MusicTech - August 2016

SPECIAL DOUBLE DVD ISSUE!
Issue 161 August 2016
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Issue 161
August 2016
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The magazine for producers, engineers and recording musicians
The very best apps and gear you need

for iOS music production perfection
Reviewed
Reason 9
in depth plus
the best in studio
hardware & software
Eurorack!
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monthly plus AJH
& SE Tonestar
exclusives
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Issue 161
Aug 2016
5.99
MT161.cover.indd 1 12/07/2016 16:34

Welcome MT
Expert Panel
Studio Hardware John Pickford
A studio engineer for over 25 years, Johns
a keen sound-recording historian who has a
passion for valve-driven analogue equipment
and classic recording techniques.
Mixing/Mastering/Logic Mark Cousins

Mark specialises in sound design and
cinematic productions. Hes recorded with
orchestras across Europe and is heavily
involved in soundtrack composition.
Production Matthew Mann

Matthew Mann is a keyboardist, composer,
singer, writer and educator who spends much
of his time doing voiceover work, composing
Until recently, Id been a
original electronic music and fronting an 80s bit sceptical of making
tribute band.
music on mobile devices.
Digital/Composition Andy Price I think it stemmed back
With a Masters in songwriting and a vast
interest in music history and recording to an obsession I had to
techniques, Andy works daily on MusicTech.net
and is currently heading up our songwriting and
make music on a laptop,
Cubase series. back in the days when
Recording & Guitar Tech Huw Price
laptops couldnt do it. I
A recording engineer since 1987, Huw has spent years trying to get
worked with the likes of David Bowie, My
Bloody Valentine, Primal Scream, Depeche a system working and when I finally got that Eureka
Mode, Nick Cave, Heidi Berry and Fad Gadget. moment of running a few tracks of audio and some soft
synths on a laptop in an airport, I ended up feeling a sense
Scoring/Orchestral Keith Gemmell
Keith specialises in areas where traditional of crushing disappointment. Why would anyone want to
music-making meets music technology, including
orchestral and jazz sample libraries, acoustic
make music in an airport?, I asked myself.
virtual instruments and notation software. Since then, the whole concept has thankfully got a lot better, slimmer and faster.
I looked at using Bitwig Studio on a PC tablet a couple of issues back surely the
Ableton Live Martin Delaney first proper DAW and touch experience out there. Now its the turn of the iOS
Martin was one of the first UK Ableton-Certified
platform, where you can get versions of everything music-related, so weve broken it
Trainers. Hes taught everyone from musicians
to psychiatric patients and written three books down into five categories: DAWs, Synths, Interfaces, DJ/Beats and Sound Design.
about Live. Martin also designed the Kenton Martin Delaney guides us through it all from p18, although I wrote the Synths
Killamix Mini USB MIDI controller and is now
the editor of Ableton Live Expert. section and had my first experience of Music IO, an app that lets you use your iPad
synths in your DAW. If you havent got it, get it now, it IS incredible.
Synthesisers/Modular Dave Gale Im happy to report that the mobile experience is a lot better than it was back in
Dave is an award-winning media composer, that airport my laptop was so heavy that it crushed my lap and had a battery life
orchestrator and producer, with a passion for
synths and modulars in all their forms, whether of 10 minutes. With my iPhone or iPad, I can now do it far, far better. So look out for
software, hardware, vintage or contemporary. me on your travels. Ill be the one boring my fellow passengers about Music IO
Electronic Music Alex Holmes Andy Jones Senior Editor

Alex has been a computer musician for 15
years, having a keen passion for beats, bass
Email andy.jones@anthem-publishing.com
and all forms of electronic music. Hes currently facebook: www.facebook.com/MusicTechMag Twitter @AndyJonesMT
involved in three different dance-music projects. Instagram: musictech_official Tumblr: musictechofficial.tumblr.com
Pro Tools Mike Hillier

Mike spent five years at Metropolis Studios,
working alongside some of the best-known
mix and mastering engineers in the world.
He now works out of his own studio in London.
New to Music Tech?

VISIT OUR WEBSITE! Check out ourde
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MAGAZINE August 2016 |3
MT161.welcome.indd 3 12/07/2016 15:00

MT Contents
MT Contents
Issue 161 August 2016
GO MOBILE P18
REASON 9 REVIEW P66
ON THE MT DVD P114
& FREE 3GB DVD! P114
MT Cover Features MT Interview
24 Highasakite
Behind the scenes on the
Norwegian indie stars new album
MT Workshop
GO MOBILE P18
Revealed: this years must-have
apps and interfaces for perfect
50 LOGIC IN DEPTH
iOS music making.
An advanced look at squeezing

the most of out of Logics
powerful Compressor plug-in
4 | August 2016 MAGAZINE
MT161.contents.indd 4 12/07/2016 14:37

Contents MT
MT Issue 161 Full listings

STUDIO
007 | News, opinion, and gossip
The Latest Reviews 010 | Show Off Your Studio!
REASON 9
014 | Back To The Future:
The EMI REDD series
Plus new gear from Thermionic Culture, WaveDNA, iZotope, COVER FEATURE
AKG, AJH, ROLI, Studio Electronics and much more 018 | Go Mobile
We assemble the best apps and
hardware for iOS music production
INTERVIEWS
032 | Highasakite
In the studio with the Norwegian
indie-rock artists for the lowdown
on their third album
040 | First Cut Stoni Cooper
Technique And Tutorials Production wisdom from this
rising NY star
44 Live In Depth
110 | Industry Guru Point Blank
TECHNIQUE
044 | Live In Depth
How to use Link to get connected
Using Link to sync apps and hardware
50 Logic In Depth
050 | Logic In Depth
Advanced use of the Compressor
056 | Songwriting In Cubase: Pt. 3
How to create top-line melodies
Using the Compressor to its full potential SUBSCRIBE
56 Cubase In Depth
088 | for a huge discount!
REVIEWS
066 | Propellerhead Reason 9
Whats new in the latest version
Part 3 of our songwriting series using Cubase 075 | Thermionic Culture The Swift
Stunning new valve equaliser
078 | Wave DNA Liquid Music For
Live Create harmonies, melodies,
chords and more in the Live Suite
080 | iZotope DDLY
A delay plug-in with a difference
082 | AKG K Series
Inexpensive studio headphones
MT Buyers Guide 085 | AJH Synth Ring SM
A ring modulator, mixer and
107 6 of the best

sub-bass module all-in-one
090 | Studio Electronics Tonestar
ARP-inspired modular synth
software instruments
097 | IK Multimedia Miroslav
Philharmonik 2 CE Orchestral
sample library
101 | ROLI Seaboard RISE 49
49 notes and five dimensions on
this integrated controller
105 | Mini Reviews
107 | 6 Of The Best
114 | On your MT DVD
MT161.contents.indd 5 12/07/2016 14:38

Report - Brighton Modular Meet MT Studio
MTStudio
Round-ups Analysis Industry insight
FOR MORE
OF THE
LATEST NEWS
CHECK OUT
MUSICTECH.NET
REPORT
Brighton Modular Meet
Dave Gale reports from the 2016 Brighton Modular Meet, held on
on the sunny South Downs
I
n a rather beautiful setting, at the top of the South Downs,
Sussex University recently played host to the annual
Brighton Modular Meet, offering modular users, designers
and general modular folk, a place to hang out with similar
minded people and discuss all matters, well, modular. Apart
from many members of the general public, who had brought
along their modular and sometimes quite esoteric kit, there
was a very healthy contingent of companies keen to
announce and show their wares.
ALM Busy Circuits had a clutch of new modules to show
off; the Fizzle Guts is a new dual channel filter, centred
around the chip from the old Casio FZ-1 sampling keyboard,
and sounding suitably crunchy as you would expect.
Resonance is stepped, which makes for an interesting oddity
of the design, but be forewarned: for the moment, the unit is
on a very limited run. Also on demo was the new PE-1 EQ, including muting options and transport control.
which is based on the Tascam Portastudio EQ, demonstrating AJH Synth was showing its latest offerings, alongside the
another simple idea, but full of interesting character. Finally classic MiniMod Model D clone. The outstanding new Rings
Akemies Taiko is essentially a drum module, based around Top: Sussex SM module offers a Moog style mixer, ring mod and sub-
FM synthesis, sounding unique and a good companion to University was the octave generator, all in one unit, sounding huge and full of
venue for this years
ALMs other Taiko modules. colour, while the soon-to-be-released Sonic XV filter is based
Modular Meet in
Abstract Data had a nice demo rig, demonstrating its love Brighton. on the Moog Musonic V synth, and described by AJH as a
of minimal techno. The companys ADE-32 Octocontroller Diode Ladder Wave Filter. In typical AJH style, theres much
Top right: more Aira
module is a beautifully designed, multi-purpose unit, which than you can shake a more on offer here than a standard filter, including 24dB,
offers all sorts of useful modulation and triggering sources, stick at! Plenty of 6dB/octave modes and a band pass mode, and the ability to
demo kit from Roland.
sometimes loop based, and sometimes random. Thanks to input two signals, with additional wave shaping capability.
the elegant display, its very easy to see what is being Above: The new Studio Electronics was showing off its superb Sensei
System 500 from
controlled, and the latest firmware update (just released) Roland was proving system, which is the full SE modular in a rather fetching
refines certain elements of functionality even further, very popular Mono-Rocket case (reviewed in MT159), but for those looking
MT161.Studio.indd 7 07/07/2016 15:14

Welcome to the Family
Introducing the New Rokit 4 & Rokit 10-3 G3
Professional Studio Reference Monitors

Its hard to top the worlds best-selling studio
reference monitorsso we created two new ones to
evolve the Rokit line further.
Go compact with the Rokit 4, for portability and
performance that fits in your carry-on. Or go big
with the Rokit 10-3 three-way, which fills even large
rooms with the high definition sound quality you
expect from KRKand then some.
Music is your passion.
Reproducing it with clarity, and detail is ours.
Welcome to the family.
Rokit 8, 6, 5
KRK Systems is a member of the Gibson Family of Brands.

2015 Gibson Brands, Inc. All rights reserved. www.krksys.com
Report - Brighton Modular Meet MT Studio
for something more affordable, the new Tonestar 2600 was

also on show, offering all the best bits from the SE Modular
range, in a pint sized, single voice package. Alongside these
two Goliaths, the new Quadnic Oscillator (reviewed next
issue) module and Charcot Circles sequencer (reviewed Top left: A whole lot of
MT160) were also holding centre stage. Boom from SE! Plenty
of modular options to
As if to highlight how important these Modular Meets suit all budgets.
have become, Roland was also in attendance, with a vast
Above left: a very
array of equipment on show. The jewel in the crown was the brave member of the
new System 500, complete with its own matching case and public transported in
sounding awesome, especially when paired with the four Aira his 5U format
modular.
pedals, and the rest of the Aira range. Roland was also
demonstrating its new Aira Modular Customizer which, Top right: some lovely
techno sounds,
thanks to either tablet or Mac/PC software, will allow the user generated by the
to literally create an entire modular system on a single pedal. Abstract Data rig.
Its a very clever and highly flexible system, that offers a whole Above right: the two
world of additional functionality to a single pedal, whether in latest offerings from
AJH; ring modulation,
a Eurorack, or even standalone. filtering and so much
Synovatron had an interesting offering, allowing Moog more!
Voyager users to connect their expansion ports to the VXP1 Middle: the
which allows the additional ports on the Voyager to be outstanding new ALM a steady stream of modular based performances, with
interfaced, in a convenient format, right in your Eurorack. Fizzle Guts had its notable artists VCOADSR and Dan Hignell, but one of the
first outing, to great
Nobots was demonstrating its new prototype modules, acclaim. highlights of the day was a demonstration of the research
under the codename The Octopodes which aims to offer a study Mini-Oramics which is a further development of the
Middle right: some
hugely versatile set of modules, particularly useful for exciting new Oramics system, originally created by Daphne Oram. Tom
clocking, triggering and more. The six modules on display are prototypes from Richards demonstrated this exceptionally interesting
Nobots. The modules
due to be on sale later this year, in kit form. concept, where the musician literally draws onto an acetate,
are in there
And talking of kits, Thonk was very present, as one would somewhere! rather like an old overhead projector, to then see the
expect being Brighton locals, with a nice shop and a couple of squiggles playback, in both pitch and dynamics.
Bottom right: Thonk
demo rigs. Very much in operation was the new Turing we keen to show off Now very much a fixture in the Modular calender, follow
Machine Mk2 which takes the original Turing to new heights, the wonderful Turing Brighton Modular Meet on Facebook and Twitter, for news
Machine Mk2 kit.
complete with expansion capabilities. Wheres my soldering about further upcoming events. This was a very insightful and
Apart from the trade and demonstrator stands, there was iron? relaxed day out, on the Downs! MT
MT161.Studio.indd 9 07/07/2016 15:15

MT STUDIO Show off your studio
Wow. Just wow
neoprenBOX-Studios
Interviewees: Philippe Alioth and Steve Cole
Contact: www.neopren-records.com
MusicTech: Amazing! Dare we Moog PolyMoog, MemoryMoog, ProMars, Jupiter-4, Jupiter-8 (2x),
ask? Gear list? Get ready Go! MiniMoog, Sonic Six, MultiMoog, Jupiter-6, Juno-106, JD-800, JD-990,
[Not complete!] ARP 2600 (2x), Source, Little Phatty (2x), System 55, SVC-350, INTEGRA (2x), SH-101;
Odyssey (2x), Sequencer (3x); Korg Rogue, Opus-3; Roland SH-1000, Oberheim OB-Xa (2x), Four Voice,
PS-3300, PS-3200 (2x), PS-3100, SH-2, SH-5, SH-7, System 100 (four OB-1, Xpander, MATRIX-1000, DSX;
MS-20 (2x), MS-50, SQ-10 (3x), 770, full modules), CR-78, TR-808 (2x), Yamaha CS-10, CS-15, CS-30, CS-50,
900PS, Trident, VC-10, Wavestation; TR-909 (2x), Roland TR-707 (3x), CS-40, CS-80; Buchla System 9; Serge
110| |August
10 November
20162015 MAGAZINE
MAGAZINE
MT161 SOYS.indd 10 05/07/2016 09:31

STUDIO Show off your studio MT
Show off
your studio
We ask you to Show Off Your Studios via
the MusicTech Facebook page, and you
do And just look at this one no, its not
a shop, its a real living and breathing
recording environment. All the details,
and all (well, nearly all) of the gear, below
13-module system; RSF Kobol Modular prototype, Analogue Mastering: Manley Backbone,
Rack-synth; Sequential Prophet-5, Solutions Vostok (2x), Oberkorn (15x), SLAM!, Massive Passive; Drawmer
Prophet VS, Studio 440, Pro-One; Jen Leipzig, Telemark; Metasonix S3; Avalon 747.
SX1000; Gleeman Pentaphonic (2x); Wretch-Machine; E-mu rack synths;
Polivocks (2x); Estradin; Ensoniq Access Virus; Nord Lead Rack; EML Various effects: Eventide, Manley,
Fizmo; Technics SY-1010; Elka 100, 101 (2x), 400, 500; E&MM TC, Roland, UAL.
Synthex; Airbourne modular synth; Spectrum; Maplin 5600, 3800; EMS
LinnDrum; MacBeth M5; Modcan Big Synthi AKS (2x), Synthi E; Cwejman Speakers: Boenicke Audio
Modular system; GRP A8; Eurorack: S1 MK2; Spectral Audio Neptune 2; custom-made various types,
six modular systems; E-mu Modular Waldorf Microwave, Blofeld; Genelec, Dynaudio, Yamaha, JBL.
System; Aries Modular; E-mu Novation Superova, K-station. [Continued over]
MAGAZINE August 2016 | 11
MT161 SOYS.indd 11 05/07/2016 09:31

MT STUDIO
Show off
your
Showstudio
off your studio
neoprenBOX (contd)
MusicTech: Phew. So which DAW?
We all use Cubase. Were just used
to it, and grew up with 24s back in
the 80s and 90s.
We have to ask, what is your

favourite gear? Difficult to say.
A Korg 770 for its incredibly sweet
sound; a MemoryMoog for its fat,
strong sound; a Buchla for big
surprises; and Roland SH-5, because
it often sounds like the music we
were listening to 30 years ago.
How often are you in your studio?

If possible, every day and night.
How do you use it? Mostly our own

stuff the projects were involved in
from techno to pop, weird, disco and
experimental, performance and so
on. We also record and produce for
friends or people from our own
labels BlackFoxMusic, Neopren
Records and Schallbox Records
but no one can rent the studio.
Next on your shopping list? Were

full! Although one thing we really
want is an ARP 2500 anyone?
Does anything annoy you about

your studio setup? It takes us some
time to check, repair and clean
theres a lot of gear. Many things that
people might call annoying (like
trying to find a bug when theres one)
could also be considered discovery,
adventure, and new experience.
Do you have a dream piece of gear?

As we said, the one wed really love
is an ARP 2500 it has a great weird
sound, the matrix-fader system is
pretty cool, its damn versatile and
frankly, it looks impressive!
Any advice for MT readers about

setting up a studio? Start with the
speakers and amps what you hear
is what you get. Acoustics are Top and bottom:
Steve Cole, Philippe
extremely important, too, naturally. Alioth and then its
Maybe for someone with less simply spot the synth.
experience, its better to use less They have pretty
much everything bar
gear and really know it than have an ARP 2500, so if you
stuff that is difficult to use when have one kicking
around, you could
you want to do something quickly. help complete
And be sure that the ambience possibly the biggest
(light, windows, colours, carpets) and best collection of
gear weve ever
really makes you feel at home and featured in
feel comfortable. MusicTech
110| |August
12 November
20162015 MAGAZINEMAGAZINE
MT161 SOYS.indd 12 05/07/2016 09:33

STUDIO Show
Showoff
offyour
yourstudio
studio MT
Just get the gear

you need
(and blue lights)
Toys. Star Wars.

Whats not to like?
Jefferson Weber Two extra keyboards

one wearable and a pile
of guitar tech
Contact: jjhcw69@gmail.com
MT: What are the key components love it in here. I use it to produce
of your studio? I use a 27-inch iMac music for iTunes and Reverb Nation,
with Akai MPK25 and MPK61 as my and for my own enjoyment.
controllers. I also use a Native
Instruments Maschine Mikro Mk2, Next on your shopping list?
an MPC Studio and an Arturia A Native Instruments Komplete
SparkLE, plus a Yamaha MOTIF Kontrol, either 25- or 61-key.
XF7, a Novation UltraNova, a
Roland INTEGRA-7 and a JU-08 Anything that annoys you? I just
Boutique Synth. Plus, I also use the wish I had a little more space to
AIRA line from Roland. expand my studio.
Which DAW? I use Logic Pro X. Dream gear? A Korg Kronos 73. One
I have found this to be the most of the best workstations out there,
intuitive and easiest to use for very flexible and sounds awesome.
electronic music. I had a Kronos 61, but sold it and
always regretted it. Now the New
Favourite gear? I would say my Kronos is even better!
Yamaha MOTIF XF7. It does
everything and does it well. Any advice? I would start with the
basics: a great computer or keyboard
How do you use your setup? controller, Komplete 10 and Apple
Im in the studio usually four to six Logic or Pro Tools. You can do so
hours a day, or as much as I can. I much with just these fourthings. MT
MAGAZINE August
MAGAZINE April 2016
2015 | 13
MT161 SOYS.indd 13 05/07/2016 09:33

MT Back To The Future
BACK
TO THE FUTURE
John Pickford traces the history of the iconic
EMI REDD series console and mic preamplifier,
and explains how you can recreate their sound today
M
ost classic pieces of kit earned their reputation The older .37 used Siemens V72S amplifiers, a fixed-gain
through the acclaim of countless engineers who valve amp designed in Germany with EMI modifications,
used them. In the case of the EMI-designed which provided 34dB of gain. These units were efficient and
REDD mixing consoles, which were operated by reliable, but also expensive, so after building just three .37s,
only a few EMI-employed engineers, its the recordings that EMI designed its own REDD.47 amplifier, to be incorporated
were made on them which have given them legendary status. into the new, sleeker REDD.51.
The EMI-designed REDD consoles were installed in
various EMI-owned studios worldwide. However, its the
recordings produced at the companys Abbey Road Studios The majority of The Beatles
(as its now officially known) between 1964 and1968, which
have sealed the reputation of these classic mixing desks. pioneering albums were recorded
During this period, EMI produced many world-class classical
recordings alongside countless outstanding pop hits, with the EMI REDD.51 console
including the majority of The Beatles pioneering work.
Groundbreaking albums, such as Rubber Soul, Revolver, Sgt. Although the new amp retained the fine tonal properties
Peppers Lonely Hearts Club Band and their eponymous 1968 of its predecessor, it had reliability issues as a result of
opus known as The White Album, were recorded with the overheating, which meant that sessions were often disrupted
EMI REDD.51 console. while a faulty amp was being replaced. On the plus side, the
The REDD.51 was first unveiled at Abbey Road in January amp offered three gain settings 34dB, 40dB and 46dB as
1964, replacing the similar REDD.37. The main difference well as a Fine Gain Set control that enabled the technical
between the two consoles was the choice of desk amplifier engineers to fine-tune the input gain further. The .47 was a
employed to amplify the audio signals coming into the desk. valve unit, making use of an EF86 pentode in the first stage,
MT161.Back to the future.indd 14 05/07/2016 09:55

Back To The Future MT
The Chandler
with an E88CC triode at the output. As the REDD.47 amps did fader could be routed to any of the four tracks on the
REDD4.7 is the best
not have their own internal power supply, the units took their way of recreating the Telefunken and Studer tape recorders used at Abbey Road,
power from the mixing desks master power supply. console sound in or any combination could be assigned to a single track.
modern hardware
The REDD.51 console was primitive by todays standards, The desk offered two types of EQ, Pop or Classic, both
having only eight input channels and four output channels. of which provided 10dB of shelving boost or cut at 100Hz.
These four Main Faders operated in a similar way to the The Classic treble EQ was also a shelving boost and cut at
subgroups or busses found on modern-day consoles. Each 10kHz, while the Pop equaliser behaved as a peak-boost EQ
centred around 5kHz, and a shelving-cut EQ at 10kHz.
The REDD.51, benchmark for

The REDD series of valve mixing consoles were much
loved by the engineers at Abbey Road throughout the 1960s.
the 60s sound, was lost forever

When EMI unveiled its new 3M eight-track recorder in 1968,
the REDD.51s limited number of channels forced the
to a transistorised world
company to retire them in favour of the new, solid-state
TG12345 console, which was installed into the control room
of Studio Two in November of that year.
Although the new desk was much bigger than the
REDD.51, with comprehensive EQ and compressor/limiters
on each channel, many engineers Beatles engineer Geoff
Emerick included found its sonic abilities lacking. The
glorious all-valve sound of the REDD.51, the desk that set the
benchmark for the sound of the 60s, was lost forever to a
transistorised world.

MT Back To The Future
Below left: The

SONIC SIGNATURE solid-state TG12345,
Valve gear is often thought of as sounding warm and installed in Abbey
soft. Not so the REDD.47 amplifier. The sound is full and Road in 1968, was
larger and more
rounded, with a pronounced biting edge to the midrange.
advanced than the
This presentation works well with most vocalists, adding REDD consoles, but
presence and clarity. Gently overdriving the amp produces no sonic match
wonderfully musical thermionic saturation, while seriously
Right: Waves
overloading the circuit creates fuzz-like distortion. Good stunningly detailed
quality solid-state amps often sound smoother and more and faithful software
transparent with extended frequency extremes, but few recreation of the
have the power and punch of the REDD.47. REDD consoles
and amplifiers
Revolution in the REDD

The modest maximum input gain of 46dB meant
that the REDD.47 generally provided a clean,
low-distortion sound. When overloaded, however,
it could produce downright dirty thermionic distortion. The
Beatles took advantage of this on their 1968 recording of
Revolution. Instead of playing their guitars through amps,
John Lennon and George Harrison plugged directly into the
console, deliberately overloading the REDD.47 amplifiers,
resulting in the filthy, distorted sound heard on the record.
Hardware
Chandler Limited offers a range of Abbey Road-inspired
hardware, including a sonically faithful reproduction of the
REDD.47. Its a 2U 19-inch rackmount unit, finished in the
same Battleship Grey of the REDD consoles and featuring
similar chicken head-style control pots. The Chandler
provides higher maximum gain than the original amps, with
When overloaded, the REDD.47

could produce downright dirty
thermionic distortion
SOFTWARE
Waves offers an excellent simulation of the REDD.51
channel that features both the pop and classic two-
band equalisers, as well as an option to select the earlier
Siemens amps characteristics instead of the REDD.47
57dB available at full pelt. The main Voltage Gain control
amplifier. Extra features include a Drive control, in addition
to the Gain control, which adds a delicious, dirty distortion offers seven selectable settings between 16 and 52dB, while
at high levels, and an Analogue control that introduces a Fine Gain control provides +/- 5dB of fine trim, in 1dB
vintage electronic noise and hum if desired. The authentic increments. In true vintage style, the Chandler REDD.47
1960s EMI design is skeuomorphically preserved, with the includes a Rumble Filter which, in todays parlance, would be
output control appearing as a simulation of the distinctive a high-pass filter. This is a unique, inductor-based filter that
Painton Quadrant faders that appeared on the original
provides eight low-cut settings between 30 and 180Hz, via a
consoles, while a VU meter completes the 60s retro look.
stepped switch. MT

MT Feature Go Mobile 2016
MT Feature iOS music making
Go Mobile
What iOS apps and interfaces do we need to replace our favourite real
music production setups? Martin Delaney rounds up the best
hardware and apps and says its all about the mix and match
i
OS music production has reached a certain level of
maturity, its true; but its more like a teenage level
of chaotic development, with hormones and zits all
over the place! Some organising and filtering is
needed and in this guide well highlight the apps
and iOS-compatible audio interfaces that we think
represent the current state of the art in iOS music.
Well also suggest setups based around
combinations of these, putting together apps and
interfaces in different combinations to replicate or
attempt to replicate existing big-platform DAWs.
The primary test device used for this was the iPad
Pro, the 12.9 version, with the iPhone 6 Plus also
coming into play. Both are slightly bigger-than-
average iOS devices, and thats not a coincidence;
every square cm of touchy glass goodness helps
when youre working with music apps, and their
sometimes-crowded interfaces. For any serious
music use, Id say an iPad is vital most of these
apps run on iPhone as well, but in terms of
performance and interaction you just wont be
getting the full benefit of the iOS music experience.
MT161.Cover featureINTRO.indd 18 07/07/2016 12:28

Go Mobile 2016 Feature MT
MT161.Cover featureINTRO.indd 19 07/07/2016 12:28

iOS DAWS
For every computer-based studio, theres a Digital Audio Workstation the one
application that handles the bulk of recording, composition, and mixing. In iOS
Music Land, however, things are more fragmented, and its not likely that youll
find one DAW that does it all, although a well-chosen combination of two can
usually cover everything
no theoretical project track limit), audio warping,

transient slicing, waveform editing, sample rates of
44.1, 48, and 96kHz, 24-bit audio, MIDI recording and
editing, quantisation, groove templates, automation,
MIDI processing, and plug-ins including the Lyra
sampler which supports the EXS format as well as
disc streaming, for multi-gigabyte sample playback.
Auria Pro also includes a suite of plug-ins, including a
rather nice PSP channel strip with EQ, compression,
expansion, and gating. Theres also a convolution
reverb, a handful of other effects including stereo
delay, and the FabFilter One and FabFilter Twin 2
synths are included. The mixer includes six aux sends,
and PSP have also supplied a master strip with EQ,
compression, and limiting. Extra plug-ins are available
Auria Pro blurs the as in-app purchases including PSP Micro Warmer,
AURIA PRO boundaries between FXpansions DCAM BusComp, Positive Grids JamUp
apps and DAWs
Price 39 guitar amp, and even Drumagog! Other purchasable
Contact www.wavemachinelabs.com items include IR files, video-import functionality, and
Auria Pro is the best-specified iPad DAW around, with various loops and samples. On the control front, Auria
a featurelist worthy of any computer DAW recording Pro is MIDI mappable, and supports remote control via
up to 24 tracks of audio simultaneously (theres MCU and HUI. This is as full-blown as iOS DAWs get.
KORG GADGET
Price 29.99 Gadget can trigger your
Contact www.korg.com
If youre more concerned with electronic music, and arrangement in sections,
youre still wishing Ableton would pull its finger out
and release Live iOS, your best bet is Korg Gadget. much like Live uses Scenes
Gadget doesnt do audio recording at all, but you can
import samples, record and program MIDI patterns, Gadget a portable pal for of sound design is possible the results are good
and even trigger your arrangement in sections, much Ableton Live aficionados enough that they dont embarrass themselves when
like the way Ableton Live uses scenes. Theres a reason you port the project over to Ableton Live and mix it
for this not only can Gadget projects be rendered as with sounds from other sources. Naturally, importing
stereo mixes or MIDI files, they can be exported as your own custom samples will impart more
Ableton Live projects that you can open with Live on individuality and sonic variety to proceedings. Other
your computer, so, naturally, the similarities with Lives Gadget features include MIDI sync, MIDI mapping,
organisation of clips and scenes are essential to make unlimited tracks (exactly how many
this work. This is a gift for Live users who are travelling tracks you can use will be limited by
light. Gadget installs with a selection of instruments, your hardware), and support for
and there are more available as in-app purchases, Ableton Link, inter-app audio, and
including the London drum module, Bilbao sample audio bus. Especially since it
player, Chicago acid-house bass machine, Montreal runs on the iPhone as well,
vintage electric piano, and the Kiev digital synth. Each Gadget is a fantastic
gadget has presets, and a fairly simple level of control Ableton-ish sketch pad
available, but by mixing and matching them, and by that you can always have
employing automation within the clips, a decent level with you.
MT161.Cover feature pp20-21.indd 20 11/07/2016 14:38

THE SETUPS
The multi-channel recordist PART 1
To create a DAW-type rig with an iPad and Auria Pro, youll need a
multichannel audio interface with an app that can record up to 24
tracks simultaneously, a simple two-in/two-out isnt really going to be
adequate. Theres the Focusrite Scarlett 18i8,, for example, which can provide up
to 16 channels of analogue in; but youll need to power it from the provided mains
power supply as an iPad cannot provide enough power for a device like this. Youll
then need a basic USB cable and Apples Camera Connection Kit. If youre willing
to jump through more hoops by adding a mains-powered USB hub, you could add a
MIDI control surface as well. If youre more interested in an Ableton Live-style rig,
which might be more about launching loops and MIDI control with Gadget, you
could choose the iConnectivity iConnectAUDIO2+, and pair it with the Faderfox
PC4, a compact MIDI controller with 24 knobs. The iConnectAUDIO2+ needs mains
power, but does connect directly to the iPad without the CCK, and the PC4
connects to the iConnectAUDIO saving a few cables along the way. GarageBand
iOS only supports stereo recording, so hardware selection for that isnt so critical.
GarageBand possibly the version of GarageBand, or even Logic Pro X itself no

best four quid youll ever
intermediate conversion is required. The last major
spend, and its becoming more
poweful with each update, too update added two important features: Audio Unit
GARAGEBAND Extension support, which allows the hosting of
Price 3.99 third-party-instrument apps within the GarageBand
Finally, we have GarageBand which might seem a bit environment, and provocatively the introduction of
of a tame option. Its Apple, and everybody knows a suspiciously Ableton-like interface for Live Loops,
about it already, right? However, its very capable for where you can launch individual audio or MIDI loops,
basic recording and composition, with a great suite of manipulate audio effects (including orientation-based
instant music maker tools if youre really in a hurry to parameters), and trigger rows of loops simultaneously
sketch things out. The killer GB iOS feature is, of to create scene-like behaviours. GarageBand costs
course, that the projects it creates can be dropped 3.99, which is a huge bargain, considering what it can
over to a Mac and opened immediately in the OS X do. But dont underestimate it because its cheap!

Interfaces
Sometimes, plugging in a pair of headphones is enough for
iOS production. But for musical applications beyond basic
song sketching, youll need some kind of input and output,
which allows more flexibility than phones and a built-in
mic. Its just like desktops, when you think about it
A
surprisingly large number of USB interfaces
are iOS compatible which is mostly thanks
to Apples Camera Connection Kit and as
youd expect with such a popular platform, theres
something for everyone.
Beginning at the higher/more expensive end,
theres the RME UCX (www.rme-audio.de). This
is a typical RME product perfectly constructed,
great-sounding, and stable in performance terms.
And, at 899, not cheap. This is class-compliant
with iOS, and will provide up to 18 channels of input
featuring a standalone mode, so you can use it in

hardware rigs. The K-Mix includes eight balanced
inputs (with two mic preamps) and 10 balanced
outputs (including the headphone out). Interestingly,
those top-panel controls can be employed as a MIDI
control surface as well, simply by changing presets,
so this is a very versatile unit that also saves desk
The RME UCX is perfectly space and I havent even mentioned the onboard
digital effects yet. When used with a computer, the
constructed, great-sounding, and K-Mix is fully functioning on USB power only, which
is impressive. Unusually, the K-Mix features two
stable. And, at 899, not cheap USB connections, so it can be powered from the
mains at the same time as its connected to your
iPad, without needing the Camera Connection Kit.
and output thats 8/8 analogue, 8/8 ADAT, and 2/2
SPDIF. That count includes two mic preamps. MIDI
in/out is also available on a breakout cable this is The iConnectAUDIO2+ (below)
a half-rack-sized unit, so you can forgive them for is an iOS-literate MIDI toolkit
not fitting everything onboard, I guess. As well as
the iOS functions that concern us here, the UCX
also connects to a computer via USB or FireWire.
Breakouts notwithstanding, youre going to get full
regular performance from the UCX, as well as
according to RME the same sound quality and
timing accuracy as with OS X or Windows. As long
as you can afford it, you cant go wrong with RME.
The Keith McMillen Instruments K-Mix (www.
keithmcmillen.com) is a totally up-to-date take on
the audio interface, and this one again is compatible
with computers and iOS devices, not to mention

THE BEST INTERFACE FOR THE JOB

The best thing about all of the interfaces mentioned
here is that theyre not platform-specific. You can
use them with your iOS devices and apps, which,
realistically, are still more ephemeral than their
OS X/Windows cousins, but they also work with
those computer cousins as well. Thats about as
future-proof as it gets with these! RME, in particular,
has a stellar record in terms of support, although
thats reflected in the price, of course. The RME
interfaces are very complex devices, though, and
could be reasonably considered overkill for the
majority of iOS users.
Each interface mentioned here has a speciality,
and hopefully, itll be clear which suits your needs.
Its like MIDI controllers youll end up with more
than one its not unusual to have a more complex
interface for studio use, and a simpler stereo model
for live use. The UCX has the wealth of inputs and pro
features; the K-Mix has the bonus MIDI control
surface operation; the iConnectAUDIO2+ serves
when you must use two platforms at once in your rig.
Plus, the iRig Pro Duo has battery power and MIDI
routing, and the AUDIO2 has the ruggedness,
compactness, and the focus on DJing.
The small, yet perfectly formed

iRig Pro Duo interface has
plenty of connectivity options balanced outputs and 48V phantom power,
alongside the two XLR mic/instrument/line inputs.
The mini-est digital DJ rig The package also includes adaptor cables, so you
can route MIDI communications from hardware
known to man iPhone with through the iRig Pro Duo to your computer/device/
whatever. That, and the battery-power option, will
Traktor DJ, and the AUDIO2 be big selling points to some folks.
As our interface selections continue to shrink
(not in a bad way), we encounter NIs Traktor Audio
The iConnectivity iConnectAUDIO2+ 2 (www.nativeinstruments.com, approx 69). This
(www.iconnectivity.com, approx 179) is a very connects to your computer via USB, but is also
iOS-literate audio and MIDI interface its not just lightning-compatible, so you dont need the Camera
included as an afterthought. The AUDIO2+ features Connection Kit to plug it into your iPad. An optional
two audio inputs, six outputs, and MIDI in/out on power supply enables iOS device charging, too. This
proper connectors as well. Itll let you connect DJ-focused interface has two separate stereo
two computers at the same time, or which is outputs, so you can cue your tunes with it. The
what we want here an iOS device mini-est digital DJ rig known to man iPhone with
and a computer simultaneously, Traktor DJ, and the AUDIO2. Thats pretty mini, I
and itll charge the iOS think youll agree. And in case youre wondering, its
device as well. Add a very not Traktor-only!
comprehensive range of
MIDI and audio routing
options, and this is a
fantastically useful audio/
MIDI toolkit for the studio
where iOS and MIDI meet.
Im seeing the iConnect
range in a lot of live
performance rigs.
Going smaller and ever
more portable, the IK
Multimedia iRig Pro Duo
(www.ikmultimedia.com, approx 149), is
a two-channel audio interface thatll connect to
your Mac, PC, iOS, or Android device. Cables for
all of these options are included, and theres an
optional one for connecting older 30-pin iOS devices.
It can be powered by the connection where possible,
or mains, or batteries, so lots of options there. Traktor Audio 2 is DJ-focused,
Im happy to see it includes two full-size 1/4-inch with two stereo outputs

Beats and DJing

You can, of course, work with beats in various ways inside iOS DAW apps such
as Gadget and GarageBand, but there are some surprisingly functional iOS
beatmaking apps. Here, Martin Delaney highlights two of the best, as well
as squeezing in a DJ app, and a looper app, just for the sake of completeness
touch is supported on compatible devices, for

certain functions like note repeat. Ableton Link is
included, as is the ability to transfer projects over to
the desktop version of Maschine. Arrangements can
be created by chaining patterns, but iMaschine is
probably best viewed as a simple environment in
which to create loops rather than entire songs.
Akais contribution to the iOS drum category is
the iMPC Pro (9.99), which scales up nicely to the
glassy expanses of the larger iPad Pro, with
separate tabs for main functions such as Mixer,
Timeline, Song, etc. Impressively, up to 64 tracks are
available, with gain, EQ, and sends available on
each. Other standouts include an expandable sound
library through in-app purchases, onboard
sampling, time stretching, and sidechaining. Songs
are constructed through playlist-style lists of
patterns, which is not as visually rewarding as
seeing an arrangement timeline, but works well
enough. Detailed pattern editing is available, with
neat shortcuts for common tasks such as tuning,
velocity, and filter frequency and resonance.
If you want to DJ with your iPad (or even your
iPhone) NIs Traktor DJ (7.99) supplies two decks,
and all the DJ features youd expect sync buttons,
crossfader, EQ and effects, looping, tempo and key
detection, a browser etc, with a cool SuperSlicer tool
i
Maschine 2 (7.99) is an iOS take on Native available for in-app purchase. Touching waveforms
Instruments popular Maschine hardware/ to set cues and loops never gets old. Link isnt
software combo. As well as the traditional 4x4 supported, but inter-app audio is. Its compatible
grid of pads, theres a keyboard option, with useful with NIs flagship S2 MKII and S4 MKII controllers/
chord, scale, and arpeggiator frills. But primarily, interfaces, which should be awesome, but sadly, I
its about making beats be they recorded in real havent tried it yet.
time, or created in step mode for the less finger- In the we had to cover it somewhere category, is
iMaschine 2 enables you to
drum-savvy. Use the library content, your iTunes transfer your projects to the Blocs Wave (4.99), which focuses on importing,
library, or record audio straight into the app. 3D desktop version of Maschine recording, and interacting with sets of loops. Other

BEATS AND DJING

This might be a good time to discuss Ableton Link, a
sync method that enables music apps on different
devices to play in sync. Thats all it does, but this is
one of the biggest issues when it comes to using
more than one application or device together. Link
works across WiFi, or even an ethernet cable if you
want it to. You can be using Ableton Live on multiple
computers, or Link-enabled apps on iOS, or mix and
match platforms. You dont need to include a
computer at all, itll work with just iOS devices. It
even works with multiple apps on the same device.
Theres no theoretical limit to how many apps or
devices can be on the same Link session at the same
time. All you have to do is enable Link on the apps in
question, and start them playing. Theres no start/
The iMPC Pro has an expandable stop or transport control, thats still for you to do, all
it does is keep them playing in time. Anybody can
sound library, onboard sampling,

change tempo, and anybody can join or leave the
session at any time. External hardware can be
integrated, if one of the participants is sending MIDI
time stretching, and sidechaining sync out. Link is excellent! Find out more on p44
than that, its bare-bones, though Link is supported, Blocs Wave (right) is a
as are AudioCopy and Audiobus. Its all about the sketchpad for beats,
which uses eight sections
interface, which is futuristic but still makes sense. to construct ideas from
Six sets of eight loop pads, known as sections, allow interacting loops
enough combinations to sketch out ideas. Theres
time-stretching, and a neat slice mode waveform
editing is a treat. Bonus library content stays in
key if you change key. Its a great host for sampled
beats when paired with other Link-enabled apps.
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iOS Synthesisers
Getting a great iOS synth has never been easier, with
hundreds to choose from. Here are six great and varied
synths and some advice on getting the best from them
ISEM
Developer Arturia
Compatible iPad iOS 8.0
Price 7.99
Arturia is the king of recreating classic synths in
software, so its no surprise that the company has now
become the iKing of creating synth classics on the
iOS platform. iSEM is a synth based on the 1974
Oberheim Synthesizer Expander Module, one of the
first all-in-one synthesisers but, as usual with Arturia,
there are one or two modern additions. You get the
ability to edit up to eight voices simultaneously, a
bunch of effects, and an arpeggiator. The 500+ presets
utilise a similar technology that the company uses in
its desktop synths a modelling rather than sample-
based engine so the results are slick, analogue and
as real as you like. Theyre perhaps more sheeny than
gritty, but evoke the original like no other [apart from
maybe Toms new hardware synths! Ed].
IM1 Korgs iM1 (above) is an

Developer Korg iOS emulation of its 1988
digital workstation, the
Compatible iPad iOS 8.0 all-conquering M1
Price 22.99
Where most iOS synths emulate classic analogue
synths and why not, with a touch interface that lends
itself to twiddling virtual knobs? or create something
completely new, there are few that plunder the history
of digital synths. Korgs iM1 does just that by
recreating possibly the greatest digital synth ever
made or at least the one that made the most impact
on its release in the late-80s. The M1 scored that
period of music, and it is recreated in the iM1 which,
wed argue, is even better than the the real thing. Its
easy to program, you can buy all the extra sound packs
(which wont cost you loadsamoney [like the 80s MAGELLAN
reference there Ed]) and nothing else will give you Developer Jonac
the brash, go-faster stripes that were digitised synths Compatible iPad iOS 7.0
from this decade. Expensive, but iM1 does a lot for Price 10.99/$14.99
your buck. Two synths in one, anyone? Magellan has a pretty
mighty sound, thanks to two independent synth
engines and a rack full of colourful effects. Each
engine has three oscillators, two filters (with 11
types each), two LFOs and an ADSR envelope.
In addition, you get a sequencer, chord maker,
arpeggiator, comprehensive modulation section and
over 300 presets, which vary from some inspiring pads
to big basses, plus another 10 categories. To be
honest, theres not a lot you dont get which makes
some of the controls a little small and fiddly. But it
does result in one of the most fully-featured and
biggest-sounding synths out there. Quite superb.
MODEL 15
Developer Moog
Compatible iPhone 5+ or iPad iOS 9.3

THE PERFECT SYNTH SET-UP

Getting an iOS synth to run with your favourite desktop DAW is not really the point
of this article, although it is a relatively easy process just to use something like the
Audio Unit Extension app that lets you run iOS apps as plug-ins. On a simpler level,
you could connect an iOS MIDI interface and treat your iPad like an external
instrument, recording audio in. Better still, you could and should use an app like
Secret Base Designs Music IO to bring everything together. Essentially, this lets
you run your iOS synths like AU or VST instruments by connecting their audio and
MIDI streams with your desktop machine. We had Magellan and Sunrizer running
perfectly within our Ableton Live tunes, for example. However, as this is a mobile
feature, if you want the perfect mobile synth setup, theres little better, simpler
and more stunning than Korgs Gadget (see p20) a kind of synth studio on acid.
All the synths you will ever need, and more, ready to record in one app
Thor has real complexity,

Price $29.99
At Superbooth16, we saw a number of companies
with six oscillator types, four

attempting variants of modular synthesis on iPads,
but Moogs is an out-and-out app version of a full
filters, envelopes, and LFOs

modular system, comprising the usual (albeit classic
Moog-type) oscillator, filter and other modules. You
get virtual wires and a very usable pinch-and-swipe
system to navigate around. Youll soon be enjoying
those deep Moog sounds, although, with a whole stack THOR
of presets, you dont really have to know too much Developer Propellerhead Software
about modular to get them. If nothing else, this is one Compatible iPad iOS 8.0
of the cheapest ways to get that full-on modular Price 10.99/$14.99
synthesis experience yes, its quite a lot for an app, With a name like Thor and the developers behind
but cheap for the equivalent hardware, believe us. Reason, youd expect this synth to sound amazing and
Model 15 is possibly the most involving synth app in be easy to use. Yet it also has a real level of complexity
our round-up youll need later iMachines to run it in terms of the possibilities, with six oscillator types,
but its also the most true and, well, real! four filters, envelopes, and LFOs. We particularly like
the semi-modular approach to routing from left to
right fairly standard, but very well implemented.
The six types of oscillators will give you everything
from analogue to FM to wavetable, resulting in
versatile soounds ranging from classic to in-your-face
EDM sounds. Thor might have been released over three
Sunrizer (left) is a modern
years ago now, but it still has a great sound and
classic in the virtual analogue enough flexibility for most tasks. You might be a little
synth realm; whereas Thor overawed by the flexibility and interface at first, but
(below) is packed with
possibilities and rewards time Thor will reward some tinkering beneath its fine-
spent getting to know its ways looking and sounding surface.
SUNRIZER
Developer Beepstreet
Compatible iPad iOS 5.0
Price 7.99/$9.99
Its another virtual analogue synth, but its so well
adapted to the iOS environment, youll quickly be
creating more different sounds with this than most
others. Its based partly around the Roland JP-8000
Supersaw, although the two oscillators feature
multiple waveforms, plus noise and ring modulator
and theres up to 20 notes of polyphony. There are also
two filter units and onboard arpeggiator, plus two LFOs
and ADSR envelopes. We were more than impressed
with the onboard effects, especially the distortions
and reverbs, which take the many sounds you get (over
200 from four banks, plus favourites) in completely
new directions. Easy preset categories and a fine
overall sound make this a modern classic.

Sound Design
Theyre neither instruments nor recorders; instead, our final collection of apps
covers the broader area of sound design. Martin Delaney gathers the most
creative sonic tools for mobile music production
can process the incoming audio from your

surroundings and apply one of several presets
designed to create different ambiences - mostly
W
ith our final collection were rounding up theyre kind of electronic and edgy but there are
some apps that arent typical synths or some interesting results, especially after you edit
instruments but provide unique ways of the settings to suit your situation and mood.Works
creating and interacting with sound. Samplr (7.99) best with headphones that effectively exclude
is an iPad-only app which makes full use of the outside sounds, for a more immersive experience.
ability to touch and manipulate waveforms directly. This isnt a music creation app as such, but its
It features eight different play modes including thought provoking and worth a go if youre
Slicer, Looper, and Keyboard, and the ability to play interested in real-time immersive audio.
six samples simultaneously, with up to five effects Finally, and using the term sound design in a
per sample. Use the provided sample library, or your slightly different context, theres BIAS Amp (3.99),
own imported sounds, or record straight into the
app. AudioPaste, AudioCopy, and AudioShare are
supported, and Samplr can receive MIDI clock input.
Its a really sweet glitchy tool that scores bonus
Its not a music creation app as
points because it doesnt try to emulate any
real-world hardware.
such but it is thought provoking
Borderlands Granular (7.99) shares the Simplr
design philosophy embracing the possibilities of
and an immersive experience
iOS interface design instead of looking back to
wooden end panels and big knobs! This does mean a
few minutes are required to get familiar with the
controls, but this does pay off. It is effectively a
multitouch based granular synthesizer, which can
use the factory sound library, your own recordings,
or real-time input from the iOS device microphone
or an audio interface. You get touch control over
clouds of parameters, including number of voices,
duration, vibrato, pitch, and more. Borderlands
Granular can be used equally as a performance
instrument or an in-studio sound design tool.
Record your jams and export them to via
AudioShare, then to Dropbox, Mail, AudioCopy, or
other music apps.
Yes, The app formerly known as H__r ( free) is
really called that, although a competition to rename
Samplr (top left), the app with
it is under way. Coming from the creators of the no name (top) and Borderlands
RJDJ app, this requires a headset with mic, so it Granular (right).

Bias Amp simulates both

vintage and modern guitar
EASY AUDIO
amps. There are separate iOS apps thatll make your life
easier, and get your iPad productions a bit more
finished. Throughout this story weve referred to
apps such as AudioBus (3.99) which routes audio
between applications on the same device;
AudioShare (3.99), an audio-and-MIDI file
management tool, and AudioCopy (free) which is a
clipboard, organiser, and editor, for audio content.
These can make all the difference when sharing
content between apps and, thanks to them, you
have the option to include audio effects in your app
chains as well. For example I use Kymaticas AUFX
effects such as Dub (3.99), a really nice stereo
delay, and the Space reverb (3.99). If I really want to
finish a tune within the iPad and share it online
immediately Ill move the stereo mix to Positive
Grids Final Touch (13.99, see below), a very
well-featured mastering app with maximiser, EQ,
from Positive Grid. This app includes simulations of compression, stereo imaging, and multiband
dynamics everything
many vintage and modern guitar amps, with presets
you need for
ready to use, but beyond that, the amps and cabinets that last-
are customisable, right down to the tubes. However minute tweak.
theres more, because you can begin building your Using a bunch
own amps from scratch, selecting every component, of little apps
from power amps to transformers, to tone stacks. like this may
not as elegant
After youve created your dream rig with BIAS Amp,
as doing it all
it can be opened in Positive Grids BIAS FX and within a DAW,
JamUp guitar apps (Inter-App Audio and AudioBus but it does
are also supported). Even if you dont feel ready to work!
jump into full-blown amp design, the BIAS presets
sound great right off this is one of the best iOS
guitar amps around. MT
MUSIC IS OUR LANGUAGE

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MT Interview Highasakite
asa
High
sak
After huge critical acclaim for 2014 album, Silent Treatment,, Norwegian indie-rock
band Highasakite are back with a third album, Camp Echo. MusicTech gains
unique studio access to the recording via band members Trond Bersu and
Kristoffer Lo and the albums co-producer, Kre Christoffer Vestrheim
H
ighasakite Ingrid Helene Hvik (vocals), Above: Despite bringing in more and synths. Mostly Elektron Machinedrum, Casio
electronic gear for the new
Trond Bersu (drums), ystein Skar album, Camp Echo is still very Rapman and samples in Ableton.
(synths), Marte Eberson (synths) and much a Highasakite album Kre: Mike [Hartung, co-owner of Propeller Music
Kristoffer Lo (guitar, percussion and Right: Propeller Music Division Division studio in which the album was recorded]
flugabone) have a unique sound that Studio plus (clockwise) Kare; and I have always been extremely strict about what
a DSI/Sequential Prophet-6;
mixes traditional and technological instruments. ystein; Ingrid; Kare at the leaves our studio. We spend thousands of hours
Its quickly led to them becoming one of the biggest computer; Marte and ystein tweaking the productions, so its always as great as
igha
names on the indie rock and pop scene. The bands we can possibly get it.
second album, Silent Treatment, spent no less than Trond: I think our sound has changed a bit since the
40 weeks in their home charts and won them two first album (All That Floats Will Rain). Back then, we
Norwegian Grammies (Pop Group Of The Year and
Composer Of The Year). Theyve since spent a couple
of years touring around the world headlining and Im inspired by new production
supporting some huge names, including Of
Monsters And Men and London Grammar. methods. I always try to challenge
MusicTech caught up with Trond and Kristoffer
plus co-producer Kre Christoffer Vestrheim as they myself, and move forward
put the finishing touches to their third album,
Camp Echo. used a lot of acoustic instruments like a zither harp,
lots of percussion, bass and guitars. Now everything
MusicTech: When you go into the studio as a band has become much more electronic, but I still feel we
to record, do you have a plan or philosophy? have kept the sound of Highasakite, somehow. The
Trond: I think individually, we are five people with sound of the electronic instruments still has an
strong musical voices, but when we mix that organic element to it, and were spending a lot of
together, we end up with the sound of Highasakite. time trying to find the right sample for our sound
Im inspired by new production methods and always for the song.
try to challenge myself, and always move forward.
For the new album, I programmed all of the drum MT: What about specific areas what do you each
parts in Ableton, and used some drum machines bring to the recording?
MT161.INT HighAsAKite.indd 32 11/07/2016 14:47

Highasakite Interview MT
e
akit

and in the performance. The person fronting the

band has to connect with the listener.
MT: Kre, how do you see your role during the

recording process?
Kre: One of my favourite things about studio work
is the creative freedom to experiment. I love making
sounds that Ive never heard before. I see all the
synths, guitars, xylophones, effect boxes and all the
other instruments in the studio as one big orchestra
blending them together in new ways often makes a
production unique-sounding. I hardly ever use
presets. Sonology is very important to me. What
function do the different parts, instruments and
dynamics have in the bigger picture of a whole song,
and in the even bigger picture of a whole album?
Sculpting the song, the arrangement, the sound and
the performance is a large part of what I do.
You can emulate all kinds of MT: Tell us about the gear setup in the studio?
H
things with samples and plug-ins, Kre: Propeller Music Division is a modern multi-
room studio complex with a large recording room, a
but nothing beats the real deal surround mixing room, two smaller mix rooms, a
composition room and a world-class mastering
studio. That didnt happen overnight. Our first
Trond: As a drummer, I think its cool to think of the Above left: Vocalist Ingrid studio was a tiny room located down a dark
Helene Hvik, pictured with
drums as a melodic instrument. Trying to find trusty Shure SM7, starts off driveway, in an abandoned building known as
drum parts that almost could be a song by Highasakites creative process The Chocolate Factory. It was from those humble
by bringing demos of song ideas
themselves. I use lots of toms and samples to fit the to the rest of the band beginnings that we managed to eke out some of
harmony of the song. Norways most popular albums of the time. When
Other pictures: Push gets a
Kre: Its important for me that the music has layers workout; the band and Kare; the building was finally condemned, we were forced
and depth, new stuff to discover every time you and the producer (bottom) to find a new location, which is where we have been
makes some final tweaks
listen to the track. Even in very sparse, orchestrated for the last 12 years an old mill from 1857.
pieces, I try to have something thats a bit out of the We dont have any equipment that is THAT old,
ordinary. At the same time, I am especially focused but we have been collecting old, vintage and fun
on keeping the vocal in the spotlight both sonically stuff since our earliest days. We also build mic-pres,

kite
EQs and compressors ourselves. Sometimes, you
need something extravagant, vibe-y and vintage,
and sometimes you need something that sounds
beautifully crap. We work in Pro Tools, but from
time to time, we also do the tracking on our 24-track
two-inch machine. Its great fun and a great sound!
Trond: The gear I used for the new Highasakite
album was Ableton Live and Ableton Push, Elektron
Machinedrum, Casio Rapman, Roland SPD-SX and
some live percussion. When Im producing music for
others and myself, I also use the Access Virus TI2
synth, and Sylenth a lot. I think Native Instruments
and Vengeance have some nice drum-sample packs
for electronic music, but I think you should mix that
asa with some organic drum machines and tweak the
sounds a bit, so it becomes more organic.
Kristoffer: Being a guitar and horn player, those
instruments are always very close when Im
working in the studio. I havent yet found my way
into working with synths as a creative tool in the
studio. I still like acoustic instruments a lot, which
is okay, since we have two amazing synth players in
Highasakite. One of my favourite creative tools in
the studio is a reed organ, or a pump organ. I love
the way it can drone away.
On the Camp Echo album, my main guitar was a
Fender Bass VI. Most of the guitars are actually
done directly into Pro Tools, skipping the amp. We
just liked the sound of it for this album. And, of
course, a bunch of effects like harmonisers,
repeaters, distortions basically, anything that can
make the guitar sound a bit different.
We had some fun in the studio recording a
High
dulcimer for the song My Own Disease. Kre has one
lying around at Propeller Studios, so I tuned it and
turned out pretty cool. You can emulate all kinds of
things using samples and plug-ins, but nothing
beats the real deal!
MT: Do you have any specific outboard gear that

you use, or want to use?
Trond: I really love the Soundtoys stuff, Valhalla
Shimmer as a crazy reverb and I think that Ableton
is the most creative software out there! You can
easily do whatever you want, and its so hands-on.
I dont have a lot of outboard stuff, but I really want
some nice compressors and preamps! On the other
side, its nice to be able to work on production
wherever you are in the world with a laptop.
Kristoffer: Im an outboard sucker. I like to put a
bunch of pedals between my guitar (or horn) and
amp, instead of doing the effects later in the
process. I also like to have outboard preamps and
EQs, just to get feeling of tweaking something with
your fingers. For the Camp Echo album, my Eventide
PitchFactor, MASF Repeater and Electro-Harmonix
Memory Man was present almost all the time. But,
its always fun to play around with Soundtoys.
Kre: We tend to spend a lot of time on sound before
it goes into the computer. Which means using all
sorts of stompboxes and vintage stuff to create the
sound were seeking. I love tracking through a
Telefunken V76 or a Neve 1081 or 1073. Tube-Tech
CL 1B is usually also in the chain somewhere. On
Highaskite singer Ingrids voice, we use a

Above: Highasakite have an tape machine and a smaller vintage console to do

open-door policy when it comes
to instrumentation: vintage smaller tracking sessions. After working on mega
e synths happily rub shoulders

with acoustic instruments and
MIDI controllers
Right: Kristoffer used the

Fender Pawn Shop Bass VI a
six-string baritone with a vibrato
for much of the guitar playing
on the new album
productions like the Highaskite album with
hundreds of tracks, having only 16 starts to sound
very attractive. You have to commit!
MT: What would you like to see developed in terms

of studio technology and why?
akit
Kre: A Pro Tools rig that never crashes!
MT: So how does it work with the five of you

(plus producers) in the studio? How does a track
come together?
HIGH ON ADVICE
MusicTech: You must have picked up some
After working with hundreds experience working in the music industry over
of tracks, having only 16 starts

the last few years. Any advice you can pass on?
Kre: Follow the vision you believe in, not the one
to sound very attractive

everyone else is talking about or that is the
current hype. Having too many references will
make you lose focus and end up with something
plain-old Shure SM7 through the 1081, with minor that has nothing genuine to say.
EQ and the CL 1B.
We have a great selection of keys in the studio, MT: And what about your advice for working in
from Mellotron to Jupiter-8, Prophet and SidStation the studio?
all colourful in their own way. In the box, its Kre: A big part of being a producer is to get to
has
common for us to use Echoboy and Altiverb, plus know the artist. In order for them to deliver
we have great packages from Waves, FabFilter, something unique, she or he has to relax and be
iZotope, Steven Slate and Brainworks that are all able to focus only on the music. Its all about
used on a daily basis. creating a vibe and a space that inspires artist to
perform their best; whether it be candlelight,
MT: What is on your wishlist, studio gear-wise? good tea, Persian rugs or film projection on the
Trond: Some Neve 1073 pre amps, the Roland SH-101 studio walls whatever it takes. Everybody that
synth and a nice pair of monitors, like the Barefoot works here in Propeller is aware of this and
MicroMain 27. contributes in different ways to this. A relaxed
Kristoffer: I would love to have some more preamps vibe is important, but thats not to say that I dont
and maybe a nice lunchbox. We just made some DIY push the artists when necessary. Some artists
Neve preamps and some DIY UA 1176 compressors need to be challenged and some need to be forced
that are working great. An API 512c maybe. And out of their comfort zone. Thats a tightrope I
some more microphones would be fun. Right now, sometimes have to walk, but almost always, the
Im using a Pearlman TM-2, Coles 4038 and the artist appreciates the end result. Its important to
Sennheiser MD 421 a lot, but it would be nice to have play ball with the client. After all, its their album
a Neumann U 68, this after all being a wishlist. and I dont wish to dictate anything to anybody.
Kre: Right now, Im looking for a 16-track two-inch

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kite
Trond: For Highasakite, Ingrid makes the demos
with the melodies and chords. This time, I got the The album is electronic, but
demos at an early stage and tried to come up with
drum parts, just to have something to build on when youll still feel its a band and
we started working in the studio.
Actually, a lot of the demo parts were used on the not one DJ guy producing it all
record. Its strange, but very often, the first idea is
the best. Above left: ystein is one of two some Elektron stuff like the Machinedrum and
synth players in the band. Right:
Kristoffer: Yes, Ingrid writes the basics of the songs Ingrid takes a break and (below) SIDStation. Also the Roland Jupiter-8, Roland
like melodies and lyrics, and she brings the demos Trond and Kare discuss some Juno-60 and Super Jupiter. Even some modular
finer production points
to us as band. For both Silent Treatment and Camp synths I think the sound of the album is timeless,
Echo, most of the arranging has been done together it could have been made in the 80s and in 2016.
with Kre, either in the studio or at his farm outside
of Oslo. Its been fun working on the Camp Echo MT: What is next for Highasakite?
album, because weve been touring so much and Kristoffer: Hopefully, things will get busy. Were
talked so much about music that inspires us, so starting off the release tour for Camp Echo in the
when we finally got to the studio, we had a lot of the UK, playing Brighton, London and Manchester, and
asa
same references. Dublin and Amsterdam. Then theres summer

festivals, which are always fun. Were doing
MT: So tell us more about Camp Echo? Roskilde festival in Denmark, some festivals in
Trond: Its an album about war and terror, and I Germany and then five nice festivals here in
think thats something that we cant ignore in 2016. Norway. And then well see what happens next.
Its not a political album, but more a view on the Trond: Were rehearsing a lot these days, and in
world. We had a lot of songs when we started May, well start touring with the new album.
recording, and used a lot of time to choose the right Were playing some really cool festival headline
ones for the album. shows in Norway this summer at ya, Pstereo,
I think whats cool about the album is that its Bergenfest and Parkenfestivalen. Were also playing
electronic, but youll still feel its a band and not one Latitude festival, Roskilde and a bunch of other
DJ guy producing it all, like a lot of stuff these days! festivals in Europe!
We have used a lot of fantastic vintage gear from
compressors, preamps, vocoders and instruments, Highasakites new album, Camp Echo, is out
mixed together with more modern stuff. We used now on Propeller Recordings. MT

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MT Interview Stoni
Stoni
MT First Cut Stoni
Stoni
Our First Cut interviews are for up-and-coming acts, and this month, were
featuring Stoni Cooper who is not only an outspoken and cutting-edge
producer, but also a product specialist for the likes of Native Instruments
and ROLI so perhaps the ultimate artist to talk tech
W
e love featuring artists who are hands-on and I work very hard. I always have. My
using technology in innovative or work ethic is unlike anyone I know and I believe
perhaps extreme ways. This month, that this is what determines your success. I love
we have someone who has not only what I do, and for me, that is the ultimate success.
been inspired by a rich and diverse
background of music, but one whos better versed MT: Tell us about your sound or philosophy?
than most in music technology, having been a Stoni: Ive been told that my trademark was the hard
product specialist for several high-tech companies crack and thump of my drums, but its really the
including Native Instruments and (currently) ROLI, emotion that my music evokes. My approach to
Stoni Cooper. production comes from the heart, meaning whatever
Im feeling at the moment that Im creating a body of
MusicTech: So who is Stoni? work. If Im having a bad day, or feeling generally
Stoni: An outspoken, powerhouse music producer frustrated about a particular situation, Ill use the
whos unafraid of making waves and unapologetic aggressive energy from that and pour it into the
for changing the musical landscape. Born in music and thats what is reflected. If Im feeling
Brooklyn, NY, I grew up listening to everything super relaxed or very Zen-like, youll get a track
from Sam Cooke and Stevie Wonder to Prince and that will feel much smoother, more melodic and
Michael Jackson, but my influences dont begin and less syncopated.
end there. I cut my teeth alongside some of the When I produce other people, I allow the artist
legends of hip-hop and rock music, and was to be themself at all times. The goal is to get the
mentored by engineering legends. most authentic performance from them anything
I gained a vast knowledge of the inner workings less than that just isnt believable. You, the listener,
of the music and recording industry and discovered should feel everything that person is sharing
a love for sound design. It was my passion for sound with you. If you cant feel all of that, then the
manipulation that led me into production. Im very music is disingenuous.
MT161.INT Stoni.indd 40 11/07/2016 14:49

Stoni Interview MT
MT: Do you have a typical way that you put a Rise or my Maschine Mk2 in my lap. Then I will
track together? comb through different sound ideas. It could be
Stoni: Theres isnt one process that defines my acapellas to trigger inspiration, or it can be a synth,
overall sound. Im continually learning new things maybe even a simple hi-hat pattern that might send
and adding various processes to my workflow. Im a me all the way into my zone. I have various methods
consummate student of the technology. Whenever that I use to cut a track together, from building
anything new comes out, I learn about it, study it patterns and layering them into a song, or I open up
and if it works with my existing workflow, then a DAW and have it in a linear form and create
Ill incorporate it. If it doesnt, then at least I still melodies and drum patterns across a timeline.
know more about the hardware and software than The role of the producer is to be a visionary and
the average producer would and I can share that complete a body of work (a song or an album) from A
with others. to Z. Im the one who sets the tone in the studio
I will share one trick that I love to do with you. I session. A producer is supposed to give the artist,
have this process where I take my voice and make a beat-makers and musicians direction. I select which
sine wave out of it. I then proceed to create a melody
with that same vocal sample. I then add an acoustic
sound (guitar or strings) to give it that organic
The music has to flow well for
quality. I continue to layer a VST instrument from
either Massive, Kontakt or whatever VST fits what
it to make sense and elicit a certain
Im feeling, in that space. The end result is always a
crowd pleaser.
feeling or emotional response
musicians I want to use for a particular song, and
MT: Describe the Stoni sound then lead them through the creative process. Sing
Stoni: Eclectic. The beat is hip-hop based, but the the riff more soulfully, dont play that line so
music is really different. Its world music. Its staccato, make the groove feel lazier, etc. Im like
global. It comes from the kind of music I listen to the leader of the band, so I have to be clear and
everyday, which could be French music, hip-hop, precise in my instructions and know where I want
electronic, jazz, music from any and everywhere. My the music to go so we can all arrive together in the
sound at its core is very beats-driven aggressive same place, otherwise the song and the sound will
and edgy but it does have many soft elements to it fall apart. Im also an excellent listener, because its
and lyrical ones as well. The music has to flow well imperative to hear the artists or musicians
for it to make sense and elicit a certain feeling or intention and then work together to bring it to
emotional response. Musicality is very important to fruition. I am the person who orchestrates what the
me, so I make sure that the beats arent the only sound will be on the project. Meaning, I determine
thing youre hearing. My music makes you feel good. what sounds are used and what musicians will
Its the kind of music people just want to dance to. embellish the track best. Im also the person who
sits with artist to discuss their lyrical content,
MT: How do you produce your music? assist the songwriter with the flow of the song, and
Stoni: When I approach making music, the process contribute to vocal production and arrangement.
usually starts with how Im feeling. I like to sketch Im responsible for the format of the album,
my ideas while sitting on the floor, legs crossed or meaning the order of songs based on content and
on a bean bag in a relaxed sitting position with the context. I create the beats and the melodies.
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MT161.INT Stoni.indd 41 11/07/2016 14:49

MT Interview Stoni
MT: What gear do you use?

Stoni: The main components in my studio are the
MacBook Pro, NI Maschine Studio, Maschine Mk2,
Komplete Kontrol Keyboard, Ableton Push 2, Moog
Sub 37, Seaboard Rise 25, 49 and Komplete Audio 6.
The history behind me using the Maschine is very
simple. For starters, I loved the amazing browser
that it has. Theres so much you can do with this
unit. I realised that portability has a big influence
on what I use at home, as well. Having the Komplete
sound collection, coupled with various synths and
plug-ins, allows me to write and make records
anywhere and at anytime. The Seaboard Rise allows
me a level of creativity that Ive never been able to
achieve with the standard keyboard. The 5D touch
allows me to manipulate sound in a way that shapes
the direction of my creative vision.
My go-to tools are Maschine, the Moog, Ableton
Live Instruments, Komplete Ultimate 10 Bundle,
Arturia, Reason Refills, Serum, and U-he. I have a
lot of fun using the Push 2 and it keeps my creativity
flowing. I love the way you can play chords and
melodies with the pads. Using the Moog Sub 37
creating new patches is awesome. I never know
Do more listening and less

what the end result will be, and lately, Ive been
diving into using the iPad apps with my Ableton
talking. Sometimes the best thing

setup. Man, that Link option is so powerful, it
turned my iPad into another instrument. Thats the
you can do is watch and listen

best part of using these tools on a day-to-day basis.
The creativity and fun never stops.
MT: Whats on your wishlist, gear-wise?

Stoni: A UA Apollo Twin and all the UA plug-ins, things that are important to them, will give you a
PMC Passive MB2S, Neumann U87, API Lunchbox, plethora of information and arm you for the future.
and an aluminium Moog Voyager. Do more listening and less talking. Its great to
share your ideas with like-minded individuals
MT: What would you like to see developed on the because it gives you a sense of validation, but the
music-tech side of things? best thing you can do sometimes is just watch and
Stoni: Id like to see a more cohesive system with all listen. Some of the most invaluable lessons Ive ever
the DAWs, across the board. I would like to see more learned came just by listening.
hybrid platforms for controllers, so that producers
and DJs can work with or without the laptop. MT: Tell us about your new EP?
Stoni: It has been long-awaited, not only by me,
MT: What advice do you have for working in the but by my loyal followers. I had a great time
music industry? putting my experiences into musical form. Theres a
Stoni: The best advice that Ive picked up in the tremendous satisfaction you feel when you have a
music industry is: Be as self-contained as much as vision for yourself and you make it manifest. This
possible; master your craft and learn all of the ins EP will reflect the different styles of production
and outs of whatever it is you choose to do; build Ive brought together by using the most unlikely
solid relationships, because ultimately, those pairings, which make for the most amazing music. I
relationships will help you grow; be selective about want the people Ive met and whove been connected
the company you keep and make sure the producers to me through music to have something tangible to
you are around are as productive as you are. walk away with and listen to over and over again.
MT: And from working in the studio? MT: What do you have planned for the future?
Stoni: Studio etiquette is everything. Your Stoni: I plan on touring and playing the songs on
behaviour in a studio will either allow you to grow the album on the road. Im creating a performance
or cause you to not be invited back. Become the set for the people who enjoy the music and Ill get
consummate student. There are several aspects of the chance to meet my fans face-to-face. I also plan
the music industry to learn about. Working on signing a few producers and giving them the
consistently in the studio will give you the opportunity to work on projects with me and build a
opportunity to meet A&Rs, engineers, artists, team of creatives. And the next project I release will
songwriters and ultimately, label executives. feature a few new collaborators and artists who I
Watching what these people do in the studio, believe are really going to make a big impact on
listening to the things they talk about and the music culture and the industry. Stay tuned. MT
MT161.INT Stoni.indd 42 11/07/2016 14:49

MT Technique Live In Depth Part 6
On the disc
Ableton Live Live In Depth Part 6
Accompanying
project file included
Use Ableton Link

on the DVD
to sync your Live

projects, iOS
apps and hardware
The free update to Ableton Live 9.6 includes Link, a great new way to solve sync problems,
while adding iOS to the jam as well! Martin Delaney shows you how to Link up
A
bleton Link was perhaps a bit overlooked at software, which is where alternatives can be helpful.
first, because Ableton announced it at the Propellerhead and Steinberg, the people behind Reason
same event as Push 2, which naturally hogged and Cubase respectively, created ReWire, a way of getting
the limelight. Link was subsequently released sample-accurate sync between music software running on
fully in Live 9.6, so now we can all include it in the same computer. This works brilliantly, and includes
our workflows; its a deceptively simple way to synchronise audio relationships, so if you ReWire Live and Reason, or
computers running Live, and for a lot of users itll become Live and Logic, you can build complex but recallable MIDI
the default solution for syncing, especially because Link and audio routings between two or more applications.
also works with iOS apps. So, let the connected-up ReWire is very accurate and built into every major DAW,
jamming madness commence! the only downside being, as I said, that it only works with
Previously, weve used more traditional methods to sync applications on the same computer.
Live, primarily involving MIDI on a cable connection through As stated in our walkthrough, the Preference options in
MIDI DIN jacks, and later also through USB, and over WiFi Live 9.6 have changed to reflect the presence of Link and
and Bluetooth. MIDI is present in hardware synthesisers the MIDI/Sync tab is now called Link/MIDI, with the link
and drum machines, lighting and video setups, and controls at the top. I guess this suggests that Ableton
dedicated hardware synchronisation devices; its become a prioritise Link over MIDI; well, Lives always had a spotty
universal way to control music and related gear. Of course history with MIDI sync anyway! Link doesnt have transport
MIDI is used to transmit musical notes and control controls as such, and you dont need to have everything
messages as well, but its the sync element were lined up beforehand; as soon as one device kicks off the
concerned with here. MIDI sync can involve MIDI clock, session, others can join in. Critically, unlike with ReWire,
which sends a basic tempo signal without any position the original device can exit the session at any
reference, or MIDI Time Code (MTC) which corresponds to time while the
broadcast-style SMPTE time code, which will give you
playback position generally, software thats synced by
MIDI will start and stop playback at the same time. MIDIs
still going strong; its reliable and predictable, especially
with hardware. Sometimes its flakier when it comes to
TURN IT OFF?
Sync who needs it? Just to play devils advocate for a hundred words or so, I want to
remind you that you dont have to sync everything; actually, Im not being that evil,
because even Live itself gives you every option to turn sync off. Every sync-related
control in Live whether its global quantisation, LFOs, tempo, or whatever has an off
or none or manual setting as well. This is really important, because it means we can
keep some elements locked machine-tight, while others are drifting and ever-flexible in
a more organic way. The best of all possible worlds!
MTF42.TUT live6.indd 44 05/07/2016 10:45

Live In Depth Part 6 Technique MT
MT Step-by-Step Using Link to sync
Lets get Linked! Youll need two computers running Live 9.6 or Well call them computers A and B, but it doesnt matter which is
01 higher, and at least one iOS device with Link-enabled apps
02 which. It also doesnt matter if theyre running OS X or Windows.
installed. Weve provided a simple Live set copy it to both computers. Make sure theyre both connected to the same WiFi network.
If theres no WiFi available, or if you have issues with router For live shows I used to password-protect my network, but as of
03 performance, create a computer-to-computer network on Macs,
04 Mac OS X Yosemite, its no longer possible to password-protect
or an ad hoc network on Windows, and connect them that way. computer-to-computer networks, which is a shame!
On both computers, launch Live, and open Preferences. What was Youll notice a new orange Link indicator has appeared near the
05 the MIDI/Sync tab has been renamed Link/MIDI; click in there
06 top left of the Live screen, in the Control Bar. This will also show
where it says Play in time with Link, and then close Preferences. the number of other devices currently linked.
others keep going; theres no master or slave. Anybody can apps on the same device, it works in the same way. And no,
change tempo as well, which could get weird if one of you you dont need WiFi for in-device Linking! At the time of
isnt feeling cooperative! Its easy to use Link on your iOS release I said that no professional would use Link because
devices, as long as youre on the same network. Compatible of its dependency on WiFi this was before I realised that
apps have a switch to enable Link, and once thats on, you itll also work over Ethernet Ableton wasnt exactly
should see a progress bar and a count-in to show that Link shouting this from the rooftops, for some reason. Much as I
is on. Start the app running (remember, this is a separate love using iOS devices for music, I wouldnt do a live show
step), and everything should sync. If you want to Link two without mains power and cabled connections. If you have
MTF42.TUT live6.indd 45 05/07/2016 10:45

MT Step-by-Step Using Link to sync (contd)
If nobody else is connected via Link, Live will behave exactly as it If both computers are Link-enabled, youll see a 1 in the Link
07 always does, so dont worry about that you can start, stop,
08 indicator on each computer. They will both be showing the same
change tempo, send and receive MIDI, whatever you need to do. tempo as well. Start Live running on both...
...and theyll play in sync as you launch clips or change anything Link is just a clock that your software can join, it has no beginning
09 else as usual. However, youll notice they dont start and stop
10 or end. If you want full transport control in that sense, you should
together, or even show the same bar/beat/16``th count in transport. use ReWire or a MIDI-based sync method.
If you need synced Live projects that can change tempo without Even though you began your Link jam with computer A, you can
11 12 stop that running at any time, and even disable Link, and bring it
losing the plot, Link might be your best option. Changes are fast
and smooth and Ive not experienced anything dropping off the jam. back in later, and it wont affect computer B thatll keep rolling.
any other way of networking or connection two computers, TR-505 to the more recent Elektron Analog Keys, sending
Link should function, though at present it doesnt work over MIDI Sync out through USB or through a cable from my
the internet. Yes, you can add hardware, too you can get audio interface. Enable MIDI Sync out in Live as usual, and
one of your Link devices, like a Mac or an iPad, to send MIDI as the host software gets its timing from Link, any tempo
clock out to hardware devices at the same time. It doesnt changes will be sent on to the hardware. Nice and clean!
have to be the latest and sexiest hardware and Ive tried it One of the most fun things about using Link is the
with anything from old drum machines like the Roland spontaneity. Got a couple of computers and a few iOS
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MT Step-by-Step Using Link to sync (contd)
So you have two computers locked. Now you can add your iOS Hopefully, youre getting the idea. You can add more computers
13 device to the WiFi network, launch a Link-ready app and join the
14 and iOS devices; theres no stated limit to how many participants
jam with that. The indicators on Live update to show a new device. can play at once. Note: you can Link iOS devices without a computer.
Its cool that Ableton built that in instead of keeping people You can add MIDI hardware to this rig. If you have a hardware
15 locked to using Live. You can also use Link to sync multiple
16 synth or drum machine synced to Live via MIDI, that will continue
devices on the same iOS device, which might be useful. to play and change tempo along with the Linked apps.
Its important to make sure that nothing is trying to send MIDI One last thing youll have to think about is audio. Unless youre
17 18 doing a table-top jam at home, youll need to connect each device
sync in to the jam, as it will cause timing confusion. Make sure
that any MIDI sync inputs to Live are disabled. to a mixer as usual Link doesnt do anything with audio.
devices? Pop em on the table and within about 30 seconds different tracks in Live, to add another layer of real-time
you can be jamming. If youre somewhere quiet, you can activity, and of course that way, you can record everything
use the built-in speakers on your devices. However, for thats going on as well! Link is a small thing in some ways
real jams or gigs, youll need to connect to a real mixer or theres not much to look at, and it doesnt change your
interface; this doesnt have to be too complicated. You sound, and it isnt as sexy as a piece of hardware covered in
could even connect all the iOS devices to your computers LEDs but it could prove to be one of the most important
sound card and process their incoming audio through and most-used creations to come from Ableton. MT
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MT Technique Advanced use of the Compressor
Technique Logic In Depth Powered by
Advanced use of
the Compressor
Delve deeper and youll find that Logic Pro Xs Compressor plug-in has a long list of tricks up
its sleeve. Mark Cousins digs in and gets squashed
W
e first took a look at the revised Logic Pro compressor into applying gain reduction. This is often
X Compressor back in MusicTech issue On the disc particularly evident on drum compression, where the kick
149, exploring the key processes involved drum dictates the movements of the compressor more
in setting up and using the plug-in. than any other part of the kit. The reason for this behaviour
However, given the inherent flexibility Accompanying is that the kick is supplying a disproportionate amount of
project file included
of Logic Pro Xs Compressor (which is as good as any on the DVD sound energy, largely because our ears are much less
third-party alternative you could care to mention) sensitive in that part of the frequency spectrum. While the
combined with the fact the engineers use compressors effect is interesting, the resultant pumping sound might
in some fiendishly inventive ways, its well worth a closer not be the result you want to achieve.
exploration of the plug-ins deeper features. Were going
to look at three techniques: frequency-conscious Chain gang
compression, New York compression and EDM Side To have more control in relation to frequency, we make use
Chaining. Together, these show just what a versatile of the compressors Side Chain section. The concept to
performer the Compressor plug-in is grasp here is that theres a distinction between the sound
present at the input of the compressor, and the signal
Well look at three techniques being used to drive the compressor. The Side Chain
section of Logic Pro Xs Compressor, therefore, looks not
which together show just how entirely dissimilar to an equaliser, but in this case, its not
applying equalisation that well hear in the output stage,
versatile Compressor is but instead an equalised version of the Side Chain being
used to feed the Compressor.
In the previous example of a kick-heavy compression,
Frequency-conscious the solution would be a high-pass filter
If youve mastered the basic parameters of compression (HP) set just above the frequency of
ratio, threshold, attack and release youll soon start to the kick drum (around 100Hz). To
appreciate that a compressors response can vary fine-tine the Side Chain, use the
between different types of input signal, as well as Listen button, which will allow you to
variables like the model of the compressor. True mastery audition the Side Chain directly in the
of compression, therefore, is about fine-tuning this output of the plug-in, remembering to
performance whether its picking the right model type, put filter back to On when youre
for example, to flatter the sound youre processing, or finished. Once active, the kick drums
making the compressor more or less sensitive to input on the Gain Reduction should be
characteristics of the input. far less severe, resulting in a more
One key facet of a compressors response is frequency, natural, transparent-sounding
or more specifically, how different frequencies can push a compression. What weve created
here, therefore, is frequency-
DE-ESSING conscious compression, where the
De-essing is another form of frequency-conscious compression in this Compressors response has been
case, making a compressor particularly sensitive to sibilant sounds in tailored to be more or less sensitive to
the human voice. You could use the dedicated DeEsser plug-in, of
course, but theres a lot to be said for the simplicity and visual clarity of specific frequencies.
the Compressor for simple de-essing tasks. To make the Compressor
sensitive to sibilance, activate the Filter section, using the BP
(band-pass) mode and tuning the frequency to where the sibilance is
Pump it up
most prominent (usually around 3kHz). Now fine-tune the threshold and Another use of the Side Chain,
ratio so that the gain reduction is only triggered when the sibilance often referred to as Side Chain
occurs, using ratio to define the amount of sibilance reduction you want
to achieve.
compression, is the classic pumping
effect using in many EDM tracks. In
MTF43.TUT Logic Advanced Compressor.indd 50 05/07/2016 10:46

Advanced use of the Compressor Technique MT
MT Step-by-Step Influencing the Side Chain
Open the first project included in the workshop folder. Across Open the Side Chain section using the button on the top
01 the drum loop, instantiate the Compressor plug-in and set up a
02 right-hand corner of the Compressor. In the Filter section,
moderate amount of compression using the Vintage VCA model 5:1 press Listen to hear the Side Chain input feeding the Compressor.
Ratio, -30dB Threshold, medium Attack and Release. By default, this is a low-pass filtered version of the input.
Reconfigure the Side Chain filter so that it removes the kick Toggle the Side Chain filter between on and off to hear the
03 drum. Use the HP (high-pass) mode, and adjust the frequency so
04 compression with and without kick drum attenuation. With the
that most of the kick drums energy is attenuated. Deactivate the Side Chain in place the result is arguably more musical, and closer to
Listen mode and move the filter to On. how our ears hear the drums.
As an alternative, try adjusting the Side Chain so that the Now listen to the compression in action, which is now sensitive
05 amplitude of the Kick is increased. This will create a deliberately
06 to the kick drums dominant frequency. You might want to adjust
abused sound that ties the Compressors movement to the kick. Use the Release times so that the movements are empathetic to the
the ParEQ mode and apply a gain increase at around 80Hz. sound and speed of the kit.
this application, the Side Chain becomes a completely your routing. Firstly, route one or more sounds that you
different source, usually the kick drum, which is then used want to pump over to a spare bus. This could just be a
to modulate the amplitude of a sustaining element of the single pad, or indeed, the rest of the track (if you want a
mix, like a pad, or a reverb return. more extreme effect).
The effect works well for two reasons. First, the kick Next, route the sound that you want to drive the
drum gains more prominence in the mix, and secondly, the Compressor to a spare bus and select the external
pad sound gains a distinctive pumping movement that side chain input on the Compressor plug-in to the
appears to breathe in time with the kick. To apply this type corresponding bus. As always, the finesse of the effect is
of Side Chain compression, youll need to get creative with in the fine-tuning, which is much easier if you use the

Compressors Graph screen. Start with a relatively fast New York

attack and release and find the threshold point where the As our final example, weve also taken a look at the classic
kick drum starts to make the gain reduction move. New York parallel compression effect, which effectively
Ratio, of course, will be the amount of pump, using uses compression like an effect, complete with a wet/dry
higher settings (8:1) where you want the pumping to be ratio. The idea is that you configure a deliberately over the
more noticeable. The most important parameter, though, top compression setting, where the drum kit is noticeable
is the Compressors release time, which youll want to pumping, and the transients somewhat squashed, which is
increase in order to achieve the right graduation to the then fed back underneath the un-compressed signal in a
pumping effect. moderated way. As we saw in the original Compressor
MT Step-by-Step EDM Side Chain Compression
This example uses an external Side Chain driven from a kick Route the kick drum over to bus 1, via a bus send, so that it
01 drum track to control the Compressor across a pad sound.
02 can be used as an external Side Chain. Technically, you could
Loading the final Logic Project, instantiate a Compressor across the avoid doing this if the track was an audio track, rather than a
pad sound on track 1. virtual instrument.
Moving back to the Compressor across the pad sound, select Adjust the threshold and ratio to achieve the desired amount of
03 Bus 1 from the drop-down Side Chain selection menu. The list 04 pumping. Use higher ratios where you want more gain reduction
lets you select any audio track or bus used in your project as the Side taking place, and adjust the threshold so that the pad tracks the kick
Chain input for your Compressor. drum in the correct way.
One of the most important parameters in this effect is the In this style of compression, the mix control takes on a new
05 release time. As with all the settings, its worth looking on the 06 lease of life. Use the mix control as a means of adding back
Graph display to visualise the Compressors movements. Try some of the un-pumped pad, while still retaining the movement of
increasing the release to gain a more graduated pumping effect. the Compressor.

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similar result, but this misses out on some important both the input and compressed signal if it was instantiated
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In our example, the compression is applied via bus
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EQ curve across the Compressors output. Routed in this
MT Step-by-Step New York Compression
New York compression works as a send effect, and is most Place a Compressor across the resultant aux bus. Configure a
01 commonly applied to power elements of the kit: the kick and
02 heavy-handed Compressor using the Studio FET model, using
snare. Create bus sends from the drums, with a greater amount sent an 8:1 ratio and the threshold low enough to deliver plenty of gain
from the kick and snare, and a smaller amount of overheads. reduction. Subtlety isnt important here!
The key to New York compression is the correct Attack and If you want a little more drive, consider looking at the Output
03 Release settings. Set the Attack to its fastest setting so that the
04 controls and adding some Soft distortion combined with a touch
Compressor grabs the transients, and then gradually increase the of additional limiting on the output. Aim for the limiter just to catch
Release time so that the compressor audibly pumps. the occasional transient that slips through the net.
Add an Equalizer on the output of the Compressor, giving the The final step in to blend the compressed and equalised version
05 compressed version of the drums more colour. Using a shelving
06 of the kit in with the dry source. At its best, the effect works well
boost at either end of the kit (80Hz and 8kHz, in this case) plus a wide applied subtly, so that the compressed channel just adds energy and
dip across the middle of the spectrum. body to the output.

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MT Technique Songwriting SOS
Requirements
MT Workshop Music Composition Tutorial Part 3 Our DAW Songwriting
features are
illustrated using
Cubase, but you can
Making melodies
apply the principles
to whichever
DAW you use.
In previous instalments of this series, weve looked at using your DAW to create the
framework for your composition, and offered additional help to get you inspired
with your chord arrangements. Now its time for Andy Price to take a more in-depth
look at a songs most important element the central hook or top line melody
M
any moons ago, in our first element-by- when sounds are disharmonious, but its also due to the
element look at songwriting, we presented oversaturation of music in the western world.
an overview of how to craft a top-line Because all of us are exposed to music at various points
melody that fitted your song from scratch. throughout each day of our lives, weve collectively built up
Though in-depth, we felt we didnt exactly an internal catalogue of how music in different genres
highlight just what the melody of a song is and why its so should sound. Therefore, when we try to build songs, weve
important to train your brain to prioritise melody-making already got a vast repository of comparative material
during the songwriting process. lodged in our memory.
Although many of our readers will be writing music So, weve got an advantage before we even begin to look
devoid of any vocal (or indeed any live elements at all), at any music theory a brain thats been conditioned by
were going to assume that youre songwriting here. Thats the contemporary music landscape. But our melodies can
not an attempt to sound snobbish the central concepts be better, and more unique, if we scratch beyond the
of writing a top-line vocal melody are easily transferred to surface and look at how a top-line defines a song.
other instruments, but songwriting in the traditional sense
dictates your top-line should be the sung vocal melody. The maths of melody
But why is the top-line so important? The clue is in So how do we define a successful melody? Well, thats a
the name. Its the overriding melody that your chord very subjective notion, but its probably a melody that a
sequences, rhythmic structure and harmonic drive great number of people find they cant get out of their
supports. Its usually that ear worm melody that lingers mind. Various elements need to work in tandem to make
long in the brain after a song has been listened to, this work well. Tonal movement through the intervals that
unconsciously making the listener want another fix and make up a key has to occur, as does a degree of repetition.
(hopefully) then translating into record sales or, since were Most top-line melodies repeat at various points
writing in 2016, streams. throughout the song (usually the chorus) and also, a degree
of expectation has to be cultivated in the listener by
Brain work cleverly guiding their attention to the central hook through
Many people, when first beginning to learn the techniques verses, pre-choruses and other supporting elements. All of
required to craft a song, will instinctively construct these help to underline your top-line melodys importance
melodies by ear often this is fine and can result in looser in the structure of your song.
melodies less beholden to the musical information One of the key differences between a top-line written
contained within the chords used. However, undertaking by someone whos just starting out as a songwriter and
actual study of just what is going on when youre writing someone whos carefully planning the scope of their
melodies can result in far superior, catchier hooks, and a melodies is just how much variation it has in relation to the
greater understanding of songwriting. underpinning chords. My early songs were defined by
Having said that, its amazing to hear just how much
those unstudied in songwriting naturally know where their
melodies should go when songwriting. This is due to the
human brains perception of sound we know instinctively
FOCUS ON KEEPING THINGS HARMONIOUS

With your DAW, the creation of melodies (and indeed, every element of your song) is
simplified, as we have one centralised hub in which to try out new melody ideas, tweak
and alter them manually and refit your chords. Last time, we looked at one such
example of your DAW being a vital aid to modern songwriting, by highlighting Cubases
Chord Assistant, You can also use this tool to bolster existing melody ideas with
harmonies. If youve created a melody-line idea using Chord Track, you can then
Generate Harmony Voices by clicking Audio > Generate Harmony Voices. However,
this will require you to modify the mechanically generated harmony to sound natural.
Its often better to take the time to create a harmony manually, making each track
individually and mixing it together. The result can be that your top-line sounds bigger,
brighter and more defined as a hook.
MT161.TUT Cubase.indd 56 05/07/2016 10:43

Songwriting SOS Technique MT
MT Step-by-Step Building your melodies using Cubase
It stands to reason that your songs top-line melody should live The first thing to do is to generate a chord structure over which
01 02 youre going to compose melody ideas. Last time, we showed you
somewhere central in the structure of your song. In this step-by-
step, were going to talk you through a method of building your top-line how Cubase has the tools to help you do this (Chord Track). Most other
using Cubase 8.5 (though the principles are applicable to any DAW). DAWs have similar functionality. It has to be hearable (and loopable!)
You may want to create your melodies first, without being Begin by opening whatever instrument sound you want to create
03 constrained by a chord this is all totally fine and all youll need
04 your melody with, take the root note of the first chord and move
is your instrument (or whatever virtual instrument you favour). We between the three notes of the triad, creating a simple ascending
assume (and in many ways, recommend) that you at least have a few melody. As the chord sequence loops, do the same with each alternate
chordal ideas to start with and have recorded them in Cubase. chord, but descend on every second chord.
Youll now have a very basic, very boring, melody, but in playing Using the MIDI editor, you can now go into your MIDI information
05 through these root notes youve given yourself the touchpoints
06 and move some of the notes around while keeping at least one,
that you need to hit as your melody grows these core notes (preferably the tonic note of your chord) in place this is where you
represent the pillars of your melody. Building to and from them in an start hearing the potential and possibility of what could well be your
aurally satisfying way is the real trick. top-line melody.
melodies that were slavishly sticking close to the root composition sphere, who write music to a brief. As we
notes of the chords behind, while now, I quite often write highlighted before, theres really no way of juxtaposing a
the melody wholly independently of the chords, with a downbeat, melancholy melody with a bright and jaunty
focus on harmonic movement. This can then be applied to chord sequence will express a mood clearly, so it does help
any chord structure you craft later in the process. This can to make notes when youre conceiving your song as to what
be an interesting exercise, and may help you get away from the ultimate aim of it will be. The most generally successful
the often limiting practice of writing to a chord sequence. songs represent a clear (and relatable) emotion or feeling.
Regardless of when you form your top-line, the key The shape and direction of your melody should have
point is that your songs central melody is the most vital some constraints: if the shape of the melody is clearly
part of what could potentially make your song a success. defined, this will help to cement it as a musical motif that
repetition will drive into your listeners heads. Otherwise,
Ive got a feeling the melody will sound aimless and less hooky and
Another key aspect to the creation of your top-line is that memorable. Many vocalists limit their melodies to a
its in-keeping with the rest of the previously written music single-octave range in order to keep things straightforward,
(if you have it) for your song, or for the general tone (in though its not the only approach more dexterous
emotional terms) of the song you wish to create. This is vocalists will leap through octaves, while also keeping their
particularly important for those in the professional melodies clear and therefore easy to remember.

MT Technique Songwriting SOS
MT Step-by-Step Building your melodies using Cubase
To make your top-line the strongest it can be, it should really sit in With this in mind, think about the octaves of your melody it
07 the songs chorus, which in general should be at a higher pitch
08 should represent the peak of the song and contain a primary
than the previous section of the song whether thats a verse or a hook (usually exemplified by a smaller and quicker transition between
pre-chorus. Aurally, this lift in pitch acts as a signal to the listener that notes during the top-line). Experiment with quick ascents and
this is the nucleus of the song. descents through one or more of the root notes of one of the chords.
The highest note that your top-line reaches generally should be Think about the number of intervals in your melody. Often, if you
09 descended from gradually. This usually sounds more organic than
10 have too many intervals (notes), then the resulting effect can be
swooping back down to a lower octave, though the swooping-up-and- sonically confusing. Keep things as simple as possible by limiting
down-through-octaves technique can (and has) been used to great yourself to only a few intervals often a simpler melody is more
effect in many songs. If you dont know what youre doing, however, it contagious and easier to recognise when a listener hears the song for
can sound bizarre. a second time.
Applying the above tips should yield you at least the rudiments of Once youre happy with your top-line melody, then you need to
11 a good top-line melody. However, sometimes its better to move
12 look at the rest of the song, study each part (verse, bridge) and
away from your computer and your MIDI interface if youre just not see how their respective melodies relate to your top-line. In many
quite getting that perfect combination of notes. It helps sometimes to cases, its good if they arent that similar the top-line should be the
feel your way through a melody with a live instrument (but remember most exciting, standout hook of your song.
to record what you do)!
Use the DAWs While writing your top-line, you should be aware of the
Using your DAW to help get your musical framework in timbre and tone of other instruments, too. You may even
order is more efficient than writing with your instrument in find a melody sounds best playing solely on an instrument
isolation. You can use your DAW to restructure your chords as an additional hook, supporting your as yet-unwritten
once theyre in place; through trial and error, you can try out top-line. Even after youve secured a worthy top-line
different melody ideas over the top, and combine ideas melody, altering other factors cn enhance it further. Try
without having to remember them. speeding it up or slowing it down and write new chords.
This is perhaps one of the main attributes of digital This can fundamentally change the mood of your song and
songwriting: not needing to rely on your brain to retain the might inspire the creation of something brand new.
information youre experimenting with. Quite often, as Concocting successful melodies is a skill that takes
songwriters, well go off on chordal, melodic or time, patience and effort to master. The most vital piece of
instrumental tangents. In the planning or conception songwriting advice that we can give is to enjoy the process,
stages of your song, you should record everything you can. and not to see the difficulties in creating the perfect
Then, once youve got an idea, create a separate project melody as a technical job. Instead, see it as a journey
from your writing project and work on it there. through different avenues of expressing yourself. MT

MT Modular Technique MT
MT Modular The Joy Of Maths
The Joy Of Maths

There is one module that seems to be highly visible in
just about every Eurorack setup. Dave Gale asks why
this should be and encourages you to do the Maths
I
ve been embroiled in the world of synthesisers for this bundle of fun. I ultimately discovered that in the
many years, since the 1980s in fact, and back in my Eurorack community, Maths is akin to Marmite. Those
youth, I would spend many an hour drooling over who love the Maths do so with unbridled passion, yet
catalogues from the likes of Roland, wondering how, those who dont remain mystified about the fuss.
as a 14-year-old schoolboy, I was ever going to be So first things first, what does it do? The straight
able to afford a huge analogue polysynth that had an answer is a number of things, but the more useful
RRP of 3,999. Fast-forward 30 years, and I still find answer is that it is akin to an LFO, a slew limiter and an
myself looking at catalogues, albeit via the inter-web, envelope, but with complete control over both the rise
and wondering how I am not only going to afford the and fall phases. Beyond this, Maths gets a shade more
latest piece of analogue kit, but also explain it away to complicated, as it can do far more than the basics, and
my long suffering wife (I can feel her eyes rolling as I gets even more confusing when you take into account
write about it). So when I entered into the world of that it can even modulate itself. Its also quite confusing
Eurorack a while ago, I noticed that a great many
Eurorack enthusiasts seemed to have one highly
identifiable module in their rigs namely Maths, from Those who love the Maths do so
Make Noise.
with unbridled passion, yet those
Maths you either love it or hate it
So before I start to wax lyrical as to why every Euro user who dont remain mystified
should know about this module, I must preface this by
saying that my love of this module did not happen when Make Noise describes this module as an
overnight, in fact it took a couple of months to really analogue computer designed for music purposes
understand why there was so much joy to be found in and so we also venture into the world of Make Noise
design, where there is little in the way of readable
legends to accompany sockets. This leaves the novice
confused, but the experienced user feeling smug with
the smallest amount of knowledge, like a theoretical
physicist at Cern!
Form factor
So, in unravelling this module, its important to know
whether you are looking at Mk1 or the Mk2/2013
revision of the Maths. Mk1 is instantly identifiable, by
the black lightning-strike design, which is what made
this module so identifiable and ubiquitous. Before us
MODULES WITH SIMILAR PROPERTIES

The Maths is capable of so much, there isnt really another module
that does the exact same thing, which speaks volumes about its
uniqueness and also why so many Eurorack users swear by it.
However, a unit such as the Pittsburgh Modular Envelope will allow
similar control and cycling of both attack and decay phases, acting
much like an LFO, as will the Mutable Instruments Tides, which also
boasts more functionality besides. In both cases, you do only get
the one channel of operation, as opposed to the two on the Maths.
Make Noise also makes a module called Function, which offers
Left: A couple of strikes of much of the same functionality as a single channel on the Maths.
lightning indicate that you are This will no doubt be useful, but will lack the Maths extra versatility
looking at the Mk1 Maths.
and complexity.
Notice the Inputs at the top,
indicated by the arrow!
MT161.TUT Eurorack.indd 61 05/07/2016 10:44

MT Technique MT Modular
Mk1 owners (of which I am one!) get all high-brow, with

Mk2 came some revisions, along with a small change in
layout which makes the Maths Mk2 far easier to get
your head around Touch!, they cry.
To the far left and far right of the Maths are mirrored
channels, named 1 and 4, both of which do the same
thing, much like channels on a mixing desk. At the top
of both channels, there is a CV-signal input (indicated
by an arrow), which will take an incoming CV and then
emit an outgoing CV at the bottom end. What happens
in the middle is dependent on the position of the Rise
and Fall pots, which will add or subtract an additional
voltage to the CV, hence the moniker Maths. So, if you
were to send a sequenced pitch CV to the CV input on
the Maths, and then output it to the pitch CV input to
your oscillator, the Rise and Fall controls will act as a
slew limiter, adding portamento or glide as the control
is increased. Whats particularly useful here is that the
Rise pot will effect rising pitches, only adding glide to
upward notes; whereas the Fall pot will effect notes
MK1 OR MK2?
A friend of mine said: It just If you are looking to try and pick up a Maths, you will only be able to
purchase the Mk2 model from new. Having said that, the Mk1 has
seems to make bleepy noises, attracted a somewhat classic status, in no small part due to the
lightning strikes on the front panel. There are some small upgrades
which for some it does

to the mk2, not least of all the general layout, which has improved
considerably and makes the module much clearer to use. Yet for my
money, its lacking that quirk factor of the Mk1, which is odd for me,
as I usually like function and practicality over form. Just goes to
show how you get used to what you know. The Maths is in pretty
decent supply, through sites such as eBay, but be prepared for a
moving downwards in direction, meaning that you can Top right: Maths patched up.
bidding war They are very popular!
Patched up and ready to do a
have different settings for both upward and downward bouncing ball-style ramp LFO,
glide. Exceptionally cool and useful! modulating the Warps
algorithm input
be. In fact, it goes far further, as you can take a patch
I want to ride my bi-cycle Below: Maths Mk2. Form takes cable and feed an output from channel 1, to an input on
centre stage, as the lines are
You might also have noticed that there is a button far more clearly defined with channel 4, or more likely, use channel 1s mathematical
located next to the Rise pot, on both channels 1 and 4, the Mk2 Maths. There are more output to control something like the fall on channel 4.
legends and descriptions, too
which is named Cycle on the Mk2 Maths (we Mk1 Through this process, you can create the legendary
Maths owners are psychic and know that its the Cycle effect which is known as the bouncing ball; taking an
button, despite the lack of description it also glows output from channel 4 and running the input into the
red). When this button is pressed, the Rise and Fall both input of channel 1, when both channels are
elements will cycle, much like a traditional LFO. placed in cycle on mode, one will modulate the other,
However, you will again have complete control over the creating an ever increasing frequency of bounce. Keep
rising and falling elements, meaning the Rise controls low for maximum sharpness to the
you can create both LFO and AD bounce itself.
envelope-style CVs, to send in all
manner of directions. Applying this Doing your sums
output to a CV-pitch input on an Its also worth mentioning that there is a summed
oscillator will yield very obvious output on the Maths, that will allow the user to take a
results, but will be a very cool effect signal of all parts and run it in a location of their choice,
to apply to the old standard of the added to which, there is also a sweepable control that
cut-off frequency of your filter. will switch the arc of the output, from linear to
I should also mention at this logarithmic to exponential, for ultimate output control.
point that there is an attenuation So there it is the joy of Maths. A friend of mine,
control available to attenuate the who is not a lover of Marmite, said: It just seems to
CV level being emitted, which is make bleepy noises, which for some it does. But
incredibly useful if your signal is a its also such a versatile unit that it demonstrates the
shade hot, as it can so often be with nature of what a multifaceted module of this kind can
the Maths. do, and it can also be so damn useful to boot.
Armed with this basic If youre not sure whether Maths is your strong suit
information, you have a small list of but fancy a look, buy one on eBay, try it out, and if you
what the Maths is all about so if hate it, sell it for the price you paid. Nothing ventured,
you also throw in the fact that the nothing gained But I have a sneaking suspicion that
so far ignored channels 2 and 3 are once tried, youll scratch your head, then youll keep
high-level attenuverters, you can trying until the penny drops, and youll feel like that
start to see how useful this unit can theoretical physicist at Cern. MT
MT161.TUT Eurorack.indd 62 05/07/2016 10:44

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MusicTech.indd 1 30.06.2016 15:34:39
MUSIC IS OUR PASSION
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MT Reviews Propellerhead Reason 9
MT Lead Review
Hardware Software Mobile Tech Accessories
For PC
& Mac
Choice
PROPELLERHEAD
9/10
9
9/10
Reason 9
Is the Props long-serving and much-loved DAW still a force to be reckoned with
in 2016? Matthew Mann takes an in-depth look at the latest version and
encounters far more than he bargained for
R
Details eason is like that funny fat, juicy sound and Kong, a total drum Propellerhead opted to allow select
Price 289 cousin who you cant help but designer package using synthesis, third-party companies to create Rack
Upgrade: 99 like. Its always been a bit of sampling, and physical modelling for Extensions tightly controlled versions
Reason 9
Essentials: 49 an oddball, in that it has the purpose of creating completely new of their effects and/or instruments, for
Distributor never allowed the use of third-party drums and kits. use exclusively within Reason.
Propellerhead plug-ins. Then there was the fact that Propellerhead then incorporated Companies such as Korg, Softube, D16
Contact www.
propellerhead.se
for a long time you couldnt even record Record into Reason completely with Group and many more jumped onboard,
System requirements audio into the software. At version 5,
Propellerhead created Record, a
Reason is like that funny cousin
OS X 10.7 or later, Win7
or later 4 GB RAM /
separate program allowing you to
3GB hard-drive space
record audio for use in Reason. Record
sessions could then be saved and who you cant help but like. Its
opened in the DAW with the audio
intact. Although a little cumbersome, always been a bit of an oddball
this gave Reason owners, for the first
time, the ability to record directly. Reason 6. Finally, direct recording and creating some excellent emulations of
Before this, the only way to get audio sampling were possible in Reason, but classic instruments and effects and
into Reason was by way of importing still no third-party plugins It also some entirely new and original ones.
audio files. Along the way, we saw the introduced a new mixer modelled after With the release of Reason 7, users
addition of Thor, a mega-synth with an SSL 9000 K and pitch correction with could finally control external MIDI
amazing modulation possibilities and its Neptune device. With version 6.5, devices with the MIDI Output Rack
MT161.REV Reason.indd 66 11/07/2016 14:52

Propellerhead Reason 9 Reviews MT
Extension. This version also introduced can say I was pretty excited to see what arpeggio can be run in parallel or
loop slicing and audio quantising, the developer would come up with next. separately and assigned to separate
and various workflow enhancements, Lets see what theyve added with this key ranges as in a key split. Anything
including a spectrum EQ and mix-bus version, and if its worth all the hype. you play outside the key ranges
routing within the SSL-style mixer. well, that gets played as is. This means
Reason 8 featured two free Rack Flow-rida you could play arps and melodies or
Extensions Softubes guitar amp and At first glance, I was disappointed to basslines at the same time. Creating a
bass amp emulators. It also introduced discover there are no new instruments player is a simple matter of dragging
one onto an instrument or its track. You
can also create one by right-clicking on
Propellerhead has always the instrument and adding it from the

context menu. There are two cool
listened to its users and kept buttons at the top of the devices, which
I found a very welcome addition. Send
on adding exciting features To Track records the exact notes you

play on your MIDI keyboard (or from the
onscreen piano keyboard) straight to
workflow enhancements, including in version 9; however, the addition of their own track for further editing.
drag-and-drop functionality. some major workflow enhancements Direct Record, on the other hand,
Ive left out lots of additional makes up for that. Reason 9 also records the output of the device to its
features that have been included over features some intriguing MIDI tools, own track, so you can edit those notes.
the years since Reasons introduction, which make creating new musical parts This works on Dual Arpeggio and Scales
but the point we can take from this easy. Well start with features called & Chords. I forgot to mention Dual
potted history is that Propellerhead Players. There are three of these MIDI Arpeggio is also mono and polyphonic,
Software has always listened to its devices in Reason 9 Dual Arpeggio, so its a quick-and-easy way to create
users and diligently kept on adding Note Echo, and Scales & Chords. lively interest in your music.
features it felt would excite and keep its
fans interested. Dual Arpeggio Scales & Chords
Now, Reason 9 comes to us almost This is a dual arpeggiator, as you might I love this device! Scales & Chords
two years after the last release, and I have guessed at the back there. Each allows you to play one or more notes
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relative to the key of the chosen scale.

When the Alter button is pressed, it
changes the chord slightly to make it go
outside the current scale. For example,
changing a chord from a minor to major
chord or the other way around. See?
Instant fun!
Note Echo
The third device is Note Echo. This one
is, quite simply, a MIDI delay. Instead of
having to copy MIDI notes and paste
them ahead on the timeline to simulate
a delay (which some of us had to do
back in the day, before synths with
built-in programmable effects), Note
Echo will do it for you. You can choose
the step length, the number of repeats,
and whether or not to tempo-sync to
the sequence. Additionally, I can choose
and generate chords that fit the chosen selected scale. When switched on, any Above: Around the to change the velocity and pitch of the
scale. It also will allow you to play notes incorrectly played notes will not sound. back, you get your repeats in a linear fashion. This is a
usual wiring, just a lot
and it will transpose them into the The next section is the Chords more of it! great feature, which can add real variety
desired scale. This is a brilliant way section. Switch this one and become a to your tracks and really begs for
Below: Dual Arpeggio
for the non-musician to create complex master of music theory. Hitting one note offers parallel
experimentation. Its also polyphonic,
chords progressions and melodies with will generate chords in your selected arpeggiation, and so you can add the echo effect to
minimal effort. Its also very useful scale. You can select how many notes enables you to assign chords as well as monophonic lines.
arpeggiation to
for speeding up the workflow of the chord will consist of, which inversion specific key ranges Aside from the devices Ive just
accomplished musicians as well. of the chord will be played, and whether mentioned, Reason 9 comes with a host
Start by inputting the desired key or not the chord is an open voicing. of other enhancements that may seem
and scale. There are 12 keys and 13 Theres also an option for adding a note small, but are quite significant for
preset scales to choose from. Theres one octave above/below the root note. speeding up your production workflow. I
also a custom scale for experimentation The folks at Propellerhead even added found the new dedicated Edit buttons
(Slice, Pitch, Comp) to be especially
helpful. Theyre in the Sequencer
Scales & Chords lets you play toolbar and made getting into different
edit screens a little faster for me.
one or more notes and generate There are some cool features that I
really dont know how I lived without
chords to fit the chosen scale such as Bounce Audio Clips To MIDI.
This one is fun. Take a vocal track,
right-click on it, and select Bounce
and creation of your own scales. Theres an option to add tertiary notes to a Audio Clips To MIDI from the Bounce
even a little window that highlights the chord (6ths, 9ths, 11ths) for denser, Submenu. This creates a MIDI track
notes on a keyboard that fit within your more colourful-sounding chords. (with a Subtractor attached to it) and
chosen scale. I love this feature. Its like The Alter button is what I call the creates MIDI notes that are the same
Reason is saying play anything except Green Fun Button. Its a momentary pitches as your vocal track (note: you
the dark notes. Next is the Input Filter switch that changes the current chord can do this even faster if you already
switch. This is another cool feature. in different ways depending on the have an instrument track just drag a
When left off, Reason will correct any chosen key, whether its a major or copy of your vocal audio track onto your
played notes that are not in the minor chord, and which note is played instrument track and it creates the MIDI
notes instantly). Now, select a patch of
your liking and you have instant
basslines or melodies. You can also
use this MIDI track to experiment with
harmonies for your vocals. I liked
choosing vocal-type patches and
layering these with the original vocals.
Once you have a harmony track you like,
you can duplicate it and create second
(third, fourth and fifth) harmonies.
Bounce In Place is a great feature,
and one which has been needed ever
since audio recording was introduced in
Reason. Being able to bounce your

MT Step-by-Step More on pitch editing
Select your audio to work with. Either double-click the audio For those of you familiar with Melodyne, this will look very
01 track or click the Pitch Edit button in the toolbar.
02 familiar. For those of you who are new to the world of pitch
editing, the blue blobs are words and phrases with a detectable pitch.
The grey blobs have no detectable pitch. These are typically sliding
notes. The white dots (nodes) above each note are Drift Handles. The
blue nodes are Transition Handles. The Drift and Transition Handles
only appear when you have selected a note or notes.
There are a couple of different ways to adjust the pitch of your

03 audio. One is to click on the Correct button in the Pitch section to
the left of your audio. The other is to grab one of the blobs with your
cursor and drag it up or down. How much the blob moves depends on
the settings in the Transpose section to the left of your audio. You can
choose Snap, Jump or Fine.
Once youre happy with your newly pitch-corrected audio, Id

05 recommend Bounce Clip to New Recording, to free up resources.
Use the Drift node to adjust the natural pitch drift/vibrato

04 present in the selected note. You can add more or reduce it
completely. Use the Transition node to adjust the time it takes for pitch
transitions between notes.
audio track with its effects into a new audio with several edits on each track, the theme. The new themes can be
audio clip is a must for a DAW. Being 40 instrument tracks with automation found under Preferences and I will say
able to bounce MIDI-instrument parts and several effects tracks and never that they make Reason look a little
into an audio clip is also a must. Both of ran over 50 per cent on the built-in more sophisticated and are easier on
these can free up valuable resources DSP meter. Colour me impressed! the eyes; however, they make the
and now you can do both in Reason 9! Oh, and since I mentioned colour, software look quite a bit like FL Studio,
Speaking of resources, Reason 9 still I should probably mention the new and Im not the only one to say that,
runs very well and seems to be quite Themes in Reason 9. Theyve given us either. In my opinion, if theyre going to
light on computer resources. Im two Blue or Dark as well as the give us themes, give us several from
running a mid-2014 MacBook Pro with original theme. Not only that, but R9 which to choose. However, at least we
16GB of RAM and dumped 64 tracks of requires a restart each time you change got something that isnt so bright. My

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Left: Scales & Chords The bottom line

enables the creation This is, by far, the biggest upgrade to
of chords from scales,
and the transposition Reason in a long time. Id have to say
of any note into a that I am blown away. Although there
desired scale
are no new instruments, per se, and no
Below: Note Echo is a new effects processors, the
MIDI echo tool, which MIDI Devices and the workflow
resembles Logic Xs
handy Note Repeat enhancements have changed the game
wwwwww completely for Reason users.
Propellerhead has managed to pack
wife really likes the darker themes type, Single Take clip set to Allround or in so many things that people want and
when shes trying to sleep and Im Melody Stretch type, and Comp Mode need that I think this will bring a whole
working on a project while sitting in bed. clip), there are new icons in the lower new wave of producers into the Reason
Another workflow enhancement is right corner of the clip. This makes it fold. Not only is Reason 9 serious
the ability to reverse automation and easier to identify whats what. Also the competition against some of the other
note clips. This is another cool feature Razor tool, until now, could not split DAW makers, Propellerhead has
Ive been waiting quite some time for. notes it does now; zooming with a managed to keep it affordable even
You can even highlight a selection of scroll wheel now centres on the mouse with the fantastic workflow and
MIDI notes and reverse them. I used to pointer; the left pane in Edit modes creativity enhancements. If I wore a hat,
love this feature in Cubase in fact, it shows the colour of the edited track; I would certainly be taking it off to the
was my secret weapon, for a while. I the ElectroMechanical and RDK Vintage boys (and girls) at the company.
would hear a melody or a bassline in a Mono ReFills are now included in the I do wish they would consider a few
song I really liked and recreate it in Factory Soundbank; Softube amp more themes and, possibly, more MIDI
Cubase. Then, Id reverse the notes and emulations have completely replaced devices. It seems this has started
have a completely new and original the Line 6 amps and are now embedded something that could make Reason the
only real competition with Cubase and
Logic in terms of strong MIDI
Adding all these great features capabilities I think its reasonable to
hope for more of the same in the future.
without killing my resource And adding all these great features
without killing my resource meter is
meter is pure witchcraft pure witchcraft. Im re-establishing my
love affair with Reason, and I strongly
recommend v9 to anyone getting into
track. What? Its not like I was reversing in Reason 9; theres a ReFill with over electronic music production or for those
lyrics. And Paul is NOT dead! 1,000 new patches and some of the thinking about making the switch to a
best patches from previous versions of DAW meant for sampling, synthesis,
Whats up, my pitches? Reason in the browser its called MIDI, electronic music production and
Of course, one thing you might have Reason 9 Sounds; Reason 9 now rock-solid stability. MT
noticed above is the Pitch Edit button. includes Pulsar, Propellerheads dual-
Yes, one of the most exciting additions channel LFO Rack Extension we used
MT Verdict
to Reason 9 is pitch editing. I was very to have to pay $49 in the online shop to
excited by this, as Ive always had to do get it; finally, theres an icon in the + MIDI Devices add creativity for
any pitch editing with Melodyne in my Transport Bar that allows you to drop miles
+ Pitch Correction works well and
other (DAW). Thats fine if Im working in your track to Allihoopa to share it with saves tons of time
my other DAW; but if Im working in others its free to sign up. + Bounce Audio To MIDI is
Reason, its a real workflow killer. One thing I noticed and Im not absolutely fantastic
Now, with their new pitch edit mode, entirely certain that its exclusive in + Bounce In Place is long overdue,
excellent and fast
you can choose to edit your audio Reason 9 is the ability to drag the
+ Many new samples and patches
directly in Reason. This feature does not Browser pane on the left all the way to + Softube Amps are another win
work with polyphonic material, but it the left, so that all you see are tiny icons + Still the most processor-friendly
does work in mono and it works pretty of your device types, ReFills, folders and DAW on the market
well, too. So, its great for adjusting favorites. You could only show or hide
- Could have given us more themes
dodgy vocals which I have so I do them before, but now you can have a to choose from
end up using it a lot! tiny quick-reference list of mini icons. - Still dont have the option to
Its very handy to have there. resize tracks to full screen (except
And finally (almost) in edit mode)
I know I havent mentioned everything By far the best version upgrade for
new in Reason 9 there are so many Reason users in ages. Workflow
enhancements, improvements and enhancements and creativity tools
additions, that its easy to miss one or make Reason 9 a game changer.
If youve been thinking about it
two. So before I conclude our time
just do it.
9/10
together, lets try and get some in. For
each different type of audio clip in R9
(Single Take clip set to Vocal Stretch

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Thermionic Culture The Swift Reviews MT
Excellence
10/10
THERMIONIC CULTURE
The Swift
Thermionics latest EQ is a replacement for the Freebird
3-channel EQ, but comes with some additional goodies.
Just how high can it fly? asks John Pickford
A
Details s its name implies, Thermionic surely rank as the most revered valve found on The Swift in 1963, when he
Price 2,292 Culture makes pure valve equaliser of all time. The main active modified Lansdowne Studios EMI-built
(excluding taxes) equipment exclusively, with a ingredients are based on a 1950s console that had been designed by
Contact 01279 414770
range including microphone EMI mixing desk, similar to the REDD pioneering producer/engineer Joe
Web www.
thermionicculture. preamplifiers, compressors, summing consoles used at Abbey Road studios Meek. This control, unique to this
com mixers, distortion units and, of course, during the 50s and 60s, which featured equaliser, works partly as a high-pass
equalisers. The Swift is a two-channel a Baxandall-type EQ providing shelving shelf, then develops into a broad peak
equaliser thats a replacement for the equalisation for bass and Treble. centred on 900Hz, 2kHz or 4kHz before
three-channel Freebird EQ. That was a Bass frequencies can be boosted or gradually tailing off at the upper range
4U, half-rack unit, designed to be part cut by 11dB, with peaks and troughs of the curve. These Presence settings,
of a modular system alongside the centred on either 50Hz or 100Hz, which are activated via a rotary switch,
similarly sized Nightingale mic-pre;
The Swift is a more conventionally sized
3U 19-inch rackmount unit. The Swift combines the best
Built into the chassis of the Phoenix
compressor, the Swift comprises EQ British EQ design with features
features found on the discontinued
Freebird as well as other Thermionic from renowned US models
Culture products, such as the Rooster 2
and Phoenix HG15, reviews of which selectable via a toggle switch, while the offer around 4dB of boost at their peak
can be found on our website. Treble control operates in a similar centre points.
Now, Ill come clean and declare that fashion with centre frequencies of 7kHz The Mid Cut and Mid Lift controls
Features the out-going Freebird has been my and 12kHz. Unlike the Freebird, which are passive designs, with the Lift
High- and low- favourite EQ for broad, musical tone made use of indented, stepped pots, section based around the classic
end Baxandall- shaping since it was launched around the controls on The Swift are American Pultec EQ. Both sections offer
type shelving EQ
five years ago. Similarly, the Phoenix continuously variable, allowing for four selectable frequency points and
Switchable
midrange boost HG15 a high-gain compressor that smooth operation. Front-panel three Q settings, with the higher Q
and cut doubles up as a microphone/line markings, however, are both clear and settings providing a sharper and more
Vic Kearys preamp features a wonderful Air detailed, making precise stereo settings powerful amount of boost or cut at the
1963-designed
Presence boost control (extreme top-lift) that finds its easy. Furthermore, TC told me that it selected frequency centre point. The
Super-top way on to many of my recordings. has chosen not to use indented pots for Mid Cut offers a maximum reduction of
Air control The new Swift combines the very subtlety, and because the continuously 15dB at the highest setting, 10dB at
True-bypass
best of British EQ design with features variable pots are more reliable. medium Q and 5dB at the lowest and
control
NOS valves found on renowned US equalisers, Thermionic Cultures chief designer gentlest setting; available frequencies
namely the Pultec EQP-1A, which must Vic Keary invented the Presence boost are 350Hz, 700Hz, 2kHz and 7kHz.
MT161.REV Thermionic.indd 75 05/07/2016 10:33

MT Reviews Thermionic Culture The Swift
Mid Lift operates in a similar way, handsome it would look in the rack boost. Not so with The Swift you can
with a maximum boost of 17dB at the below our similarly proportioned pile on the enhancement, safe in the
highest Q setting, along with 10dB and Phoenix compressor, still performing knowledge that you will not EQ the life
8dB at the two lower settings; 1kHz, superbly after almost 20 years. Once out of your tones.
2kHz, 3kHz and 4.5kHz are the centre on-song, I strapped one channel across I mentioned earlier that, for the
frequencies of the Mid Lift control. a lead vocal track, keen to hear the last five years, Thermionic Cultures
One feature lacking on my beloved effect of the Presence and Air controls discontinued Freebird has been my
Freebird EQ but incorporated into the in particular. The Presence control on favourite equaliser. Now, with the
new Swift is Thermionic Cultures Air my TC Freebird has long been a secret addition of more comprehensive
control. This control is reminiscent weapon in my arsenal when processing midrange controls and the sublime Air
(although not a copy) of the 16kHz lead vocals and I was pleased to hear control, The Swift ranks as the finest
boost control found on the Pultec that The Swift performed the same program equaliser I have ever heard.
EQP-1A. The Swifts Air control begins to magic Ive come to know and love; it Sure, there are other units (parametric
lift high frequencies at 7kHz, reaching a allows the vocal to pop out of a mix EQs, for instance) that are better suited
supersonic 30kHz at maximum boost; without sounding unbalanced. Dialling to forensic tone-rescuing duties.
11kHz is boosted by 5dB at full pelt. in some Air worked wonders, opening However, for the musical enhancement
Finally, in terms of tone control, the out the sound and creating a halo of sounds that are not broken, The Swift
Swift features a 12dB/octave High Pass atmosphere. It was interesting to is a first among equalisers.
Filter that reduces low-frequency compare the Air control with the 12kHz
information by 6dB at 12, 24, 48 or treble boost. While the high treble boost In use
68Hz. Additionally, the final HPF setting added noticeable top-end sparkle, the As well as sounding superb on
is a 6dB/octave from 2kHz that levels Air control worked its magic by creating individual sources, The Swift is
out at 400Hz, before operating as a sense of space that didnt present excellent at shaping the sound of final
another 6dB/octave filter below 48Hz. itself as an obvious top-end lift. mixes. A gentle 50Hz boost can add
This setting can produce useful results Turning my attention to the low-end, weight to thin-sounding tracks while
when used in conjunction with Bass Lift I tried the Pultec-inspired trick of the Air control sounds great on just
to mimic the famous Pultec low end simultaneously boosting and cutting about anything.
trick of simultaneously boosting and the low end, making use of the High The Presence control can help the
cutting low frequencies. Pass Filter and Bass Lift controls. clarity and projection of lead vocals
Other front-panel controls comprise Boosting at 50Hz with the HPF at its and instruments in a way that cant be
Gain switches, to adjust the output gain final setting gave bass guitar a nice achieved by simply raising the level with
of the unit between -4.5dB and +3dB touch of low-end heft, while effectively the channel fader. MT
(with a further 6dB cut available on an removing a little upper bass and
adjacent toggle switch; hardwire low-mid muddle. Alternatives
Bypass, which completely bypasses The Throughout the reviewing period, I Thermionic Culture is in a class of its own
when it comes to pure valve hardware
Swifts electronics; plus the units power employed The Swift on all manner of
hand-built in the UK. However, Warm Audio
switch, which illuminates a green LED voices and instruments, finding the offers some excellent copies of classic
when powered up. On the back panel, chosen frequency centre points and Q equipment, mass produced to a budget. The
EQP-WA (649 each, 1,298 for a stereo pair) is
connectors are provided for balanced settings for the Mid controls to be a great version of the legendary mono Pultec
(floating) inputs and unbalanced output useful in a musically pleasing way. EQP-1A, and WAs take on the Teletronix LA-2A
XLRs. Sowter transformer-balanced While I understand that some engineers will be reviewed in these pages shortly.
outputs are available as an optional feel that using the right microphone in
extra. Internally, two double-triode the correct position should negate the
MT Verdict
valves per channel are employed; these need for EQ, I find that quality
are NOS (New Old Stock/vintage) GE equalisation is an extremely powerful + Powerful-yet-musical
5965 and brand new JJ ECC802S types. tool for creating modern pop tone shaping
+ World-class valve sound
Straight out of the box, I powered up productions. Maybe too many poor EQ
+ Well-thought-out
The Swift and let it warm up for 30 sections on budget desks have made frequency options
The Swifts
minutes. The unit is beautifully laid out engineers wary of boosting frequencies, balanced inputs and + Classic Presence boost
in the classic Thermionic Culture style, leading to that tired old clich that if unbalanced XLR outs, + Sublime Air control
with a glimpse of + Intuitive to use
and I couldnt help thinking how you must use EQ, its better to cut than those NOS valves
- Stiff competition from decent

budget equipment
The Swift is a world-class equaliser

combining the best ideas from
classic British and American
designs. Hand-built using only the
finest components, its a no-
compromise design that offers
sweet-sounding tone control for
individual sounds and complete
mixes alike. The Swift is the finest
stereo valve equaliser weve ever
used, bar none.
10/10
MT161.REV Thermionic.indd 76 05/07/2016 10:33

FIRST WITH REVIEWS
FIRST WITH NEWS
HAVE YOU CLICKED?
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MT .net ad.indd 1 23/09/2015 09:37
MT Reviews Wave DNA Liquid Music For Live
WAVE DNA
Liquid Music For Live Choice
An amazing tool to help create harmonies, melodies, and 9/10

chords, inside the Live Suite. Martin Delaney investigates
F
Details lashback to the NAMM Show in the notes appearing in the Live MIDI clip exciting performance tool as well. The
Price $149.99 January 2016: during the last complete with extra notes generated musically ignorant (including me) can
Contact www. hour of the show, I discovered by whatever chords or harmonies were use the plug-in to create compositions
wavedna.com
the WaveDNA booth, and Liquid created by the preset chosen earlier. they never wouldve managed otherwise
Minimum system
requirements Music For Live, which instantly became This is very impressive, and blew my its not the same as simply using Lives
MAC: a personal show highlight. This is a Max mind the first time I saw it. MIDI effect devices, for example while
OS X 10.7.5
4GB RAM
For Live-based Ableton Live add on, Traditional MIDI editing functions the more experienced musician looking
Java version 1.6 which aims to provide a new take on arent available within the plug-in, but for a change will also be rewarded. I
750MB disk space MIDI composition whether that youve already got Live if you want to should mention this also includes the
WINDOWS:
involves beats, melodies, harmonies, or drag MIDI notes around. in Liquid Music, full version of Liquid Rhythm, which is
Windows 10, 8, 7,
or Vista chords. The idea is as you draw in a its about editing the preset settings, of course the beat-oriented equivalent.
4GB RAM succession of single notes, the software and applying those to the current notes, Liquid Music For Live is a unique
Java 1.8
(recommended Java will generate chords or harmonies or drawing in some fresh ones or product, and a must-have for anybody
SE8 by Oracle) around them, based on either presets, clicking the Surprise Me! button for a either struggling to compose their own
750MB disk space or on your own customised settings. bit of randomisation. Its a mixture of MIDI parts, or seeking new composition
This review covers the Max For Live game-like exploration, and as much and programming techniques. There
version, although AU and VST versions music theory as you want to add. were points where I was getting
over-excited and thinking, Wow, Im
The musically ignorant can

gonna use this for all my music from
now on! realistically, that probably
use it to create compositions

isnt going to happen, but I am still very
enthusiastic about Liquid Music as a
they never wouldve otherwise

music creation tool. MT
Features
Max For Live add
on, AU and VST MT Verdict
MIDI effect plug-
in integrates are included in the purchase, for the Theres a great chord-sequencing + Integrates with Ableton Live for
with Live clips Ableton-challenged person. After feature, with a tool called the Suggester, immediate visual feedback
Sketch
installation, Liquid Music appears as a which will suggest chords that naturally + Max For Live, AU and VST versions
melodies, + Possibly the ultimate cure for
harmonies Max For Live MIDI effect in Lives follow on from your initial selection, and
writers block
and chords in Browser. Drag it into a MIDI track, then you can also base chord selection on
real time
load an instrument after it its best to selected moods. Interestingly, a single - Not as clearly explained as it
Create rhythmic
ideas from beat- use a straightforward polyphonic instance of Liquid Music, loaded into could be documentation lacking
building blocks instrument like a piano at first. Create any MIDI track, can access any MIDI - For Live needs Max For Live
Use presets an empty MIDI clip in the track, then clip, in any track, in your set. Another
to create then An authentic creation tool and at
manipulate click the button in the device to launch cool Ableton-specific feature is the no point does it feel like youre
fresh ideas and connect to the separate Liquid ability to import a melody from an cheating. The For Live version is
Chord Music application. After that, all thats existing Live MIDI clip into Liquid Music. particularly impressive.
transposition
and substition required is to select a preset and start
drawing notes. As you do so, youll see
Full MIDI-control mapping is available,
so you could use Liquid Music as an
9/10
MT161.REV Waves.indd 78 05/07/2016 10:41

All rights reserved to Moog Music Inc. on all text and graphics here within. Reserved Mother-32, Moog Trademarks.
Exclusively distributed in the UK and Ireland by Source T: 020 8962 5080 W: sourcedistribution.co.uk/moog
#42444 - Moog Mother 32 Ad - MT.indd 1 14/07/2016 11:36

MT Reviews iZotope DDLY
IZOTOPE
DDLY
Weve said it before and well say it again say it again
say it again Mike Hillier looks at iZotopes new dynamic delay
E
Details very mix engineer will have a creative opportunities for the mix lead vocal and bypassed the bottom
Manufacturer iZotope selection of instant go-to engineer, adding rhythmic complexity delay line. We then set the Dynamic
Price $49 delays, often on preset sends to drum loops, and helping to add Threshold down at the bottom (-60dB).
Contact Time+Space in their mix templates ready to character to a lead vocal. In this setting, DDLY behaves as a
Web
www.izotope.com
quickly add depth to a sound. But The DDLY colour scheme takes a standard delay unit, with all the signal
Minimum system occasionally, what you need is little getting used to, but the interface is being processed by the top delay. This is
requirements something a little more creative than a easy enough to find your way around, a useful starting point for setting the
PC Windows 7, AAX,
quick go-to quarter-note or dotted placing all the parameters on a single basic delay parameters.
RTAS, or VST host
Mac OS X 10.8, AAX, eighth delay, no matter what saturation page. The two delay lines are split onto The delay lines can be toggled
AU, RTAS, or VST host options it offers. iZotope DDLY is one the top and bottom of the interface with between two different delay algorithms.
The first is a lo-fi analogue-delay
DDLY creates unusual delays

emulation, with analogue-style
smearing and degradation, while the
that respond musically to

second is a digital granular delay with
control over the grain size and pitch.
the incoming material

Once wed decided on a simple
analogue quarter-note delay with some
subtle saturation (or Trash, as its
known in DDLY) and dialled up the
such creative tool, combining two delay a window in the centre, which shows feedback, we began to dial up the
lines with a unique threshold control, the frequency spectrum in real time Dynamic Threshold until only the louder
which sends audio signals above the with filters superimposed over the top. parts of the vocal were being fed to the
threshold to one delay and audio below Confoundingly, iZotope hasnt delay line. This gave us a clean
the threshold to another. included any presets with DDLY, nor performance, in which most of the vocal
This simple addition of a threshold has it made it possible to save your own was unprocessed, but the loudest parts
enables users to create unusual delays presets. Instead, theres an old-school were delayed, providing additional
Features that respond musically to the incoming recall sheet on the website. While this emphasis where it was most needed.
Two delay lines
material. Louder signals will be sent to does encourage you to experiment Each of the two delay lines has its
Responds to
dynamics in the one delay, while softer signals will be more, rather than relying on a few own independent high- and low-pass
performance sent to the other. staple tricks, it does seem like an filters, enabling you to further shape
Analogue unusual oversight. the signal being sent to each of the two
and digital
grain delays
One from the top To get ourselves started, we added delay lines. We dialled both of these in,
This kind of control offers up many an instance of DDLY as an insert on a pulling out any low-end mud from the
MT161.REV iZotope DDLY.indd 80 11/07/2016 14:50

delayed signal, and used the low-pass
filter to place the delays further back in
the mix, behind the lead vocal.
Engaging the bottom delay, we were
able to create a more subtle eighth-
note delay, with no feedback, and more
extreme filtering. This delay was added
to any signal which failed to pass the
threshold. The result was that we gave
the body of the vocal some depth
without requiring any reverb, and
without muddying up the mix with too
many repeats.
On the grain train

The granular delay algorithm can be
used to get some incredible and
unusual sounds, especially with
automation of the pitch and grain size.
Drum loops processed with this
algorithm can be brought to life and
then destroyed again. Try automating
the pitch down just as youve captured
a kick in the delay line:` as it repeats,
each kick will be pitched lower and
lower for a modern twist on the
slowing-tape effect, but perfectly in
sync with your beat.
DDLY is a lot of fun to use in the mix.
If youre just looking to add a simple
delay part, there are obviously faster
ways to get there, and we wont be
throwing out any of our other delays in
favour of it. But the ability to process
signals based on their dynamics
without having to resort to side-chains
or gates means this is likely to remain a
permanent part of our mixing setup for
some time to come. MT
Alternatives
You can make your own version of DDLY
by adding a gate before a delay send. This
will only allow signals that fall above the
threshold to be passed to the delay. Getting
a similar send for the signals below the
threshold is a little more difficult and would
require inverting the polarity of the gated
signal and feeding this back into a second
delay send to remove the louder signals. A
more traditional take on dynamic delay is
to add a compressor after the delay, being
fed by the dry signal. This method ducks the
delayed signal until there is a gap in the dry
signal, when no compression will be applied
and the delayed signal can come up to fill
the space.
MT Verdict
+ Quickly creates rhythmically
complex passages
+ Two delay algorithms
- No presets
An original, interesting and unique

delay effect.
8/10
MT161.REV iZotope DDLY.indd 81 11/07/2016 14:51

MT Reviews AKG K Series headphones
Details
Kit K52, 72 and
92 headphones
Manufacturer
AKG
Price
39, 49, 59 +VAT
AKG
Contact
Sound Technology
01462 480000
Value Choice
$ 9/10
9
9/10
K Series
Web www.soundtech.
co.uk
Features
Closed-back
headphones
40mm driver AKG has released possibly its most affordable series of headphones
3.5mm jack with
6.3mm adaptor ever. Andy Jones asks if they are too good to be true
W
Weight: 200g
K52 hen it comes to a lot of headphones that cost well over four extraordinary. Ive been recommending
Frequency music-production gear, we figures and releases a range of headphones costing at least three
range:
dont mind admitting that headphones that cost, at most, 70 quid. times this amount and will be putting
18 Hz to 20 kHz
i/p impedance: we can act a bit highbrow This is a company that knows its stuff them up against such reference phones
32 ohms and snobby. Generally speaking, we sonics-wise, so how dare it try and rock so we could be in for some surprises.
i/p power: tend to recommend expensive studio
200mW
monitors, for example, simply because
How dare they try and rock

Cable 2.5m
they tend to be the best ones. You pay a
K72
lot more money for an extra two-per-
our throw a load of money at

Frequency
range: cent accuracy, but that accuracy is the
16 Hz to 20 kHz most important two per cent you
i/p impedance:
32 ohms
i/p power:
absolutely need when you are mixing.
The same applies to headphones used
your speakers boat?
200mW for monitoring of course it does. After
Cable 3m all, its no good spending a fortune on our snobby, highbrow throw money at The K range relies on two main
K92 synths, software, outboard and mics, if your speakers boat? How dare it indeed. design elements for its price-versus-
Frequency youre mixing the end results on a cheap quality selling point. The first is the
range:
16 Hz to 22 kHz set of phones. O K 40mm drivers present in all three,
i/p impedance: Which is a fine, and we think You can afford any model in the K which offer a wider frequency range
32 ohms admirable, stance to take on the matter. Series. The cheapest, the K52, weighs in and a higher sensivity, for a bigger
i/p power:
But then, along comes AKG a at just 39 plus VAT; the most expensive output. The second feature is the
200mW
Cable 3m company that produces at least one at just 59 plus VAT. For headphones closed-back design, which leans heavily
set of gobsmackingly accurate aimed at the mixing market, that is towards comfort, as we shall see.
MT161.REV AKG K Series.indd 82 05/07/2016 10:21

AKG K Series headphones Reviews MT
Well start with the cheapest 52s compared to our reference set, but you otherwise similar. Indeed, they do
and spec-wise, these have the shortest can start to pinpoint more things in your challenge, but not quite beat, our spend
cable of the three (2.5m) and narrowest mix compared to the 52s and thats more money on speakers philosophy,
frequency range. All three phones are important in mixing. If you can identify a and could be the best phones you can
lightweight, which could be seen as problem area which you can just do get for two figures. MT
cheap but actually, Id be pointing out with these then you can start mixing.
this as a positive on more expensive Onto the final set, the K92s, and Alternatives
phones, so lets look at this as a bonus were talking nearly double the price of We havent looked at many sets of cheaper
you dont want something heavy on the cheapest K52s but still only a headphones of late, so these stand alone in
your head during long mix sessions. shade over 70 quid in total. While the the low end of the market. We still in the
main, anyway stand by our spend more
The 52s are very comfortable only significant immediate difference philosophy and on that score, some of our
indeed. The band keeps them tight with the 72s over the 52s was a silver standards include recent models by Ultrasone
(P880); Audio Technica (ATH R or M70), KRK
but not too clammy on your head and circle on each earpiece, the K92s offer
(KNS8400) and Blue (Mo-Fi).
the isolation is decent, though not gold trim and a headband not real
spectacular. They dont pass my typing gold, you understand, although the
test i.e. can I hear myself typing while adaptor is gold plated. This obviously MT Verdict K52
wearing the phones? but they do feel helps them stand out against the other
+ Lightweight phones
encompassing and just right. models in the range, as do the specs. + Comfortable
Sound-wise, they are found wanting The 92s have the widest quoted + Dynamic sound with good
in the bass, but not as much as youd frequency range and this is apparent in separation
+ Reasonable isolation for
the money
For a laugh as you do I put

+ Stupidly cheap
- Bass is lacking
the 92s up against headphones - Mix is a little aggressive
that cost 1,300

With a big, brash sound, these are
more suited for live monitoring than
studio mixing. Okay if you lack
funds, but wed recommend
spending more for serious work.
expect. This is an area that cheaper my tests. While they are still not up
headphones often struggle with and
one thing manufacturers will do as
there with my reference phones (now
only three times the cost!), theyre not
7/10
with speakers is colour the sound bad at all. I could pick out more bass,
here. Thankfully, AKG hasnt, but that more lower mids and separation is MT Verdict K72
does mean its lacking. Having said that, again good, as is comfort. Isolation is + Lightweight phones
Ive heard far worse than these at again reasonable were talking a very + Very comfortable and good for
exactly this price point and the sound similar wearing experience to the longer sessions
does punch through so theyd be a others, really (same design and weight) + Vibe-y sound with
good separation
good set of cans for monitoring in a live and as for the sound, you can + Reasonable isolation and, again,
scenario. Upper mids are there in certainly pick out what you need to in very cheap
abundance, lower mids not so much. order to make a good stab at mixing.
However, the spatial separation is there Again, this mix is a bit shouty compared - In-your-face sound can be tiring
- Not quite the level of mix you are
and almost a match against our to the more rounded performance from looking for
reference ATs; but the sound sadly isnt my reference set, but it is certainly a lot
its not rounded, and a little too calmer and more consolidated than While these are a step up from the
aggressive but lets keep reminding both the 52s and 72s and really pretty 52s sound-wise, we cant help
thinking that an extra tenner will
ourselves that these are one sixth of the good for ID-ing mix issues.
buy you the top-end model!
8/10
price. Yes, you read that right: one sixth! For a bit of a laugh as you do I
put the 92s up against a set of AKG
Stepping up a level K812s that I have finally got in for
So now we move on to the K72s and the review (long story) just to see how theyd
difference is not immediately obvious. cope. These AKG s are 1,300-plus, so, MT Verdict K92
You get phones that are just as light in yes, they sound incredible. A beautiful, + Most accurate sound of the range
weight, and just as comfortable open mix. However the K92s didnt + Good imaging
identical, in fact. The isolation is also sound like just 1/18 of the price you Choice + Good comfort
+ Most expensive, but still cheap
9/10
9
9/10
the same decent if not perfect and could hear much of the detail, albeit in a
+ Good detail for mixing
the wearing experience is good. They more compressed environment, like the + Better bass response
are comfortable, not so noticeable and aural equivalent of the roof going on at
good for longer sessions. Wimbledon (okay, maybe not). - Mix still a little more enclosed
Sound-wise though, these are a step - As with the others, the upper mids
are pronounced
up. When A/B-ing with the 52s, you Conclusion Value
$
really can hear the presence of the Of the three, we definitely recommend The best in the K range and well
extra couple of bass hertz, which helps the K92s. They have the best specs and worth the extra for proper mixing.
make the sound less in-your-face. Its
still up there and upper middy
are a step up sound-wise, with the
wearing experience of all three being
9/10
MT161.REV AKG K Series.indd 83 05/07/2016 10:21

AJH Synth Ring SM Reviews MT
Top line: the

three input gains
X, Y & Z offering
independent level
control of each
Ring Mod input
MIddle line: Ring

Mod and Mix duties
are shared with
mixer functionality,
indicated by the 1 to
5, in bold legend
AJH SYNTH Excellence Bottom line: Ring

Mod inputs on top,
10/10
with mixer inputs 1
Ring SM
to 5 below, complete
with a double
switch, to
ring-modulate a
single oscillator
Ring mods can be the source of great sonic interest

but imagine a classic design with greater functionality.
Intrigued? Dave Gale takes a closer look
I
Details ll be honest, ever since I first heard either one or two octaves. Now, I was
Kit Ring SM ring the sound of the Wendy Carlos sceptical here, as I have always hated
modulator, mixer and
soundtrack to A Clockwork Orange, the lag that can come from octave
sub-bass module
Manufacturer Ive been a sucker for ring dividers and the like, so I fell off my
AJH Synth modulators. In my misguided youth, of chair in amazement when I found the
Price Vintage Black course, I didnt know this was what I tracking to be incredibly fast, accurate
(260) or Silver (245)
was listening to. When I first heard the and sonically full of body. According to
Contact 07867 008964
sales@ajhsynth.com aforementioned thunderous chimes, I AJH, the sub will pick up within one
www.ajhsynth.com had assumed it was just some sort of cycle, hence there is no lag time at all, signal measurement of around 60Hz.
synth thingy that made that noise, and or at least not that any human can This would place the sub-one octave at
of course, I have since discovered that make out. During the design phase a fundamental tone of around 30Hz,
not all ring mods are equal in fact, of this module, the subs tonal structure which for the purposes of normal
good ring mods are a little thin on the was tinkered with endlessly, to get musical duties, is more than low
ground, so when Allan Hall announced the right timbre; you will not find a enough. Meanwhile, at the top end, the
his latest module at Superbooth16 in run-of-the-mill square wave here. In sub tracked to around the 1,500Hz
Berlin earlier this year, I found it difficult fact, youll find something quite mark, which could start to call into
to keep away from his demo rig.
The S&M secret I fell off my chair when I found

Enough of ring mods for the moment
lets talk about what else is hidden the tracking to be fast, accurate
under the hood. Theres an exceptionally
useful five-channel mixer, clearly and sonically full of body
labelled in bold numbers on the front of
the module, next to accompanying pots; surprising at higher frequencies, the question the fact that it really is a
the inputs for which are also clearly subs are more sinusoidal, squaring up sub, and not a primary oscillator. This
labelled at the base of the module. as you move lower in pitch/frequency, is impressive, by all means, and
This will happily accept both audio and but where AJH have tinkered, you can immediately made me think of what a
CV signals and will sum as you would unmistakably hear the definition of the great addition to a Moog Mother-32 this
expect, to create wonderful fundamental, which is as clear as a bell. would be: the Moog, with its lack of
Features possibilities. Inputting via one of the If you think about this, its a stroke of sub-oscillator, would benefit greatly
Three-input
lower jack points will cut across the genius, as it keeps the subharmonic from the addition of the Ring SM to the
discrete signal path to override whatever else overtones out of the way at higher modular armoury.
transistor might be occurring, within other duties frequencies, but makes them nice and
ring modulator
such as Ring Mod. The mixer is based present when you need them to be, in Add Z to X+Y
Five-input audio/
CV mixer on the classic CP3 design, used by the lower registers. However, when you And so to the main event as though
One- and/or Moog, which will not come as a surprise crank the Sub pot, you will also find a theres not been enough to rave about
two-octave sub- to those that are familiar with AJHs degree of overdrive creeps into play, still so far The ring mod is based on a
bass generator
other products. It sounds beefy and sounding sympathetic and pleasant. 1960s discrete-transistor design, but
Power draw:
65mA (reverse- glorious in audio-mixer mode, and is I was intrigued enough to measure has a curious trick up its sleeve. As well
connection equally dutiful with CVs. the frequency response of the subs as an X and Y input, there is a third, Z
protected)
Well, that explains the M in the against the tracking. According to my input, which acts in much the same
Width: 14HP
Depth: 38mm moniker, so what of the S? That stands not exactly laboratory tests, the sub way as a the Y input, but offers more
for Sub, and delivers a sub tone at performed well, down to a primary resonance. This makes it perfect for
MT161.REV AJH Ring.indd 85 05/07/2016 10:19

AJH Synth Ring SM Reviews MT
Left: All patched in, Conclusion

with LFO adding a
third Ring Mod input, This ring mod is packed full of features,
and just a hint of sub but its the basics that are simple to
to round off the
bottom end achieve, and the panel is pretty self
explanatory, too, which is often not the
case with multi-function modules.
There is no doubt that as a ring
modulator, the Ring SM is in the big
players league and when you add the
tonal depths of the subs, the big
foundation of sound is laid out for all to
hear, and it will be glorious. As a ring
mod, its a superb choice of module, but
with the added functionally (and my
word, those subs), its easily one of the
best multi-function units Ive come
across except this one is not a jack
of all trades, its a master of all. MT
Alternatives
There is not what you might call a plentiful
supply of ring mods out in the Eurorack
marketplace and be forewarned, you
generally get what you pay for. Personally
speaking, I want something resonant and
colourful from a ring mod, and thats not
always on offer with cheaper modules. Good
contenders include the Analogue Systems
RS20 (although there are good digital
alternatives, such as Mutable Instruments
Warps, which is equally multifaceted). Another
option is to look at a more complex oscillator,
in the digital line, that might offer FM or
wavetable-style synthesis. Ring-mod tonal
colours can then be obtained by stealth, as
well as doubling up your oscillator availability.
taking signals from modules such as sources. The AJH MiniMod VCO was
LFOs, where the result will be beats and an obvious choice, but I found Do I really need this?
clicks that further complement the exceptionally interesting tonal colours Ring mods do what they do, with a specific
sonic palette of the ring mod. This aside, drawn from the likes of Mutable purpose in mind. They are not for everyone, but
the ring-mod aspect of this module Instruments Braids and SEs Grainy what they give the sound designer is another
way to get tonal colours from a modular. If you
sounds like everything I would hope for; Clampit although you should beware like distorted colours and resonant overtones,
full of resonant harmonic overtones, that the sub might start to suffer with ring mods are worth exploring, but there is no
doubt that more than one oscillator will yield
and a great place to go if you want to more complex wavetable-style and the best results. If you try it, and its not for
make those metallic Carlos clangs. noise-based colours, as it struggles you, sell it on and try something else. Having
However, where this module really gets to lock on to the complexity of the said that, the additional functionality of the
Ring SM makes this a very useful purchase.
interesting is when you then bring the waveform. This is more proof, if Its a very high-quality mixer, too, and then
subs back into play. Whether they are required, of the discrete nature of there are the subs so a multi-function
running in tune with a sequence, or the design. module like this will always be useful in a
smaller rig. If you like drones, this should be
behaving as drones, the ability to dial in If you want sub, choose a sensible very high on your list of things to try out.
just the right amount of fundamental is waveform for your X input and while
MT Verdict
The ability to construct a + Superb-sounding ring modulator
+ Flexible and useable
mutating and pulsating drone ring-modulation options
+ Glorious-sounding subs
was something I couldnt resist + Top-quality mixer, too

+ Like all AJH modules,
outstanding build quality
stunning. Talking of which, this module were back on the subject of the X input, - More expensive than some other
ring mods, but offers much more
is very at home in many camps, but I this can also be doubled, thanks to a
found the ability to construct a nifty switch which will then send the At its heart, this is a beautiful ring
mutating and pulsating drone was same signal to your Y input, meaning modulator but factoring in the
something I couldnt resist, particularly that you can ring-modulate with a additional functionality makes
as the sonic characteristics of this unit single oscillator. this module a class act.
are so desirable.
In my experimentations and
However, there is no doubt that
multiple-oscillator inputs will yield far
10/10
noodling, I used a number of tonal input more complex tonal colours.
MT161.REV AJH Ring.indd 87 05/07/2016 10:19

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MT161.subs.indd 89 12/07/2016 14:57

MT Reviews Studio Electronics Tonestar 2600 Eurorack Synth-Voice
Nice n easy! VCO on

the left, Filter and LFO
in the middle, and
VCA/Envelopes to the
right, not forgetting
all the helpful patch
points at the bottom
Excellence
10/10
STUDIO ELECTRONICS
Tonestar 2600
Eurorack Synth-Voice
Details
Kit Tonestar 2600
Eurorack Synth-Voice
Manufacturer
Studio Electronics
Price 449 (RRP)
Contact MSL
Professional 0207
Studio Electronics has created a great stir with its Boomstar range,
118 0133 contact@
mslpro.co.uk, www.
but now the Tonestar 2600 enters the arena, in Eurorack format.
studioelectronics.
com
Dave Gale patches up this new semi-modular
I
Features
Full single-voice f you had to ask the question: What had me the most excited is the Studio selling points. However, dont get the
format product seemed to be the most Electronics Tonestar, recently appearing wrong idea here; the build quality isnt
Analogue prevalent at the recent round of as the Tonestar 2600. secondary to the sound quality in any
architecture
music-tech shows?, many would way, in fact, SEs attention to detail in
Draws
inspiration cite the seemingly new market for a Why the excitement? getting its modules to sound great is
from ARP Eurorack synthesiser voice in a single I have always liked SE kit, not least of all the main reason why the Tonestar is
synth designs
module. Weve seen the Roland System from the perspective of build quality. coming to market some months behind
Width: 32HP
Current draw:
1m, Moog Mother-32, and Pittsburgh The companys products are well made, the likes of Roland and Moog. The guys
120mA Lifeforms, which seemed to be the first without any doubt its motto is Omne at SE wanted to get the Tonestar 2600
Hardwired for to market; and other companies, such Quale Supra (quality above everything just right, and then, when they thought
convenience
as Oberheim, have also announced else), after all. There is no sense of pot theyd got it right, they went back and
Plenty of patch
points available their intentions to enter the arena. But wobble with any SE products; in fact, Id listened and tinkered, until it was even
if Im honest, the one product which has place the build quality as one of its best more right
MT161.REV Tonestar.indd 90 05/07/2016 10:34

Studio Electronics Tonestar 2600 Eurorack Synth-Voice Reviews MT
The Tonestar structure say is an enormous surprise, but its available. Its also worth pointing out
Enough of my excitement lets dive in helpful to have these things confirmed. here that many more traditional filters,
and have a look at what we have in the Ive always found the saw on the such as the Moog ladder design, suffer
way of an architecture. Oscillations to have some heft in tonal a drop in both level and bottom end
Starting at the front end, we have a quality. It just seems to have plenty of when the resonance control is cranked,
VCO, which many will not be surprised depth in its purest form, so I was and that is the case here. Its not as
to learn offers almost identical delighted to find that the Tonestar saw pronounced, but what really makes the
functionality to the SE Oscillations wave offered the same weight, when difference is, as you turn up the
module. For my money, the Oscillations unfiltered and pure. overdrive, the bottom end falls back into
is one of the best of the current crop of Moving forward, we next encounter place. Though its with additional tonal
Eurorack VCOs. Its stability in both the Filter section. When SE first colour, its still a really helpful feature
tuning and tracking coupled with released its Boomstar series of synths, when trying to make up that monster
great-sounding source waveforms has it was the filters that made all the bass patch with a hint of resonance.
set the bar pretty high and Im delighted difference. The series offered the same Following on, we have the Envelope
to report that the Tonestar follows suit, synth in five different colours, with the section. What could be interesting
tracking up to a full eight octaves. The only factor that altered from model to about that, you ask? Well, there are two
only waveform not on offer here that is model being the filter, so when it came of them for a start the first envelope is
present on the Oscillations is a sine, to the filter choice for the Tonestar, SE a full-blown ADSR envelope, and the
which is hardly the most important of decided to plump for the ARP-style second is a simplified Attack/Release
waveforms to include. However, there is 4075 filter. Yet it turns out that with the affair, with options for switching duties,
so you can assign the relevant envelope
The Tonestar filters according to the patching you require.

This is a masterstroke, and another
exceptionally useful Drive pot one-up over the Mother-32, which has
a very simplistic envelope, and only the
adds another dimension one. So, immediately, theres a whole

world of amplitude and other routing
options available to the user. With even
a nifty little switch which bypasses the extraordinary attention to detail that more attention to detail, the primary
triangle wave from the filter, meaning these guys have, they started pulling envelope mimics a minor glitch that
that the fundamental stays true. out loads of original ARP synths to appeared on the ARP 2600 and Odyssey,
Theres a healthy amount of control of tinker with, in order to tune the filter where, after the initial decay, the
parameters, with an excellently wide into something even more bespoke. It sustain sinks and moves. SE cites this
and sensitive PWM to apply to your turns out that SE mistakenly named its as a flaw in the original ARP circuit, but
square/pulse wave; and this can be 4075 filter it should have been a 4072 its also part of the charm of the
routed from both LFO and Envelope filter (no, I wouldnt have known this original, which offers up a slightly
sources, for control from within the either). So, with my A/B hat on, I found musical quality: and for me, its these
single module. The one addition which myself switching from a 4075 module to little moments that add to the charm of
I did wish had made it onto the the Tonestar filter. Again, there were no a great synth.
Oscillations is the Octave switch, which really discernible differences here, until The dedicated LFO section offers a
nestles just below the fully sweepable you reached the point of overdrive. The number of options for routing, drawing
frequency control on the Tonestar. Its 4075 module overdrives as the Input on triangle and square waveforms for
easy to flick between three octaves with pot is increased, whereas the Tonestar modulation. Switched routing can be
this switch, which is something you may has an exceptionally useful Drive pot
well find yourself doing as soon as you which adds another dimension one
Meet Singles in your area
turn up the sub oscillator. Yes, thats which Id have liked to have seen on my
With all this talk of single-voice modules, you
right! Its even got a square-wave sub, original 4075 filter. Its also possible might be wondering what the allure is. If youre
which is something the Moog that this change in circuit contributes to new to Eurorack, the purchase of a single
synth-voice module such as the Tonestar 2600
Mother-32 doesnt have, and for me was the slightly different tonal colour. makes a lot of sense. It means youll be able to
something of an omission. Lurking at If you really pushed me to pick one, get started straight away, provided you have a
the bottom, you will also find a small Id say that the 4075 module just had case with power and some form of CV/Gate or
MIDI-to-CV connection. Its all there; oscillator,
volume pot which relates to white noise, the edge, feeling a shade more gutsy, filter, envelopes and VCAs, which are the four
keeping it out of the way of more tonal though I do still like the Tonestars filter main elements that youll need to get going. If
youre looking to build a small system on a
duties, which are the centre of the main overdrive. Key tracking is also available,
budget, there is no better place to start, as the
VCO section. via a tuneable pot, which, when turned bang-for-buck quotient is strong and it wont
I wanted to know exactly how close up fully, tracks to 100 per cent. With the take up too much studio space, meaning that
you can start building your setup even in
to the Oscillations the Tonestar source resonance cranked, nice tuned relatively cramped conditions. If this sums you
tones actually are. So, with both resonant timbres tracked with a up, start with one single-voice module and add
modules powered up, I did the minimum of hassle, and without any of another when you can. Youll be able to do
loads with one module, but with two or more,
obligatory A/B test. To my ears, I couldnt the wobble that can often be the case you can really get patching.
hear any difference at all, which I cant on analogue modules with tracking

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Studio Electronics Tonestar 2600 - Eurorack Synth-Voice Reviews MT
achieved to both frequency and head up into the audio spectrum, if

Alternatives
pulse width on the VCO, or sent in the so desired.
There are lots to choices in the single-voice
direction of frequency and more Glide is available to slew between Eurorack market at present, many of which
uniquely resonance, on the VCF. In pitch CVs and, on the back end, there is we have already reviewed in MusicTech.
The Roland System-1m is a great digital
both instances, there are dedicated a dedicated pot labelled feedback. Id incarnation; however, the obvious bedfellow
is the Moog Mother-32. They are different
synths, but as a synth-voice, the Tonestar
Delicious Juno-style PWM offers more sonic possibilities, straight out of

the box. The Moog is wonderful, comes in a
chorus-type effects make

lovely ready-to-go package and has an
onboard sequencer (which is admittedly a
shade tricky to use). But then the Tonestar
you wish you had polyphony

has a sub oscillator, ARP-based filter and two
envelopes, so it really boils down to whether
you want something that sounds like a Moog,
or more like an ARP. Its a tough choice to
Amount pots that allow for fine-tuning wager that this is a far cry from the old make, and both modules are very valid and
of level. Soon enough, delicious feedback loops that were popular on exceptionally good but for me, I think the
Tonestar just has the edge, purely on available
Juno-style PWM chorus-type effects classic Minimoogs, though certainly the functionality. Plus, its 50 cheaper, but you
emanate, making you wish you had beautiful colours that start to appear will need a case to put it in.
polyphony available. The LFO will also are reminiscent of this. Bear in mind
that this also sits alongside the filter
overdrive, which is a slightly different but for the most part, everything that
Tonestar needs a home
beast, so, for distortion, the user is you need to operate a single synth-
The only negative point that I can think of for
this module is that when you buy one, you only spoilt for choice. Finishing off the signal voice is hard wired and ready to go, so
get a module. This is fine if you already have a chain is a VCA volume control, which for many, the patch points will primarily
Eurorack, or youre starting out with an eye on
the bigger picture so if the latter describes
can head straight out into the real serve signals coming out into the rest of
you, I would consider this unit to be a great world, without needing further modules. a modular. Its a great resource for this
starting point to go in a skiff or small case; And finally, it wouldnt be a Eurorack sort of purpose, and very helpful in a
youll need the housing, and some power, but
thats it! Skiffs or 1U cabinets start at around module if it didnt have all the patch smaller rig as a result.
the 120 mark, so perhaps look at the Low points, and there are plenty, including a
Cost Doepfer designs (LC-3) as a starting
point. You may want to add another oscillator
rather handy external input which What could be better Flow diagrams
heads right into the filter. The usual than one Tonestar Being of the generation that grew up
at some point, too, so you could consider 2600? How about a
partnering this with an SE Oscillations. array of outs is available from the VCO, whole bunch of them? with the onslaught of the Japanese

MT Reviews Studio Electronics Tonestar 2600 Eurorack Synth-Voice
sounds so classy and crisp, with a

Our TONESTAR overview
resonance that really sings out
VCO SECTION MIXER SECTION ARP FILTER LFO WAVEFORMS and here, I have to mention again
a The VCO section,
b The mixer section
c The outstanding
d Tucked away at the wonderful ability to control the
with frequency control and allows the user to combine ARP-based filter, complete the bottom, the LFO is
octave switch. Pulse width just the right amount of each with overdrive. The tracking switchable between resonance from the LFO. Its a unique
modulation is assignable to waveform, including the Sub. pot assures 100-per-cent triangle and square wave, feature in modules of this kind and
either LFO or Envelope, The result sums from the tracking when fully rotated. with the obligatory speed
adds yet more character to the
according to switch position. Mix out. and depth controls.
Tonestar, but moreover, the drive on the
filter adds character by the bucketload.
a e The resonance shouts under these
conditions and breaks through the
heaviest of mixes, but not in the harsh
way that some digital filters might.
c
Conclusion
Sonically, this is not designed to be
some kind of straightahead clone of a
2600 which is odd, when you consider
that SE has elected to name it the
Tonestar 2600. This begs the question
f as to whether well eventually see
further modules appearing with
different filters, as with the Boomstar
series but if this is the case, Im
g delighted that this ARP incarnation is
d the first to see the light of day. Its a
b beautifully colourful module, with one
of the best filters around, not to
mention one of the finest VCOs. Its very
well built, solid as a rock, and is as
stable as you like. If only all modules
were built this way. MT
h
Do I really need this?
ADSR AND AR FEEDBACK LOOP PUMP UP THE VOLUME INS AND OUTS
e Two envelopes for the
f The feedback loop; a
g A fully formed volume
h No slouching on the
The Tonestar 2600 represents absolutely
fantastic value for money. Youre essentially
price of one! A full ADSR far cry from the cable-out- control, outputting the patch field, either. The world
getting the guts of the SE Oscillations and
envelope resides alongside a of-the-headphone Moog Tonestar to the real world, is at your disposal, with
4075 filter in one hit, along with all the other
simpler AR design, but duties trick, this pot places the without any need for further plenty of options to send
elements thrown in for good measure. So if
can be re-assigned by both control right where it needs modules. Patch from the Out signals in and out of your
youre new to Eurorack, this is a worthy
switching and patch field. to be. socket for audio nirvana! own Eurorack.
contender for your first purchase. Youll need
some form of interface or sequencer to drive
it, and a case to put it in but the quality of the
product speaks for itself, both physically and
machines, I have always been well wanting more, and I did reach for a sonically. This would be ideal for a smaller rig,
where space is at a premium.
versed with the purity and uncluttered patch cable or two in order to hook up
signal flow associated with the Roland my Oscillations alongside the Tonestar,
machines of the early 80s, and the so that I could detune the primary VCOs,
Tonestar reminds me of this. Its with the sub nestling below. The raw
MT Verdict
logically laid out: simple, but with the waveforms are full of body; I especially + Superb build quality
odd switch requiring greater thought. like the saw on the Tonestar, which + Contains more than a nod toward
the ARP sound
This reminds me of the purity

+ Beautifully laid-out signal flow
+ Outstanding sonically
+ No shortcuts in production
and uncluttered signal flow of + Full of useful features
early-80s Roland machines

- Youll need a case, with power, to
put it in
This is a very useable and

Getting into the nitty gritty of somehow feels full of depth compared characterful synth-voice module,
which offers something slightly
patching, the Tonestar is a real breeze to other saws I have in my rig, but its
different from the rest of the crowd.
10/10
to work with. You just dive in and get the filter that I feel lends the real
your hands dirty. Its funny how, with charm. ARP filters are legendary, and
Eurorack, you always find yourself this reincarnation is a thing of beauty. It

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IK Multimedia Miroslav Philharmonik 2 CE MT Reviews
IK MULTIMEDIA
Miroslav
Philharmonik 2 CE
Miroslav Philharmonik 2 CE puts a complete orchestral Value
instrument under the fingers of musicians on a budget.
Keith Gemmell conducts his investigation
$
O
Details rchestral sample libraries, Orchestral Strings. And weve just heard those on a budget, IK has recently
Price 119 complete with all the sections that Steinbergs forthcoming notation released a slimmed-down version,
Contact and important solo program, Dorico, will feature the Miroslav Philharmonik 2 CE, based on
+44 (0)1223 234414
instruments, cost a great companys full HALion Symphonic SampleTank 3s 64-bit engine. With a
Web www.
ikmultimedia.com deal of money to record and develop. Orchestra (another golden oldie) for its 10GB library and over 700 instruments
Thats one of the reasons why, once orchestral playback sounds. spread across the same categories as
established, they tend to remain pretty Both the aforementioned libraries the full version, the word budget
Features
much unchanged for many years. Every are mere youngsters, though, compared doesnt really apply, content-wise.
Over 10GB of
16-bit samples That said, the 16-bit sample rate
The original Miroslav

Over 700 here is lower than the full version. The
instruments upside to this, of course, is that it is
Multiple
Philharmonik Orchestra first

more CPU-friendly, making it suitable
articulations
per instrument for all types of computer. Its supplied as
appeared over 20 years ago

Convolution a standalone workstation or a DAW
reverb
plug-in. It can also be used as an
34 high-quality
studio effects add-on instrument collection for
Four mastering SampleTank 3.
processors from so often, they are updated in some way, to the original Miroslav Philharmonik
T-RackS
Standalone
usually to keep abreast with technical Orchestra, which first appeared over Altogether now
workstation, changes. Garritan Personal Orchestra 4, 20 years ago. The full, newly enhanced All four sections of the orchestra are
DAW plug-in, for example, was recently upgraded to version with extra content recorded at represented strings, brass,
or add-on for
SampleTank 3
GPO 5 with a large helping of extra CNSO Studios in Prague is now under woodwinds and percussion. Theres also
samples from the defunct Garritan the auspices of IK Multimedia. For a range of choirs and four grand pianos.
MT161.REV Miroslav.indd 97 05/07/2016 10:24

MT Reviews IK Multimedia Miroslav Philharmonik 2 CE
The Play window The Mix window The Edit window

The Play window is where you select The Mix window has 16 channels and four The Edit window contains resampling, pitch
instruments and organise their articulations. insert effects per channel, four stereo effect and time-stretch, controls for fine-tuning
For example, select a 14 Violin Multi and it returns (with five insert effects each) and a selected samples along with filter and velocity
loads with 20 articulations, which can then be master channel with five insert effects. Here, controls. Below these are sections for two
played and key-switched chromatically from we have inserted a Vintage EQ to our 14 Violins LFOs and two ADSR envelopes. To their right,
C0 to G1 on a controller keyboard. Selected Multi channel strip and a convolution reverb we find a choice of polyphonic, mono and
articulations and their switches are displayed (ConvoRoom) to the Master channel. FX legato one- and two-key modes, with
in a separate panel. For more in-depth work, controls for both can be found just above the portamento and curve controls.
articulations can be loaded separately. virtual keyboard.
Legato Violins, for example, contains 11 legato
choices. A set of instrument-specific macros
is displayed just above the virtual keyboard.
Its difficult to fault what is, after all,

percussion section, complete with a remarkably comprehensive orchestral
maps. As if all this were not enough, to workstation that contains everything
Articulations are numerous throughout, round it all off theres a huge selection needed for adding orchestral music to
which is ideal for experienced of mixed ensembles spread across the existing tracks, be they pop, jazz,
composers. Fortunately, for orchestral keyboard for a fast workflow and useful cinematic or whatever.
newbies, who are more likely to be sketching. Titles like Action Sequence For pure classical-music projects
attracted to this library, a range of and Brass Drama provide a good idea of and highly professional mock-ups,
playable ensembles is also provided for what to expect here. though, things have moved on
simple arranging. To top it off, 34 plug-ins from IK technically in this area, with a variety of
As well as the sections, there are Multimedias SampleTank 3 individual-instrument sample libraries
also plenty of solo instruments again, workstation can be inserted in the on the market. They, of course, are far
with many articulations that can either mixer, plus a convolution reverb and more expensive and the price paid in
be keyswitched on-the-fly in multis, or four mastering processors from their many cases for a single instrument will
loaded as single samples. T-RackS. These can be controlled be higher than the complete Miroslav
Philharmonik 2 CE, which also contains
a very decent set of solo instruments,
Has all you need for adding anyway. And if youll pardon the pun,
this is where IK Multimedias offering
orchestral music to tracks, scores very highly indeed its fantastic

value for money. MT
be they pop, jazz or cinematic Do you really need this?

This library was the first of its kind back in the
The sound quality throughout is, individually, or by using each day and was developed by the bassist with
on the whole, excellent and pretty much instruments eight macros which Weather Report, Miroslav Vitou, primarily for
his own needs. Its been used by many media
what you might expect from a library of enable quick access to the most composers since. This version retains some of
this price good, but not spectacular. commonly used parameters. the original material, along with much that is
Theyre certainly on a par with the Although articulations are listed on new and is very computer-friendly. So if you
are on the look out for a complete orchestra at
competition, though, such as the IK Multimedias website, theres no a bargain price, the Miroslav Philharmonik 2
Garritan Personal Orchestra or the in-depth information about editing. CE could be just what you need.
HALion Symphonic Orchestra. The The Edit page itself contains a ton of
strings, in particular, have a lighter controls and a manual would help
MT Verdict
sound than many other orchestral enormously. Unfortunately, there
libraries with a nice woody timbre, doesnt appear to be one. + Long pedigree
which we found very refreshing. + Fully featured orchestrally
+ Solo strings
Alternatives + Fine sounds
Sing out Garritan Personal Orchestra 5 (GPO5) is a good
A very welcome addition are the choirs choice and contains a complete orchestra with - No manual
female, male and mixed that are over 500 instrument choices, along with
comprehensive control and a very easy-to-use Value-wise, orchestral sample
as good, if not better than, other budget ARIA player. The HALion Symphonic Orchestra libraries dont come better than
choirs weve encountered. So, too, has a wide range of orchestral instruments, this a full orchestra, plus solo
are the tuned chromatic percussion including solo, tutti and ensemble sounds in strings, lots of ensembles and
various playing styles and articulations.
instruments, marimba, glockenspiel comprehensive mixing and
HALion Sonic SE 2 is included in Cubase
and chimes. Other instruments of note (version 7.5 or higher) and Cubase Artist editing features.
include organ, guitars, harps and
harpsichord and a full orchestral
(version 7.5 or higher) and Nuendo NEK
(version 6.5 or higher). 8/10
MT161.REV Miroslav.indd 98 05/07/2016 10:24

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ROLI Seaboard RISE 49 Reviews MT
Ooh, wheres me
Seaboard?
Right here, madam,
and its got 49
keywaves
Innovation
ROLI Choice
9/10
SEABOARD RISE 49
ROLIs quest for world domination continues with RISE 49. Bigger and better?
ponders Andy Jones, as he re-enters the fifth dimension of sound
H
Details ere at MusicTech we love A quick recap wrapped up in what ROLI describes as
Price 949.99 companies like ROLI, With RISE, we have a keyboard that is The Five Dimensions Of Touch
T +44 (0)20 7254 2155 although theres only one silicone and a little squidgy, but one which are Strike (the force of a finger
W www.roli.com company really like ROLI. It that otherwise follows a traditional hitting a key); Press (continuous
System requirements
Mac: OS X 10.8+ came from nowhere a few years ago, 12-note-per-octave layout, so can be pressure applied after a Strike); Glide
PC: Windows 7+ / armed with a few million dollars in played similary to a traditional board. (horizontal movements on a key or
iOS 7+, Intel Core i5
2.5GHz or faster,
funding and a silicone keyboard that Having said that, Id recommend that keywave); Slide (vertical movements);
4GB RAM (8GB played differently from any other but full-on concert pianists try out RISE for and, lastly, Lift (the speed of lift-off
RAM rec), 2GB also the same, if you wanted it to and size before committing. Even as a after a Press).
available disk space
for Equator, USB could open up your sounds by exploring not-particularly-great player, I found Within these five dimensions, the
2.0+ port for USB new dimensions of performance. that my piano style had to alter a little. main ones that are perhaps different
compatibility Fly by nights was the muttering
For some delicate touches,

Key Features from a few industry pundits, but ROLI
Hardware- has done its best to prove these
RISE is actually better to play

software neysayers wrong. Since the opening
integrated
controller
Seaboard GRAND keyboard, its gone on
than a traditional keyboard

49 keywaves to release a more consumer-level (but
Bundled with equally innovative) version, the RISE 25
Equator, multi- (which we reviewed in the magazine
dimensional
soft synth and last December, and which was the
Bitwig Studio worthy recipient of both our MT Choice Sometimes, for delicate touches, RISE are Glide and Slide, which alter notes
Completely and Innovation awards). is actually better than a real piano and as you play up, down, left and right
wireless with
MIDI over Its backed this up with its obviously, the extra dimensions that I (with Slide, it typically mixes between
Bluetooth multidimensional (and a lot better than will come to are there to be explored, sounds when used with Equator).
Connections: it looks) Equator software; released an but equally obviously, it will be different RISE has two modes: Expression
USB B port (MIDI
out and power);
incredible free version of this called for traditional players; so the best thing Mode for playing the keyboard and
USB A port NOISE for the iPhone (which utilises the I can say to all players is, give it a go. controlling Glide, Slide and Press
(for charging iPhone 6s 3D touch to great effect); and So, to those extra dimensions and using the three Touch Faders to the
peripherals);
continuous now, ROLI has released this a 49-key firstly, we get MPE (Multi-Dimensional left of the main keyboard. You also get
pedal input (or, we should say, keywave) version of Polyphonic Expression), the system the more standard MIDI Mode, which
(1/4 jack)
RISE. Oh, and also announced further that RISE uses which enables you to enables you to assign the three Touch
Weight: 5.5kg
funding of a few more millions of control sound in extra ways, but still Faders and the X-Y Touchpad thats
Size (mm): 834
x 210 x 22.9 dollars. Fly-by-nights? Not really, it via MIDI. So you get velocity and also on the left of the keyboard to any
would seem aftertouch, yes, but you get them MIDI CC.
MT161.REV Rise 49.indd 101 05/07/2016 10:25

MT Reviews ROLI Seaboard RISE 49
Bigger, better, more? EQUATOR aint the

So with the 49, we have, on the face of prettiest but it
certainly shows RISE
it, just a bigger version of RISE 25, but off in all of its sonic
theres a bit more to it than that. and expressive glory.
More RISE features
The first thing is immediately
in NOISE, please!
obvious as I unpack the 49 a case!
RISE 25 had a plastic-type case, which
wasnt great and one of my criticisms
of the product. Happily, theres an
optional flip case available for the 25
now, and RISE 49 comes with a soft
and well-padded case with a shoulder
strap as standard. The keyboard is
reassuringly heavy (in that you can tell
its well made), so sits well and solidly
on your studio work surface, but is not
exactly portable on its own which is
one of the reasons I love the 25-note
version but the addition of the case
makes it far more luggable and is a
very welcome inclusion. disposal. That string emerging from a
One thing ROLI wasnt ever going to pad sound at the top end of the scale
do anything about was another small is that much more dramatic at the
criticism of mine: the dark design. Its bottom. Maybe its just me, but MPE
cool, yes, it lights up just enough to see does seem to lend itself to a bigger, Conclusion
what is going on but RISE is no more playable keyboard. RISE 49 might just be a bigger version
Komplete Kontrol. Its elegant rather but the extra length does exentuate the
than garish, but as a live-performance A great engine, too added expression that the RISE
keyboard for dingy club nights, its still Credit for this success must, in part, concept affords. The bottom line, then,
yet to prove itself as practical black also be given to the Equator software. is that bigger is definitely better. With a
keys and low lights may not mix It is the engine that shows off the nicer case and a bigger range of keys, it
particularly well expressive capability of the hardware. may not be quite as compact and bijou
On a more positive note, setting up The software is a little unapproachable as the 25, but RISE 49 is a fabulous
the 49 was a doddle. Logic picked it up at first, but becomes more obvious concept which is made real by some
straight away: no old-school driver and accomplished as you go through great-sounding software. MT
updates or anything else needed. I the presets and realise what does
plugged in and was playing the what. Simply play the keyboard
MT Verdict
Equator synth in no time, and was press, stroke and nudge and youll
quickly back to enjoying the extra soon see which parameters alter on + Great, innovative design
dimensions that it has, more so in fact. screen and get to grips with the + Good build, chunky and sturdy
+ Comes with a good case that
Of course, a 49-note keyboard will features. And with three oscillators,
makes it fairly portable
offer a more fullsome playing sample based-synths, a noise engine + Equator is easily as good as we
experience than any smaller version, and FM, theres plenty of flexibility to remember and is worth trying
but with the RISE 49 this is enhanced create different sound types. whether you have the RISE or not.
somehow. It may be the extra-long All of these new dimensions of Do try the free NOISE version!
+ Wireless control via Bluetooth
pitch-bends strip that runs along the expression are recordable via your DAW + Playing takes you on some
bottom; but I suspect its simply the with Dashboard software, which also incredible sonic journeys
extra sonic flexibility that the five lets you assign many of your MIDI + Play as a normal keyboard if you
dimensions of touch offer. Because controllers. Of course, in order to get the like (but do try it pianists)
+ Not everyone will get it
you have the ability to change sounds most from both hardware and software,
(physically or mentally)
in many more ways, these changes you should take some time to master
appear more dramatic with the wider the extra performance areas to get the - Still dark in the dark
range of octaves you have at your best from both. But you knew that. - Proper players should try before
buying (they may be surprised
that some aspects are actually
easier to play, though)
Alternatives
You now have three Seaboards to choose
from: the RISE 49 on test here; the bigger RISE 25 already had bags of extra
61-note Grand (which now costs 2,499, and expression and cool over a million
the one wed recommend for serious players); standard controller keyboards, and
or the RISE 25 (compact, portable and a great the bigger version serves to drives
entrance to the multi-dimensional sonic these extras home. It is more
world that RISE offers). Of the traditional playable and could be the RISE to
keyboards weve tested, Komplete Kontrol
go for if youre more of a performer
is still the one to go for, especially with the
software bundle that now ships with it.
than a sonic experimenter.
Of the three, wed probably opt for the 49 or
61-note versions. 9/10
MT161.REV Rise 49.indd 102 05/07/2016 10:25

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Mini Reviews MT
Moodal Analogue
Publisher Tritik Techno Key Features
Price 75 Ambient and
Publisher UNDRGRND Sounds driving techno
Contact via website
Price 34.95 at 123BPM
Web www.tritik.com Key Features
1.16GB worth of
Create simulated Contact 24-bit audio
M
oodal is an effect plug-in spaces and objects info@undrgrndsounds.com 678 loops and
Windows and 387 one-shots
with a unique resonance Mac, AU, VST, Web www.undrgrndsounds.com
Five Custom
engine that allows you to AAX formats
Excellence
A
Kits for Ableton,
simulate reverb spaces such as Three editable nalogue Techno is the first
10/10
Battery 4, Kong and
curves for density, Maschine 2+
rooms and halls, or objects like release from UNDRGRND
decay and gain Produced and
bottles and metal plates. The Scalable GUI Sounds, a new label which processed with
scalable user interface features with two themes focuses on quality underground analogue kit
three editable curves for Modal Up to 1,000 dance-music samples. The pack
resonant filters
Density, Decay Times and Gains includes a whopping 1.16 GB of throughout is excellent, with
that allow you to control different 24-bit audio, ranging from deep movement, detail and precision
parts of the spectrum for design, although it would be more and ambient, to more driving and in every single loop and hit. Anyone
example, creating a dense flexible and interesting if there heavyweight forms of techno. interested in deep, cutting-edge
high-frequency cluster, with the was an LFO to modulate the There are 10 folders in total, techno and electronica should
low end decaying quickly and the spectral parameters. MT packed with beefy, pulsating bass definitely take a look. MT
high end ringing out for longer. loops, punchy, glitch-laden drum
You can create bell-like sounds by MT Verdict and percussion grooves, and a MT Verdict
using less resonant filters, or have mixture of dark and dissonant,
A unique plug-in for creating A large, high-quality pack
up to 1,000 (although this will use simulated reverb and object and deep and beautiful pads, of exquisitely produced
more CPU). You can also play with effects that could be of synth lines and textures. There techno nuggets, with plenty of
the inharmonicity and the way interest to those looking for are also some complex sound- inspiring sounds and grooves
the spectrum is distributed, add a new sound-design tools. designed FX and transitions, plus to explore.
LP/HP filter, and control the width.
This is a decent plug-in for sound
8/10 a large collection of processed
drum hits. The production
10/10
Stefano Ritteri House Liquid Beat And

Experiments Future Chill
Publisher Loopmasters
Price 29.95 Publisher Loopmasters
Key Features Price 24.95
Contact info@loopmasters.com
728MB worth of
Web www.loopmasters.com 24-bit audio Contact info@loopmasters.com Key Features
139 loops and Web www.loopmasters.com
I
664MB worth
talian house maestro Stefani 237 one-shots of 24-bit audio
L
49 patches for
Ritteri has teamed up with iquid Beat and Future Chill 169 loops and
EXS24, Kontakt, 210 one-shots
Loopmasters to create a new HALion, NN-XT, is a new pack from
26 patches for
pack of infectious house loops. Kong and SFZ Loopmasters, filled with EXS24, Kontakt,
There are a total of 139 loops 120BPM soothing melodies, laid-back HALion, NN-XT,
and 237 one-shots that cover
Written and
basslines and wonky beats. The
Choice Kong and SFZ
9/10
9
9/10
produced by 90 to 144BPM
thumping basslines, retro-tinged Stefano Ritteri pack weighs in at 664MB in your
Mixture of live
drum loops, Latin-inspired choice of Wav, Apple Loops, Live and synthetic
percussion grooves, and squelchy ordinary. In fact, for a pack called Pack and ReFill formats, and elements
leads and stabs. A range of House Experiments, we found contains 169 loops and 210
analogue synths was used, it a little tame and predictable. one-shots. Everything here has multi-sampled bass and synth
including a Korg MS-20, Arturia However, these are solid, an organic edge, with live Rhodes sounds. If youre looking for
MiniBrute, and Moog Sub 37, plus satisfying loops and sounds and and piano riffs sitting alongside something a little different to kick
some classic drum machines. would work well as the backbone reverb-drenched arpeggio synth start some ideas, then this could
Although the riffs are relatively to a tech-house track. MT runs, and quirky beats be a good place to start. MT
simple, the analogue sound constructed from chopped-up
shines through, and Ritteri lets MT Verdict breaks. The original programming MT Verdict
repetitive loops run for multiple style and use of processing gives
A decent collection of simple Quirky and loose production
bars with subtle internal but effective analogue bass everything a fresh feel, and the provide a fresh-sounding and
movement. The one-shot drums, and synth loops, and tight, looseness adds a human touch to inspiring collection of song
FX, multi-sampled bass and synth bouncing drum grooves. every loop. Theres also a small starting riffs and beats.
sounds are tight, punchy and
usable, but nothing out of the
8/10 but characterful selection of drum
and FX hits, and 10 reasonable
9/10
MT161.REV minisP105.indd 105 05/07/2016 10:23

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MTF43.ad.indd 1 02/06/2016 12:40

Six of the best Buyers Guide MT
Six of the best

Hardware Software Mobile Technology Samples
Welcome to the MusicTech Buyers Guide, where we round up some of the best
products weve recently reviewed. This time, weve gone soft on you with a
selection of software instruments from brass, to the evocative gamelan Details
Price $399
Contact via web
Web www.
T
samplelogic.com
wo entries for Native
BEST Piano (like) Instruments in our six, but
Una Corda
the Berliners do like their real
instruments. And while we
havent looked at many pianos of late,
we still reckon this is one of the best
out there. Una Corda is a little different,
and offers up a deeply sampled version
of a unique piano, hand-built by David
Klavins in collaboration with composer
Nils Frahm. It only has one string per
note, which gives a much purer sound
than your average piano, and allows the
user to easily slot in different prepared
materials to dampen and affect the way
the hammers hit the strings. We said
its been created with love and
attention, and the results are often
breathtaking. Its an inspiring
instrument that oozes class and with BEST Atmosphere
Details
very few tweaks, can be morphed from
Sample
Price 129
Contact a gentle, upfront piano to a swirling,
via website dissonant and clunking beast.
Web www.native- An effortlessly atmospheric and
Logic
instruments.com
beautiful prepared piano instrument.
BEST Brass collection
NI Brass Gamelan
O
n the face of it, a 14GB
Ensemble
Gamelan instrument might
not be your number-one
choice to take up space on
your hard drive, but Sample Logic has
Y
ou get two instruments combined sampling and synthesis with
Brass Ensemble and Brass some of the most advanced Kontakt
Solo, which you can buy instrument design around to produce a
separately or as a bundle. real monster of a sound-design tool.
Together, its a hefty 70GB install, but, And with the Gamelan being one of the
as we said, they are a formidable most evocative instruments there is,
addition to the tool kit of any composer, you have a highly useable and inspiring
with Ensemble capable of huge, stirring piece of software. Theres depth and
and epic orchestral soundscapes. movement, endlessly flexible rhythms,
Theyre also good for regular music textures and atmospheres, we said in
production, for adding an orchestral our review and concluded: Dont be
Details
layer to rock or pop but its probably fooled by the name, theres much more
Price Ensemble:
for scoring that theyre most perfectly 339; Solo 249; to Gamelan than meets the eye.
suited. A rich-sounding orchestral bundle 429 This is a versatile and powerful
brass collection with great Web www.native- cinematic and sound-design
instruments.com
articulations and wide stylistic range. instrument, with plenty of controls.
MT161.6OTB.indd 107 05/07/2016 09:51

MT Buyers Guide Six of the best
Big Fish Audio

BEST Retro keys collection
Vintage Collection
T
he Vintage Collection combines feel to a production, as opposed to the
three of Big Fish Audios virtual mechanically perfect quality you
instruments Vintage Horns, sometimes get with sampled
Strings and Rhythms which, instruments. The Rhythm section is the
when bought together, represents a most diverse of the three collections,
Details
saving of over 130. It can work as a but all three hang together very nicely.
Price 280
Contact
standalone or plug-in product and A very impressive collection of
Time+Space weighs in at around 16GB. We said: instruments for anyone wanting a
01837 55200 This is a great collection and achieves more authentic, old-school flavour
Web
www.timespace. the aim of bringing warmth and a retro for their productions.
com
Its a very impressive

collection for anyone wanting
an authentic flavour
BEST Trumpet
Samplemodeling Details
Price 139
The Trumpet 3
Contact via
website
Web www.
samplemodeling.
com
F
or a solo trumpet instrument, response has been developed for a
it doesnt get any better than richer sound. Its also an incredibly
this. The Trumpet 3 is more accurate and realistic recreation,
flexible, because it can vary its over a huge variety of styles. When we
timbre with real-time timbral shaping. reviewed it back in issue 153, we said:
For purity, it was recorded in an With a number of significant
anechoic chamber, without ambience. improvements, The Trumpet 3
However, by using spatial information continues to hold the virtual trumpet
collected from the multi-microphones top spot. It sounds great, is enjoyable
used, an early reflection impulse to play and has a wealth of controls.
BEST Classic organ Details

Price 95
Contact
Toontrack EZ Keys
Pipe Organ
Time+Space
01837 55200
Web www.
toontrack.com
E
Z Keys instrument range is and the results are, as youd expect,
becoming quite the one to brilliant. We said: One of the best pipe
plunder for real instruments organs that we have come across,
like this, a rather superb pipe especially at this price point. Its
organ. The man behind the sampling, extremely gratifying to play, mainly
Bjrn Gfvert, himself an organist, because of the extremely clear sound.
chose to play and record the organ A majestic-sounding pipe organ, with a
installed in the Tby Kyrka, a historic beautifully clear sound and suitable
church dating back to the 13th century for many types of music.
MT161.6OTB.indd 108 05/07/2016 09:51

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MT161.US subs.1db.indd 5 12/07/2016 16:30

MT Industry Gurus Point Blank
Point Blank is the only UK school

with a 48-channel SSL Duality
Delta SuperAnalogue console INDUSTRY GURUS
Point Blank
It started out as commercial recording studio, but has ended up as one
of the worlds leading music-production educators. MusicTech catches
up with industry and education gurus, Point Blank
P
oint Blank Electronic Music working in radio, DJing, live sound and the music, or on studio hardware and software
school has been going strong for music industry now available across the like Ableton Live and Native Instruments
well over two decades and now main campuses and to study online. Maschine, and students can release their
has two campuses in London, Music production remains a huge focus, results on Point Blanks record label for
plus one in Los Angeles. though and as you can see from these access to an online audience of 1.5 million
Whereas the school at one point focused on photos, the schools studio facilities allow and possible sync deals with the likes of
music production, you can now learn about students to work in a top-notch production Universal, Defected and Tool Room.
just about anything music-related, with environment. Some of the schools courses MusicTech caught up with Point Blank MD
courses for singing and songwriting, even focus on producing specific genres of Jules Brookes to talk tech education
MT161.INT Guru.indd 110 05/07/2016 10:05

Point Blank Industry Gurus MT
The Hub is a brand-new

collaborative space
Point Blank has led the way for students at Point
in teaching DJ skills Blanks Hoxton HQ
Studio 2 is a prime example

State-of-the-art facilities of Point Blanks superb
complement some great rugs teaching environment
The original goal was to have a

vibrant school with lots of students
learning to make fantastic tunes
Point Blank today: everything up to a the original goal, which was to get a
BA (Hons) Music Production & Sound successful team together and have a
Engineering degree, validated by vibrant school with lots of students
Middlesex University. learning how to make fantastic tunes.
My history with Point Blank goes back There was a gap for learning how to use
to when Rob and I were 10-year-old kids the emerging technologies that made
listening to the Stranglers and having homemade music production possible.
fights with each other. I guess some things Thats where Point Blank came in. We are
have changed a little, some not so much! doing things now, like having a BA (Hons)
Years later, in the 90s, Rob was setting in Music Production, which didnt happen
the company up and I was touring in a until later on. Were getting things done!
band called Raw Stylus. We were signed to This is a niche in which we are the market
Geffen and had a No 1 Billboard dance hit leaders the competition now look to us for
MusicTech: Tell us about the early days of in the US: Believe In Me. Rob and I were innovation and direction.
Point Blank doing music together and released a few
Jules Brookes: It started out as a tunes into the bubbling white-label scene MT: Where do you think Point Blank
commercial recording studio, when in London at the time great fun. scores over other courses?
CEO/Founder Rob Cowan opened up for I started helping out with Point Blank JB: Weve always made sure that any
business in 1994 in Greenwich, next to the and suggested Rob get a dedicated Course accreditation we use fits in to our courses
river Thames. Apart from signed acts like Advisor to help explain what the courses rather than the other way round, where
D:Ream recording there, clubbing types entailed to interested punters, rather than you end up losing the essence of what you
would often come in to do a track over a relying on the receptionist. Soon after, I teach. The academic side should fit right
weekend and use the Akai samplers, Atari got a call in Ibiza with Rob saying, You into the course without getting in the way
with Notator, Mackie desk and all of that know that job how about you do it? of making brilliant tunes. Thats our
good stuff. To cut a long story short, things worked modus operandi.
People soon started asking how the out very well for the company Rob and I Our instructors were originally all
gear worked and from there, a course was are a great team and I became the mates from the industry who had hit
fashioned people really enjoyed learning Managing Director shortly afterwards. records, people from bands, producers,
how to use the gear for themselves. Before I advise on strategy and head up musicians people like Rob and me. We
very long, there was more business in admissions, web development, HR and still have that network in place, but have
these weekend crash courses than in the other areas. And here I am, 15 years later. added many more gifted people who
traditional sessions. Recording studios Its a full and challenging role. impart the hands-on, practical style of
were a dying breed, after all, as this was teaching that were known for.
the advent of DIY music production. A MT: And the school has certainly moved The proof is in the pudding, though,
similar DJ course soon followed and the on since those early years and at the end of the day, no one will care
stage had been set for what we now have at JB: Yes, I think weve definitely surpassed who the teacher is its what becomes of
MT161.INT Guru.indd 111 05/07/2016 10:05

Cheerleader and single Aint Nobody (Loves

The singing studio, where alumni
such as Leona Lewis and Izzy
Me Better). Alumni such as Leona Lewis
Bizu learned their trade and Izzy Bizu have also had massive
success as vocal artists following their
studies at Point Blank, and previous Radio
graduates like Gemma Cairney, Monki,
Dev and MistaJam are all enjoying strong
careers in the industry.
MT: What do you think about the way

music production has gone over the last
decade, in terms of technology? What has
been the good and the not so good, and
why, in your opinion?
JB: People talk about the homogenisation
of music, how everything sounds the same,
how we all use the same DAWs, same
sound libraries, same beats, etc. However,
thats always been the case with popular
music. People copy each other to try and
have a hit, dont they? Or even to put
As well as mastering production,

something anonymous out that will sound
great in a club people copy each other.
you need to speak to people and

So its nothing new to get similar-sounding
tracks out there. There will always be the
have them want to work with you

special music and artists that set you off:
inspired, innovative, amazing and
sometimes inexplicable. And of course,
the students that counts. Our students successful for us over the years. I noticed this is still the key ingredient, regardless
include Claude VonStroke, Goldie, Patrick that students prefer having more practical of technology.
Topping, Aluna Francis (AlunaGeorge), lecture days, so weve made them more and
Nicole Moudaber, Juan Maclean, Jon more intense over the years. MT: What advice would you give anyone
Rundell, Madame X, Monki, Dev, Right now, the most successful course wanting to make a living from music
MistaJam, and many more success stories. is the BA (Hons) Music Production & Sound production these days?
Above all else, I think its this level of Engineering degree. Everyone is enrolling JB: Remember that music is about people:
success that attracts more students to the on that, more than any other course. Were organic, interactive and complex. As well
school on an annual basis. nearly full for September already! as mastering the techniques involved in
production, you need to speak to people
MT: And probably the gear MT: What do students want from a and have them want to work with you.
JB: Yes, I wouldnt underestimate having music-production education these days They have to like you. Otherwise, your
the best facilities available, either! We and how has this changed over your time music will remain on your hard drive,
teach on 48-channel SSL Duality Delta, in the business? an unheralded masterpiece!
Pro Tools HD, we are sponsored by Pioneer JB: In terms of being a student, its better
and weve got great relationships with the value to have an expert instructor on-hand MT: How would you like Point Blank to
key manufacturers who make the kit we four days per week (plus unlimited access be remembered, in terms of your
recommend for making great music. We to the studios for practice), with solid company profile?
have a brand-new building weve just lesson plans and other people to JB: I think well be known as slightly
opened with all this state-of-the-art kit collaborate with on-hand. This will inspire maverick: doing it our own way, but doing
and it features a common area, The Hub, success rather than at your typical course, it to extremely high standards.
designed for meeting other students and rolling up for a two-hour lecture on a
collaborating across courses: singers with Tuesday and Thursday and dossing MT: What is the future of music
producers with managers with radio around for the rest of the week. Its not production in less than 100 words?
pluggers, etc. Its a hotbed and no other like that at Point Blank, and the students JB: In the future, there will be four Rs:
school has anything quite like it. appreciate the intensity. Reading/Riting/Rithmatic/Recording!
Unlimited free practice time doesnt hurt
either, with facilities like these. I could go MT: Youve touched on some of the success MT: Finally: gratuitous plug time
on, but these are the main elements which stories over the years, tell us about some JB: If youre thinking of studying and
have led to students preferring us over of the more recent successful student investing in yourself, you may as well do
other schools. careers, post-Point Blank? something you are passionate about:
JB: Felix Jaehn is a great example of a Point Blanks BA (Hons) Music Production
MT: Which have been your most recent success story. Felix came to Point & Sound Engineering degree.
successful courses and why do you think Blank at 17 as an amateur producer, took And if you prefer the less academic
that is so? our one-year Diploma course and route, go for the Music Production & Sound
JB: Well, our core is Music Production subsequently has gone on to produce some Engineering Complete Master Diploma:
and those courses have been the most international No 1 hits, with his remix of same course, no accreditation. MT
MT161.INT Guru.indd 112 05/07/2016 10:05

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The Experts (see p3)
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John Pickford, Matthew Mann, Martin per year) by Anthem Publishing c/o USACAN
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Suite S1-S3, Plattsburgh, NY 12901 for
MT161.FlannelPanel.1db.indd 113 12/07/2016 16:30

MT Your Disc
Welcome to DVD 161 There are masses

DVD161 8GB+ PC&Mac of FM synth loops for you to check out,
YourDVDs alongside piano melodies, dnb riffs and

more. Youll also find Alchemy synth
tutorials and mixing tips, plus plenty of
demos, software, promo videos and this
months workshop files
SAMPLE HITS//ROYALTY-FREE & EXCLUSIVE
//FM SYNTH Size 705MB Format 24bit/44.1kHz WAV
& BASS
For this months exclusive pack, sound designer
Richard James has crafted a huge collection of 331 FM
synth and bass loops using NIs FM8, with additional
LOOPS
effects via Waves TrueVerb, NI Replika and Ableton Live.
Youll find a wide range of metallic riffs, deep basses,
melodic twangs and dissonant arpeggios at 90 and
128BPM tempos, in 24-bit/44.1kHz Wav format.
MIDI LOOPS//ROYALTY-FREE & EXCLUSIVE VIDEO FEATURE//33 MINS
//CINEMATIC //LOGIC
PIANO PRO X
MELODIES ALCHEMY
Size 49KB Format MIDI

Equinox Sounds has provided a set of 30 beautiful piano
Size 390MB Format MP4
The Alchemy Synth in Logic Pro X is a powerful instrument with
plenty to explore. The Logic tutors at SubBass Online explore its inner
MIDI melodies for film, TV and New Age composers looking to workings in three videos covering the LFO and different waveform shapes;
add a reflective and romantic piano feel to their productions. creating acid riffs and programming patterns with the built-in arpeggiator;
Files are provided in MIDI format, so you can choose your own and the FX section and its various filters, delays and distortion effects and
piano or instrument sound, pick your own tempo and key, and how they can be combined. www.subbassdj.com
edit individual notes as you see fit. www.equinoxsounds.com
DEMO//SOFTWARE
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(WINDOWS, MAC OSX)
An incredibly useful stereo toolkit with
DEMO//SOFTWARE three different stereo-generator effects,
BRAINWORX BX_PANEQ width, pan and rotation controls, plus
(WINDOWS, MAC OS X) bass bypass section and an assignable
A revolutionary panoramic equaliser with LFO. www.pluginboutique.com
three parametric bell-curve filters that
can each be panned, allowing you to FULL//SOFTWARE
reach inside a mix and manipulate buried AUDIOGAMING
elements. www.plugin-alliance.com AUDIOWEATHER
FREE (WINDOWS,
DEMO//SOFTWARE MAC OS X)
IZOTOPE DDLY Add some beautifully
(WINDOWS, MAC OS X) FULL//SOFTWARE generated weather
A unique delay effect that VOXENGO STEREO TOUCH effects to your
reacts to a tracks musical (WINDOWS, MAC OS X) productions with this
dynamics to create versatile A simple free tool for generating plug-in that combines
and experimental delays by spacious stereophonic tracks out elements from the
dividing the signal between of monophonic sources by means AudioWind and
two delay lines. of classic mid/side coding AudioRain software.
www.izotope.com techniques. www.voxengo.com www.lesound.io
MT161.DVD pages.indd 114 11/07/2016 10:22

Your Disc MT
SAMPLE LOOPS//ROYALTY-FREE
//RAW TECHNO, DNB,

HIP-HOP AND MORE
//FREE BONUS DVD
//ULTIMATE
Size 236MB Format 24-bit/44.1kHz WAV
Loopmasters has provided another collection of top-notch samples SAMPLES
including atmospheric synths and beats taken from Gaist Raw Techno. There are
also leftfield riffs from Hip Hop Lunar Cycles, jackin hats and tubby basses from
Defected House by Franky Rizardo, and tech-house synth riffs from Stefano
COLLECTION
Ritteri House Experiments. Finally, there are heavy-weight dnb basses and VOL 13
breaks from Icicle Drum & Bass Tech, and chilled riffs from
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www.loopmasters.com subscriber? Weve handpicked an exclusive and eclectic collection of
Download your our finest samples for you to explore, chop, manipulate
from MusicTec DVD and use in your own productions. Youll find a wide range
with the follow h.net
ing code: of loops and hits, from chunky guitar power chords and
D628YHE fat-sounding analogue loops, to shimmering pads, vocal
riffs and reggae beats. There are audio
loops, MIDI loops, hits and sampler Digital
instruments. subscriber?
www.equinoxsounds.com, Download your
from MusicTec DVD
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VIDEO FEATURE//65 MINS VIDEO FEATURE//22 MINS
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DECONSTRUCTION MASCHINE &
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MASTERCLASS STEREOSAVAGE
Size 1GB Format MOV This months videos from Point
Blank Music School include PB Creative Director JC

Size 843MB Format MOV
Loop+ is back, with another sprinkling of software videos
including a look at how to use Plugin Boutiques StereoSavage
Concato deconstructing an electro-pop track in Logic X, with
plug-in on vocals with Multiplier, and on mono synth basses with
additional processing from Waves SSL Channel Strips and UAD
(MTs very own!) Alex Holmes. There are also two QuickTips on
master buss effects. Youll also find a track masterclass by
using Maschine 2s Chord Sets function, and on the chord feature
Solomon Grey, dissecting the ethereal track Broken Light, with
in Rob Papens Predator synth. Finally, theres another Flash Focus
a look at how they build their densely layered sound, including
round-up on best-in-class Kontakt instrument collections.
synth processing and balancing sampled and live string sections.
www.loopmasters.com/loopplus
www.pointblanklondon.com
MT161.DVD pages.indd 115 11/07/2016 10:22

Distributed in the UK and Eire by Sound Technology Ltd | 01462 480000 | info@soundtech.co.uk | www.soundtech.co.uk
TECHNOLOGY

MusicTech - August 2016

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SPECIAL DOUBLE DVD ISSUE!

Issue 161 August 2016

The very best apps and gear you need

MT161.cover.indd 1 12/07/2016 16:34

Mixing/Mastering/Logic Mark Cousins

Production Matthew Mann

Electronic Music Alex Holmes Andy Jones Senior Editor

Pro Tools Mike Hillier

New to Music Tech?

MAGAZINE August 2016 |3

MT161.welcome.indd 3 12/07/2016 15:00

An advanced look at squeezing

4 | August 2016 MAGAZINE

MT161.contents.indd 4 12/07/2016 14:37

MT Issue 161 Full listings

Using the Compressor to its full potential SUBSCRIBE

107 6 of the best

MAGAZINE August 2016 |5

MT161.contents.indd 5 12/07/2016 14:38

MAGAZINE August 2016 |7

MT161.Studio.indd 7 07/07/2016 15:14

Professional Studio Reference Monitors

KRK Systems is a member of the Gibson Family of Brands.

for something more affordable, the new Tonestar 2600 was

MAGAZINE August 2016 |9

MT161.Studio.indd 9 07/07/2016 15:15

Wow. Just wow

MT161 SOYS.indd 10 05/07/2016 09:31

MAGAZINE August 2016 | 11

MT161 SOYS.indd 11 05/07/2016 09:31

We have to ask, what is your

How often are you in your studio?

How do you use it? Mostly our own

Next on your shopping list? Were

Does anything annoy you about

Do you have a dream piece of gear?

Any advice for MT readers about

MT161 SOYS.indd 12 05/07/2016 09:33

Just get the gear

Toys. Star Wars.

Jefferson Weber Two extra keyboards

MT161 SOYS.indd 13 05/07/2016 09:33

14 | August 2016 MAGAZINE

MT161.Back to the future.indd 14 05/07/2016 09:55

The REDD.51, benchmark for

the 60s sound, was lost forever

MAGAZINE August 2016 | 15

MT161.Back to the future.indd 15 05/07/2016 09:55

Below left: The

Revolution in the REDD

When overloaded, the REDD.47

16 | August 2016 MAGAZINE

MT161.Back to the future.indd 16 05/07/2016 09:55

MT Feature iOS music making

18 | August 2016 MAGAZINE

MT161.Cover featureINTRO.indd 18 07/07/2016 12:28

MAGAZINE August 2016 | 19

MT161.Cover featureINTRO.indd 19 07/07/2016 12:28

no theoretical project track limit), audio warping,

20 | August 2016 MAGAZINE

MT161.Cover feature pp20-21.indd 20 11/07/2016 14:38

GarageBand possibly the version of GarageBand, or even Logic Pro X itself no

MAGAZINE August 2016 | 21

MT161.Cover feature pp20-21.indd 21 11/07/2016 14:38