
Points how they finish their
perfection will never be achieved? Flaunt that music, at uk.novationmusic.com but youll also finish them sooner, too.
imperfection at least your music will be out there. /finish-something
07 Know when something is nished
05 Get more ears but not too many Its the ultimate question: how do you know when a
Getting bogged down? Been working on the same track is finished? When its ready to be shared? When
loop for hours? Losing focus? Perspective gone? Get youve played it to death and not criticised it? When
someone else in! Having a fresh set of ears to you play it back after a week of not hearing it and it
comment on what you are doing or even makes the hairs on your arm stand up? The answer is
help it along is always a good idea but as with all of these and more, but dont let it fester on your
everything to do with music production dont hard drive for too long. Finish something today!
overdo it. More ears can mean more ideas and even
We nicked some of these from a rather good video
that the folks at Novation have put together
on finishing music. You can see more here
uk.novationmusic.com/finish-something. MTF
04
06
Show off
your Live studio
Welcome to part 1 of MusicTechs Show Off
Your Studio, where we highlight our
readers studios. Send us a picture of your
studio via the MusicTech Facebook page
and well get in touch
Omniscient Records
Interviewee: Josh Tonnissen (Praxis, Wave Mechanix, Konjecture)
Contact: omniscientrecords@gmail.com
MT: What are the key components I run a large hardware-based studio,
of your studio? Ableton offers a lot of different ways
Large Eurorack modular system with to interface all of my gear in an
12 rows at 104hp each; Koma efficient and well-designed manner.
Elektronik Komplex Sequencer; DSI From external MIDI sequencers,
Prophet 12, DSI Tempest; Moog DinSync gear, voltage-controlled
Voyager; Access Virus C; Roland analogue synths and analogue clock
TR-909, TR-808, TB-303, SH-101, for the modular, Ableton never skips
SH-1; Sequential Circuits Pro-One; a beat.
Korg Mono/Poly; Midas Venice F32.
What is your favourite piece of
Which DAW do you use and why? gear and why?
Ableton Live. Coming from a That would have to be my modular
hardware-only setup from the late system. Since the rebirth of modular
nineties and into Y2K, most software (Eurorack), synth designers started
applications were geared around building their gear around the way
recording guitar dude music. electronic musicians work. Most of
Because I used lots of different the keyboard synth companies build
outboard units, my brain was wired great gear, but the Eurorack guys
for multiple sequencers running really focus on innovative designs
various blocks of sequences. When and push the boundaries of
I discovered Ableton at, like, version synthesis. I use the modular for
4 or so, I was totally blown away. everything, not just synth voicing.
Their DAW was designed almost I will run all my various other gear
completely around the way a through the modular for filter and
hardware configuration runs. effect processing. Think of it as the
Session mode is totally brilliant, and ultimate time-synced FX unit ever
allows for endless jamming without made. There are also several
ever stopping the sequencer. Since complete voice drum modules in the
Music Gadgets We all love a good gadget here at MusicTech, so how about treating yourself
to some new hardware for your studio? We round up some of the best
technology out there within a variety of categories to help you liven up
both your production setup and your sound
Novations Circuit (left) wowed (all use an app to do this otherwise). The CS has no
us when it was released last presets, but sounds glorious. Reviewer Andy Jones
summer, while Teenage
Engineerings PO Series (below said: I find the range charming carry them, play
right) caused a stir at NAMM them and hear them without connecting to the mains
or dragging in your entire studio. They are sufficiently
different to appeal to both specialist studio-heads
who are after some light relief and instant hands-on
NOVATION inspiration and to a mass market. Im pretty sure
CIRCUIT that at least one of the range will appeal, and Id urge
Novations Circuit came out of you to check them out.
nowhere just las t year and updates the Price Street 289
Groovebox philosophy for the 21st century, Contact Yamaha UK on 0844 811 1116
making computerless music production a trend set Web yamahaproaudio.com
with the Volcas and Airas an easy and fast reality.
Indeed, its this speed that puts Circuit in a class of its TEENAGE ENGINEERING PO SERIES
own. You can simply do everything you want it to do The new PO series from Teenage Engineering was the
very quickly. Circuits combination of great onboard buzz of this years NAMM show, and they certainly
sounds and pseudo keyboard playing can take what is didnt disappoint when we reviewed them a few
in your head to a tune fast something which, as we
said earlier, you dont always get with many grid-based
controllers and push-button sequencers. This is a
truly self-contained musical marvel, we said. It
excels so well at what it sets out to do and the price
of 250 is just ridiculous that you can forget any
Circu
uits
s gre
eat onb
boarrd sou
unds
s
an
nd psseud do keybo oard
d tak
ke whats
s
in yourr hea
ad to
o a tun
ne fas
st months back. There are now six in the range and they
are all incredible (especially given their stupidly small
shortcomings. Its the most musical fun you can have size) and are, without a shadow of a doubt, aimed at
with one box and no computer, and we havent made cooler music creators, which didnt stop our editor
music so quickly in 20 years of reviewing gear. Great from piling on the superlatives. The range comprises
real-time sound mangling and creation, great fun and the PO-16 factory melody micro synthesiser, the
you will be making music in less than three minutes. If PO-12 rhythm synthesiser for beats; the PO-14 sub
you dont, well come round and do it for you bassline micro synth; PO-20 Arcade; PO-24 Office and
Price 249.99 PO-28 Robot. Each has a 16-step sequencer, of which
Contact Novation on +44 1494 462246 you can select 16 sounds to program up to 16 patterns,
Web uk.novationmusic.com of which 16 can be chained. Theres plenty you can do
sound-wise and effects-wise to each and if you chain
YAMAHA REFACE all six together you have your entire tune covered.
Yamahas idea with the reface range of keyboards is to These units sound fantastic, theyre incredibly fun
include one classic keyboard in each of four mini and are as cheap as silicon chips, we said. We then
keyboards. You get the DX (based on the classic FM bestowed just about every award we can muster upon
synth); the CS (based on the classic analogue); the CP the range.
(on the electric piano); and the YC (based on the 60s Price 49 each
and 70s organ). The latter two are superb, while the DX Contact via website
is more fully-featured with presets and onboard saving Web www.teenage engineering.com
Price 229
Contact Novation (via web)
Web www.novationmusic.com
MONOME
Next to the other controllers in this round-up, Monome
stands out rather like a geek on a catwalk. Its been
around for the better part of a decade and now comes
in Grid or sequencer forms. The former is a 16x8 grid
grrid-baaseed coontro
ol, made
e popula
ar Price $700
Contact Monome via website
BEST KEYBOARD
new full-colour feedback from the RGB-illuminated NATIVE INSTRUMENTS
pads, not to mention the great ease of use including KOMPLETE KONTROL
fast access to commonly used controls. The unit Alongside the Akai Advance series, Komplete Kontrol
features brilliant velocity-sensitive faders, the is just about the best keyboard controller out there in
hardware MIDI out for synth control is dead easy to set terms of total software integration. The idea of a great
up, and its fun to use, what more could you ask for? hardware controller is you can turn away from your
In the studio, its not as powerful as Abletons Push in computer and do a lot of your noodling actions without
the beat and device control departments, but for other it. Komplete Kontrol enables this more than other
situations, the Pro is a flexible, expressive, interface, options by not only having classy displays, but
for your clips, instruments, and just about everything multi-coloured, lit-up keys that replicate the coloured
else. This is a great update all-round, and takes the key zones when using NI software. The Komplete
Launchpad to a new level of Ableton Live control and Kontrol software has also recently been updated to
performance. If you already have a Launchpad, youll v1.5 and you get a bunch of free Komplete Select NI
be itching to update. If you dont have one, the Pro is plug-ins, plus the fact theres a brand new 88-note
the perfect excuse to get on board. version. Thats 88 lit-up multi-coloured keys. Swoon.
Price 369-729
Contact Native Instruments on +44 207 9207500
WHATEVER HAPPENED TO Web www.native-instruments.com
Jazzmutant Lemur
and Dexter
French company Jazzmutant released the first
multi-touch controllers especially for music
producers in the forms of the Lemur and Dexter. The
Lemur could control pretty much anything you defined,
while Dexter was aimed at specific DAWs (Logic, Cubase, SONAR and Nuendo).
These sleek, black units still look as if they are from the future, and were always a
wormhole ahead of their time, not to mention expensive. Perhaps unsurprisingly,
the iPad offered a similar experience for far less cash and the Dexter continues
within that format. The Jazzmutant website highlights v2 software for the
hardware, although we assume that hardware is no longer made. The app is well
worth checking out and if you can track down the units second-hand they are still
damn cool. www.jazzmutant.com
Out there
Speakers that light up, guitars with touchscreens,
and beat-making clip machines it can only be the
gear that defies categorisation. Here, we round up
some of the coolest, best looking and sometimes
strangest gadgets out
there
NUMARK LIGHTWAVE
Before you say well include anything with
decent lights, no we wont. But when you EDITORS KEYS BACKLIT KEYBOARD
attach them to a pair of ruddy great big Well its just a standard keyboard, right? OK, it has
speakers that sound good and rock along some labels on for your DAW shortcuts, but whats the
with whatever you are listening to and big deal? Back-lit? Ah, now youre talking. Yes, when it
mixing, then whats not to like? Numarks comes to gadgets, manufacturers know that by adding
Lightwave speakers have literally lit up our lights to something it makes that something about
studio this year, packing a volume easily 1,000 per cent better! So the Editors Keys Backlit
good enough for a house party at half level Keyboard might not be the most essential gadget
and more than capable of holding their own youll ever need, but it could be the most essential
outside on a medium scale. The sound is gadget youll ever need. Martin Delaney said in his
clear, too, with little distortion at high levels. review of the Live version: Theres a lot of visual
We tried plugging in everything from phones feedback each key has an icon and a text label on a
and laptops to keyboards, and were pretty coloured background the colours are grouped
impressed with the results. And the lights according to the type of function they represent, which
even more so, as you get several patterns is a good idea. During the review period, I discovered
and can choose the colours and brightness that this keyboard divides Live users into two camps:
of each or have rotating ones. The Meter namely, I dont need this!, and Wow, this is awesome!,
option is the best, exhibiting the meters of a so I understand theres an audience for this. Theres a
mixer, bouncing along with your music but big cool factor thatll sway a lot of people; having a
that might be the inner music production backlit-dedicated Ableton Live keyboard will impress
geek in us trying to get out. OK, these arent your Live-lovin friends. If youre one of the many Live
mixing monitors really (although do play users excited by this idea, you wont be disappointed!
your mixes on them for comparison), and There are now versions for Logic and Cubase too.
theyre not to be taken too seriously, but Price 99.99
theyre solid, sound good and will add a bit Contact via website
of colour to your (probably already colourful) Web www.editorskeys.com
setup.
Price 219.99 (per speaker, street) KORG CLIPHIT
Contact Numark via website It looks like a large egg, but you take the three clips
Web www.numark.com that attach to this Korg percussion gadget plus a
footswitch and attach them to any beatable surface
(think table top, item of clothing and so on). Striking
that surface then triggers one of the onboard sounds
for instant beats and jamming mayhem. The speaker
Mannufa acturrers know thatt by and resulting sound isnt going to win too many
pro-quality awards, but the Cliphit is easy to use, great
ad
dding
g lighhts to so
omeethin
ng it to practise or busk with and tremendous fun. The kits
are good enough, ranging from standard, through rock
maakes
s it 1,0000 per ce
ent bette
er and pop, we said. Its another great curveball from
Korg. We love the idea, and we love Korg for coming up
with this leftfield gear. Its the ideal device to unleash
your finger and toe beats.
Price 99
Contact Korg on 01908 304600
Web www.korg.com/uk
WHATEVER HAPPENED TO
Misa Digital Kitara
The shape was most definitely guitar-based,
although the Kitara also had a touchscreen slap
bang in the middle of it and used an open source
software platform to make sound. This included
onboard synth tones and could be played by way of
144 buttons along its neck. Youll notice that we are
using the past tense as, according to Misa Digital:
The Misa digital guitar was an experimental
instrument, similar to an electric guitar in shape, but
with an interface designed to easily and intuitively
control digital audio. It is now discontinued.
However, the replacement Tri-Bass, which is more of
a MIDI controller with touchscreen is still available,
although its sold out at the time of writing.
www.misidigital.com
JAMHUB GREENROOM
In a band? Make a racket when you rehearse? You
could probably do with one of these. Essentially, its a
box that each band member plugs their instrument
into, plus a set of headphones out so they can hear
their playing together with the band, but the
neighbours cant. A simple idea, and genius in
execution. Obviously, it doesnt work so well if your
around for more than 15 years now. It is described as a The JamHub GrenRoom may drummer insists on using an acoustic kit and your
look a little like the Millennium
powered-up Mini Kaoss Pad 2, the Mini Kaoss Pad 2S singers wailings will still get heard, but its one of a
Falcon from Star Wars, but its
is a powerful DJ effect unit that fits in the palm of your actually a highly useful kind, and we said: The GreenRoom excels at providing
hand. It includes a touchpad in the centre, and retains rehearsal tool for bands an attractive, compact and convenient way to rehearse
the large number of effects of its predecessor (100 in
total), but adds sampling (explaining the S) to the mix,
so you can use the device as anything from simple
recorder to mobile vocoder. When we reviewed it we
So trraummatiised were we by the e
said: Using the device is tremendous fun, of course,
and it is perhaps more a mobile gadget for the
inc
cidennt, this is th
he firs
st time thatt
performer than producer. But the recording option
adds to the studio experience, and the more you work
weeve been n ab
ble to write e abou
ut it
with it (and the smaller your fingers) the more you will
sonically reap. Its an evolution of an ageing concept, silently at home or on the move. It combines all the
but the KP2S essential bits of kit necessary to enable virtually silent
is small and perfect in ensemble rehearsals in one well-designed, compact
many ways. and lightweight package.
Price 119 Price 420
Contact Korg on Contact SCV Distribution on 03301 222500
01908 304600 Web www.scvdistribution.co.uk
Web www.
korg.com/ NUMARK ORBIT
uk The Numark Orbit has been around for a couple of
years, but came to our attention only when we were
chased around the NAMM show by a Numark
representative demoing it live on stage earlier this
year. So traumatised were we by the incident that this
is the first time weve been able to write about it Its
a live performance DJ controller with several modes of
operation, but think of it in terms of coloured buttons/
pads and banks of operation plus motion control,
which allows you to assign parameters via the units
shoulder buttons. So, moving it here there and
everywhere rather like the scary Numark rep will
yield some interesting performance results. OK, its not
for music production, but it looks cool and could add a
flourish to your live show.
See, were over the incident already
The Eige
enha arp rannge is pro obabbly
he mo
th ost intrig
guinng off all the gear
wee hav
ve in
n this
s roundd-up p it that) here that we havent tested, so well make
amends and get one in ASAP.
Price 459 to 4590
Price 79 The Eigenharp (above) has 133 Contact Eigenlabs on +44(0)1392 823000
Contact InMusic via website keys and two ribbon strips and Web www.eigenlabs.com
is a totally new concept that we
Web www.numark.com/product/orbit cant wait to test out
MOOG THEREMINI
THE EIGENHARP Its a theremin, and a cool-looking 1950s-a-like one
The Eigenharp range of that is affordable and, as these things go, pretty
instruments is probably the most versatile too. The unit is a little plasticky, but is a
intriguing of all the gear we have in dream to use. For example, when changing scales you
this round-up, arguably the most learn more about the subject in two minutes using
serious in terms of its musical the Theremini simply playing it up and down
aims and certainly the most within the categories than in a previous lifetime
expensive and expressive. of listening to music theory. All manner of
Eigenlabs formed 15 years ago, an parameters some obvious, such as pitch and
English company with enough note range are adjustable, and theres a good
investment to have produced delay effect to add some variation. The 32 presets
three instruments since 2009, the take it away, but not too far away, from that eerie
top-end version being the whistle; in truth, most are of that ilk, and we could
Eigenharp Alpha at 4,950. The have done with some more varied tones to really
instrument uses 133 keys and two experiment with. For those after an easy intro to the
ribbon strips to play notes and world of the theremin and the other-worldly nature
samples and can play and record of its sound (its also worth delving deeper into the
loops, change scale and key, fascinating life of its inventor if you have time),
transpose, alter tempo, program theres no easier way. An easy theremin to get into,
beats, create arrangements, both practically and financially. Its a little
switch and layer multiple sounds, lightweight, but bang for buck this thing whistles
all while the musician is like no other.
performing live on stage. Were Price 259
talking about a completely new Contact Source Distribution on 020 8962 5080
concept here, but several players Web www.moogmusic.com
have adopted the instrument,
including Scanner (we saw one when
we interviewed him). The
less expensive
Pico, at just 459,
and the latest
model Tau (2,395)
expand the concept. Its the only gadget
(and we feel as if were demeaning it a little by calling
OW
GADGETS HEAR AND N
And so, finally, to the very latest gadgets. Here are
just some of the ones weve looked at most recently
in MusicTech
Price 599
ROLI SEABOARD RISE
We didnt expect to be quite as impressed with Rise
Contact ROLI on +44
as we are. Its a genuinely new piece of hardware that
(0)20 7254 2155
will expand your performance and recording
Web www.roli.com
creativity. It looks stunning and, with the Equator
synth thrown in, can sound that way too. We neednt
say any more about ROLIs new keyboard here you
can probably gather that we think that this is a
gadget well worth trying
Computer
performance tips
If your trusty computer-based recording setup is struggling to process your tracks,
dont despair, as there are lots of ways to help with frustrating glitches,
latency, frozen screens or even crashes without breaking the bank
you a list of what mode your apps are running in. The
reason you should run in 64-bit mode is that it enables
your apps and system to address large amounts of
RAM which, in turn, improves performance and also
lets apps execute certain processes more quickly.
Most apps are 32-bit compatible so even where, for
example, a plug-in is a little older, it should run ne but
wont be able to take advantage of as much memory.
03
KEEP AN EYE ON WHAT YOU INSTALL
07 A lot of system slowdowns result from rogue or
outdated drivers, and applications or plug-ins which are
using resources, loading when theyre not needed or just
generally taking up space. That plug-in demo you installed
which has since expired but ashes an error every time you
launch Logic? Thats costing you time. The control panel for a
MIDI keyboard youve since sold which loads whenever you
boot up your system? The same. Be ruthless, purge your
Its hard to overstate how system of stuff you dont need. Use uninstallers where
available. On Windows use the Add/Remove software panel.
On the Mac, if no uninstaller is provided, utilise something
big a difference an SSD can like Appzapper (www.appzapper.com) to get rid of junk. You
want to streamline the startup of your computer and DAW, so
make to your life prioritize deleting unwanted plug-ins, drivers and controller
software. Of course, be careful to not delete things if you dont
know what they are, as they might be important.
to the trad spinning versions. Its true that SSDs still offer a
less spectacular price-to-gigabyte ratio than conventional
hard drives, but their performance is miles better and thats
08
reason enough to use one as your boot drive. Store sizeable
sample libraries on a conventional secondary drive, if
possible a terabyte-sized one will cost you very little.
However, for your system drive, a 256 or 512GB SSD can be
fairly affordable and youll be astonished by the extent to
which it speeds up your computer. Such system operations
as app launching and memory access get much quicker with
an SSD, meaning less waiting and more working. Its hard to
overstate how big a difference an SSD can make to your life.
approach to housekeeping with movies or an iTunes library means, when youre tracking
audio or loading instruments, your computers having to
search for free space much more intensively than it would if
but it can be a real barrier you had, say, 40% of the drive space free. This is much more
of an issue with conventional spinning drives than with SSDs,
to performance which have a far faster seek time. A cluttered hard drive can
also make simple tasks like browsing for les take much
longer, and searches can be tedious, too, as lots of les
MONITOR SYSTEM RESOURCES appear which arent actually relevant. It isnt that you
10 To understand whats going on inside your computer, Above: System
necessarily have to throw stuff away, but do ofoad things
monitoring tools
use a system monitoring tool to look at CPU and RAM use, keep tabs on your like movie collections, which use tons of space, onto an
hard drive capacities and network performance. OS X has computers external USB or even wireless hard drive. Space on your
Activity Monitor and there are free apps like MenuMeters performance boot drive is precious and you should treat it as such.
(www.ragingmenace.com). Windows has the Task Manager
and many free apps, such as Rainmeter (www.rainmeter.net). Below: A drive thats TRACK RATHER THAN SYNTHESIZE
free of clutter means 15 This one only really works if you have access to hardware
smoother running
but its worth mentioning nonetheless. Recording sounds as
14
DISCONNECT PERIPHERALS
19 Having 20 things connected to your computer actually
uses power, since each one has to talk to the system using a
driver. Some peripherals also draw power from your machine.
Cut it back to the bare minimum an audio interface, MIDI
device and maybe a dongle. Disconnect printers, scanners,
15 webcams and the like.
Above: Optimising
your PC frees up more
USE FEWER SYNTH VOICES
processing headroom 20 Software synths often have congurable voicing
Left:Schedule options. More voices means a richer sound but also
SCHEDULE BACKUPS backups so they increased CPU usage. If your machine is struggling, consider
16 Backing up your system is essential but it shouldnt be take place outside using fewer voices as a way to save resources. Alternatively,
working hours
kicking in when youre in the middle of tracking drums. Tweak you can always freeze or render down a virtual part. MTF
your backup schedule to only start outside of working hours, Below:Use fewer
or set it to manual rather than automatic. This should stop synth voices to gain
system slowdowns occurring when you least need them. more CPU power
20
17 OVERCLOCK YOUR PC
Only do this if youre condent youre comfortable with
it, but some PC systems can be overclocked while remaining
stable using freely available software hacks to increase the
clock speed of the CPU. It can cause stability issues in some
cases, though, so it may be one for the more techy user.
Show off
your Live
studio Pt 2
Were now seriously impressed by
your studios and your pictures of
them. Show Off Your Studio via the
MusicTech Facebook page and you
could take the top slot here (pets in
shot certainly help, too!)
Now that is
what we call
komplete kontrol
Driftmoon
Contact: driftmoonmusic@gmail.com
MusicTech: Tell us about mastering for my clients. I didnt Ive totally refurbished and
your studio expect the studio to actually be so reconstructed my home to be a
Technically, my company is called time-demanding, but its proving to full-on studio. I know many people
Driftmoon Audio Suite, but the be an amazing experience. Working prefer to have a studio somewhere
studio is called Double Helix with so many different clients and else, but I love the fact that when I
Mastering. I use the studio 50 per musical genres has opened up a have an idea for new track or melody,
cent for my own music composition world of new possibilities to me. I can write it down immediately.
under the Driftmoon alias and 50 per Also, its good to be available if
cent for mixing, producing and MT: Where, when and how?! clients need something to be done as
soon as humanly possible. The music MT: Kit list? 2x Event Opal; 2x Avantone
scene is a rapid changing world, Mac Pro with 12-Core Xeon, 1TB SSD Mixcubes; Roland JU-06 and JP-08;
so its good to stay ahead of any and 128GB RAM; Universal Audio Dave Smith Instruments Sequential
potential problems. Also, considering Apollo Quad and UAD-2 Satellite Prophet-6; Native Instruments
that I live in the heart of Prague Quad; Waves MaxxBCL; API 5500; Komplete Kontrol S88; software from
right next to the most visited tourist Kush Clariphonic; SSL G Compresor; Waves, UA.
locations, finding some place just SPL M/S Master and MasterBay;
for a studio setup would be Focusrite ISA One; Mutec MC-3+ MT: Which DAW?
extremely difficult. Smart Clock; RTW TM3-Primus; For composing and production, I
Powered by Magazine
www.musictech.net
Show Off Your Live Studio: Part 2 MTF
Driftmoon (contd)
use Ableton Live. I somehow love the UNESCO protection, I cant have an MT: Do you have any advice for MT
workflow and even for orchestral AC unit here. readers about setting up a studio?
composition, its absolutely To try and remember that we all
amazing. Granted, it doesnt have as MT: Any dream gear? started with something little.
many features as, for example, Barefoot monitors, I really hope one Whether or not you will make
Cubase when it comes to composing, day I will be able to get a proper something great out of it depends
but you can work around them and space which will be treated so I only on you. Listen to as much music
find your own way of doing things. could buy and use these. So far, (in different genres) as possible and
For mixing, I use Pro Tools and for they are huge for my current space also to be kind and respectful to
mastering, Sequoia. but it never hurts to dream, right? other musicians.
Francesco Mulassano
Email: francesco.mulassano@gmail.com
Got enough
MT: Tell us the key components of to go from Cubase (Win) to Ableton keyboards
your studio? because the way of working is there, son?
I have collected instruments for completely different, but I wouldnt
at least 25 years. I started with go back. You can do everything with
guitars and had a rock and metal the tools offered by Ableton its
influence. As a synth addict, I have very complete and then with the
more synthesisers than outboard. arrival of Push and Push 2, it has
At this time, I have all the Elektron become more useful and cooler.
gear (minus the Octatrack), a Moog
SUB 37, Access Virus TI2, Korg What is your favourite gear and
MS-20 (the original), a monophonic why? For me, it is the Access Virus
JEN SX1000 from the golden Italian TI2. I owned a Polar TI and a Polar
synth era, one Nord Modular G2, TI2 at the same time a very crazy
the first Novation Bass Station Key, time. Then I changed my TI for the
a beloved Roland JP-8000, Teenage G2. Access is one of the few brands
Engineering OP-1 (the first one in that remains an investment, year
Italy), a pair of Axoloti, Waldorf after year.
Streichfett, some custom and DIY
machines, a pair of controllers Whats next on your gear wish
(Push 2 and BeatStep Pro), a lot of list? A Waldorf Q is one of the first
software plug-ins (all original, of on the list, but I think the next one
course). I think thats all! From the will be the new Korg Minilogue.
metal period, only the hair and
some guitars have remained. How do you use your setup? My
studio is located inside my house,
Which DAW do you use and why? here where I work on my solo project
When I switched from Windows to Urbanspaceman, and on the
Mac, eight years ago, I chose preproduction for other two projects:
Ableton Live and thats now the Space Aliens From Outer Space (a
only DAW I use. It took a long time synth trio with alien costumes
Rules
Details
1. Only one synth per company 4. Available to run in 64-bit
2. Has to (still be) available to buy 5. Why 12? Why not? Price
separately from any DAW or bundle 6. Vote to change this chart at $129 to $379
3. Not freeware (thats a separate list) www.musictech.net Contact
+90 312 265 0558
Web
www.synthmaster.
Lennar
com
Digital Sylenth1
S
ylenth1 has been around
for longer than pretty much
every other synth in our
Top 12 and has become a
KV331
legendary synth in the world of
plug-ins. Its developer is fairly quiet
and updates are rare, with the 64-bit
version only arriving last September,
but it was well worth the wait.
Sylenth1 might be old, but this
four-oscillator, two-lter analogue-
Synth
Details
Price 139 plus tax
Developer
Lennar Digital
style synth has launched more dance
tracks than most and has a sound
that can be the backbone to any
Master
S
Contact
track in many styles. Thanks to ynthMaster just updated to
via website easy-to-use effects, massive v2.8 makes our dozen simply
Web www. polyphony and an easy ability to as it claims to be something
lennardigital.com
tweak and rene the onboard for everyone and is one of the
sounds of which there are over few synths around (next to Blue II) that
I
t was a close call between Hive additive, wavetable and vector and a
another great U-He synth ideal Details huge number of modulation options.
for more cutting-edge electronic Price 109 But its real beauty lies in the fact that
(upgrade from
music productions and Diva, a these are all very easy to utilise.
Blue 35)
more analogue-based synth. But this Contact Routing is graphical and
synth gets it, especially as it has a Time+Space straightforward; there are more than
vintage synth and modular philosophy 01837 55200 enough presets (we recommend going
Web www.
of course, so much in vogue at the timespace.com for the Everything Bundle for around
moment. You can mix and match 3,000 sounds) and you can really use
analogue modules for some great the synth on whatever level you feel
combinations and choose from well comfortable with. It really does an
over 1,200 presets. When we reviewed incredible amount in a no-nonsense,
the software, we said: Diva represents almost calm way. So sit back, dont
the current pinnacle of analogue- panic and enjoy the ride. It does what it
modelled sound. An essential synth. says. It truly is a master of synths.
Spectrasonics
Omnisphere 2
S
pectrasonics certainly didnt could be the only synth youll ever need
rush version 2 of this youll certainly spend a large chunk of
multi-award winning synth, your life exploring just the sounds, let
and while the update very alone what you can do with them. We
much keeps the best of what was good said: While some have got close to Details
about the original, it also most Spectrasonics greatness, theres little Price 285
Contact
denitely updates the concept. doubt that Omnisphere 2 will set a new Spectrasonics
Featuring an extra 20GB download plus gold standard for the next few years. It Web
400DSP waveforms and no less that oozes class and sophistication and is www.
spectrasonics.net
12,000 sounds to choose from, this an essential purchase for all.
Details
Price 169
Contact
NI, via website
NI FM8 Web
www.native-
instruments.com
I
ts fair to say that we could have sounds) and well beyond the
included many NI synths in this top percussive, metallic and shimmering
12, but our own rules state that its pad sounds that FM synthesis was
one synth per company, so FM8 just famous for, to result in a synth that
about snatches it from Massive. The simply shines. Programming FM is now
reason? Well its another synth that, relatively easy (well, compared to the
like Oddity 2, was originally based on a original synth, what isnt?) and sound
classic hardware synth (Yamahas DX7 selection is very simple. The resulting
in this case) but through the magic (aka synth is big, evolving, and hugely
no limits) of software, has taken on a atmospheric. FM8 is not Massive and
life of its own. FM8 moves on from the is quite old, but its still a stunning
original FM7 (but still includes its synth and one we use more than most.
P
arts of Linplugs Spectral do a freeware list separately
3. Pow3r 3Z by Anonymous Software Ltd, or
will make you think its an Details some such other title? Because this is a list
out-and-out dance synth; Price $149/119 of titles we have reviewed. By all means vote
some of the presets without a Developer Linplug for your favourites at www.musictech.net
Contact or via our Facebook page
doubt do lend themselves to many
via website
dance genres. But theres both a Web
simplicity and depth to it that allows www.linplug.com
you to take this synth pretty much
anywhere you want to. We particularly
love the movement you can get with
sounds and how easy it is to program
this via the onboard arpeggiator, but
there are other highlights, too. The
waveform Spectral editor is obviously
intended to be one of these, as it lends Details
its name to the synth, and here you can Price 209, 89.95
get to the heart of the sound to shape (upgrade)
Contact
the harmonics. So its as simple as you Time+Space
like on one level and as complex as you 01837 55200
like on another. Dance synth? Maybe, Web www.
timespace.com
but also far more than that. We
concluded: Spectral offers
inspiration, loops aplenty, core wave
editing and a great atmosphere
Twin 2
roundup, as it is more of a
Price 99
sampling resynthesiser, using
Contact
Fabfilter, audio samples as waveforms. It works
via website by selecting parts of a sound from
Web www.
F
fabfilter.com
ablter makes some very either a wave or spectrum, utilising
special outboard and effect iZotopes groundbreaking technology
plug-ins indeed, weve in this area essentially the same type
scored pretty much all of of code used in the high-end RX
them a 9 or 10/10 over recent years software so you can home in on a
but before the company made any of particular part of a sound. The bottom
these, it made this spectacular synth line is not complicated at all, though:
plug-in which still stands up very well you can get some breathtaking sounds,
today. Featuring some amazing (and complex as you like and also sounds
very electronic and dance-based) you wont get anywhere else. When we
presets, this is a virtual analogue that reviewed version 2 recently, we said:
still cuts through any mix and still slots The true joy is in capturing your own
into many genres. Easy tweaking, sounds and transforming them into
routing and editing on the front panel playable music, melodies and textures;
and a sound that really works on many a task now made even more exible
levels: one that will probably never go with the new modulation system. Still a
out of fashion. An amazing synth fun and incredibly creative tool to use.
Oddity 2
used to stretch what can be done with sound
rather than emulating existing hardware. The
ones we have included namely Oddity and
I
it was originally one of the best FM8 have, for example, extended what was
emulations of an ARP Odyssey you done by the original hardware so much that
could buy in software, but Oddity 2 they have become synths in their own right,
but dont worry, classic-synth fans well be
is now so extra-featured and doing a proper emulation chart full of Arturia,
powerful that it has taken on life Roland et al very soon!
after emulation status and become
an incredible-sounding synth in its
own right. This is not least thanks to
its ability to play in a Polyphonic Mode, Details
meaning you have the exceptional Price 199
sound of the original Odyssey Contact
MeldaProduction,
multiplied into huge walls of spikey,
via website
aggressive and lush tones. Theres Web
unpredictability and a vast range of www.
meldaproduction.
Details timbres across 1,000-plus presets and com
Price 139.99 its easy to understand why the original
(currently 58.33 was so beloved by so many synth icons.
in a sale)
We said in our original review: Oddity 2
Developer GForce
is a triumph. We love the extra mod
Contact
via website options and using it as an effect, but
Web www. best of all is Polyphonic Mode, a feature
gforcesoftware. that takes Oddity to new heights. If ARP
com
had carried on as a company, this is
the synth it would have made now.
O
kay, strictly speaking, its a synth and the company seems to have
library of sounds and not concentrated on the power part of the
technically a soft synth like name. MPower has spades of creative
the others in our dirty dozen, options and you can create sounds or
but it makes synth noises and has take the existing presets on all sorts of
synth controls so were including it, journeys with them. There are 1,500
dammit! And, boy, what synth noises it presets but, as we said in our review,
makes. Epica runs as a Kontakt it might be best to create your own to
instrument with all of the library really get the best from them, as
management that that entails. Once theres so much power under the hood,
loaded in, though, you wont regret the it would be a shame not to use it. We
hard drive space outlay because this said: Spend some time digging around
thing sounds, well, epic. Huge sounds Details and you will nd that there is much to
and enough control over them for it not Price 113 like. Its a serious synth that rewards
Contact
to get unwieldy (and to label it a synth!). Time+Space
some investment of effort, but,
We said: If you love synths, this could 01837 55200 crucially, it sounds great. An
be the best 113 you will spend. As epic Web www. extraordinarily powerful synth, with
timespace.com
as epic can be literally endless programmability.
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9/10
GOTHIC INSTRUMENTS
Dronar Hybrid Module
With Gothic Instruments new title, we may well have a build-your-own
software not hardware instrument. Andy Jones drones on. And on
E
very aspect of music While all very different, these
Product production is being made more collections do have one thing in The rst reason for this is its modular
Dronar Hybrid Module
accessible with technology: common: atmosphere. They will help approach. The instrument is being
Price 59.95
Contact via website
from creating the perfect transport your music making to another released in blocks of downloads, hence
Web danceoor beats to easy pro mastering. place or time, so are ideal tools for the low price, which is an interesting
www.timespace.com However, in more recent times, the the soundtrack composer. With the approach (we love modular synths, so
target audience for software developers blockbuster soundtrack being so maybe were seeing the start of DIY
seems to have shifted to the high-prole, and pop careers being so software see the box below for info).
Secondly, Dronar is setting its sights on
Features
O Atmospheric
Kontakt
instrument
Everyone wants to be the The first of many?
Choice
Details
Price
75 each (inc postage)
9/10
Contact
via website
Web
www.
teenageengineering.
com
Key features
TEENAGE ENGINEERING
Shared
O 16-part step
sequencer with
16 patterns
Pocket Operator 20 Series
O Parameter locks
on sequencer
Three new Pocket Operators from Teenage Engineering. Can they
O Built-in speaker possibly be as good as last years hat-trick? Andy Jones goes 8-bit
O 3.5mm audio
out/in sync
O Jam sync
L
ast years NAMM show that is The names give a little away about around the back actually a couple of
O Folding stand
to say NAMM 2015 was stolen where each of the new series is heading hard wires, and I had to push the
O Step Multiplier
by Teenage Engineering, with its sonically, but its all perhaps a little less connectors to make sure they
Pocket Operator Series. Three obvious than the PO-10 Series, each of connected with the batteries on the
PO-20 Arcade
O Beat making and
calculator-style sound modules for which effectively offered beats, bass, rst unit I tested is hit the Play button
chiptune improv beats, sub bass and leads had everyone and lead sounds (actually, it was a little to hear the onboard patterns. Press the
O 16 synthesised crowding around the TE stand and more complex than that, but that will Pattern key and you will be able to
arcade sounds
while the big companies made big do for now). So here, the Arcade focuses choose your pattern from the 16
O 128-chord and
pattern chaining announcements, three sub-70 Euro on beats and chip tunes; the Ofce on number keys. Hit the Sound button
O 16 punch-in gadgets walked away with the honours. percussion and sequencing and the and, similarly, you can play one of the
effects A couple of months later, they walked
off with just about every MusicTech
PO-24 Office
O Noise percussion
award I could bestow on them, too
Yes, the original Pocket Operators
For TE, this years NAMM
drum machine
and sequencer
O Sampled vintage
PO-12 Rhythm, PO-14 Sub and PO-16
Factory were (and indeed still are)
was always going to be a case
h/ware and real
synth engines
O 16 sounds
incredibly fun and big-sounding melody
and beat makers. Sync them together
of how do we follow that?
O Solo control for complete tunes, admire the fancy
O 128-pattern and fantastical LCD screens, marvel at Robot on synth and sequencer. onboard sounds, again by hitting a
chaining
how such a small device can deliver Three new strands of PO, then, and number key. The two dials here typically
O 16 punch-in
effects such a big sound They were great. each promising a tantalising tangent alter volume and an effect, like lter,
So for Teenage Engineering, this years away from the original three, already per sound. So you can adjust the pitch
PO-28 Robot NAMM was always going to be a case innovative, devices. of the sound you want to record at this
O Live synth and of, Well, how do we follow that? stage and then you can record it, either
sequencer, Shared features by step sequencer or by playing live over
O 8-bit synth So how do they follow that? Time for a quick overview of the main a pattern as it plays.
engine
O 15 sounds and
The answer, of course, is with ways of using the POs before I get The former recording method is
micro drum something as cool, something as geeky specic. With all three, its a similar done by holding the Write button down
O 128-pattern and something as futuristic as the rst scenario and less than a year after (along with Chord) and then inputting
chaining
three POs a new trio of POs known as reviewing the 10s, I am on familiar notes of the sound you chose above on
O Live play and
sequencer the PO-20 Series, comprising the PO-20 ground. So the rst thing youll do after the 16-part grid. You can also play them
Arcade, PO-24 Ofce and PO-28 Robot. slotting in the batteries in the case in live by holding the Write button and
method. Just make sure your pitch is hitting the pattern-number buttons in
dened before you record so a little the order in which you want them to school calculator. Id have also wanted
reverse thinking is in order. play to create complete songs. All the games especially on the Arcade one
but thats probably just me. (Maybe
well see some chip tuners hack these
Theres no getting
away from it, they are
imsy and open to
the elements. Heres
what you get around
the back of each PO
there to vary, lets face it, not that many I didnt expect to be blown away by
core ingredients and patterns. So the Arcade Margate was always a lot
pitch dial will radically alter your core more exciting to drive to on the school
sounds and the effects and tempos will bus trip than actually getting there that the PO effects really do come
radically alter your patterns. Throw in but I found myself charmed by it. into full force and youll nd yourself
some chord changes and real-time Whether the unit has the longevity performing full live sets without
effects and you will be altering these is another matter, though. realising it, with a few button pushes
and casual glances over to your
imaginary crowd (of co-workers).
If you made beats from what So, yeah, Ofce is surprisingly cool,
and out of the three units, Id probably
you hear in our office, it would pick this one to use in my studio and to
extract beats and ideas from and into
be the stuff of nightmares my main DAW set-up. I just love the
overall level of control that enables you
to stamp your own authority onto the
ingredients a lot more than you think. On to Ofce; and while I was excited existing sounds and patterns, and
Teenage Engineering has pulled off by Arcade but not expecting big things, again, you are amazed what PO has
something of a sonic curry-fest here: I did struggle with the idea of this one: done with so few initial sounds.
a few core ingredients, yes, but a huge ofce noises to make beats, right? Its Finally, its time for the robots. Being
variety of results. hardly the stuff of dream rhythms, is it? a certain age, I must make the link
And if you worked in our ofce and between robots, operators, and
made beats out of the noises you hear calculators and mention Kraftwerk (yes,
here, it would result in the stuff of I didnt just hang about in amusement
nightmares, let me tell you. arcades in the 70s), and perhaps here
Fortunately, the Teenage we have the whole Teenage Engineering
Engineering ofce seems to be a little philosophy wrapped up in one unit.
more musical and alongside what could Robot is solidly electro, comes
be photocopy, typing and general shelf/ packed with a bunch of synth sounds
door/ling cabinet hit sounds, there are (not so much in the way of robot voices,
half-a-dozen decent beats and basses though) and the ability to actually play
to bolster things up almost like Richie and synthesise notes (to some extent
Hawtin is sat your ofce, maybe just
like your new intern, and making beats In use tips
out of your hole punch and stapler. When using the new PO series (as with the
current PO-10s) its all about what you can do
Alright Richie, yeah two sugars in my
with them in real time/live. The Robot might
coffee please, mate. be more about playing along with patterns
The resulting Ofce beats and and Ofce might be more about the beats, but
each one allows chaining of patterns to make
patterns are surprisingly punchy and songs; the addition of live effects (which can
aggressive and very edgy. Its here be recorded); chord changes (again which can
be chained) and a Step Multiplier that allows
retriggering of steps. You can even fade your
performances out with a couple of key presses
Robot is the best for synthesis (FX and Play) and on the Arcade, add a Drone
(of sorts) and melody version of the current chord. These real-time
playing perhaps additions are the POs core strength.
not beats
Alternatives
Korgs Volca range is still the closest thing out
there to the original PO-10 series, but theres
little out there that touches the new PO-20
series, not in standard hardware, anyway. I say
standard because, of course, there is a world
of chip-tuning, DIY electronic customisation
out there where people are taking everyday
gadgets and making them make notes. Expect
a feature on that soon. Until then, grab a Speak
& Spell and a screwdriver and experiment.
(Actually, thinking about it dont.)
9/10
FOCUS Ableton Live 2016/17 | 103
MTF Reviews NI Komplete Kontrol S88 keyboard & v1.5 software
NATIVE INSTRUMENTS
Komplete
Kontrol S88
& v1.5 software
Komplete Kontrol, the software, has been updated and the hardware gets an addition, too, in
the form of an 88-note keyboard. The ultimate integration? Andy Jones finds out
T
Details here are some products that ago Komplete Kontrol promised the become Kontakts trademarks, is now
Kit Komplete Kontrol follow trends and some that same for the keyboard player and replicated on the actual hardware keys
S88 keyboard and v1.5 create them. Komplete Kontrol thus the broader playing world at large. of the keyboards by way of the S-Series
software
Manufacturer denitely sits in the latter Komplete Kontrol marries a great piece Light Guides.
Native Instruments camp, and since its release in both of hardware to possibly the nest music Its hardware that does software, its
Price 729 (S88).
Other keyboards in
software form and the S-Series production bundle out there: NIs multi-coloured and striking, and it
the range are now at keyboard range, it has set the bar, not Komplete collection (now at v10). The keeps your head focused on what you
a lower price: S25 is just for controller keyboards but for the Komplete Kontrol software offers a are playing rather than what your
299; S49 369;
S61 429 very way that music production shell-like interface, while the Fatar- mouse is clicking. Its so 2016!
Contact software integrates with hardware. And
T: +44 207 9207500 its also helped the computer to be
W: www.native-
instruments.com
relegated to less than the main player
in the recording studio.
Push and Maschine pulled
Tech Req
PC: Windows 7 later;
Intel Core 2 Duo or
OK, you might think thats over-
stating the impact of this range, so
people away from computers.
AMD Athlon 64 X2
Mac: OS X 10.9 later
Intel Core 2 Duo
a quick recap might be in order
Until a few years ago, the computer
Komplete Kontrol does the same
4 GB RAM (6 GB
recommended)
was the dominant force in music
making. Native Instruments itself was
for keyboard players
one of many companies producing made keyboards replicate the software Its also brilliant and Komplete
Key Features
music software that could do in hardware form. Kontrol began, or at least helped chivvy
O 88-note
keyboard
everything, and I mean everything. I say again: replicate the software in along, a revolution in hardware and
O Features However, a combination of software hardware form. 15 years ago, Id have software integration that Akai has
Komplete Select piracy, amazing new and colourful gear, been happily telling you the opposite followed with its Advance range, Push 2
bundle of 10
plug-in titles
a shift back to analogue, and the sorry was true in the studio world. Crazy! looks like maintaining for Live and
worth 850 fact that people were starting to mix So anyway, with KK software you can Arturia, Novation and many others also
O NKS standard with their eyes rather than their ears dial up anything in Komplete and have a hand in.
opens KK up to
has meant that hardware has made Kontakt, all from your S-Series
other developers
O Features Light a glorious return. keyboard via preset type or list. You can Which brings us nicely to
Guides, Native Abletons Push and NIs Maschine step through the presets and control With everyone jumping on the
Map, Smart Play
have married the old software to this the most important parameters via the bandwagon, though, NI has not rested
O Size (mm):
349x126x1389 new world and simultaneously helped rather great Clear View screens. The on its laurels and has made several
O Weight: 14.4kg pull peoples faces away from their best bit is that everything, right down to important updates to the Komplete
computer screens. And just over a year the mult-coloured key ranges that have Kontrol philosophy over the last year.
This includes third-party support, with bit (actually quite a lot) of everything to Kontrol S-Series, you will be at home
the all-new Native Kontrol Standard show off what the Komplete Kontrol 1.5 here. If not, heres a quick recap of my
(NKS) essentially meaning that the KK software can do. previous review to explain that all
software and keyboards can be opened important integration.
up to the VST community, so were not The hardware
talking about hardware integrated with So thats the software, but were not Perfect integration
just Komplete but potentially a lot more nished. Testing the new 1.5 update Within Komplete Kontrol you get access
developers. So far, Heavyocity, required a Komplete Kontrol S-Series to all of your Komplete instruments
ProjectSAM, Arturia, Spitre Audio and keyboard, so we took delivery of the (and now other plug-ins) and you can
Sonokinetic are just some of the big brand new S88 keyboard and are select sounds via the instrument title
and then focus on preset type and
To use the S88 with Komplete select that way. The beauty is that all of
this can be done via the hardware
Ultimate 10 is one of the best controls, so you can be away from the
computer screen and more focused on
the NKS standard. Back to the it, as you get hundreds of GB of the best We used the S88 as MTF Verdict KK S25-61
hardware, and the new S88 certainly instruments and content around the centre-piece of
the MusicTech + Great new prices
feels its cost. It is pricey a full 300 literally everything you should ever need Christmas party + Komplete Select is amazing and
more than the 61 but the keys will be for music production. Komplete decorations a real bonus and advert for the
attractive to proper players. They are Ultimate is also what the S-Series is rest of the Native range
fully-weighted, slightly heavy compared designed to work with, so as good as + NKS could become the new
standard in integration
to the action on the Nord Stage 2 I also Komplete Select is, this is what NIs
+ The Komplete Kontrol software
have in the studio for testing, but far designers had in mind with the S-Series opens up your instruments in a
more respondent than the 61-note keyboards and to use the S88, hardware-like way
S-Series I also have. Whether its 300 Komplete Kontrol and Komplete + The scale and arpeggiator
extra worth paying is, Im afraid, a Ultimate 10 is undeniably one of the sections are both excellent
+ Light Guide keys. Come on, whats
decision you will have to make, as this best experiences in music production not to like?!
depends completely on your playing (I upgraded to v10 for this review and + Used with Komplete Ultimate,
ability and needs. have to say it is staggering and very this really is the ultimate
easy to install Ultimate has never hardware software bundle
Konclusion been so appropriate a name).
- but it will cost you 579
Weve reviewed the new Komplete However, were also going to mark - You cant do everything in
Kontrol software and S88 keyboard the all-new S88 in its own right, as it hardware (just yet)
together, as they are obviously designed comes with one or two caveats which
The new prices, addition of NKS
to go together, but you can, of course, weve already touched upon. It now
and Komplete Select make the
choose any of the four keyboards now in costs a whopping 300 more than the S Series even better buys.
the range, and anyone who has already 61-note, which puts the 88-note out on
invested in Komplete Kontrol can a limb a little price-wise. 9/10
download Komplete Select for free, so So, while I love it and I absolutely
get to it! do you may nd those 61 notes
The new software is really all about enough, especially for 300 less. MTF Verdict KK S88
NKS integration and the instruments Personally, I think its a bit steep a gap,
+ Proper player keyboard makes
you get from the off with Komplete or that perhaps the 61-note now looks this the ultimate Komplete
Select. With both additions, you will be even more attractive. Having said that, Kontrol keyboard of the range
enjoying a much more integrated these 88 notes are weighted and seeing + Just how cool are 88 Light Guide
package and one of the best hardware Light Guide across them in action in keys? Very!
+ Wider keyboard range opens up
and software set-ups out there. I say your studio is something else to behold.
Kontakt instruments further
one of because, of course, NIs own So if you are a player, and have a few + Again, used with Komplete 10
Komplete 10 software bundle is even quid, this is the one to get. Ultimate and you have, well, the
better, and should you want the Either way, one of the range should ultimate combo
absolute ultimate in that arena the be an even more attractive option,
- Keyboard may be a little heavy for
appropriately named Ultimate it will especially with the world and his wife lighter acoustic players
cost you 579 over and above now invited to the Komplete Kontrol - Price is 300 more than an S61, so
whichever S-Series keyboard you opt party and 850 of software to tuck into quite a bit more for the extra
for. I have to say, though, that it is worth when you arrive. MTF playing action
Alternatives
Game controllers! The good old Wii Remote
still works great with MIDI, thanks to
translator applications like OSCulator.
U
Details s music tech types have an and MIDI channels (each string can be with Bluetooth, so you can walk and
Price $299 insatiable curiosity about assigned to a different channel, which play. On iOS, the Jamstik+ experience is
Contact alternative MIDI controllers, opens things up for software control). more or less the same, using the app for
www.jamstik.com
whether its to replace or Ableton Live is a natural partner for conguration and then playing various
complement our existing setup. Theres the device its rewarding to trigger soft soft synth apps the guitar tutorial
always room for one more, right? Enter synths like Operator from this petite content is also available across all
the Jamstik+, a guitar tuition tool which stringed instrument, which feels more platforms if you want it. Lefties can
might seem kind of toy-like, with its like a MIDI ukulele than a guitar once enjoy the Jamstik too change the
little plastic body (just over 16 long) its strapped on. Of course you can use orientation in the app, and ip the
and stubby ve-fret neck, but has huge any type of sound, so if you like the idea Jamstik+ over.
potential for MIDI control, putting it of programming beats from a guitar I wouldnt use the Jamstik+in any
squarely in the sights of any free- interface, youll be in heaven. There kind of guitar role I have guitars for
thinking controller geek. (Yes, the + in were no issues using Logic instruments that. It is, however, an awesome MIDI
the name is important it is an update and third party plug-ins at the most input device and is a surprisingly
to the original Jamstik, which relied on basic level its just like conguring a expressive little instrument. If you like
WiFi to connect to a computer, while the MIDI keyboard. It doesnt feel remotely custom control setups and game
Jamstik+ uses Bluetooth or USB.) like playing a guitar with a MIDI pickup; controllers, this is one you should try. MTF
Infrared sensors in the ngerboard although the Jamstik+ uses real
combine with a hexaphonic pickup to strings, theyre very short, and theres no
MTF Verdict
send note and string information to acoustic resonance at all, like youd get
your Mac, Android, or iOS device, with when you play an unplugged electric + Excellent MIDI guitar controller
further control messages being sent via guitar. No physical tuning is needed, + Easy Bluetooth or USB
connection
an accelerometer. Theres also an either its handled by the app, where + Accelerometer is great for effect
inordinately large mute button located you can specify any custom tuning you controls
where the bridge is on a normal guitar, like, per string. By default the d-pad + Portable little package
and a d-pad type arrangement of buttons provide octave +/- and capo + Works with iOS or OS X
+ Great for Ableton Live users
buttons on the top edge of the body. The functions. You can use a pick, or play
Features package contains the Jamstik+, a micro nger-style, and theres a tap mode - Neck dives a bit
O Guitar tuition
USB cable, guitar strap, picks, and optimised for one/two handed tapping. - Price will deter the merely curious
tool/MIDI
controller printed setup information. The The accelerometer reinforces the game - Not necessarily a first-choice
O 5-fret neck, 16 Jamstik+ charges from the computer or controller angle, and this can send any guitar learning tool
long
any standard USB charger, and should MIDI control message, so you could be The Jamstik is quirky, its not cheap,
O Works with Mac,
Android, OSX provide around 8 hours of use per playing notes on the Jamstik+ and then and Im not convinced of its value
O Mute button and charge (courtesy of a replaceable give it a wiggle to change your lter as a guitar learning tool. But on the
d-pad control phone-style battery). Its frequency, for example. Setting changes major however front, its a
O Charges via fascinating and fun MIDI device for
straightforward to set up - theres a are stored dynamically in the Jamstik+, anybody who loves new ways of
computer USB
O 8 hours per
dedicated free app available on all but Id like to be able to save a library of communicating with their software,
charge platforms which handles the Bluetooth presets for different situations. and particularly recommended if
O Particularly connection, string behaviours, velocity I built an Ableton set to make use of you like game controllers.
good with
Ableton Live
response, trigger sensitivity, general
MIDI functions, button assignments,
the 6 strings and 5 frets and separate
MIDI channels to launch a 6x5 block of
9/10
FOCUS Ableton Live 2016/17 | 107
MTF Reviews Fablter Pro-C 2
Pro-C 2
response to the kick and to control
bleed, with the end result being more
controlled and groove-based than
anything we could have got with a gate.
Another of the improved features is
FabFilter has updated its Pro-Series compressor. the sidechain, which previously had
Mike Hillier finds out if it really is fabulous high- and low-pass lters. It now has
a mid-band with selectable shapes,
based on Pro-Q. You can, like before,
F
Details abFilter Pro-C is now the knowing you can get 99% of the way add high- and low-pass lters, but you
Price 114 second plug-in in the there visually is a great help in getting can also shape the lters as you see t,
Contact info@ companys Pro range to get a to the settings you want quickly. and use the mid-band to add a bell
fabfilter.com
major update, following on from Pro-C 2 has eight different curve, notch, shelf, or even a tilt EQ. We
Web
www.fabfilter.com the incredible update to Pro-Q last year. compressor models, of which ve are described the advantages of using
Minimum System The new version of the FabFilters completely new in Pro-C 2. The fully-featured EQs in the sidechain in
Requirements compressor adds a considerable Mastering compressor works very a previous workshop, Digging Deep Into
PC Windows XP or
later, AAX, RTAS or number of features to the already quickly, while producing very little The Sidechain, but its great to see one
VST host popular plug-in, including ve new harmonic, making it very useful as a so prominent in a compressor like this.
Mac Intel Processor, compression styles, a vastly improved clean, clear vocal compressor when The actual response of the compressor
Mac OS X 10.5 or later,
AU, AAX, RTAS or VST side-chain EQ, and a new Retina- artefacts have to be avoided, as well as once youve changed the sidechain EQ
host display optimised interface, which can on percussion. On the opposing front, is sometimes hard to work out, but as
be scaled from small to full-screen. the Pumping model has been designed a rule of thumb any frequency you
with subtlety thrown out of the window. boost in the sidechain will be reduced
Eight in one This model is great when fed a more by the compressor.
Probably the biggest single side-chain kick for those over-the-top As always, FabFilter has managed to
improvement in Pro-C 2 is the new user pumping sounds most commonly wrap an incredibly powerful tool into an
interface; even in its default setting it is associated with EDM. Perhaps two of easy-to-use and intuitive user
larger and easier to navigate. FabFilter the most useful new models, though, interface, which makes getting great
has embraced user interface design are the Bus and Punch models. Punch sounds simple. The original Pro-C got
like no other developer, making the has a rich tonality, which lends weight a lot of day-to-day use on our sessions,
most use of what is possible with to anything fed through it, while Bus but it was always the compressor to
plug-ins instead of sticking to applies that nal gloss to a mix. The reach for when you just needed a job
emulating old designs. There are no Vocal compressor has been designed doing. Pro-C 2 can handle anything you
skeuomorphisms here, no rack screws, with automatic knee and ratio, but is throw at it, and is already pushing far
paint scratches or needle-based VU the only one of the new models we more expensive compressors aside. MTF
meters. Instead, the meter shows a havent taken to immediately, perhaps
moving waveform as it passes through because we got great results out of the
MTF Verdict
Key Features the compressor up against a graph of Punch, Mastering and the three old
O Eight the gain reduction, letting you see at a models on vocals. + Flexible compressor
compression glance what your attack and release + Easy to use
styles + Great user interface
settings are doing to the gain reduction. Alternatively
O Sidechain EQ
Against this, another graph shows the Compressors are a dime a dozen, but Pro-C 2 is set to become a staple of
O Smooth
lookahead mode compressor ratio and knee, again something with this kind of exibility, many professionals toolkits.
O Intelligent enabling you to quickly set these capable of anything from transparent Everyone needs a good compressor,
detailed control, through to characterful glue, and there are few as good as this.
auto-gain visually against the waveform. There is rare. Sonnox Oxford Dynamics is probably A future classic.
O Up to 500ms the closest competition, with three different
will be those who say visual mixing is
Hold
O Custom knee disabling, and that you should use your compression types and some powerful
additional features.
10/10
ears, which is of course true, but
SONIC ACADEMY
Kick 2
Sonic Academys kick-drum instrument gets a
2016 makeover, but is it a stairway to drum heaven,
or a one-way ticket to drum hell? Alex Holmes finds out
I
Details ts fair to say that the kick drum is respond to the keyboard, so you could with your tweaking. Last but not least,
Price 49.95 (24.95 king in most modern dance music. have a pitched bass kick, with static (as it was high on our wish list for Kick
upgrade from Kick 1) As genres come and go, it tussles transient click. 1), the instrument is now monophonic
Contact via website
with the bassline for superiority, but with a new dial for Portamento. This
Web www.
sonicacademy.com in most club music, getting the right Sub focus makes it easier to have long tails
Minimum system kick sound is so fundamental, it can The main part of the plug-in is still the without the worry of them overlapping
requirements make or break a track. Weve been big Sub oscillator, with a large window for and muddying up your low end. That
VST, AU, AAX 32-/64-
bit host
fans of Sonic Academys Kick plug-in drawing break points and bezier curves said, without wanting to sound fussy, it
Windows 10, 8, 7, Vista over the last couple of years, and its for the pitch and amplitude. This has would have been nice to be able to
(32 Bit), Intel Core Duo punchy sounds have been used on a been enhanced with an excellent switch between voice modes.
or AMD Athlon 64 X2,
multitude of tracks as both kick drums harmonics section, that lets you add
512 MB Ram
Mac OS X 10.7 or later and basslines. We knew Kick 2 was in character to the waveform by dragging New and improved
(32/64 Bit), Intel Core development, but were excited to nally up eight sliders to bring out different Kick 2 is a serious upgrade on the
Duo, 512 MB RAM get our hands on this new and improved parts of the spectrum. Other original plug-in, and is now more
(no PPC)
drum synth/sampler instrument. improvements include the addition exible than ever. This can be seen in
of analogue-modelled Tube and the 230-plus genre presets that also
Click track Wave distortions, which are a big include layered snares, claps and toms;
Kick 2 adds a whole slew of new improvement on the (also included) a suggestion perhaps that this is much
features and changes, the rst of which Clip distortion from Kick 1. Theres also more than just a kick-drum instrument.
is the dropping of the Nicky Romero tag a Compressor, a nal output Limiter, There are also a few bass presets,
that came with the original plug-in. and a Drive dial that controls how hard although we would have liked to have
The interface is now larger and more the signal hits the output. Its in the seen more of them, given how
polished, with splashes of colour and combination of these elements, the surprisingly good Kick 2 is as a bass
a waveform view that updates as you distortion, and the Harmonics section synth. Whatever the weather, this will
edit the various parameters. Most where the power of Kick 2 as a tone no doubt be getting some serious use
fundamentally, the Click area has been shaping tool really starts to shine. in our future tracks. MTF
expanded from one to three sample Different combinations of each now
layers, meaning you can create more give different types of saturation and MTF Verdict
complex textures and do more effective overtones, meaning you have a broader
+ Highly exible tool for sculpting
drum layering, choosing from either the palette to play with. Other notable
kicks and hits
extensive list of drum clicks, hats and features include a drag-and-drop + Solid collection of presets
noises, or loading your own with a new export function, and a new EQ section + Excellent distortion and
Features drag-and-drop functionality. Each Click with a low shelf, high shelf and two harmonics section
O Kick-drum section still has pitch and volume notch lters for extra shaping of your + Crisp, clear GUI
instrument with
controls, but now adds dials for sample overall tone. This is a nice addition, - Kick 1 user presets not
Sub oscillator
and three Click length, start point, pan, and phase although a spectrum analyser would compatible with Kick 2
sample layers alongside a LP/HP lter. This makes it have been the icing on the cake to help - Pan controls incredibly small!
O 230-plus genre
much more exible, as you can now - No spectrum analyser for EQ
presets
O 180 click load in something like a live kick sample Alternatives Kick 2 is a more nuanced
samples and easily scoop out all the low end to The most obvious alternative is Big Kick from instrument with a more rened
O Modelled Tube, allow space for the Sub part of the Plugin Boutique (39.95), which doesnt quite palette of tools for ne-tuning your
Clip and Wave have the depth of control of Kick 2, but has kicks and sounds, and its an
distortion
instrument. Our only gripe here is that
some excellent artist preset packs. If you essential purchase for anyone
O EQ, Compressor, the Pan control is so tiny that we almost want even more control, built-in FX and a writing music destined for the club.
Limiter and missed it! All the Clicks, along with the mod matrix, then theres Vengeance Sounds
Harmonics
controls
Sub section, can be muted or solod, and Metrum (89), although it might be overkill
for some.
9/10
have a button to toggle whether they
Excellence
SAM SPACEY
Epica Bass
A sample library full of synth basses isnt something that usually comes to mind Above: Epica Basss
main window and
when buying your next library. Matthew Mann finds out if Epica Bass is bold presets list
Details
I
like sample libraries, but typically brain-throbbing, gut-twisting arsenal Arpeggio folder has patches that are
Price 89 / $138 dont use bass-sample libraries. of all-round killer bass instruments. well thought-out and useful. I found
Distributor Why? Because I nd it easier these The samples were all taken from an presets in this folder lent themselves
Time+Space
days to create my own bass sounds impressive list of analogue synths, not only to bass arps, but also to higher
Contact via website
Web with hardware or software synthesisers. including an original ARP Odyssey Mk register arpeggios that ll out a track
www.timespace.com But what if you dont really have any III, a Sequential Pro-One, Yamaha CS-15 nicely. The Multi folder is full of presets
System requirements virtual or hardware synths that do bass and CS30 synths, an Oakley Sound that combine multiple instruments into
Kontakt 5 or Kontakt
Player (included) well, or youre not a synth programmer? Systems Modular, an Analogue some excellent layered presets. This is a
nice change from the mono folders
previously mentioned. You can even
Ive already found use from you want and the presets are so good,
youll nd it difcult not to use them
so many presets, I can imagine just the way they are. MTF
SONIMUS 9/10
Burnley 73, SonEQ Pro
and Sweetone
There is no such thing as a Holy Grail of EQs, with each
one being able to bring something new. Mike Hillier
tries out three very different vintage-EQ emulations
Made in Burnley
H
Details aving a wide selection of EQs low bands have been kept which, while
Manufacturer to turn to when it comes to The rst of this trio of EQs is the Burnley in keeping with the original, are
Sonimus mixing is arguably as 73, a not-so-subtly named emulation of somewhat unwieldy at least for those
Price Burnley 73
$59, SonEQ $59, important as having a probably the most famous British EQ: of us who like to work fast, without
Sweetone $32 selection of microphones, preamps or the Neve 1073. The emulation models having to spend too long with our hand
Web compressors. While it may seem like a not only the sound of the 1073s famous on the mouse.
www.sonimus.com
3dB shelving boost at 12kHz should EQ section, but also the two input Sonically, the Burnley 73 is a great
Minimum system
requirements sound pretty much the same on any stages, adding an output stage with tool. The input stages provide options
PC Windows XP, AAX, given EQ, in reality, there are dozens of +16/-24dB of gain available to make up for instant gratication, adding depth
RTAS or VST host and drive to the sound even before we
Mac OSX 10.6, AAX,
AU, RTAS or VST host
start shaping the tone with the EQ itself.
From the shape of the curve Like a real Neve, the Burnley 73 is
incredibly musical, capable of fairly
The passive tone Behind this veneer of apparent Features dialling it down will cut the top and
The SonEQ Pro is the advanced version simplicity, however, lies a surprisingly BURNLEY 73
bottom ends, creating a mid-focused
of a free plug-in, SonEQ, available from useful tone-shaping tool. O Neve 1073 sound. Again, the Normal/Sweet switch
the Sonimus website. It is based on The high-pass lter is sweepable emulation changes the behaviour, with Sweet
classic passive EQs like the Pultec from 10Hz to 2kHz, while the low-pass O High-pass filter moving the two shelf cut-off points
O High- and
EQP-1A but, unlike the Burnley 73, lter enables ltering from 22kHz down low-end shelves
further towards the low and high end.
doesnt attempt to exactly clone the to 2kHz. Both lters have selectable O Parametric In mixing, this kind of tool can be
Pultec, instead taking inspiration from 6dB/octave or 12dB/octave shapes, but mid-band very useful for quickly altering and
it and other passive EQs to create an the high-pass lter has an optional O Models both Mic placing sounds in the mix. It feels less
and Line inputs
all-new and very powerful tone-shaping Blow mode which adds resonance to controlled than a standard parametric,
tool. SonEQ Pro has four bands, with the lter. This resonance adds a boost SONEQ PRO but the ability to quickly get your
additional sweepable high- and in the low end at the cut-off point, O Classic passive sounds in the right ballpark cannot be
low-pass lters and a variable drive which can be perfect for adding weight EQ emulation underestimated. We could easily see
O High- and
output stage. to low-end sources while this being placed early in the mix chain
low-pass filters
The low band copies the Pultec trick, simultaneously cutting any mud from O Low-band has for various instruments, with any
with independent boost and cut knobs, below the cut-off point. This is the independent specic frequency issues cleaned up by
boost and cut
enabling you to boost and cut the same same trick we see employed by tools a standard digital EQ, or one of the two
O Two parametric
frequency simultaneously. The exact such as the Little Labs Voice Of God. mid bands other Sonimus EQs. In addition to
O High-end shelf shaping the tone of the signal,
Sweetone has a preamp stage after the
SPLICE
Splice Sounds
The days of paying for samples you never use could well be at an end.
Hollin Jones explains how Splice Sounds could change your world
S
plice started life not all that people to pirate sample collections, This limit is to stop people joining for
long ago as a web service that which is not hugely difcult if youre a month and downloading the entire
allowed users of certain determined to do it. This is similar to the database before cancelling, which
DAWs to upload their raw challenge faced by the recorded music wouldnt be very fair. It will also probably
project data to the cloud and then industry, and Splices answer is not have the effect of making you consider
Details collaborate with others. Or, store their unlike the way that Spotify or Apple more carefully which sounds you really
Price $7.99 a month own work in the cloud so they could have responded to peoples changing do want rather than just downloading
Contact Via website open it on any computer to keep music-buying habits not to mention thousands without thinking. If you do
Web www.splice.com working on it. That free service is called a way to try to discourage piracy. cancel, you keep the samples you have
Splice Studio, but the company has now
Key Features
O Access from
desktop or
created a different kind of service:
Splice Sounds. Claiming to be a new The idea, in short, is to let
mobile
O Audition any
approach to buying samples, its the
kind of thing that has become possible people search, audition and
samples for free
O 700k samples
and growing
only in the last couple of years with
advances in web and mobile technology. buy only what they want
O 100 or 300
downloads per So what is it? The idea, in short, is to let people already downloaded but lose access to
month Splice Sounds is an online catalogue of search, audition and buy only what they download any new ones. You can also
O Build and royalty-free samples 700,000 and want. The problem of having to buy a choose to pay $13.99 a month and get
share your own
Repacks counting from some industry-leading 3GB sample pack to get the 300MB of 300 samples, though its not currently
O Downloads gures, companies and artists. Where it samples you actually want is a real one, possible to pay extra if you want to go
appear on your differs from conventional sample packs though its not really the developers beyond this in any given month.
computer
O Drag and drop
is that it is entirely database-driven yet fault. The only alternative to selling
straight to friendly to use. The developers say that whole collections is to make a The details
your DAW they found people complaining that searchable, micro-payment driven In order to download sounds, you have
O Extensive
they would buy a sample pack and end online system. That requires a lot of to install a small application, and this is
searching
capability up using only a fairly small percentage work, but its what Splice has done. You the same one that is used for syncing
O Artist-curated of the sounds inside it. The others were pay $7.99 a month, and for that you get DAW project data, though the two tasks
collections
effectively useless to them. Worse, 100 download credits, with samples are separate things. A folder is created
encode
frustration with this can lead some costing one credit each. on your computer where downloaded
youd expect with partners like In the case of Splice Sounds, the pricing
tiers seem very sensible when you
Excellence
NATIVE
INSTRUMENTS
Una Corda
Alex Holmes checks out a veratile sampled-piano instrument from
Native Instruments that will add the ethereal to your material
Details
P
iano instruments are like Where things get really interesting is in
Alternatives
Price 129 drum samples for the modern the huge tweakability afforded by the
If prepared pianos are your thing, then you
Contact via website producer; youll likely have Kontakt GUI. Theres a basic front page could check out the IRCAM Prepared Piano
Web
more than you need of various with tone, dynamics and space, and from UVI ($399), which is more expensive, but
www.native-
has 45 different preparations. Alternatively,
instruments.com styles, sizes and quality that youve three more for deeper sound design. theres VSL Prepared Piano (65) at a much
System collected over the years. Una Corda cheaper price, but neither has the deep,
Requirements Mac
OS X 10.9 to 10.11, Intel
from Native Instruments is a little More than meets the eye ethereal quality of Una Corda.
Core 2 Duo, 4 GB RAM different, though, and offers up a deeply The rst page is the Workbench, which
Windows 7, 8, or 10 sampled version of a unique piano, allows you to sculpt the primary options make this a great sound-design
(latest Service Pack,
32/64-bit), Intel Core 2 hand-built by David Klavins in characteristics of the instrument. Here tool for soundtracking.
Duo or AMD AthlonTM collaboration with composer Nils you can add harmonics, reverse
64 X2, 4 GB RAM
Free Kontakt 5 Player
Frahm. It only has one string per note, samples, control the tonal depth, and Strike a chord
or Kontakt 5 (version which gives a much purer sound than add a second fabric to the prepared Una Corda is more expensive than NIs
5.5.1 or higher) the usual three strings found on your piano sound. You can also choose from other piano instruments, but its also
average piano, and allows the user to a long list of ambient background noise, more versatile. Its been created with
easily slot in different prepared dial in mechanical and pedal noise, and love and attention, and the results are
materials to dampen and affect the way even add in the sounds of the pianist often breathtaking. This is an inspiring
the hammers hit the strings. moving and breathing. These interesting instrument that oozes class and with
textures can even be brought to the very few tweaks can be morphed from a
Be prepared forefront by removing the main piano gentle, upfront piano, to a swirling,
The technical side of this massive 10GB sound. Next, you have the Response dissonant and clunking beast. MTF
Kontakt Instrument has been put section where you can control how the
together by Uli Baronowsky and Galaxy instrument responds with controls for MTF Verdict
Instruments, who are also responsible dynamics and overtones, and nally,
for The Giant, and Denitive Piano you have the Finish section. Its here + Incredibly rich and
beautiful sound
Collection for Kontakt. The one-of-a- that the sound-design opportunities + Surprisingly versatile
Features kind original instrument was recorded really open up, as you can choose from sound sculpting
using an array of mics and kit in Saal 3 a large number of vintage-effects-chain + Well-thought-out GUI with
O Prepared piano
instrument for at the Funkhaus in Berlin, a famous old and convolution reverbs. You can give deep-but-easy editing
Kontakt 5 and broadcast studio in East Germany. You the instrument a shimmering electric
Kontakt 5 Player - More expensive than NIs other
O 10GB of audio
get three different Kontakt patches piano or toy-speaker effect, then feed it piano instruments
O Three Kontakt with the pure piano sound, a prepared through simple reverbs or complex, - Not always completely obvious
Instruments, piano with felt between the hammer swirling space convolutions to create what certain parameters are
with 100 doing to the sound
and string, and one with cotton, plus some incredibly deep, pad-like tones.
snapshot
presets 100 incredibly varied snapshot presets Youll also nd controls for EQ, Effortlessly atmospheric and
O Clean, plus saved across all three versions. compression and saturation, transients beautiful prepared piano
felt and cotton instrument. Its not cheap, but
Essentially, the pure sound is closest to and stereo image. Its the more ethereal
preparations theres a surprising amount of
O Deeply a normal piano, with a more resonant textures where Una Corda really shines.
sound sculpting possibilities
sampled from a and clean tone; the felt has a more Theres a richness and depth to the buried under the lid.
one-of-a-kind gentle, electric piano-esque sound with instrument that sounds innitely
handcrafted
instrument softer attack; and the cotton is more beautiful and cinematic. The exibility 10/10
percussive, with hints of harpsichord. of the GUI and excellent convolution
N
Details ovation seems to be doing its house, indie, dark trap and more, and Maybe Ill also want Blocs Wave to
Kit Blocs Wave iOS
utmost to surprise us these you arrange whichever ones you fancy chain to the outputs of Logic and Live
Manufacturer days. When we expect one into eight blocks to come up with your and for all of my ideas to ow into Blocs,
Novation thing to come along, we get own tunes. So far, so sample arranger, so I can experiment with them on the
Price 3.99/$4.99
Distributor another. Circuit was a Groovebox for the but fortunately, theres a bit more to it move? So, clearly, I want some things
Novation/Blocs 21st century. I said a Groovebox for the than that. And potentially a lot more that it doesnt do yet.
Contact via website 21st century, for pitys sake. Who So each one of Waves sounds will But this early days and I think the
Web www.blocs.cc/
thought we needed one of those 12 play in time and in pitch with another important part is done the editing, the
blocswave
months ago? Turns out we did, and its one, so everything will sound great ease-of-use, the real-time pitch and
bloody amazing. when combined indie with trap, house tempo stuff and the fact that Im even
Now we have Blocs, a completely with hip hop and so on (okay, it wont thinking ahead to future versions
new brand and its rst product: Blocs always sound absolutely great, but you means Novation/Blocs has done this
Wave for iOS. Its an arranger/composer know what I mean). So, if nothing else, well. Indeed the company seems to be
app, of sorts. Its not quite what I we have a great way of mixing musical heaping loads into Blocs as we speak
thought it could be at rst. Nor is it ideas up in a very easy and intuitive way. with real-time recording now an option
quite what I wanted it to be ve minutes Thats because arranging sounds is and improved importing and exporting
after that. But an hour into playing with very easy. You use a hexagon-shaped making it an even more vital app. MTF
it, it turns out to be something I didnt grid (the Discover tab) with your six
Key Features know I wanted it to be, but now do want song elements bass, drums, melodic, MTF Verdict
O iPhone and iPad
it to be! Just like Circuit then. Typical percussion, vocal and FX and you use
ideas/composer + Easy. You dont need instructions
O 8 sound Novation. Or Blocs. Whatever! it to ll the eight slots in your main
+ Good range of sound packs
combinations song/project. You can then audition + Like the newsfeed that offers
O includes 6 sound On your starting Blocs each sound from the six sound packs in more of them (for free!)
packs (300 sounds)
We would dearly love something like the next two tabs, either by sound-pack + Can import and export audio
O 12 additional
Ableton Live for the iPad and initially, I type (genre) or sound type. + Great touch design and workow
sound packs
available (more
+ Mix trap with hip hop
thought that Blocs Wave might well be Press Auto, and ideas are randomly
to come)
just that. But while its not, it does have placed together. You can easily ditch a - Mix trap with hip hop!
O uses 3D Touch
on iPhone 6s elements of Abletons nest DAW that sound by replacing it with another (or - A bit dark
O Real-time tempo make it quite beautiful and usable in its undoing in case you make a mistake),
and pitch change Blocs Wave could be what weve
own right. plus easily mute and unmute tracks by
O Low-latency been waiting for and, at present, is
recording
So Live is what Blocs Wave isnt (yet) swiping up and down. The programmers a great ideas-mangling app. Loads
O Import and but what it is is an arrangement tool, have thought this through; the swiping of potential, get your loops in!
export audio via
Mail, AudioCopy,
AudioShare
and an ideas cruncher. You start with
someone elses ideas, 300 of them
and touch are so well implemented, you
dont realise youre doing it after a while, 8/10
across six sound packs, for hip hop, as it becomes so second-nature.
Excellence
SPITFIRE AUDIO
HZ2 Los Angeles
HZ3 London Soloists
In conjunction with Spitfire Audio, Hans Zimmer and his engineering
team have produced two more cinematic percussion libraries to
Details complete the HZ trilogy. Keith Gemmell gets under their skin
Product
HZ2 Los Angeles,
HZ3 London Soloists
A
Price 239 each while back we reviewed HZ1, the form of some modular-synth previously mentioned. And within each
Contact via website a truly epic percussion library drum programming. of those is a full performance kit with
Web www. collaboration from Hans HZ3 is an expansion of the rst basic GM mapping and four folders
spitfireaudio.com
Zimmer and Spitre Audio. library; a collection of Hybrid Cinematic containing patches for cymbals, kicks,
It featured four percussionists and was Widescreen percussion recorded, like snares and toms quite an arsenal.
Features
recorded at Londons AIR Studios. We the rst library, in Londons AIR Studios, As expected, its a superb-sounding
HZ2 now have two follow-up libraries HZ2 and performed by renowned kit and you can adjust its sound using
O Jason Bonham and HZ3 produced by Hans himself percussionist Frank Ricotti. close, overhead and room mics, plus a
on unique
Vistalite kit special gated room mic. Theres also a
O 3 LA recording
locations
O Grammy
HZ2 features John Bonham, Beat mapping
Tools 02
O 4,025 24-bit
Publisher Mode Audio analogue and
Foley drum hits
Price 18
O 79 instruments
Contact info@modeaudio.com Publisher Wave Alchemy for EXS24,
Kontakt, NN-XT,
Web www.modeaudio.com Price 49.95 HALion, SFZ
Contact info@loopmasters.com O Ableton Live
9 Pack
L
.A. Beats is a crunchy new Web www.loopmasters.com O Processed,
collection from Mode Audio Tape & Vinyl
Excellence
D
that features resonant rum Tools 02 from Wave versions
analogue-synth riffs and skewed, Key Features
Alchemy has been two O Perfect for
techno, EDM,
chunky beats from 70 to 86BPM. O 613MB of
years in the making, and
dnb, dubstep,
The bulk of the pack includes 24-bit audio contains 4,025 individually deep house, trap,
156 loops covering drums, hats, O Hip-hop and trap processed drum hits. A range of electronica
inspired samples
percussion and lls, synth bass, drum machines, analogue synths,
O 156 drum, bass,
glistening arps and leads, jazzy synth, keys, guitar Foley recordings and acoustic knife. Theres also a sensible
organ and keys chords, guitar and FX loops sources were used for the sounds, mixture of solid, dependable
licks, and vinyl noise beds. Its an O 139 MIDI loop files which were then processed sounds, and more experimental
O 88 chunky drum,
eclectic mix of hip-hop and trap through boutique outboard gear. hits for added variety. MTF
percussion and
sounds, with an energetic and FX loops Many of the hits were recorded
loose feel. In addition, theres a through an Ampex 1/2-inch tape
MTF Verdict
folder of tail samples that can be machine, and 12-inch vinyl for
used with their corresponding MTF Verdict added warmth. Luckily, this large A phenomenal collection of
vibrant and powerful drum
loops, or as samples in their own Despite some occasionally collection has been sensibly
hits that should be an
right. There are also 139 MIDI les heavy-handed production organised into 36 kits, plus 43 essential purchase for anyone
that offer a great way to use some nish, this is a versatile and instruments for different kicks, looking for cutting-edge,
characterful collection of
of that live feel with your own claps, hats, percussions and other mix-ready drum sounds for
loose-sounding loops and hits.
instrument sounds, and a decent hit types. Everything here has a electronic music.
folder of 88 beefy, saturated drum, 8/10 vibrancy, punch and loudness 10/10
percussion and FX hits. MTF that will cut through a mix like a
L U
ost In Time Dub House sees O Atmospheric ndercover Funk Volume 2 is 1GB-worth of
house drums,
producers Ralph Lawson a collection of royalty-free 24-bit audio
bass, synths & FX
and Carl Finlow delve into funk construction kits, in O 80 to 140 bpm
O 777MB-worth
their collection of vintage gear for of 24-bit audio your choice or WAV and Rex2 or O WAV and Rex2
or Apple Loops
an effects-heavy journey through O 81 sampler Apple Loops and Rex2 formats. and Rex2
patches for EXS24,
atmospheric house. The pack HALion, Kontakt,
There are 25 kits in total, in a range O Live drums,
contains around 777MB-worth of NN-XT, Kong, SFZ of tempos and keys, guitar, bass,
keys and more
24-bit audio in a range of formats, O 98 to 130bpm with an overall sound akin to a
including tubby analogue bass Recorded and Steven Soderbergh heist-lm
processed using
sounds, echoing synth stabs, and vintage gear soundtrack. From laid-back plenty of Rhodes, pianos, organs,
some retro-sounding, if slightly 80bpm soul grooves, to faster percussion and more plus an
lacklustre, drum loops. Although fantastic sounds tucked away here, 140bpm bank-job funk, each extra folder of processed beats. MTF
the quality of the synth sounds is its just a shame the drums dont folder is packed with individual
excellent, it feels like a missed quite rise to the same standard. MTF instrument loops, plus les with all
MTF Verdict
opportunity not to have the loops the musical elements combined,
a little longer, with more evolving MTF Verdict but no drums. There are often Expertly written, played,
recorded and mixed
modulations and effects. Where Plenty of superb-sounding, several variations on the beats,
construction kits, which
this pack really shines is in the 81 dubbed-out analogue synth and main instrument parts, would be a superb resource
sampler patches, with plenty of riffs and hits, plus some making it easy to build up more for producers and media
well-crafted analogue-sounding slightly average authentic comprehensive arrangements. You composers looking to funk
vintage drum loops. things up.
synth and bass instruments, plus can expect to nd thumping
a handful of drum and FX hits. If
you explore, there are some
8/10 drums, live funk bass, and
reverb-drenched wah guitars, plus
9/10
120 | Ableton Live 2016/17 FOCUS
Mini Reviews MTF
I
Rig Keys Mini boasts being one Web www.routledge.com
of the most portable keyboards
I
on the market. It certainly feels ts the third edition of a book
Key Features
that way lightweight, cheap even that probably needs to be
O Chapters on label
but it is incredibly simple to use Key Features updated yearly (monthly if operations, record
and plug n play (almost). We had O 25-key possible), as this is a subject area label finances,
velocity-sensitive social media, radio
to set its MIDI channel to get it up that moves so fast that it must be
mini-keyboard O 471 pages
and running (quite easy via the hard for labels to pin down and O Written by
O iOS, Android, Mac
website instructions) and then we & PC (cables inc) follow. It has to be said, though, Amy Macy, Clyde
O Size (mm): Rolston, Paul Allen
had it triggering Gadget and this book does its best but the
301 x 120 x 40 and Tom Hutchison
Arturias iMini in no time. And its O Weight(g): 420 fact that it weighs in at 470-odd
surprising how much we actually O Volume/data pages shows there is no clear way
used it as good as the iPad is at knob and octave to make money from your music MTF Verdict
keys included
playing music, sometimes you do today. Subjects such as running a A fast-moving subject that will
want the feedback from a proper label, branding, radio and social inevitably quickly fall foul of
keyboard, while playing it. While MTF Verdict media are covered in great depth, time and some detail is
missing on potential revenue
this is obviously not full sized and but syncing for lm and TV is not
Feels a little cheap, but does streams, but otherwise great
a little too plastic-y, it does a the job and comes with a good which is a shame, as its surely depth, and a glimmer of hope
reasonable job and also ships bundle of software a nice one potential growing source of for musicians and labels in
with a bundle of freebies that mobile add-on. income for any label. It also has a search of cash.
includes iOS, Mac and PC piano
and SampleTank software. MTF
8/10 US-centricity which may not help
our European audience. MTF
7/10
W
e picked the Mo-Fi Small niggles: the amp switch
headphones as one of our crackles a little, the short cable is very
six products of NAMM short (you get a longer one, too) and you
that you may have missed. will need to charge for four hours (for
If were honest, we based that on their active mode). But none of these are
Key Features
looks and ground-up design. For the massive no-nos, especially given the
O Built-in
former, you cant blame us as they look audiophile amp great all round sound vs. comfort vs.
great, but for the latter, Blue has taken O 12-hour battery noise isolation. Pricey? Yes, but do we
the headphone concept and turned it life (4-hour charge) have to say again about spending
O Three analogue
on its head rather like it attempted to money on what youre listening to your
amp modes
do with the microphone. The Mo-Fi O 50mm, fibre- quite compact when you remove them music with? Thought not.
headphones have been designed with reinforced from their box. However, the headband So we may have picked Mo-Fi out as
maximum comfort in mind, and an dynamic driver extends from a compact, sprung one of our NAMM Six based on their
O Over-ear design
audiophile experience helped by an for isolation
storage position outwards, and if this looks, but their performance is right up
onboard amp, which Blue says is doing O Multi-jointed wasnt enough, both phones extend there with the design. Great cans. MTF
to headphones what active monitors headband design downwards, too. This is the clever bit;
did to studio speakers. Quite a claim O Imp: 42 ohms rather than notching them down as you MTF Verdict
O Multi-jointed
The headphones themselves are headband design
possibly would with some headphones Look and sound great, but the
relatively heavy compared to some O Frequency (always hit and miss, at best), you gently onboard amp and unique design set
weve looked at of late, but they t response: pull the phones away from you and they Mo-Fi apart from most of the rest.
incredibly well around your head. You
might not think so at rst, as theyre
15Hz-20kHz
O Weight: 466g
drop. Very cool, but hard to get across
without seeing it in action!
9/10
FOCUS Ableton Live 2016/17 | 121
MTF Mini Reviews
H
29 channel strips, ospital Records artist Lynx
formats
347 EXS patches returns to Loopmasters for O 56 patches for
O 1,936
E
ight of Niche Audios another high-octane dnb Kontakt, EXS24,
24bit/44.1kHz
production-ready pack full of speaker-destroying NN-XT, HALion, SFZ
samples
O Bass, drums,
dance-music kits are now O Includes one- basses, breaks and old-school percussion, FX and
available in a bumper collection, shots, plus riffs inspired music loops, with a total music loops
and MIDI files
formatted for Logic X with 76 of 207 loops, 228 one-shots, and O Written and
produced by Lynx
projects, 29 channel strips, and 56 sampler patches. Its clear from
347 EXS patches. This includes stabs and hits are particularly the off that basslines and drums
sounds, native Logic processing, tasty. The content is spread across are Lynxs forte as the heavy, nd a collection of raw drum hits,
and MIDI riffs from Bass House multiple packs, so you may wish to throbbing bass riffs are some of bass and sub instruments, FX and
and Garage, Dub & Reggae, Future re-organise it to make browsing the best weve heard for some music hits to round things off. MTF
House, Naked Techno & Sublime the EXS instruments easier. MTF time. The drums, too, are expertly
Techno, plus crunchy processed programmed with a good balance MT Verdict
drums from Planet 808 and Planet MTF Verdict between originality and simplicity
Some phenomenal, energetic-
909, and effected vocal one-shots to make sure they work on the sounding bass and drum
200 worth of superb
from Vital Vocals. They form a dance-music drum hits, danceoor. There are also some loops, backed up with a
useful tool for electronic-music basses, stabs and FX for 80. good, atmospheric music, FX and reasonable collection of music
producers, and offer decent MIDI You cant argue with that! percussion loops, although these and FX riffs and one-shots.
patterns to edit and make your
own, while the analogue techno
9/10 cant quite match the quality of
the drums and bass. Finally, youll
8/10
S
O 16 chapters, two
tereoSavage is a new effect
width and pan
Web www.groove3.com hours, nine minutes from Plugin Boutique that
O Three effects for
run time combines multiple generating width
O Stream online
T
his new tutorial from techniques and tools in a single from mono sources
O Covers all areas
Groove 3 and synth of the synth, plus plug-in. You can place sounds in Excellence O Syncable LFO
with multiple
specialist Sami Rabia aims sound-design tips the stereo eld using the Width, destinations
to uncover all areas of u-hes O Presented by Pan and Rotation controls, retain O Bass Bypass
Sami Rabia feature to aid
analogue-modelled instrument a solid, mono low end with the
mono compatibility
across 16 videos totalling just Bass Bypass dials, and control
over two hours. Rabia begins with and functions, everything is still the phase and L/R of the signal
two in-depth chapters covering all tied into how it sounds with good via the Input Routing section. thing missing is a mono
the different oscillator and lter audio examples. The nal chapters Theres also an Effect section that output button to test the mono
models, before moving on to the showcase some excellent sound includes an excellent Vox pitched compatibility of your settings. MTF
envelopes and LFOs. We then have design, using fairly advanced chorus-style effect, a Haas Delay
a further six chapters on elements modulation techniques. MTF effect, and an Expander that uses MTF Verdict
such as Trimmers, play modes, the early reections to add depth. To
An incredibly useful tool that
Effects section, Modulation MTF Verdict top things off, theres a crisp combines multiple stereo
Sources and the Modications goniometer and input/output effects into one concise
A deep but easy-to-follow
Tab. Rabia then rounds things up tutorial, with good audio meters, plus an LFO with six toolbox. A quick-and-easy
with several videos looking at examples, which left us shapes, sync, speed and phase plug-in for adding beautifully
feeling inspired to explore subtle or more extreme depth
building pads, basses, leads, FX controls, which can be used to
Diva further. to your tracks.
and arpeggiated sounds. Although control an array of different
earlier sections are more aimed at 9/10 parameters for subtle movement 10/10
explaining the various parameters and more wild effects. The only
TrainYourEars EQ Sinister
Edition 2.0 Strings
Publisher TrainYourEars
Publisher Big Fish Audio
Price 89
Price 46.95
Contact via website
Contact Time+Space 01837 55200
Web www.trainyourears.com Key Features
Web www.timespace.com
O Ear-training
software for Key Features
T S
rainYourEars aims to speed inister Strings from Big Fish
PC and Mac O Sinister-sounding
up your learning process by O Select from audio Audio is a collection of live strings library
presenting you with files, audio input or creepy-sounding string O Over 650MB of
hundreds of EQ choices in a quiz white/pink noise effects with violin, viola, cello, and 24-bit audio
O Loads WAV, AIFF, O 318 files WAV files
format. You can choose to load in MP3, OGG and
ensemble samples. Theres around
O Eight patches
audio les in a variety of formats, M4A files 650MB of audio, including raspy for Kontakt
use a live input for connecting to O Easy to use layout sustained notes, sustained notes (four articulation
with 13 EQ exercises patches, four
iTunes, internet radio or other with subtle bends and various
O Program your own slide patches)
players, or simply use white or advanced listening slides, all with and without O Violin, Viola,
pink noise as the source. You then lessons or import tremolo. On top of the WAV Cello and Ensemble
new ones performances
choose from 13 different version, theres also a package
exercises, including things like with eight patches for Kontakt to
picking out specic frequencies MTF Verdict aid with previewing and editing MTF Verdict
and Q factors, and distinguishing the sounds; we found the Kontakt
A simple but highly effective Clunky Kontakt interface
between shelfs and cuts. You can way to improve your EQ interface to be a little clunky, as it aside, this is a well-recorded
also design your own complex skills, with well-thought-out involves a lot of different pages collection, which would form a
exercises, with an additional set exercises that mirror just to edit the effects sends and useful tool for lm and media
available for free. Its not cheap, production decisions the individual effects. Not massive composers looking to add
encountered in the real world. some tense sounds.
but its slick and easy to use, and or especially broad, but a useful
we found our scores improving
after just 15 minutes. MTF
9/10 asset for adding an unnerving
element to your productions. MTF
8/10
C
hilled Trap is a new pack O Chilled-out trap
drum, bass and
S
oul Trax is the rst in a new Key Features from Loopmasters that
synth loops
series from Loopmasters O 1.5GB worth of takes aim at the more
O 274 WAV or
and features 20 24-bit audio ambient and downtempo side of Apple Loops
O WAV and Rex2,
construction kits inspired by or Apple Loops and
trap music as opposed to the O 302 Rex2 Loops
labels like Motown, Tamla Records Rex2 format heavier, in-your-face variety. Its O Over 800MB of
24-bit audio
and Gordy Records, and by artists O 346 loops of essentially 10 construction kits
live drum, bass, O 130 to 140BPM
such as Diana Ross, Marvin Gaye guitar piano,
containing 274 24-bit loops,
and the Commodores. Each of keys and more but is divided into folders for
the kits contains a number of O 90 to 165BPM instruments rather than kits, which with plenty of inspiring riffs,
eight-bar drum, bass, guitar and O Inspired by arguably encourages more with several musically useful
classic Motown
instrument loops, including and artists such as experimentation. Youll nd fragile variations on each idea played out
welcome variations to aid in Diana Ross and pianos, chirping vocal glitches, on different sounds and synths. MTF
arrangement. The piano, keys, the Commodores deep pads and sweeping synths
organ and horn parts work well alongside booming 808 subs and MTF Verdict
to ll out the tracks, but its the MTF Verdict tight-sounding drums with plenty
Most of the pack is relatively
drums, bass, shakers and guitars of rolling hi-hat patterns. simple, but some detailed
that are the real highlight, with A well produced, recorded and Everything is well programmed, production ourishes and
laid-out selection of soul and
some great, energetic riffs perfect with some intricate little riffs and excellent synth riffs make it
funk construction kits, which
for pop productions. Production is lls, and the production nish is well worth a look for anyone
is packed with feel-good riffs
producing chilled-out trap
cleaner sounding than a classic and some excellent acoustic simple and clean. Although the
or downtempo electronica.
Motown record, but the kits are drum loops. drum, percussion and bass loops
authentically written and carry 8/10 dont really push any boundaries, 7/10
a solid, feel-good vibe. MTF the music loops folder is packed
D
rum n bass production
NI FM8 and O 80, 100 and
wizard Icicle has teamed Massive Contact info@loopmasters.com 120BPM
up with Producertech for O Includes 9 Web www.loopmasters.com O Live bass
a tip-lled three-hour course on Live projects guitar, drums,
and 100MB of pianos, synth
L
modern dnb production dnb samples
ong-time Loopmasters bass and pads
techniques. The tutorial is O Written and collaborator Terry Grant O Produced by
available to stream from the presented by is back with a massive Terry Grant
Icicle
Producertech website and is collection of cinematic
divided into 16 chapters covering soundscapes and dubbed-out drawn-out pads are a little samey
synthesising and processing spoken audio could be a bit better, beats. Dark Dub Odyssey has over and we found some drums and
drums, creating and resampling but this is an excellent tutorial for 2GB worth of loops divided into 80, sounds to be a little dated. That
complex bass sounds, bussing anyone looking to learn dnb 100 and 120BPM, with your choice said, some of these textures could
and mixing techniques, and techniques from a pro. MTF of WAV and REX, and Apple Loops work really well in media projects
adding effects and automation. and REX formats. Youll nd a and ambient productions. MTF
Icicle mostly uses Ableton Live, MTF Verdict mixture of live dub bass guitar,
but also explores the Fab Filter
Some great synthesis and
reverby pianos, and acoustic MTF Verdict
plug-ins and NIs FM8 and production techniques from drums and percussion, alongside
Despite some of the loops
Massive, with some great tips on a dnb master whos not fat analogue bass riffs, electronic sounding a little dated, this
FM synthesis. You also get nine afraid to explain how to beats, and 206 atmospheric, is a large collection with
Live projects, plus a varied and break the rules to get a big, ethereal pad loops. The sound some deep and atmospheric
modern sound. sound design.
decent 100MB folder of samples design is excellent and there are
taken from Icicles Loopmasters 8/10 some decent loops spread across 8/10
pack. The quality of the video and this giant library. However, the
P
Web www.loopmasters.com Key Features anShaper is a new plug-in
O 847MB of 24-bit from Cableguys that
loops and hits
S
ometimes a pack will tell combines elements of
O Arps, bass,
you its been made on its free PanCake plug-in with Key Features
chords, drums and
analogue hardware, but percussion features from the useful O Multiband
O Recorded with a stereo
you struggle to hear it in the VolumeShaper 4. PanShaper is a modulation
range of analogue
loops. However, Deep Analog hardware
three-band stereo modulation plug-in
Tech from Loopmasters wears effect that allows you to draw or O VST and AU
its analogue heart on its sleeve,
Excellence O 123 sampler
patches for NN-XT, load in complex pan position O Independent
Kontakt, EXS24 curves for all
with a rich and varied collection and SFZ
curves for each band, along with three bands
of gritty loops and hits dripping O Inspired by the width and volume controls, and O LFO with tempo
with raw energy. Inspired by the Kompakt label LFO control of the overall speed. sync and Hz-via-
MIDI mode
Kompakt label and artists such The LFO can run freely, or sync to O Comprehensive
as Gui Boratto and Agoria, house, theres plenty of sonic tempo or input MIDI for some crazy preset library
sounds were created using a variety and the quality is audio-range FX. An excellent GUI and curves
Roland Juno-60, MS-20 Mini, exceptional throughout. MTF means its easy to see the
Roland RE-201 Space Echo, waveform position and edit nodes MTF Verdict
Elektron Analog Rytm and Korg MTF Verdict to build complex sweeping
Volca Keys. Youll nd folders of patterns, and there are also plenty A great value plug-in thats
A stunning pack of rich easy to use, with a clear GUI
twisted arps, throbbing basses, and characterful analogue of presets to try out. We found it and some decent presets.
haunting chord progressions and loops and sounds with excellent for pinpointing and PanShaper is a useful tool for
beats and percussion, crunchy interesting quirks and panning specic drum hits in a controlling your stereo width
details in every folder. in new, creative ways.
drum hits, weird FX, and fat bass loop, adding subtle movement to
and synth hits. Although this
pack is aimed squarely at tech
10/10 arps and pads, and for pseudo-
widening without phase issues. MTF
9/10
124 | Ableton Live 2016/17 FOCUS
Mini Reviews MTF
Aiaiai Teeel
Modeselektor Presents -
Edition Retro Wave Key Features
O Synthwave
Manufacturer Aiaiai loops and hits
Publisher Loopmasters
O 1.3GB+ of
Price 250 Price 24.95 24-bit audio
O 137 sampler
Contact Aiaiai via website Contact info@loopmasters.com patches for
Web: http://aiaiai.dk EXS24, Kontakt,
Web: www.loopmasters.com
Value NN-XT, Kong,
HALion and SFZ
W R
e love Aiaia headphones, etro Wave sees producer
particularly the straight
TMA-2 Studio model. The
Key Features
O High isolation
Jim Smith (aka Teeel) delve
into his large collection of
$ O 80-160bpm
O Produced by
Jim Smith,
modular nature of these allows O Modeselektor analogue drum machines, aka Teeel
carry pouch
other phones of different including instruments from
O Impedance:
congurations to be produced, 32ohms Roland, Simmons and LinnDrum, sounding bass, synth, drum and fx
and there are now artist editions O Weight: 238g plus Yamaha DX7, Yamaha CSX1, hits and there are also 18 synth
O 1.2m cable
available. As fans of uber and adaptor
Roland HS-60, Moog Sub Phatty and pad MIDI loops.MTF
producers Modeselektor, we like and Little Phatty synths to create
the look of this limited edition recommend buying anything just a large library of dreamwave and
MTF Verdict
model, complete with MS logo on for a cool aesthetic, we are synthwave samples. Theres more
the earpiece as shown. They are tempted by these anyway. MTF than 1.1GB of unison bass loops, A massive pack of simple but
authentic-sounding analogue
out-and-out bass headphones, so analogue drums and bright synth
and digital loops and hits that
loud and proud to be bottom- MTF Verdict lines inspired by artists such as would be a great resource for
heavy dont expect great and Not for accurate mixing (nor Kavinsky, Mitch Murder and anyone writing in electro,
accurate mixing, but for listening do they claim to be), but these Chromatics. Although the patterns synthwave, synth pop and
back to your work or indeed the have a great low n loud sound. are fairly simple, the sounds are other genres.
Selektor, these are choice
headphones. While we dont
8/10 thick with analogue goodness. You
get a huge collection of vintage-
8/10
I
Key Features nstrumental hip hop master instruments for
Web www.halleonardbooks.com
O Details on at Chemo has teamed up with EXS24, Kontakt,
least 30 studios NN-XT, HALion,
T
rust the Americans to make Loopmasters for a fresh Kong and SFZ
O In-depth on 12
such a great job of writing a O Includes
collection of organic-sounding O Produced
book about the golden age of tech glossary loops and hits, inspired by by Chemo
UK studios. Were somewhat O Layouts, gear pioneering artists such as J Dilla
lists, quotes, loads
annoyed that no one asked us, as and Flying Lotus. The pack patches with instrument and
of additional info!
we seem to have visited just about features 12 construction kits of drum hits taken from the pack so
every one (of those left). Theres a chapter, and its depressing that so unquantised, live sampled drums; you can build your own beats or
lot of detail technical, many are now not with us, but the wonky bells; pianos and synths; experiment with adding in little
oorplans, etc on each, with effort and research that went into warm, rounded live basses and quirky hits to your tracks. MTF
more space dedicated to those this is extraordinary. An excellent more. The tracks themselves are
you might expect (Abbey Road, geek and gear-fest of a read. MTF atmospheric, beautiful and MTF Verdict
Olympic, Trident, AIR, etc). We love steeped in nostalgia, and
the depth, with personnel lists, MTF Verdict everything has a loose feel with A compact but beautifully
crafted pack thats stuffed
stories, gear lists (yes!), diagrams Its a book that will become plenty of glorious little mistakes with character and a human,
and even acoustic treatment one of the most used in the and human touches. Most of the organic feel that would be
details. There are photos, of MusicTech library. An excellent loops are 8 or so bars long with great for adding life to hip hop
course, and details of the famous and thorough read. little variations at the end, and are or any other genre.
recordings. Wed have loved local
favourite Real World to have had a
10/10 gently layered with sounds to add
detail. Youll also nd 12 sampler
9/10
FOCUS Ableton Live 2016/17 | 125
MTF Feature Produce a track Part 5
8 WAYS
TO MASTER
Part
5 A TRACK Its the nal part of our produce a track from start to
nish feature and its the big one: how to give your
nal mix the pro sheen it deserves
02
04
EQ, limiting and other process presets, depending on about the volume
your musics style (or even not!). And you know what, Volume! Or rather, limiting your volume. Dont let
this might just work! Indeed, many of the specialist volume take over in any sense. By this, we mean
mastering plug-ins weve reviewed have similar
presets, where theyll suggest a signal path with 05
certain parameter values for certain styles of music.
And they often do result in a better-sounding master.
But while this can be a good way to go as a first stab
at mastering, we think that the best way to master is
to treat each track on its own merits or lack of
them and not just according to a genre it is
supposed to be from. On a broader level, you could
probably get away with applying a very slight smile
EQ curve to any track to give it a bit of welly at the
top and bottom and then add some width this
could also be a good start. Or you could listen well,
decide what you think it needs and then do it. If
07 Go easy
Whereas compression, EQ and limiting are the
mainstays of mastering, its not all about these
processes all of the time. There are plenty of other
ones to get yourself involved in. Mid/Side processing
is where the mix can be broken down into its mid
and side areas, which typically allows you to process
06 only those areas with, say, compression, EQ or
6. You should reference your
music against your own tracks, reverb; stereo widening is just as it says, but is also
and those of other musicians one that should be considered as a process that is
sorted in mixing you can widen in mastering, and
7. Additional mastering
processes include M/S or many people do, but be careful. Indeed, that is the
dont master to make your tunes louder, and while Mid/Side processing and message with all mastering processes: go easy. Each
stereo widening. As ever,
youre at it, dont listen to extreme points of view in go easy on these is such a subtle process that you might end up being
the loudness wars, either. On a (perhaps too) unsubtle with certain aspects just so you can easily
simplistic level, mastering is about making your 8. And reference again. Did we hear the results. But some would argue that if you
mention referencing?
music carry more of an impact. This doesnt mean can hear the results too obviously, youve overdone
making it louder, although we do advocate brick-wall things (or have a very bad mix to start with!).
limiting at the end of the process to add a small
amount of level and to control the peaks of a mix. 08 And nally reference again
Youve referenced the track you are mastering
06 Reference, reference, reference against other peoples music; youve also referenced
Have we said this in other steps of the production it against your own music that will be appearing
process? Yes, we have! But its sooooooo important to on the same album, so now its time to reference it
reference your material with a track that you admire against itself. Yes, at every stage, do reference what
one that has been mastered to a high standard. you are doing against the unmastered version you
Load it into the software you are using to master, or started with, to make sure that youre going in the
your DAW, and play it side by side with your own right direction. If you want to get really anal about
material. As with mixing, this may be a little it, make and label versions at every step (with
disappointing at first, but as you progress and different compressors, etc), so that youre able to
progress, you will gradually step up level by level reference each step of the process and hear the
towards your reference goal. Similarly, make sure influence it had on your original mix. Just dont get
too bogged down in it MTF
08
07
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ZIP FILES access the individual les (remembering to eject the DVD immediately. Please note that were unable to provide
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