BPMTech Jul Aug 2013

LATEST IN DJ, MUSIC AND PRODUCTION GEAR

FREE JUL|AUG 2013

RELOOP DJ

Pro Dj Gear for 2013...

We review...

SAMSON Graphite 25 Reason 7 Hercules DJ Console RMX2 Novation Launchpad S

Gear News TUTORIALS...

Sylenth1 Talking Synth Effect Creating Gating & Side-chaining Techniques The Responsible Artist pt.2

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BEATS

CONTENTS

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PEOPLE

• MUSIC

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JUL/AUG 2013 | EDITION 68 3 4 6 8 10 12 14 18 22 26

EDITORS NOTE & INFO COVER FEATURE: RELOOP DJ GEAR 2013 GEAR REVIEW: SAMSON GRAPHITE 25 SOFTWARE REVIEW: REASON 7 GEAR NEWS DJ GEAR: HERCULES DJ CONSOLE RMX 2 STUDIO & DJ: NOVATION LAUNCHPAD S TUTORIAL: SYLENTH1 TALKING SYNTH EFFECT TUTORIAL: CREATING GATING & SIDE-CHAINING TECHNIQUES EDUCATION: THE RESPONSIBLE ARTIST PART 2

EDITOR’S NOTE he year of the DJ is upon us! In full force I may just add. But with every budding young spinner of beats there is a DJ turned producer who realises that making his/her own tracks is the next step to world domination - or at the very least if fame and fortune are not forthcoming, producing just adds so much more depth and fun to one’s experience of dance music.

Just ask Shane Halcon, interviewed on Pg. 32 in our lifestyle section. He puts it very nicely. But even if you produce the beats you still need to perform them right? Well that’s why this edition covers many of the bases needed to do all of the above.

First off we have our cover feature; Reloop’s new 2013 range of gear. This German tech company has been banging out quality products for some time now and the one thing you can always expect from Reloop is gear made with high quality materials. Their new range is exactly that as discovered by Dave Skinz on Pg. 4. Here you’ll find a new pro controller, a beast of a DJ mixer, some pretty cool DJ/Studio monitors and some really slick headphones. This is a brand certainly worth checking out.

With a strong emphasis on production in this edition we’ve reviewed the spanking new Reason 7; James feels it’s their best release to date on Pg. 8 and we agree. Samson’s Graphite25 also

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gets a massive thumbs up from David Scott and it sounds like the perfect portable keyboard controller for ‘producers on the move.’

So is Novation’s Launchpad S, mind you, if a matrix type controller is what you’re after. Dave checks this out too on Pg. 14.

The Samson and Novation controllers are ideal for both studio work and live performance.

Lastly, and judging by Dave Skinz’ review, certainly not least, is the new Hercules DJ Console RMX 2 DJ controller. It’s a piece of tech that belies its small size with all the pro features and build quality for solid, rugged use. You can read all about it on Pg. 12.

David Maclean imparts more valuable life skills information in the second part of his article called ‘The Responsible Artist.’

This regular feature in the magazine is proving a hugely popular read if our feedback is anything to go by. The SAE Institute Principal’s wise words are indeed valued by many. James and Donovan will also teach budding young producers some cool new tricks in our tutorials at the back of our tech section.

Now let’s make some music!!!

Dave Mac Editor-in-Chief

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DJ GEAR

By Dave Skinz

RELOOP DJ RANGE 2013 STEPPING INTO THE BIG LEAGUES THE LINEUP German company Reloop have been manufacturing DJ gear for a couple of years now but their durable and well made products appear to have been aimed more at the beginner and intermediate segments of the market. Not anymore, it seems. Reloop have put together a stack of new top-end offerings and decided to launch them at the biggest event on the calendar, Musikmesse in Frankfurt. Here are some the highlights we picked out for you.

RMX-80 Digital Mixer The RMX-80 is a four channel digital DJ mixer with 13 built-in effects and a host of clever innovations. Starting with the inputs the RMX-80 can accept up to 9 across its four channels with 2 Mic, 2 Phono and 5 Line inputs on offer. Each of the four-channels has a gain and three-band EQ that can be set be to either classic (+12 dB/ < -26 dB) or isolator (+12 DB/ -8 dB total kill) modes, each of the four channels also has its own band-pass rotary filter set on a nice oversized knob.

The RMX-80 has 13 high-quality performance effects in studio quality (flanger, delay, echo, reverb, transformer, pitch shift, loop roll, reverse loop, noise, bitcrusher, gate, tape delay, send/return) and direct access to effect modulation (trigger, LFO, time, pitch) via time bar buttons which in turn are controlled by 2 independent beat counters with 'intelligent tempo detect.'

The outputs of the RMX-80 are extensive with Master out via balanced XLR's or RCA's, Booth via balanced 1/4” Jacks and a Rec Out via RCA while the send and return section also boasts balanced Jack connections. Another portion of the mixer that drew my attention was the USB section on the back with a USB B and three USB A ports enabling the RMX-80 to double up as a USB Hub for any other digital devices you may need. The mixer draws its power via a ‘kettle cord’ connector so no clunky external transformer.

With the introduction of the RMX-80 Reloop can stand strong in the heavyweight division of DJ mixers, visually it certainly does draw a lot from some of its competitors’ appearances but that nuance ends up giving it the perfect balance of comfort and sturdiness

RMX-80 Digital Mixer Remix with Pro 2 LE the device is fully Traktor Pro 2 ready and configged.

The Jockey Remix 3 is a 2+2 four deck controller, so the whole face interchanges between deck 1 & 3 and deck 2 & 4. The centre handles all the mixer controls with master, booth, headphones, and navigation all bang in the middle with folder navigation via an oversized push-in infinity rotary and you have a 10segment stereo LED meter sandwiched

Jockey 3 Remix Controller The new Jockey 3 Remix bears a casual resemblance to its predecessor and has been stirring up quite a storm amongst the controllerists out in web-land. Not just is it a top-notch new release, the added prong is that while Reloop offer the Jockey 3

Jockey 3 Remix Controller

between the two 70mm Alpha Pro Longlife channel faders. There is a gradient control on the crossfader for those who want to scratch.

The “CDJ” portions of the Jockey Remix 3, are quite busy with loads of backlit encoders, buttons and pad-style buttons. The Jog wheels are quite big with adjustable sensitivity via software and can be set to run in a choice of 4 jog modes: vinyl, CDJ, search & FX modulation. There are tri-colour LEDs behind the performance buttons above the jog wheels, which shift between three different modes within Traktor Pro 2, namely Track Deck, Sample Mode and Remix Mode. Just on the outside of the wheels you also have dedicated roll and mash buttons grouped with the jog mode settings.

Master outs are via balanced 1/4”s, with RCA's on an alternate Master 2, and a booth out. There are two switchable RCA inputs (phono/line) with a ground post for decks and the entire device can be used as a DJ Mixer independent of a computer so it's a great all rounder.

The Jockey 3 Remix is housed in a solid metal chassis and its black finish and mostly red backlit buttons and encoders give it quite an aggressive, business-like look compared to all the use of blues, greens and orange on most other controllers.

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Wave 8 Active DJ & Producer Reference Series Monitoring Station Wave 8 Active DJ & Producer Reference Series Monitoring Station The rise in DJing and Music Production has seen an increase in the amount of home studio's and/or practice area's springing up all over the place and both groups are starting to take a far more careful approach when it comes to setting up their studios than ever before.

In my own experience it's a very tricky thing to find a monitor that one can use to reference both DJ'ing and beat making. The problem is that producers want absolute accuracy in the frequency response and this often leads to a flat, balanced tone in their choice of monitors, while DJ's tend to listen for something a little warmer and chunkier, a sound that’s often closer to what you'd experience listening to a loudspeaker.

Also many a DJ will moan that flat monitors can make mixing a much more challenging experience especially when you have the added pressure of something like a recording.

The Reloop Wave 8 is a bi-amplified active monitor set-up that bucks that particular trend.

It strikes a nice balance between accuracy and warmth to give those interested in both skill sets a chance to compromise.

The Wave 8 offers 100W through the 8” woofer cone while the 1” dome tweeter pushes out 60W. Each monitor has a choice of three inputs via RCA, XLR or Jack connections and the system comes with a handy “External Wave Controller” which lets you switch between input sources as well as mute, and control the volume of the Wave 8's. Each of the monitors also comes with variable EQ and frequency adjustments to make the monitor a better fit for varied studio spaces.

RHP-30 Black The sleek RHP-30's are the final feature of the article and they show a real attention to detail with the closed, collapsible design that seems unique to Reloop headphones. The headband, cups and most of the contact areas on the RHP30 are finished in a rubber paint finish and the ear pads are made from memory foam and covered in a comfortable leather to add to the comfort of wearing them for extended periods of time.

The RHP-30 Headphones use 40mm drivers to provide 1mW of output per headphone at a frequency response of 10Hz to 24kHz. The overall tone was strong at the low end while still keeping the upper frequencies clear and transparent. The RHP-30 weighs in at a paltry 355 grams and also comes with a choice of three different cables, a 1.2m plain cable with a Smartphone controller attachment & microphone, 1.2m flat cable and a 3m helix cable.

RHP-30 Black

SUMMARY To sum up, you wouldn't put a step wrong in choosing any these pieces of kit for your set-up from what we've had a chance to check out and I particularly liked what I saw of the Jockey 3 Remix with Traktor Pro. Check them out at a dealer near you shortly.

PRICES: RMX-80 Digital Mixer: R 14,995.00 Jockey 3 Remix Controller: R 10,995.00 Wave 8: R 9,995.00 RHP-30 Black: R 3,495.00 Supplier: Tradelius Tel: (031) 502-3080 Web: www.tradelius.co.za www.reloop.com

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GEAR REVIEW

By David Scott

SAMSON GRAPHITE 25

THE 'MINI-ME' OF THE SAMSON GRAPHITE 49 WHAT IS IT? The Graphite 25 is the ‘mini-me’ of the Graphite 49 which I reviewed in the Nov/Dec edition last year. It has the same metallic look and feel but obviously with less keys and a trimmed down control surface.

Although there are less bells and whistles the controller definitely doesn't feel like any less of a controller than its 49 key counterpart.

There are still 4 trigger pads, 8 encoders and a large LED screen - identical to the bigger version. While the 49 key offers 16 function buttons and 9 sliders, the 25 key offers only 4 function buttons and one volume slider, so quite a difference there. But if I'm honest I hardly use volume sliders and function buttons on controllers anyway, so Samson made a good call to trim the fat where they did.

The controller is USB powered and doesn't need drivers so it was ready and working within seconds.

IN USE The one noticeable difference in this particular 25 key that I found was that Samson had not compromised on the quality of the keys. A lot of these small keyboards I've worked with have finicky little keys that are difficult to work your fingers around and they often don't have the best velocity response, so playing on the Graphite 25 was a welcome relief for my fingers. While Samson may have compromised on size, I really enjoyed the semi-weighted feel of the keys. The velocity sensitivity is great and the aftertouch is a really nice feature to have for giving life to MIDI instruments.

A controller of this size is a great tool for bashing out bass notes or MIDI drums but if you want to play Mozart's Piano Concerto No. 21, you'll get a good sound from your virtual instruments but you certainly won't be able to actually deliver the full performance on such a tiny interface. It's a bit like putting a Ferrari engine inside a mini - you'll have an awesomely fast mini but you'd probably feel that the engine deserves to be in a bigger and better frame. I mention this because the semi-weighted keys really do beg one to play properly!

COMPLETE WITH KOMPLETE You get Native Instruments’ Komplete Elements when you buy the Graphite 25.

Anyone familiar with Native Instruments will know that they produce really great software, so this is an excellent bonus and not the usual cheap gimmicky freebie.

The Komplete Elements package includes over 3GB of material with over 1000 sounds. This includes acoustic drums, electronic beats, orchestral strings and a wide range of synths. On top of that it has guitar amp simulation effects and a host of other studio effects.

Price: R 1,995.00 Supplier: Audiosure Tel: (011) 790-4600 Web: www.audiosure.co.za unnecessary space in studio, especially if you're not using it to do complicated melodies - so I can imagine it will appeal to most EDM producers focusing on dance melodies (that's kind of a diss if I read this back to myself, but not intended).

THE VERDICT WHO SHOULD OWN ONE? I would recommend this controller to travelling producers. I don't have to tell you that software is making production easier and easier - so easy that producers are making entire tracks from their hotel rooms these days, so it's very convenient to be able to whip out a keyboard from your laptop bag and start making music while you're on tour.

It's also a neat little controller to have next to your computer on your studio desk.

Bigger controllers seem to take up

I must say I also really enjoyed having this little guy as a controller next to my laptop. My regular unit takes up quite a lot of space on the desk so having something smaller with such great keys is a bonus.

If portability is a priority, there are smaller and lighter controllers out there that you might want to look at too, but they won't have keys that play as well as the Graphite 25.

But if you’re looking for something a bit bigger for more performance options, you can get the 49 key for about a grand extra.

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SOFTWARE REVIEW

By James Copeland

FIRST LOOK AT REASON 7 “... IT’S BECOMING A CALLING CARD FOR REASON SIMPLICITY AND STABILITY.”

ore than a few people I know started producing dance music on Reason, and ahem... with good reason too. The highly visual and intuitive interface is the perfect first destination for those willing to make the jump from playing computer games to playing computer music.

Even your humble narrator here wrote his first “serious” tracks on Reason, and it’s a great place to learn and familiarise yourself with near perfect software renditions of all the classic hardware you'd be likely to use in the analogue world when producing electronic music.

This was Reason’s initial appeal and Propellerheads have continued to carve out this niche, finding a strong following especially amongst producers of drum and bass and breakbeat music. Liam Howlett of The Prodigy counts himself as a user and that’s nothing to be sniffed at.

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However, the program was not without its limitations over the years most of which were finally addressed in Reason 6 and the game changing 6.5 update. Drawbacks such as lack of VST integration were partially appeased by the introduction of 3rd party “Rack Extensions” and the long awaited integration of audio recording made it a very exciting update indeed.

It would be hard for Reason 7 to come with anything quite as exciting as that, and in truth it’s slightly baffling that last year’s Reason 6.5 wasn’t held back for Reason 7 instead, as those additions are far more revolutionary than the offerings of the new and rather pricey 7.0 upgrade.

What we do know is that it’s a dog eat dog world out there in the game of DAW wars and sometimes software must be released to maintain marketing foothold - especially if it means having something flashy to put out at a tradeshow, so perhaps this is why these ducks appear to be in such strange rows.

Anatomy For those unfamiliar with Reason, it differs from the standard DAW scenario by mimicking a studio rack into which users can insert virtual devices such as instruments, effects processors and mixers. Highly visual and modular, this rack can be toggled to front and rear view and audio or CV gate routings and connections can be done in any way you desire between the different elements using animated audio cables much as you would do in the analogue world.

Elements include drum sequencers and drum machines like the REdrum or Kong drum designer, synthesizers like Subtrakt, Malstrom or Thor and samplers like the NN-

19 and NN-XT to name a few. These can all be controlled by the main sequencer, rack sequencers synced to host, or by an external DAW linked via the REwire application.

Version 7 As an overview, what the new Reason 7 version is offering is the long awaited MIDI out option for sequencing external hardware, some interesting audio quantising and slicing to REX capabilities, and some very quick and cool mixer/channel doubling and bussing tricks. Oh, and more of its famous sample library of course!

MIDI out capability is something that's been sorely missed for a long time, but was never truly a necessity until 6.5 when audio recording was introduced. In true simplistic Reason style, just add the “External MIDI Instruments” to the rack and select the appropriate destination from its drop-down list and you’re good to go. For more in depth trickery, switch to the back view of the rack and the device has Gate In and CV Ins for Pitch/Mod Wheels and an assignable CC control, opening up a host of fun options for modularly hooking external hardware up to other Reason rack devices via the patch cables.

Once you`ve set up an external midi instrument or device, you can now do some pretty cool stuff once you’ve recorded it into Reason. Hitting quantise on the audio clip will add beatmarkers and slice the audio, making it possible to quantise to the grid or add different grooves to the recording with just a few clicks. Drastic retiming and free warping of audio is handled relatively artefact free depending on how hard you push it - quite similar to audio warp in Cubase.

Another thing that can be done with quantised audio in just a matter of a few clicks is to use the slices and automatically export them as a REX file with the option of opening the slices in a DR Octo REX unit.

The REX players have long been my favourite for their ability to create random patterns out of almost anything, but you would`ve needed to create the rex files with a program like Recycle. Now it’s easier than ever to do this to any audio file in a few easy steps and is sure to be a massive creative bonus to users of the program.

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Conclusion You may have noticed a phrase popping up a lot in this article - “just a few clicks”! It was starting to get repetitive, but then again so are a lot of tasks working in a DAW. It’s brilliant that a few of these tasks can be made easier and faster to do. Indeed it’s becoming a calling card for Reason simplicity and stability. It runs smoothly and solidly as ever, owing to the fact that (minus the rack extensions) it is mostly in house design and effects and everything is now streamlined for the fastest workflow possible.

Whilst not the flashiest upgrade with headline grabbing new instruments and effects, it’s more an evolution in workflow and none would argue that it isn’t the best version of the program so far.

The next main new feature involves the SSL mixer, and simply put, you can easily duplicate any channel on the mixer and quickly route it as you please. This opens up a world of options in parallel processing. For example, quickly doubling a drumloop and applying distortion or hard compression to one channel and leaving the other dry to achieve a fat yet transient preserved sound is done in, yes - a few clicks. Start doubling vocals, pads, synth leads etc, layering them with different effects and quickly routing them to an endless amount of busses at your disposal and this feature will quickly show its true potential. Technically this was all possible before using the spider splitter/merger, but now that it’s so easily done, it’s sure to become a huge part of any Reason user’s workflow and is a great complement to the already awesome SSL mixer.

It feels a bit like a token gesture but there is at least a new addition to the effects department in the form of the “Audiomatic Retro Transformer”. Piggy backing off the mindset of the “Instagram” generation, it’s an effect that applies retro downgrades to your audio signal for vintage or retro sounding charm. Visually, it’s a good-looking plugin and you get to choose from a few different retro processing types such as Vinyl, tape VHS etc.

While it won’t exactly become everyone’s go-to plugin of choice, its sure to be handy when adding a bit of character to the sometimes sterile world of digital audio and that can’t be a bad thing.

Also worth a mention is the new spectrum analyzer pop-up window on EQ something that no digital eq in the modern world seems to be without these days so it was a necessary addition to keep the program up with the times.

Supplier: Tuerk Music Technologies Contact: (011) 792-8402 Website: www.tuerkmusic.co.za Suggested Retail: Reason 7: R 4,999.00 Reason Essentials R 1,399.00 Reason Balance /W Reason Essentials R 4,999.00 Reason Upgrade To Version 7 R 1,999.00

10 GEAR & INDUSTRY NEWS

BPM Reports

GEAR & INDUSTRY NEWS NAMM Innovations to appear at Mediatech For people wanting to stay in touch with global developments and innovations in musical products, recording technology and sound and lighting, NAMM (the National Association of Music Merchants) is considered a beneficial platform for the latest brands and products.

Mediatech plays host to some of the exhibitors who attended this year’s trade show in Anaheim, California, and looks forward to presenting some of these brands to South African music makers and enthusiasts.

John Silver from Audiosure - who picked up the award for overall best distributor at the Samson International Distributors meeting held at NAMM - has said that Samson has a variety of new products that are being introduced to the market, including new microphones, portable bluetooth systems and amplifiers.

Alan and Heath announced that the ME-1 personal mixing system has arrived in South Africa and Audiosure is thrilled about having this displayed at Mediatech Africa. “There is a big demand for musicians to be able control their musical performance, and this monitor does just that while staying compatible with almost any other mixer brand,” says Silver. This, along with a new exciting undisclosed digital mixing product and various new lighting product ranges from Chauvet, can be found at the Audiosure stand at Mediatech this year.

“After the experience at the NAMM show,

Wild and Marr will be showcasing a spread of new products and technologies on the Mediatech exhibition floor. From the Soundcraft range, they will be displaying the Si Expression compact digital mixer, the acclaimed Si Compact and Vi Series digital live sound mixers along with the new Mini Stagebox range. Representing the latest in amplifier technology, Wild and Marr will present The DriveCore™ install series from Crown, the next generation of PWM technology that uses cutting edge Class D amplifier topologies. JBL Professional, the world's most innovate developer and manufacturer of line array loudspeaker technology will show its M2 Master Reference Monitor, VTX Line Array Series, the STX800 Series and the HiQnet Performance Manager and Shure will show its capabilities as forward-thinking innovators with the ULX-D Digital Wireless System and the Axient Wireless Management Networks. Be sure you don’t miss these exciting brands along with technology from Studer, DBX, Tascam, and Directout Technology.”

Wild & Marr will have the new Studer Vista 5 M3 on display and will be hosting a well-respected international broadcast engineer and conduct operational training on this brilliant workhorse.

Mediatech will take place from 17 - 1 9 July 2013 at the Coca-Cola Dome in Johannesburg and promises to be an exciting three days, showcasing the latest in cutting-edge technology.

Expect to see; pro AV, live event technology,

broadcast, film, production, AV System Integration, DJ and pro music equipment. Also look out for the workshops and courses on offer.

Register free online at www.mediatech.co.za before 7 July and get in for FREE

AMERICAN AUDIO ELMC 1

NATIVE INSTRUMENTS ANNOUNCES THE TRAKTOR KONTROL Z1 Native Instruments has announced the Traktor Kontrol Z1, a new compact DJ controller for both Traktor Pro 2 and NI's iOS DJ app Traktor DJ. The Z1 - which NI describes as "the world's smallest professional mixer and audio interface" - is a two-channel interface and controller. The unit features a built-in soundcard along with controls including a pair of faders, crossfader, threeband EQ and effects controls, all of which automatically map to Traktor DJ when connected to an iPad, iPhone or iPod touch via the included 30-pin connector.

The unit also features a headphone output for cueing, and will even charge iDevices while connected.

The Z1 also works as a plug-and-play controller for Traktor Pro that can be used in conjunction with the X1 and F1 controllers to form a more comprehensive setup, and ships with a copy of Traktor LE. Look out for it this Spring in South Africa. It is bound to be hugely popular.

SA Distributor: Tuerk Music Technologies | www.tuerkmusic.co.za

In our Mar/Apr ’13 edition we made mention of the ELMC 1 spotted at NAMM 2013 although all the technology company had to show at the time was a prototype. The real deal should be available in South Africa soon (if not already). Here’s the rub...

The ELMC1 is a portable 2-Channel DJ Midi Controller from American Audio. This DJ Controller is easy-to-use and allows users to start mixing right away because it includes Virtual DJ LE software in the box. Scratch or search for tracks with the large jog wheel, or use the Browser Knob to find the perfect tune to keep the crowd wanting more. The built-in Crossfader allows you to mix with ease. The Gain, Treble, Mid and Bass knobs along with the Sync and Loop features allow you to tune track to perfection. This slimline, lightweight controller is USB powered from a computer or laptop, so throw it in a backpack or soft case and take your mix with you on the road.

SA Distributor: Legacy Brands info@legacybrands.co.za | (021) 551-3296

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CITRONIC ST-SERIES MK11 ACTIVE STUDIO MONITORS The ST-Series are active nearfield monitors for studio or DJ applications with tuned enclosures housing highly resilient composite main drivers and neo dome tweeters. Efficient amp section delivers accurate audio reference to facilitate creative mixing and reduce listening fatigue. ! Custom glass aramid composite cone woofers ! 2.5cm neo soft dome tweeter with ferrofluid ! Bi-amped (except ST10S) with 12dB/oct. filters ! Optimised directivity high frequency waveguide ! Magnetically shielded ! Balanced XLR/jack and unbalanced RCA inputs (ST10S no RCA) ! ST5 and ST6 models supplied in pairs The full range includes: ST5 (5”), ST6 (6.5”), ST8 (8”) and the ST10S (10” SUB)

Supplied by: TV AUDIO www.tvaudio.co.za | (011) 805-9910

DAVE 12 G3 COMPACT 12" ACTIVE PA SYSTEM LD Systems DAVE 12 G3 Active PA-System with DSP

SA Distributor: SEGMA www.segma.co.za (011) 312-1846

The new LD Systems DAVE 12 G3 is the perfect active PA system for high-powered live gigs, multimedia presentations, and permanent installations in bars and clubs. A 12" bass reflex subwoofer and the satellites with 6.5" drivers and HF horns ensure a good sound with driving, defined bass, natural mids, and clear treble. The 2.1 power amp stage is built into the subwoofer and provides the system components with 1x300W + 2x120W of continuous power.

The soul of the DAVE 12 G3 is the LD LECC DSP digital signal processor, which controls all important system functions. It includes specially amplitude and

low-latency optimised crossovers, separate equalisers and limiters for the bass, mid, and treble frequency ranges, and a dynamic compressor that controls the subwoofer according to volume and provides for increased punch at low volumes.

The professional full range of features of the DAVE 12 G3 includes rugged multiplex cabinets, all important protection circuits, RCA, XLR/jack combo and Speakon-compatible connectors, and ergonomically shaped, recessed handles.

The DAVE 12 G3 system is ideally suited for portable use and also makes a great impression in permanent installations.

ROLAND TD-4KP V - DRUMS PORTABLE Electronic dance music is entering a new era globally right now! DJs may be the new rock stars but maybe not for long as EDM bands spring up more and more, opting to play live dance music. Roland’s new TD-4KP may just be the solution you’ve been looking for in taking your banks of drum samples into the live arena.

Or maybe you simply want to add a ‘live’ feel to your production, in studio. Here’s what Roland say about their new and ultra portable kit...

Featuring a small footprint and an innovative folding design for fast breakdown and easy transport/storage, the TD-4KP V-Drums Portable is the ultimate e-kit for mobile drumming and small spaces.

The powerful TD-4 sound module is equipped with a wide range of expressive, editable sounds and essential practice features, while the integrated pads provide a satisfying feel and natural playability. Perfect for small venues, rehearsals, lesson studios, bedrooms, apartments, and more, the TD-4KP combines V-Drums performance and features with impressive mobility and stow-away convenience.

SA Distributor: Musical Distributors www.musicaldistributors.co.za

12 DJ GEAR

By Dave Skinz

HERCULES DJ CONSOLE RMX 2 COMPACT, WEIGHTY AND WELL-BUILT

Price: R 4,699.00 (incl.VAT) Supplier: ACT Tel: 0860 000 333 Web: www.act3.co.za

WHAT IS IT? Back in the days of CDJ dominance when controllers were just starting to break ground I reviewed the Hercules RMX and, for its time it was the benchmark device which really launched the Hercules brand. Nearly ten years later and controllers have become the staple choice of new DJs looking to learn the craft and there are loads of options and alternatives on the market. Does the RMX 2 have the same lure of the RMX? You betcha!

The first thing that grabbed my attention in the un-boxing was the nylon carry-bag, then as the surprisingly compact RMX 2 was revealed through layers of packaging, the steel chassis and brushed aluminium face boldly conveyed the message that I was dealing with a genuine pro controller, not a pretender to the title.

The RMX 2 does take a lot of design ethos from the original RMX and that’s a good thing. It is about the same size as a 15” MacBook Pro, which makes it one of the most compact units in its class, and you quickly get to grips with the two real standout features; the jog wheels and the four backlit rubber pads each side.

The mechanical jog wheels are both pressure sensitive and will only engage scratching if any part of the wheel is pushed in, so you can still use the top or sides of the platter for pitch bending, however there is also a vinyl mode button to disengage scratching all together. The wheel resolution feels good especially if you consider that the wheel is quite compact, but I don't think a dedicated turntablist would enjoy them.

The next thing you'd want to do is hit those pads. Each side of the RMX 2 has a four pad matrix and combined with an infinity rotary control and the Mode button you now have a good grasp on Loops, Effects, Samples and Hot Cues.

The Console RMX 2 can also host a combination of 2 CDJs or turntables through its input section which also boasts a set of balanced XLR outputs in addition to RCAs, but the RMX 2 will need to be plugged into a computer. There are two 1/4” headphone outputs, one on the face balancing the Neutrik Mic input on the top

left side and one directly in front of you.

The layout of the DJ Console RMX 2 adheres to the unwritten universal law of mixers which clearly mandates that the middle of the device is dedicated to the faders, gains, EQs and navigation control while the RMX 2 also centralizes its master volume control.

The crossfader is user-replaceable but there is no gradient adjust or hamster switch and the default gradient is slight so it’s not ideal for tricksters. The short channel faders have a 6-segment level meter to their outside and each of the EQs also have backlit kill buttons. The navigation is via a set of four buttons with Load A & B for each respective deck but the lack of a push-in rotary can make navigating a little clunky at times especially in large folders.

The Pitch faders are compact, dipped at 0%, and also come with Pitch bend buttons. The package includes both Virtual DJ LE and Hercules’ own Djuced software, and makes use of an ASIO driver and Hercules’ own Utility software package. But as with any controller you could map it to just about any other package out there with a MIDI-learn facility.

WHO SHOULD OWN ONE? The Hercules DJ Console RMX 2 would be a great device for anyone already involved in DJing or possibly wanting to

learn. The controller is very straightforward to grasp and Hercules' use of the mode button really frees up a lot of space on the face. This also means its compact enough to fit in a backpack. Let's also keep in mind that the RMX 2 is a dedicated two deck controller, so if four decks is a prerequisite on your Hercules shopping list then you'd be best looking at the Console 4-Mx.

THE VERDICT The Hercules RMX 2 is compact, weighty, well-built and inspires confidence. The buttons feel a little on the small side especially with the abuse that Cue and Play buttons go through but, in Hercules’ defense all of the buttons on the RMX 2 had a solid click that deployed with a minimal amount of force.

The RMX 2 has definitely been tailored more toward the mixers out there with its set-up and you can have a lot of fun with those pads per side. They felt solid and turned out to be velocity-sensitive as well when you get stuck into the settings.

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14 STUDIO GEAR

By David Scott

LAUNCHPAD S

Price: R 1,995.00 Supplier: Rockit Distribution Tel: (021) 511-1800 Web: www.rockitdistribution.com

THE FASTER, BRIGHTER, UNIVERSAL LAUNCHPAD

WHAT IS IT? When Novation released the Launchpad in 2009 it was a revolutionary tool for Ableton Live users across the world. Designed in partnership with the Ableton folk, Novation created a MIDI controller that works perfectly in Live by giving performers the freedom to launch samples or entire scenes at will.

The Launchpad was actually one of the first pieces of gear that I bought as a live electronic music performer, and I must say it really was a great tool for my live performances. 4 years down the line we have the Launchpad S. It's a revamped version of its predecessor that includes the features of the older model, but has a few more added extras.

WHAT’S NEW? The Launchpad S features a ‘high power’ mode which makes the LEDs a lot brighter, making it easier to use it in the day. I remember opening for Goldfish at Durban Botanical Gardens in the afternoon and I couldn't see the lights on my Launchpad!

Luckily I knew the set pretty well and knew which buttons to press, but it could've gone pear-shaped. Day time gigs will be less of a nightmare with this new feature.

If you're colour blind like I am, you'll be pleased to know that Novation has sorted out the issue with the red/green LED lights, so the colours are easier to see on the new Launchpad ‘S’ model. I basically had to memorize which samples were playing (green) and which weren't (red) on the old Launchpad because it all looked the same.

Now at least I can see what's what. I even wrote an email to Novation telling them to sort it out. So maybe they it. Thanks Novation.

Although the lights are brighter, it doesn't require any extra external power.

The Launchpad S is bus powered, and can operate on low-power mode when used with an iPad. The app seems to compliment the iPad pretty well, so this really expands the use of this controller.

The Launchpad was originally designed for use exclusively on Ableton Live but it now works on the Fruity Loops platform, which is a very popular software program used by many urban house producers in this country. Bonuses include overlay stickers for the controller if you'll be using it in FL Studio,

and a gig of LoopMasters samples.

So apart from being silver, a little brighter and faster, not that much has changed really. Kind of like the difference between the iPhone 4 and iPhone 4S. The grid still functions as before and I was a little disappointed that there weren't any striking new features, like velocity sensitive pads or multicoloured LCDs. Perhaps the lack in change is testament to the success of the design of the original Launchpad and the changes they have made, admittedly do make a difference.

WHO SHOULD OWN ONE? If you're looking for a simple and very keenly priced and portable grid controller then the Launch Pad S is definitely worth your money and will bring a new element to your live electronic performance if you use it properly.

It will also make you look awesome on stage, even if you don't really use it.

If you already own a Launchpad and are looking to upgrade, I'd say it does not offer

that much more than add some improvements as mentioned before as well as expand the platforms it can be used on.

So if you really, really need better lighting for day time gigs, or if you're colour blind like me, or you want a similar controller for your beloved Fruity Loops then it might be worth your dollar.

THE VERDICT Given that it's brighter, faster, doesn't require drivers and has a few extra new features, the Launchpad S is still worth the asking price, even though existing users may have expected more from the new version.

That being said, the updates do improve its performance and have given this wonderful controller a new lease of life. I wish they'd made the pads velocity sensitive, because that would've made all the difference and would have warranted an upgrade for me, but I'm sure Novation and Live have their reasons, possibly with their main focus to keep the price really competitive., which it is.

18 TUTORIAL

By James Copeland [Broken Toy, Sad Paradise, Super Evil, James Copeland Music]

SYLENTH TALKING SYNTH EFFECT TUTORIAL o far, Iâ&#x20AC;&#x2122;ve covered making a standard bass patch and a lead in Sylenth.

Sticking with the classics, hereâ&#x20AC;&#x2122;s how to make a talking synth effect which can be used as a lead or just as a drone that sounds great with delay too.

There are a few different ways to achieve this effect - using fm, wavetables or formant filters , but the way it needs to be done with Sylenth is using the decimator distortion setting which is similar to a bitcrusher or sample rate reducer. It can sound pretty standard, but the more time you spend adding subtle modulations to this patch, the more character it will get and the better it will sound.

So as usual, open Sylenth and INIT PRESET from the MENU tab. Play long notes while tweaking and explore all across the keyboard range - Lower to middle notes produce the most vocal sounds.

S

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1 ! Harmonically rich wave forms yield better results, so choose saw, square, or any of the pulse wave forms. Qpulse has a nasal quality that works well for this effect. ! Set FILTER TYPE to Bandpass, DRIVE to about 1.7, RESONANCE to maximum and filter to about 42 Hz

2 Select the DISTORT tab in the effect section and tick the box to activate. Set TYPE to DECIMATE. Note: the AMOUNT dial will drastically effect the sound so return to it and adjust as you go along to check the results (best from values 3.00-5.00)

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3 Adding modulation to cut-off with high resonance will get the decimation effect to start working. So in MOD ENV 1, add CUTOFF AB as a source, adjust its amount slightly (around 3.00) and add a long attack and decay in LFO 1 add CUTOFF AB as source add a bit of amount and adjust GAIN to halfway. Adjusting the amount and RATE can get some extreme results, but leave it subtle for now.

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4 Subtle pitch modulation will add a more realistic vocal sound.

In MOD ENV2, set destination to PITCH AB, and experiment with ATTACK and DECAY settings as well as negative and positive AMOUNT values.

In LFO2, add PITCH AB as a destination, GAIN to halfway and experiment with positive and negative amounts and different rates. Slower rates produce more vowel-like sounds.

5 As a final touch, In OSCILLATOR A1 adjust VOICES to 2, add DETUNE to taste, and switch on the DELAY in the effects section. Adjust DELAY L and R to longer values (1/4D or more).

Tweak or automate all the various settings for loads of echoing robot voice fun.

Enjoy!

5

20 TUTORIAL

By Donovan Leon from DCL Studios

CREATIVE GATING AND SIDE-CHAINING TECHNIQUES PART 1 his issue we take a unique look at using a gate in a few more creative ways then just your normal gating, such as Reverb gating, gated patterns as well as Side-chaining gates.

Firstly what is a gate? Well a gate is simply an electronic device or software that allows a signal to pass through only when it is above a set threshold which is known as the gate being open. If the audio signal is below the set threshold no audio signal is allowed to pass through resulting in silence. This is known as the gate being closed.

Gates can be used in many ways such as: Controlling unwanted audio signal noise on an amplifier, quick and easy vocal trimming which eliminates background noise from your vocals or even computer noise. A gate is a perfect tool for removing these problem areas easily, often with zero impact on the parts you want to keep. It also uses very little CPU power to run.

A lot of people look at a gate as a problem solving device only, but it’s a great effect.

Let’s take a look and see how we can use a gate in a creative yet unique way.

T

HOW TO: Using a gate as a transient designer with loops This technique is straight forward. We can actually remove some parts of a drum loop and give it a totally different feel in the end compared to its original loop state. I’m using Protools’ standard gate plugin called Expander/ Gate Dyn 3, and this will work with any other DAW. 1) Choose a loop with a fair amount of noise present. Import the audio loop into your DAW, and then insert your DAW’s gate plugin. Different DAW gates work differently but with this tutorial you will get more or less the same result.

2) Set the ratio to 100.0:1, Range, -80bd, Attack 10.0Us, Release 105ms and hold: 75ms.

3) Now begin to drop the threshold down and you start to notice how the gate starts gating the softer sounds out of the overall loop. If you play around with the release and hold times, this will make the loop sound much more realistic and not so chopped up. When doing this try to mimic the actual release times of the drum sounds themselves. In doing this you may get some ‘bleed’ from the other sounds in the loop but this is to be expected and shouldn’t be too obvious in the mix. When comparing the before and after you should hear a dramatic change in the loop as well as by using this technique you can slightly clean up your drum parts or completely transform them depending on the intensity of you plugin settings.

For parts 2 & 3 of this tutorial on Creative Gating and Side-chaining techniques go to bpmmag.co.za and select TUTORIALS under the TECH CORNER tab.

This tutorial was brought to you by Donovan Leon from DCL Studios.

DONOVAN LEON is a Producer/ Engineer for DCL Studios and has had the opportunity to work and collaborate with many artists/ producers such as: Crighton Goodwill (Good Noise Studios), Robin C Khol (Jazzworx), L’loyd Cele (2010 Idol Runner up), Jamali (Popstars), CH2, Denim, Thembi Seete (Boom Shaka), Kwesta, Zubz, Sasha P (Nigeria), Jae, Ziyon (Liquid Deep), Verona, 37MPH and many, many more.

DCL Studios: Tel - (011) 615-8309 | Cell - 082 426-6400 | Email - dclstudioz@gmail.com / Donovan.dclstudios@telkomsa.net BBM Pin: 28ED7476 | FACEBOOK: DCL. STUDIOS OR DONOVAN DA DON LEON | TWITTER: DCLSTUDIOS

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22 EDUCATION By David Maclean

THE RESPONSIBLE ARTIST Create Your Place in Cyberspace

| PART 2

FORGING A CAREER IN THE MUSIC INDUSTRY IS FAR MORE COMPLEX THAN MAKING SICK BEATZ.

n this article we will deal with the vital aspect of creating and maintaining a quality presence online, and help you to promote yourself through quality interaction and networking with others.

The Internet is a blessing, but if you do not conduct yourself professionally on it, it can ruin you. It may seem cool to post images of you and your mates drunk and disorderly on your Facebook page, but before you upload this information remember that, despite privacy settings, the Internet is a public domain and people other than your friends may see this material. A fun night out may be your demise when a prospective employer does some research

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about you online, and sees the image of you behaving irresponsibly. Remember that anything you say or upload online may stay there forever. So, think very carefully before you post anything online. Always.

Miles Davis is said to have told his band members before a performance ‘if you don’t have something to say, shut up’ apropos of taking solos. Exactly this same principle applies when creating content for your online presence. Since you will not have quality content to upload or talk about every day, don’t ever compromise your quality control and professional persona by posting rubbish. We are also judged upon the company we keep, so if you re-tweet or share something, be sure it is quality

information or opinion.

We generally associate a website with a brand or company. You are a brand and have something to offer, so have a website! There is no excuse not to have a classy online presence; options such as http://themeforest.net and http://www.wix.com are free, and you can sculpt the look and feel of your website as you choose. Ensure that every link in your website works, and that everything you say and portray is true. If you use images, make the effort to have shots of your product or equipment professionally composed. Eyecandy is vital; remember the proverb that every picture speaks a thousand words.

23 Grammatical and formatting errors are the sign of poor quality control, and so it is also vital that you get someone you trust to proofread every word on your website.

Remember: a) you are operating in an extremely competitive market place, so ensure you do everything you can to eclipse the competition; and b) perception is our reality, so make a stellar impact, by being discerning and deliberate.

Assuming you have an internet connection, the first thing you do when wanting to find out information about someone, or source their contact details, is to visit their website. So, create a classy website and others can find you - quickly! It is important to get straight to the point: who are you, where are you, what are you, and why we should care. Avoid unnecessary elements that take up valuable bandwidth, and DO NOT have music that automatically starts playing when a visitor lands on your homepage. If you have music clips, then have them manually clickable for start/stop by the visitor. Upload only edits of your productions. The visitor doesn’t need to listen to or watch an entire piece to decide whether they like it or not. If you have an https://soundcloud.com page linked into your website.

Most people have a very short attention span, so the secret of your success is to create a desire or need for your service promptly. It is also very important that you have a user-friendly biography page on your website; this allows visitors an insight into your history. Furthermore, because it is available online globally, it keeps you sharp in ensuring your biography (online resumé) is always up to date.

Social media can definitely assist you with building your brand and creating awareness, but remember social media - by its very name, is primarily a platform for interacting with your friends. In other words, ‘social media’ is chiefly for socialising, and not for soliciting business. Although many folk use their Facebook profile to promote themselves, a more appropriate equivalent is http://www.linkedin.com and https://twitter.com. If you haven’t already created your profile here, do so promptly.

In your pursuit of excellence always go for good quality, and groom your website regularly! So many people have a Twitter account because they heard it was a good idea for their business. The first thing one

notices upon visiting their page is that they haven’t even taken the time to upload a decent profile image; neither has anything been posted on it for months. If you don’t use it, don’t have it - just like a gym membership.

Once you have created your online presence (as a professional) strike the balance between valuable content and consistency. Too much information is irritating; too little information is just as irritating.

As with all things, select a few people or brands whose content inspires you, and follow their style and image to guide you in your own standard of quality control.

Here are some key points to utilise for your communications online from Stoan Bartel, technology coach at Moonmoth Interactive: ! Users don’t want to be friends with your brand - they will interact with it on their terms ! Decide more carefully what you will post ! Read, re-read, and then post ! Would you share or re-tweet that? ! Do not lie to your users ! Never criticize, offend, or be aggressive ! Never assume that your audience knows what you are talking about ! Your audience are not all your friends Bottom line: engage with people in a meaningful way. Professionals don’t care how many friends you have. All they want to know is ‘what do you do, and how good are you at it?’

Are you ready?

GO! For feedback, suggestions, and interaction, please follow me on https://twitter.com/TheMacleanBrain

David Maclean | A Brief Biography 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 SAE Group has 54 campuses across the globe. David understands the attitudes and opinions of the industry professionals within the creative media industries and the educators and authorities within Higher Education in South Africa and abroad based on his unusual portfolio of skills in business, education and creative media technologies.