ALL ABOUT THE
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JAN/FEB ‘12 EDITION 59
Latest in DJ, Music and Production Gear 3. 4. 5. 6. 8. 9. 10. 12. 14. 16. 20. 22. 24. 25.
EDITORS NOTE & INFO COVER FEATURE - DENON MC-3000 COVER FEATURE - DENON MC-3000 REVIEW: ROLAND QUAD CAPTURE SOFTWARE: PRESONUS STUDIO ONE MK11 SOFTWARE: PRESONUS STUDIO ONE Mk11 GEAR NEWS GEAR NEWS REVIEW: VESTAX VCI-400 A GUIDE TO MIXING PRODUCTION TIPS WITH JON SHAW TUTORIAL: ABLETON TUTORIAL WITH CRAIG DE SOUSA WHEN AM I QUALIFIED? WHEN AM I QUALIFIED?
EDITOR’S NOTE he DJ controller wars continue in this edition of BPM with several of the big companies releasing more derivatives of this hotly contested market. Our cover feature previews the new Denon MC3000, a keenly priced controller that is high on features whilst [hopefully] low on cost. Dave Skinz casts an eye at what to expect once this baby lands. Pioneer have also weighed in with a new controller aimed at the more ‘affordable’ sector of the market with their slick looking DDJ-Ergo and both of these are bound to go head to head against the Kontrol S2 announced by Native Instruments back in September. Then there’s the VCI-400 from Vestax which I had the pleasure of testing which takes a slightly different approach to carve out its own niche in this saturated market. On the media player front both Numark and Reloop introduce new products; the NDX900 and RMP 2.5 Alpha respectively, both of which are also DJ controllers as well as being able to play all other forms of media from CD to flash disc etc. So how does one choose your Xmas present, nudge nudge, wink wink? I get asked all the time which device I recommend for the digital DJ but it’s a question without an answer. I say this because it really does come down to personal choice and whichever product fits your pocket, suits your image and feels right for you. They all work and work well. Gone are the days when one would test one of these units and they’d sort of work
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(trust me early models were not great). So why test them? Well, because we’re tech geeks and love getting our grubby paws on new gear. It’s fun! Plus of course each device does offer its own take on how to do things so our job is never done. The one piece of advice I will offer all our readers; take note of build quality. If you get to DJ regularly you want a piece of tech that is going to withstand the rigours of transport, being chucked in a bag drunkenly after a set (did I say that?) and is reasonably portable too. Now go out and embrace the digital revolution. It’s the future y’all! Elsewhere we look at some exciting new production products namely the Roland Quad Capture, a new portable Audio interface that sounds like a good prospect. The range also includes two smaller versions to suit your budget. We also look at Presonus’ MK11 of their Studio One, a DAW that has turned some heads with its simplicity and affordability. If you’re looking for music software then best you read all about it. Enjoy the ogling over the tech we bring you each edition and this festive season go spoil yourself. Buy that new piece of tech or software you’ve been promising yourself. You deserve it. Don’t forget to visit www.bpmmag.co.za for daily gear news. Happy holidays. DAVE MAC Editor-in-Chief
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PREVIEW By Dave Skinz
Denon MC3000 A brand new, more affordable DJ controller What Is It? The Denon MC3000 is the little brother of the vicious beast I reviewed in our previous issue and I first encountered the MC3000 when I was working on the review for the aforementioned DN-MC6000. I always keep an eye on the latest kit to be released (part-work, partgear perv), and the aptly named BPM 2011 Expo in Birmingham UK is one of a handful of expos around the world that a large majority of the manufacturers including Denon target for release of their latest products, this year being no different. Loads of new controllers were unveiled and the Denon MC3000 was also due to be shown off, but the controller sat on display on the Denon stand for just under a minute before being covered and squirreled away. Cue loads of viral videos of eager gear heads filming and sharing the footage of the MC3000 being covered and whisked away by the Denon supremos. I personally think that Denon didn't think the world was ready for the MC3000 back then. It’s reminiscent of all the hoo-ha over the latest sports cars being tested on secret tracks around the world shrouded in thick black tape to hide their sleek, aerodynamic lines. But with a controller...oh dear, I think I'm
maxing out the geek meter here. So if you couldn't deduce it from the awesome pics accompanying this preview, the MC3000 is a two channel DJ MIDI controller and mixer. But don't think you will be relegated to just two channels as there are facilities on the controller to use it as a four channel device once you've mastered the two deck set-up using a combination of backlit buttons and a 2 + 2 system. In fact the MC3000 has a carbon copy of the sound card found in the DN-MC6000 so no worries about stretching the card beyond its capabilities. The 105 mm control wheels are also the same high quality ones found on the 6000 and the high resolution line faders are also shared between the models. If you are one of the few who don't like to use the platter for pitch bending each side of the controller is fitted with Denon's “Legacy” pitch bend buttons. The backlit buttons controlling the effects and sampling section are shared and each of the two effects modules has four backlit buttons and four rotary controls to give you very comprehensive management of your dual effects section. You also have 8 hot cues available to use per side. As with its larger forerunner the MC3000 comes Traktor and Virtual
DJ certified and the versions heading to our shores ship with Traktor LE 2 while those destined for American shores get Virtual DJ LE. The controller is fully compatible with Mac OS X and Windows 7 and is even compliant with machines still running Vista and XP. Something that is unique to the MC3000 is the band pass filter for each of the two channels and this can really improve mixes when guys get to grips with how to effectively use it. There are two sets of ports for RCA inputs but no phono/line switch so you will have to stick to line devices only, rounding out the inputs is a 1/4” jack for the microphone. As to the outputs you have the choice of either unbalanced RCA or balanced 1/4” ports. From the looks of the device the MC3000 will come with an external power transformer to power the entire controller so the USB connection is just for data transfers. Also worth bearing in mind is the weight, and even with a steel chassis the MC3000 tips the scales at 3 kg which makes it lighter than some laptops out there.
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PREVIEW
Who should own one? Judging from the estimated price point the MC3000 is going to slide in quite comfortably in the middle of the controller segment. It’s certainly going to cost more than your entry level controller but the way it has been thought out will let you grow into the fully functionality and creativity that a package like Traktor Pro 2 can offer. The audio inputs are also quite handy if you want to dust off those old CDJ's and use the MC3000 as a standalone mixer. Compared to some of the other controllers in this segment the baby Denon is going to do well just on the fact that it's pretty much a DN-MC6000 version 2 that’s been shrunk down.
The Verdict. Anyone that read my review of the DN-MC6000 will grasp in what high regard I hold that particular controller. The MC3000 is a terrific compromise for all those guys that want to get their hands on the most
solid controller build available at the moment but still have space to grow into. As mentioned previously the sound card is the identical one fitted to the DN-MC6000 so you know that there have been no sacrifices in terms of quality or reliability. And while being more compact than the DN-MC6000 the layout on the MC3000 seems more intuitive with the pitch faders mirroring each other on the far sides of the facade. The positioning of the effects selects and the addition of a filter on both channels also shows a little more eye for detail than its bigger brother and appears more intuitive. The entire package comes with the trump software in Native Instruments Traktor LE 2 which is far better suited to using all of the MC3000 than the same package on its bigger brother. But even with that in mind accommodations have been made for running Pro 2 in four deck mode through the use of the deck change buttons in 2 + 2 setup. None of your controls for sampling, effects or hot cue functionality are in any
way compromised by the downsizing, if anything they have been improved upon. The navigation section has also been streamlined to let you not only get around your music library more proficiently but also to access your Video, Mixer, Scratch, Sample, EFX and record functions with. The VJ has also not been left out of the new model with the crossfader still available to be used to control your video fader which is a great extra for those guys using Virtual DJ Pro. To sum it all up on a preview front, we can't wait to get our paws on this bad boy. Judging from the specs and comparisons we've gone through if you managed to get a feel for the DN-MC6000 then expect the same experience on the MC3000. It seems that only a few corners have been cut to bring you a controller which is as dynamic as its big brother but more compact and cheaper. And who wouldn't want that?
Price: + R 8,000.00 Supplier: Audiosure | Tel: (011) 790 4600 Web: www.audiosure.co.za / www.denondj.com
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DJ GEAR By Nic Roos
Roland UA-55 Quad-Capture Audio Interface
“Roland have really stepped things up in their audio interface department...” oland recently updated their line of USB 2 audio interfaces aimed at those looking for proquality sound at home or on the go without equipment slowing them down. Roland’s designs, while great, have never been very sleek. However, the new QuadCapture (smaller sibling to the larger Octa-Capture) manages to retain some aspects of its predecessors, like the UA25EX, while cramming loads of features into a sexy compact package. It seems Roland has finally joined the party and are making affordable yet innovative, highquality audio interfaces. To sweeten the deal, the 4 in/4 out Quad-Capture comes bundled with Cakewalk’s Sonar X1 LE DAW software.
controls input gain, Auto-Sens, sample rate as well as output levels.
Anatomy
In Use
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This flexible and portable USB buspowered interface is housed in a very compact and rugged black aluminium casing. It operates at sample rates of up to 192 kHz with very low latency. This 4x4 I/O device consists of two analogue in/outs and two digital coaxial in/outs. Also included are midi in/out and a headphone jack. The analogue inputs feature Roland’s pro-quality VS preamps and convenient XLR/ ¼-inch (balance or unbalanced) jack-combo input sockets on the front panel, with a selectable Hi-Z instrument input on channel one and 48v phantom power for both channels. While allowing convenient mobile recording, the USB bus power operates at optimised voltage for cleaner sound. Each input sensitivity knob has a circular orange LED level indicator that doubles as a signal level display. Nifty! The unique Auto-Sens function automatically sets optimum input gain for any source at the touch of a button. This feature is incredibly handy for the nontechnically-minded as well as anyone needing to work quickly. The Direct Monitor Mix knob allows one to blend between direct input and playback signals while overdubbing. The easy-to-use software control panel features a selectable low-cut filter, phase inverter, a noise gate and digital compression for each channel, and also
The device’s drivers install via CD, so I was up and running in seconds. While tracking and mixing in both the complimentary version of Sonar X1 LE and the DAW I use in my studio; Logic, the interface delivered a clean, quiet signal with admirably low latency. The VS Streaming driver is said to be particularly stable and all popular DAWs are supported. The sound quality of the ADA converters and pre-amps isn’t that far behind similar interfaces by Focusrite or PreSonus and is considerably quieter than the ubiquitous UA-25EX. I think they finally sorted out the earthing problem that was rife with earlier Roland interfaces. Setting vocal levels via the Auto Sens knob was a breeze, and I got a strong, clean signal with no fear of clipping. The compressors are decent enough to track with, but do tend to get a bit grainy at extreme settings. Integrating digital equipment was also quick and painless. I connected a drum machine via the digital input and synched up some beats in the DAW using the interface’s clocking and adjusting levels within the control panel. After a few hours of toying, I
completely forgot about the QuadCapture. Its ease of use allowed me to focus on performing at my best.
Conclusion Although most purchasers of the QuadCapture will probably have a DAW already, the Sonar X1 LE is certainly worth looking at and of course for those that don’t have one, it’s a great place to start getting those recordings down. Importantly one can start recording from the get-go once you purchase the interface. Roland have really stepped things up in their audio interface department and what makes the Quad-Capture special is just how much they’ve crammed into their tried and true metal housing while still managing to make it simpler to use. Its portability, quick and easy operation, flexible IO options for laptops, turntables, sequencers, drum machines and live recording, as well as its low latency and direct monitoring make it an excellent choice for live performance situations and mixing on the fly. Also available in the range: UA-33 Tri-Capture and UA-11 Duo-Capture.
SA Distributor: Musical Instruments | 021 799-4950 www.musicaldistributors.co.za Suggested retail price: UA-33 – R 1,795.00 | UA-11 – R 1,195.00
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SOFTWARE REVIEW By Dave Mac
Presonus Studio One MKII
“a welcome alternative to the intimidating, bloated [DAW] offerings currently considered the standards...” resonus is an American based audio electronics company based in Baton Rouge, Louisiana and was founded in 1995 by engineers Jim Odom and Brian Smith. The company made its name building keenly priced audio interfaces, signal processors and mic preamps, but in recent times it’s their StudioLive range of mixers that has probably caught the eye of most and certainly proved a resounding success for the company. So why develop a DAW in a market that would seem to be quite set with the established brands; the likes of Protools, Logic, Cubase, Reason, Ableton, Sonar and FL Studio are all pretty established in their market shares begging the question ‘what can another DAW do that’s not being done by one of the aforementioned already?’ Well clearly Presonus had other ideas, encouraged specifically by two former Steinberg programmers at a company the two had formed called Kristal Labs. From what may have started out as a strategy to supply an OEM DAW version with their audio interfaces and StudioLive mixers has since turned into a fullblooded product they took to market in 2009.
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The Money Shot They launched with the marketing pitch, “a welcome alternative to the intimidating, bloated [DAW] offerings currently considered the standards with a program that makes a u d i o r e c o r d i n g, M I D I sequencing and audio mastering ridiculously simple right out of the box.” In a nutshell the two exCubase programmers clearly were aware of some of the frustration that users had expressed when they worked on the Steinberg DAW and recognised that simpler means faster work flow. What makes Studio
One an appealing alternative too is the fact that it entered the market at such a good price and with Mk11, just released, they have upped their game even more, by throwing in so many extra add-ons the DAW really is all you need to create music with just few extra plugins.
Studio One – the DAW Before we get into what’s new and impressive about the new Mk11 version let me take you through what Studio One has offered since it was first launched. First of the GUI interface is super sleek and cool. Similarities to Cubase are unavoidable, even down to a similar blueish/grey colour scheme. What I like about Studio One is the single window design; with everything integrated on one screen it’s a little like the new Reason 6 in functionality but aesthetically will appeal more to those familiar with Cubase. Drag and drop is a great feature with which you can drag virtual instruments and plug-ins (or just their presets) from the Browser to the Arrange view. Likewise if you drag an audio sample from your folder a new audio
channel will create automatically and features such as being able to duplicate sends on the virtual mixer makes setting up multi-tracks super quick. This is the strength of Studio One; the ease with which one can create instrument tracks, audio tracks, routing etc by simple drag and drop techniques without ever leaving your front screen. The time-stretch algorithms really impressed me in Version 1 too. There are three, namely; Drums, Solo and Sound and you can slow entire mixes down by a simple altering of the global tempo. The audio editing features are also good and compare favourably to Cubase, a DAW that has always been a leader in this area of music production and whilst version 1 did not offer any dedicated multi-track comp editor this has been addressed in MK11. The Control Link feature will learn your MIDI controller keyboard’s knobs, sliders and switches, and then allows you to quickly and simply link them to the onscreen mixer and plug-in controls. Learned parameters stay learned, so that the same hardware mapping automatically kicks in the next time the same plug-in is used. This is similar to Novation's Automap system as it updates you with changes you are about to make before you fiddle. Anybody who spends time programming a midi controller for different plugins will recognise the benefit of a system that maintains this info indefinitely. I can wax lyrically all day about the individual features that Studio One brought to the market but in truth purveyors of the other DAWs will equally have answers to the approach Presonus have taken. Perhaps the biggest and most appealing feature of Studio One that will certainly help the product gain traction in the market place is their uncluttered approach and what they have added in the MK11 version.
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SOFTWARE REVIEW What’s new in MK11? Since the program download only became available three days before print deadline it has been impossible to fully test the new version of Studio One, suffice to say that first impressions are that the GUI is even sleeker and super modern in look. 20 Gigabytes of downloading later makes one realise that they have chucked everything plus the kitchen sink and more into the fullblooded version. I looked briefly at the main features cited online to see if they worked to verify their claims; Integrated Melodyne Pitch Correction; this third party application is the leading pitch correction tool available and is fully integrated into Studio One now. What this tool does is breaks down an audio recording, say a vocal, into separate notes (frequencies) and one can manually adjust these so if a vocalist misses a note you can actually move this within the audio recording. Naturally for effects purposes you’d be able to create some wacky distortions too, something like the autotune craze that swept popular music recently. Transient Detection, Editing and Groove Extraction; you can quantize multitrack drums in two steps: group the tracks, then quantize. Studio One does the analysis and phase-coherent quantization for you. Drag-and-drop audio into the Groove panel, then quantize. Groove extraction is as simple as drag-and-drop; extract a groove from any audio and apply it to any other audio in seconds! It works and it’s amazingly quick and simple taking mere seconds to do its job. Multitrack Comping; this was lacking in version one although there was a relatively easy way around it before. In MK11 it’s a dead simple process with features such as automated crossfading between takes (you can edit the fades)
and a simple alt and clicking of a take to audition the audio. Simple and fast is the key here. Other notable features include quick and easy editing of multiple instrument tracks simultaneously, a track ‘Transform’ feature where an entire audio track can be rendered in place with one click, removing any inserted effects plug-ins and conserving CPU power while still allowing normal editing. One click restores the original audio events and any inserted effects. Kinda like ‘Freezing’ in Cubase but with added flexibility.
What’s in the package? Studio One Professional ships with 31 64-bit Native Effects™, and both Studio One Producer and Artist ship with all but 5 of these plug-ins (Pipeline, Groove Delay, Multiband Dynamics, OpenAIR, IR Maker). Both Professional and Producer versions also support VST 2.4, VST 3, AU, and ReWire. There is no limit on the number of plug-ins that can be used in a given song. There are only four Virtual instruments included but with VSTi, AU, and ReWire support you can of course have as many 3rd party instruments as you choose. Third party content bundled with the Professional and
Producer versions is impressive too; Native Instruments Komplete Elements, which provides a comprehensive selection of production-ready sounds and effects. The collection contains over 3 GB of material with over 1,000 sounds. EZdrummer Lite Plus is a stripped down version of the multi-microphone drum sampler EZdrummer. It is designed for musicians and producers who want a compact, affordable, easy-to-handle plug-in without compromising sound quality or control.
Conclusion This is by now way a comprehensive review of Studio One. It would be remiss of me to imply this after only a few hours of looking at the program. I intend though to start using the application to compose a few tracks so look out for a series of online posts as I detail the pros and cons of this exciting second coming of Studio One. Keep up to date at bpmmag.co.za | to be notified of these posts email join@bpmmag.co.za or join our Facebook page – facebook.com/bpmmag
SA Distributor: Tuerk Music Technologies | 011 794-8402 | www.tuerkmusic.co.za Estimated retail price: Studio One Artist V2 - R 995,00 | Studio One Producer V2 -R 1 995,00 | Studio One Professional V2 - R 3 995,00
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GEAR & INDUSTRY NEWS
Pioneer DDJ-ERGO-V Pioneer continues to polish its virtual DJ controller line-up, with the latest DDJ-ERGOV model packing so many LEDs you could probably outshine a half dozen glitterballs. Hooking up to your PC or Mac via a single USB connection, the DDJ-ERGO-V offers a pair of 115 mm controllers, an integrated audio interface, the ability to control up to four decks from one unit, and various blinking light patterns to show you how well you’re doing on your mixing, beat matching and more. For instance, Blue LEDs on the jog wheels show how close the mix phase is, pulsing more strongly when you’re closer in pitch. The channel fader lighting, meanwhile, match track beat with their flashing as well as showing output levels by their brightness. There are also dedicated controls for loops, filters and sample playback, while ports include a MIDI output, microphone input and lineout. The angled physical design means you can slide your laptop keyboard underneath and keep the overall footprint low. The Pioneer DDJ-ERGO-V DJ Controller is available from January in South Africa. Pricing is expected to be around R 10 K. Buyers get a copy of Atomix Productions Virtual DJ Limited Edition in the box, though the controller should support other apps as well.
* Laptop not included
! Take Anywhere with USB Power & Plug-n-Play Connectivity
! Sleek, Stylish Ergonomic Design ! Included Virtual DJ LE software ! Pulse Control Provides Visual Prompts via Various Types of Illuminations Directly on the Unit SA Distributor: Proaudio |011-8221430| www.proaudio.co.za
Numark - NDX900
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Pro Software Controller with Audio Interface The NDX900, a new and highly adaptable DJ controller, opens the door to all types of music media. The NDX900 DJ controller is capable of mixing music from virtually any digital source including a computer, audio CDs, MP3 CDs and even USB flash drives. NDX900 has a layout that is recognizable to DJs everywhere with a large, seven-inch touch-sensitive illuminated platter, smooth, frontloading CD drive, top-facing USB DJ controller port, powerful remixing, effects control, scratching, looping, and sampling capabilities, all in a chassis that has a solid feel and professional look. NDX900’s Beat-synced DSP effects include chop, echo, filter, flanger, pan, and phaser with full control of the effects blend. NDX900's built-in audio interface works plug-and-play, allowing DJs to seamlessly integrate NDX900 with practically any computer and control virtually any DJ software. No drivers or external sound cards are required. With two NDX900s and a mixer of choice, DJs have a powerful and versatile digital DJ rig. NDX900 includes Traktor LE 2 DJ Software and comes pre-mapped for use with a variety of DJ software including Virtual DJ and Traktor 2 Pro, and is compatible with almost any MIDI compatible DJ software. “With plug-and-play capability and Traktor software included, NDX900 is truly an all-in-one DJ controller,” said Chris Roman, Numark Product Manager. “DJs will love the large, seven-inch platter for scratching; it has an illuminated ring that’s just like putting tape on vinyl.” SA Distributor: Viva Afrika | (011) 2503280| www.numark.com
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For trade enquiries or to find your nearest dealer call Pro Audio - SA (011) 822-1430 | sales@proaudio.co.za | www.proaudio.co.za
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GEAR & INDUSTRY NEWS
Reloop RMP-2.5 Alpha The new four-channel controller comes with over 200 assignable parameters. The Reloop RMP-2.5 Alpha is the latest member of Reloop's RMPseries and a true cross media player with additional MIDI function. Besides playing current audio formats such as WAV and MP3 from CD, CD-R, memory stick or hard disk drive, it is also possible to control any MIDI compatible DJ software (for example Traktor) thanks to the RMP-2.5's full MIDI compatibility. All the user interface's control elements send out MIDI commands; this way this media player becomes the perfect controller for mixing software. Via the shift function all control elements are double assigned with MIDI commands which make it possible to control two virtual decks with only one RMP-2.5 Alpha. The assignments can be stored as MIDI presets for various purposes. No matter whether audio or MIDI, with the large, touch sensitive jog wheel, the control feeling is always vinyl-like and literally invites you to scratching and beat juggling. Its high-resolution micro pitch of up to 0.02% allows pitch adjustments and bending with the highest precision. The shock-absorbing bearing of the device's feet, as already known from the RMP-3, secures the RMP-2.5 from getting out of place. Moreover, the RMP-2.5 disposes of some new cool features: In order to play music from one USB source on two players the RMP2.5 Alpha comes with the possibility to be connected to a further RMP-2.5 Alpha via USB audio link. Also you can use the Data Base Builder software to analyse the desired USB drives, thus obtaining quicker and filtered results. Another very convenient
feature is the Next Track function: During playback you can already select the next track. As combination of CD/MP3 player, USB mass storage media player and MIDI software controller, the Reloop RMP-2.5 Alpha is up to all requirements of modern DJ business. SA Distributor: Tradelius Music Group | Tel: 031 5023080 | www.tradelius.co.za
Korg Releases Two New monotrons Korg puts the thrill of the analog synthesizer into everyone’s hands. Announcing the new monotron DUO & monotron DELAY
for sound effects. In addition to its analog oscillator, filter, and LFO, it also provides a Space Delay that's indispensible for swooping, cosmic sounds.
. Go Anywhere Analog: That was the theme behind the remarkable battery-powered and palm-sized analog synthesizer that Korg dubbed the monotron. Now the powerful and fun-to-play monotron is joined by two new siblings. The Dual Oscillator monotron DUO offers X-MOD capabilities for generating even more extreme sounds. The monotron DELAY features a Space Delay that can produce intense, analog-like echo effects. Each is played from a ribbon controller keyboard with newly added features. The monotron’s simple operation and ease of use (5 knobs and 1 switch) is alive and well, inviting hours of enjoyment and musical exploration. Casual users and gadget mavens will quickly enjoy performing melodies, DJs can create dazzling effects on stage, while established players can add analog muscle to their performance – the possibilities are virtually unlimited. Grab yourself a monotron, monotron DUO, or monotron DELAY, and get in touch with the exciting world of analog synths.
SA Distributor: Tuerk Music Technologies |011-7928402| www.tuerkmusic.co.za
monotron DUO Offering two oscillators, the monotron DUO adds an extra dimension, delivering an even more extreme sound. Tune the oscillators in unison for a rich, thick, analog tone. monotron DELAY A good delay was an essential part of the classic analog synthesizer sound. More often than not, that delay came from a tape-style echo machine until affordable digital delays were created. The monotron DELAY is an analog synthesizer optimized
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DJ GEAR By Dave Mac estax have been in the DJ Midi Controller game for some time. In fact that ’s an understatement! It’s fair to say that Vestax were the early pioneers of professional DJ controllers, their VCI100 setting the benchmark for what has now become the ubiquitous standard in digital deejaying. Of course today every manufacturer of DJ gear has a range of controllers and they are all forced to compete in what is a fairly restrictive market. I say restrictive because there really is only so much a manufacturer can do to separate his product from the competition since at the heart of all the functionality is the DJ software that is being controlled. Which is what makes the VCI-400 a fascinating new addition to this somewhat saturated market.
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What is it? Building on the solid foundation and indeed the legacy of the VCI-100, the concept behind the new VCI-400 is a controller with no boundaries. Basically this means that any software with a midi learn function can be controlled via this device. The product does however still come bundled with a special 4 deck version of Virtual DJ LE. Looking closely at the controller you may notice that only the obvious nonnegotiable controls, buttons, sliders and rotaries are labelled, the rest being left blank. This is deliberate by Vestax as the controller is designed to cater for every DJ program currently available. Included in the package are blank overlays which fit neatly over the controls that can be custom assigned by you, depending on what you want to do.
Vestax VCI-400
If this sounds like too much work, do not fret; a quick pop over to vestax.com and you’ll find several pre-designed overlays ready to download too, so should you already have a program like Traktor 2 for example, you can simply download this and place over the controller. A Traktor 2 tsi file (a file that hosts specific mapping and is transportable between users) is also available for download should you wish to simply load and play. Using midi learn and programming one’s own settings may only appeal to advanced users looking for some personal customisation.
Quality Control Whilst Vestax documentation is famously cryptic at the best of times the build quality of their products is undisputedly good. The VCI-400 is no exception and is certainly in the top echelon of solidly built, professional controllers. From the torque adjustable and sensitivity controlled jogwheels (I love the simulated vinyl grooves on their platters) to the large red aluminium filter knobs, the smooth sliders (tempo and channel) and the responsive rubberised buttons both in the transport and sample/hot cue section, the VCI-400 certainly looks the part for the professional digital DJ. Ergonomically I really like the layout too. It is true that one can only do so much with the layout; each device will always need a mixer section, transport section,
jog-wheels etc but where to place some key controls will definitely influence how much one uses the extra features digital deejaying affords one such as looping, hot cues and FX. The VCI-400 scores big in this department.
In Use I tested the VCI-400 with 3 applications; the bundled 4 deck Virtual DJ software which worked straight out the box and is easy enough to operate. Although it is a 4 deck version – and the VCI-400 includes 4 channel sliders, it is still an LE revision so don’t expect all the bells and whistles to be in the software. I also tested it with my own Traktor 2, configuring it for 2-channels plus sample decks. The downloadable tsi file works perfectly despite one small idiosyncrasy where one has to set the in-port and outport manually in the Controller Manager to get a response from the unit but once this is done, its plain sailing. I also did some basic mapping in Ableton Live 8 just to see the potential of having a ‘blank canvass’ type controller at one’s disposal.
Verdict Whilst most will want instant gratification with the device auto-mapped to your DJ software, the added benefit of quick and easy midi mapping for programs like Ableton or to simply customize one’s own DJ software integration does add that extra something to the VCI-400. The buildquality, layout and functionality is indisputably good making this new controller a very good prospect alongside the other professional DJ controllers available today.
Supplied by: Rolling Thunder | 021 557-8630 | www.rollingthunder.co.za Suggested Retail Price: R 11,750.00 incl. VAT
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SPECIAL FEATURE BPM Reports
he syncopated beats of the African continent and Asia all feature rhythms that rely on point and counterpoint, on bass beats which give the music its shape and form and lighter more airy elements which get the body moving, the feet tapping and awaken the primeval response to the structure and form of elemental sounds. Today this effect is within reach of those who wish to apply their minds to the possibilities of the 21st century mixing desk which will reward the search for the perfect beat with sounds that reach into the soul and stir the emotions. In their continued efforts to enhance the appreciation for the possibilities of today’s new DAW technology Soundselect has made the latest eBook on the Mixing available for free download from their web site. This Ebook covers a wide variety of different subjects, with each section designed to provide readers with useful information on subjects such as tone and frequency and their importance to the mixing process, as well as pointers on a variety of different techniques that can be employed to enhance the DAW experience and produce studio quality tracks. This article is based on some (by no means all) of the information contained in the easy to understand free eBook, available from Soundselct.co.za and serves as a summary of some of the concepts contained in the eBook and how these concepts can be applied in the real world to finish off that potentially award winning track.
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MAKING THE FINAL TOUCHES – SOME FINAL THOUGHTS ON THE CREATIVE PROCESS This is not the end, to paraphrase Winston Churchill, not even the beginning of the end of the creative process, but rather the end of the beginning, Once the initial creative process has been completed the avid mixologist will find that he or she is mixing as they progress and often the very nature of the piece of music that they are sculpting will change as it progresses so that by the time that the
MIXING IT UP
track is finished all that remains is some fine tuning. In the end mixing perfectly illustrates the 80/20 rule, the final 20% that is required to achieve greatness will entail 80% of the work. EQ here, a bit of compression there and lots of small tweaks will make those big differences to the final result, it’s all about balance and harmony. One of the underlying guiding principles of computer aided audio mixing for the electronic musician is that there are no free rides when it comes to the search for that perfect combination of sound, so think carefully before you tweak, listen to the different results and keep searching for that perfect Zen moment when all the elements are in harmony, don’t over think, keep in mind that this is the search for a Yin and Yang of perfect creative balance. Trust your ears, if it sounds bad it probably is, if it sounds good, then step back and carefully consider whether extra effort is going to pay dividends or only muddy the purity of the result. If you want to learn more and get an in depth idea and understanding of
the various elements and steps required to make your music into an accurate reflection of your creative ethos, then visit the Soundselect web site and download the free Ebook that will provide you with all the tools that you need to turn your DAW into the perfect harmonic instrument, whatever style of music you prefer.
To download onto PC/Mac go to www.soundselect.co.za To download to your phone scan this tag
Get the free mobile app for your phone
http:/ / gettag.mobi
NDX SERIES NDX200 ................. R 2,061.
00
TABLETOP CD PLAYER NDX200 features seamless looping for creating and integrating loops in instant remixes. Single, continuous, and programmable playback modes enable you to control playback order and create custom playlists. NDX200 also has fader start, which starts NDX200 playing when you move the crossfader on a compatible mixer. Whether you are an experienced veteran or just starting out, NDX200 gives you more features for your money.
NDX400 ................. R 3,339.
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TOUCH-SENSITIVE SCRATCH MP3/CD/USB PLAYER NDX400 is a flexible, slot-loading player that not only plays standard CDs, but it can also play MP3 CDs for lengthy playback from a single disc. Additionally, it can play from a USB flash drive for even more music-format flexibility. For easily navigating through folders on MP3 CDs and USB flash drives, NDX400 has an easy-to-read text display. NDX400 is a powerful, rock-solid player for a variety of music formats. Professional DJs and weekend warriors alike will appreciate NDX400’s great mix of features and capabilities for a surprisingly affordable price.
www.numark.com
Prices are recommended retail incl. 14% VAT
................ R 4,968. NDX800 PROFESSIONAL MP3/CD/USB PLAYER
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AND CONTROLLER NDX800 is high-performance controller for DJs who blend different kinds of music sources. Whether your music is on your computer, USB flash drives or CD, you can perform with it using NDX800. This digital deck has the feel and layout you’re used to, with a twist of Numark innovation * FLEXIBLE FORMATS * DYNAMIC DECK * FX FLAVOUR. * PITCH POWER * REAL TIME REMIXING * VIVID VIEW
(NDX800 NOW COMES WITH TRAKTOR LE SOFTWARE!)
Whether you play parties, clubs, events, or in a group, NDX800 gives you the feel you like, the look a professional demands, and the utility of built-in effects, remixing, looping, and sampling. Pair a couple of NDX800s with your favorite Numark mixer and start making some hips move.
......... Coming Soon! NDX900 PROFESSIONAL SOFTWARE CONTROLLER WITH AUDIO INTERFACE The NDX900 Controller is capable of mixing music from virtually any digital source including a computer, CDs, MP3 CDs, or even USB flash drives. NDX900 Controller has a layout that is familiar to DJs everywhere with a large, seven-inch touch-sensitive illuminated platter, smooth, front-loading CD drive, top-facing USB port, powerful remixing, effects control, scratching, looping, and sampling capabilities, all in a chassis that has a solid feel and professional look. NDX900’s Beat-synced DSP effects include chop, echo, ilter, flanger, pan, and phaser with full control of the effects blend. Control and mix from virtually any source with the powerful, versatile and professional NDX900 Controller from Numark.
www.hybrid.co.za For trade enquiries or to find your closest retailer call (011) 250 3280 | luis@hybrid.co.za | marco@hybrid.co.za | bernard@hybrid.co.za
20 | BPM TUTORIAL
Tricks from the Pro's 10:
PRODUCTION TIPS By Jonathan G Shaw
Your Soldering Iron May Not Help
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alutations and greetings BPMings! Let’s face it; the world is no good when people want to keep things to themselves. Sharing is caring. At least when it comes to the audio software community, most have opened up their world of wonders to as many different platforms as possible. You may be working on a synth/sampler program such as FL Studio, Reason, Ableton Live, and even the latest Sibelius. All these come with a virtual audio and MIDI router, in the form of something called ReWire. ReWire was developed by Propellerhead for the Rebirth program but has subsequently become a standard.
Audition, where you may want to take MIDI to the synth/sampler and then take that audio back into your host program or another synth/sampler program. As long as it has ReWire compatibility and audio/MIDI inputs and outputs, you should be able to get signals from one program into another without too much hassle. The two programs then synchronise with each other and your playback acts as though it is one program. Here’s how it works: firstly you need to understand that ReWire acts where one program is the host (your general digital audio/MIDI editor) and the other the slave. The slave will pass its audio to the host program, and the host MIDI to the slave. So, start the host program first (very important) and then the slave program, which should indicate it is running in ReWire slave mode. After this, you’ll need to load up an audio or auxiliary track in the host program and insert the ReWire plugin on it. Enable the “record-ready” button (if its an audio track) and if you play something from the ReWire slave you should hear the
audio coming from the host’s audio/aux track. Routing MIDI is similar; create the virtual instrument you want to control within the slave program then create a MIDI track in the host. Route this MIDI track via its MIDI In port to the instrument within the slave – it should pop up as a new MIDI channel in the selection menu. Record enable this MIDI track and you will be able to play the slave’s virtual instrument with the host’s MIDI track. ReWire that instrument’s audio into the host and you now have an endless amount of possibilities for recording via a multitude of music creation programs! Play long and prosper! Resistance to better sound is futile!
ReWire allows you to take an audio signal from one program and send it to an audio input of another program. Not only does it do this in audio, but it has similar functionality for MIDI channels. Commonly, this is used when you are working with a host platform such as Pro Tools, Logic, Cubase, Nuendo Adobe Jonathan Shaw is a professional record producer who has worked with a multitude of artists and record labels in a freelance capacity. Outside this, he lectures music business at the University of the Witwatersrand and provides business consultation to the music industry. jshaw@smstudios.co.za
22 | BPM
ABLETON TUTORIAL
I
Working with Loops in Ableton Live: Part 2
By Craig De Sousa
n the previous issue, we covered slicing audio loops to MIDI. In this issue I would like to cover another way of working with audio loops, using the brand new system for warping audio, making it much easier to time stretch and quantise audio parts to fit your project... Alongside this is a new system of groove-quantising both audio and MIDI clips, giving you enhanced control over the feel of your productions.
Warp Speed
Dragging ready-made loops into Live is very easy thanks to a real-time browser preview of loops at the correct project tempo. This will allow you to audition loops for your project. Hit the RAW button to hear the loops at their original speed if you prefer. When you drag a readymade loop into an audio track you can click the waveform to see it displayed in Sample View. By default it will have warping enabled, unless you have for some reason disabled this in the Preferences. If the sample isn’t looping, simply drag to select it all, then right-click and select Loop Selection (or press the Loop button in the Sample section). If Live determines the sample to be a different length that you think it should be, use the left and right markers to select its correct length, then right-click and choose Crop Sample. You can also try Warp Speed moving the playhead to the correct position, going to the Start and End boxes and either pressing the Set buttons or entering numerical values.
Select Mode
Select Mode
Setting the Warp mode is important as it helps you tailor the algorithm to the waveform. This can be controlled from the warp box in the Sample section. This loop contains a bass tone, so warp is set to Tones. For other kinds of material, try different Warp modes. Beats is good for drums; Texture works better for polyphonic material or pads; Re-Pitch operates by transposing; Complex and Complex Pro modes are for warping material with multiple characteristics such as entire tracks, although it uses more cpu.
Warp Markers Warp markers are added by right clicking the Sample editor and selecting Insert Warp Markers. Holding down the (Shift) key while clicking on a ‘ghost’ marker enables you to drag the marker to a new position without affecting the waveform. You can double-click on a ‘real’ marker to temporarily make a ‘ghost’ and move it. Once a warp marker has been created, holding down the (Shift) while dragging it will move the waveform beneath the marker rather than moving the marker itself. When warp markers exist in a clip, dragging them will move the segment of audio between that marker and the next in whichever direction you drag it. Using this method enables you to manually alter the tempo and feel of an audio clip.
Timing
Timing
Dragging the warp markers in order to tweak or correct the timing of a track is generally quite straight forward. Sometimes you will find yourself needing to quantise an audio part quickly rather than moving individual parts of the waveform around. To do this right-click the Sample editor and choose Quantise Settings. This reveals a window in which you can choose the required resolution and strength of quantisation. Alternatively you can apply your track groove as discussed in the previous issue.
Warp Markers
For previous tutorials go to bpmmag.co.za and search ‘Ableton’.
24 | BPM
EDUCATION
When Am I Qualified?
he Oxford dictionary defines qualified as; officially recognised as a practitioner of a particular profession or activity. A qualification is deemed, a course of study that makes someone suitable for a particular job or activity. Despite these simple terms of reference, how do we know if and when we are actually qualified? The answer is relative and often very subjective. Before we dissect the nuances, let us be very clear that it is grossly naĂŻve to believe or be led to believe that having a qualification denotes being qualified. A formal qualification, especially at a higher education level, is evidence to prospective clients or employers that we have taken a formal course of study and passed the minimum requirements. A discerning professional however will not simply take this as a guarantee of a person's commitment to the subject matter or in fact that they are relevantly skilled in ways they are prepared to invest their time and money in. How qualified someone is, is generally determined by the opinion of
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the person who is considering the individual for employment or professional partnership, based upon the opinion, needs and skills of the prospective employer or client they will decide whether they deem you qualified or not. As mentioned in a previous article in this series, a formal qualification from a reputable provider is valuable evidence but it is no guarantee of employment and a sustainable career. We can only achieve this through our attitude, diligence and skill, and how we are perceived by others and not rely solely on having a qualification. In this context, it is professionally irresponsible to make statements in covering letters or resumĂŠs like 'I am a qualified producer/engineer/DJ' because you are in possession of a qualification. The prospective employer or client will decide whether you are qualified based on what they need and what you know and can do and equally what you don't know and cannot do. Always remember, your attitude is what most employers are looking for. Attributes like intelligence, tenacity, a sense of humour and good manners are very attractive, and a formal qualification is a significant addition. Leave out of your interview what a
genius you are on Version Y of X software or turntable. This is not impressive and Version Y will be Version Z shortly anyway. Another vital component to consider is that we don't have to have three decades of professional experience and a telephone directory's worth of qualifications to be deemed qualified. In many instances a truly committed individual who is receptive and a pleasure to interact with may be deemed qualified too. I.e. The candidate is qualified to commence with an entry-level role based on their attitude and willingness to learn and know much more. The quickest way to be shown the exit door is to make out that you are qualified to someone who has far more experience than you. They will be using their own professional experience as their point of reference of what they deem qualified. Let us not forget the difference between being qualified to commence with something versus having achieved mastery of it. Or put another way, the difference between having a qualification in something versus vast experience in it. Why on earth would we invest our time and money then in studying something if professionals will decide for themselves if we are qualified or not anyway? The principle of tertiary study is not simply to acquire a document (qualification) as evidence that you have endured a course of study, it is the journey of interaction with others and the knowledge we gain that is valuable. Formal study, if delivered by an astute provider who employs truly skilled staff, fast tracks our knowledge and skill in a way that is simply not possible if we work in isolation or rely solely on information accessed from the web. If formal study had no relevance, providers of education would not exist.
25 | BPM
EDUCATION By David Maclean
Yes, if we have an Internet connection we can quickly access information about anything and download the PDF to help us on our way. We can add to that a YouTube video tutorial and spend time on forums. There is no doubt that we can learn a large amount in this fashion and do every day, but it will never replace the joy and experience of interaction directly with others who share similar interests and varying levels of experience. This interaction is what happens each day amongst students and staff in a great institution. What has this got to do with being qualified? It is interaction with many other people ('qualified' and 'unqualified') that allows us to arrive at our own opinions and workflow based on our exposure to the opinions and workflows of others. Based upon our competencies at any given time throughout our lives and careers, our peers, associates, employers and clients will deem us qualified to perform the work or not.
The more we know and can do, the more qualified we are! As with every aspect of life, trust is our greatest influence when we are deciding to invest our time and money in something or someone. The more experienced someone is in something,
the more we trust him or her. Knowledge, skill and credibility all influence our belief that someone is qualified or not, and often we make or need to make this decision within moments of meeting a person for the first time. The golden nugget is being referred to someone based on his or her experience of working or interacting with us. The referral serves as an endorsement that we are qualified! The reason a referral is so valuable is because people don't wilfully place their credibility on the line and so will only refer someone to us if they are certain that we will deliver. In conclusion: we are qualified when whomever we are interacting and working with believes we are. As the amount of people endorsing our skills grow, the easier it becomes for us to cement our career and achieve professional credibility. In the next issue we will discuss the importance of Creativity with Entrepreneurship.
About the author: David Maclean is a mastering engineer, educator and business executive with two decades of experience in the music industry and tertiary education sector. David is the Director of SAE Institute South Africa and is based at their campus in Cape Town. The Cape Town campus is one of 53 SAE campuses across the globe. David is known as the ‘white crocodile’ because of his unusual portfolio that includes equal-parts business, education and music production. Consequently David understands the attitudes and opinions of the industry professionals within the creative media technologies industries and the educator’s and authorities within Higher Education in South Africa and abroad.