BPM TECH - Mar/Apr'13

LATEST IN DJ, MUSIC AND PRODUCTION GEAR

FREE MAR’13 |ARP’13

Behringer CMD DJ Controllers We review...

CUBASE 7

Novation UltraNova

Namm 2013 All the latest gear available in S.A

Gear News TUTORIALS...

Foundation of a Kick in your mix Psytrance Bassline with Sylenth Your Network is your Net Worth WWW.PROAUDIO.CO.ZA

BEATS

CONTENTS

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PEOPLE

• MUSIC

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MAR/APR 2013 | EDITION 66 03 EDITORS NOTE & INFO 04 COVER FEATURE: BEHRINGER CMD DJ CONTROLLERS 06 GEAR REVIEW: NOVATION ULTRANOVA 08 STUDIO: CUBASE 7 10 GEAR NEWS: 4-PAGE NAMM 2013 SPECIAL 18 TUTORIAL: PSYTRANCE BASS WITH SYLENTH1 20 TUTORIAL: THE FOUNDATION OF YOUR KICK IN YOUR MIX 26 EDUCATION:YOUR NETWORK IS YOUR NET WORTH

EDITOR’S NOTE ne quarter of the year has already passed us by.

Soon I’ll be writing about the year that was and all the cool new gear that had come our way. So, whilst Namm 2013 by all accounts was a little subdued compared to years gone by (not surprising since the American economy is struggling), there was nevertheless still plenty on display to get all us all giddy. We’ve compiled a bumper four page spread on all the coolest gear that was exhibited in January in Annaheim, California focusing primarily on products that will be available in South Africa during the course of 2013.

But for our cover feature we look at one of the real potential game changers in the DJ controller market; Behringer’s highly anticipated range called the CMD (for Command) controllers. Dave Skinz sums them up very well; rather than break new ground, Behringer have carefully looked at what the market needs right now and simply provided a comprehensive range of products for this sector. Behringer do have a trump card though, other than price which has always been their strong point; most of these controllers are modular devices so one can pick and choose which you need and clip these together to fit your ideal setup. This is a really novel idea and to my mind,

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forward thinking and very apt with current trends.

We’re also very, very happy to feature the Novation UltraNova synthesizer this edition. As David Scott discovers, there is definitely still room for hardware synths amid all the plugins and apps available today. Novation is one of several leading brands that now fall under the distribution umbrella of Rockit Distribution so expect more availability than ever before.

Cubase 7 caused quite a stir on its release mainly due to the totally new look mixer and Chord Track, a feature that helps you with your chord sequences. Accomplished producer, James Copeland, had a thorough look at the new version and sums it up really well on Pg 8 & 9.

Our tutorials this month pitch in with some great tips on bass and kick in two separate features and SAE Institute principal, David Maclean’s ever thoughtful words on education offer some excellent food for thought, as always.

Don’t forget to visit www.bpmmag.co.za for daily gear news.

Dave Mac Editor-in-Chief

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DJ GEAR

By David Skinz

BEHRINGER COMMAND SERIES DJ CONTROLLERS COMMAND YOUR SOFTWARE WITHOUT BREAKING THE BANK

The Lineup Behringer created quite a lot of interest at NAMM 2013 when they launched their latest range of DJ controllers, the Command Series. So much interest we expected them to only land here in June, however the good news is the first consignment is expected mid-March! The CMD's pick up where the stalwart BCD3000 left off and even today you can see the BCD3000 and the more producer orientated BCF2000 and

BCR2000's making rare appearances at some events, even more impressive when you consider they were originally launched back around 2005.

The new Command Series displays a similarly innovative approach to DJ controllers and I think it can be divided quite conveniently between the ready-to-go stand-alone controllers; the Studio 4A and compact Micro and the modular models MM1, PL1, LC1, DV1, and DC1 in

which you build your own custom set-up to fit your DJing or production headspace. The modular models all clip together so you create your own console, or use any of the modular units in conjunction with the stand-alone controllers to give you extra controls for the higher functions that so many DJ packages offer nowadays.

Stand-Alone

CMD Studio 4A The more conventional model of the CMD range, the Studio 4A, is a compact 4 deck controller with a built-in 4 channel audio interface. The 4A has a very open layout with two large 6” touch-sensitive high-resolution platters, two 100mm pitch faders and two 60mm line faders to give you the type of tactile feedback that you would expect to find on most high-end CDJ's.

The EQ section is three band with kill buttons for each of the bands. The hot cues and FX sections are neat with four FX slots with rotary controls above the platters and eight hot cues right below them. The looping

section is simple with an on/off button and loop-in and loop-out.

The audio card on the Studio 4A is 24-bit and runs class compliant software so it can function on both Windows or Mac and it outputs via RCA's for the master and 1/4” jack for your headphones, but there are no inputs or Mic channels. Power for the 4A is supplied via an external transformer which plugs in right next to the USB port and there is a Kensington lock for securing your controller. The 4A also comes bundled with Image Line’s Deckadance DJ software but is fully compatible with all the major platforms such as Traktor, Serato and Ableton Live.

I really like the 15-segment level meter on Studio 4A, the large responsive platters and the host of large backlit buttons on offer. On the flipside however the browse section seems a little strange up in the top left hand corner and the platters look like they encroach a little on the mixer’s headphone and EQ section, so while the layout is ergonomic the busiest section of the controller looks quite tight.

CMD Micro The CMD Micro is a compact two-channel DJ MIDI controller with a surprising amount of features jammed into a very small footprint. There are 45mm faders for your line, pitch and crossfader control as well as small touch-sensitive platters and pitch bend buttons to really put you in the mixing seat.

Even your track navigation, loading, cueing and master volumes are dealt with in the middle of Micro. The Micro is USB-powered and also comes bundled with Deckadance, but compliant with all other packages too.

You will need a DJ soundcard with the CMD Micro.

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Modular Systems

CMD MM1

CMD LC1

The CMD MM1 is a four-channel MIDI DJstyle mixer that’s designed to sit at the heart of Behringer’s modular system. Each of the four channels has a 60mm line fader, with a cue button, two effects slots and 4 rotaries to assign any way you like with a 45mm crossfader to tie it all together. At the top of the MM1 is a file browsing system, four rotaries for Master 1 and 2, and Cue Vol and Mix with a 15-segment level meter snuggly in the middle.

Besides a MIDI DJ mixer the MM1 is also a four-port, multi TT USB hub. This allows you to plug in all your other controllers, hard discs and even audio card into the MM1 to save you from the problem of having limited USB ports on your computer.

The LC1 is a clip trigger controller that is aimed more or less at users of Ableton Live and similar packages. The LC1 has a 4 x 8 button grid for a grand total of 32 buttons which can backlight into a choice of four different colours. Below each of the four lines of eight there are mute, solo and record buttons and above the grid two sets of assignable buttons marked one through eight.

Rounding out the LC1 are also eight rotary encoders with LED rings for positional feedback.

CMD DC1 The DC1 is the dedicated drum controller for the Command range. The DC1 has 16 1”x1” backlit pads, 8 rotary encoders and 8 hot cues as well as a full navigation section for moving scenes, libraries, or patches but the pads are not velocity sensitive. The DC1 is another one of the CMD range’s more orientated towards Live users.

The Verdict

CMD PL1

CMD DV1

The CMD PL1 is the CDJ of the modular range with a single 4” touch-sensitive jogwheel and hi-res 14-bit pitch control fader.

How sensitive is 14-bit? Well that equates to 0.02% movements of the fader at a +-6% pitch setting. The PL1 also has large backlit buttons for Cue and Play with Sync, Tap, Scratch and Deck select buttons arranging themselves around the platter. The Deck button has four slots above it, so you only need a single PL1 to control all four virtual decks available with the bundled Deckadance software. At the top of the PL1 are 8 push-in rotaries all with LED rings for an instant parameter feedback and below these are the 8 hot cue buttons. The PL1 runs off USB power.

The CMD DV1 is the effects and loop controller of the command range and can control up to four software FX decks with 12 rotary encoders each with LED rings and 20 assignable buttons dominating most of the face. There are 11 specialized buttons dealing with functions such as splicing and 8 hot cue buttons right at the bottom of the DV1. It would partner quite nicely with the LC1 for Live users

I think it’s fair to say that when it comes to DJ products Behringer adopts a very re-active stance. This approach while not being at the forefront of development really does have some huge benefits, one of which is to be able to see what the market wants, what is successful, and how to aggressively price their products to compete. And compete they shall.

And if we take it one step further and judge their potential success by the dollar prices and stock levels, the entire Behringer Command range is sure to shake things up here in South Africa.

Supplier: Pro Audio Tel: (011) 608-2099 Web: www.proaudio.co.za / www.behringer.com

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GEAR REVIEW

By David Scott

NOVATION ULTRANOVA SYNTHESIZER NOVATION RETURNS TO ITS ROOTS IN HARDWARE SYNTHS, BUT WITH VIRTUAL ANALOGUE TECHNOLOGY

Price: R 6,000-00 Supplier: Rockit Distribution Tel: 021 511-1800

WHAT IS IT? The UltraNova is a virtual analogue synthesizer the latest addition to the Nova series by Novation. Its predecessor, The SuperNova II was launched in 2000 and was the go-to synth for dance producers everywhere, but slowly went into retirement with the rise in the popularity of software plugins.

But there is no doubt that there is still high demand for good quality hardware synthesizers.

Which is why 13 years down the line Novation have resurrected the Nova series from the ashes to bring you the UltraNova.

It's really great to see the technology company making a return to their roots in hardware synths, and I was very excited to hear how it would fare since the last hardware synth made was the Xio back in 2007.

THE VERDICT

ANATOMY Looks wise, the UltraNova is a serious throwback to the 90s. Keeping with the SuperNova's dark blue plastic construction and red illuminated buttons, Novation have done well to stay true to the Nova look.

The synth is light enough to carry around for gigs, but heavy enough to know that it's sturdy and can take a few knocks. The key action is firm and fast and with built in after touch and easy to use rubberized pitch and mod wheels, the playability gets a massive thumbs up.

The synth engine is entirely digital and beneath its seemingly simple exterior lays a plethora of oscillators, envelopes, filters and LFOs to readily play around with and it really has the potential to create some fascinating and complex sounds. There are a staggering 70 different waveforms that can be fed through each of the 3 oscillators, from basic analogue standards like the sine wave through to weird digital waves.

The blue strip LED makes everything easy to navigate, and the rotary knobs directly above the screen can be used to change the various settings.

with a choice of delay, distortion, reverb, EQ, compression, gator and chorus/phaser. I really like gator, which chops your sound into patterns of up to 32 steps, great for techno or trance. A massive filter knob on the top right allows you to manage the cut-off with impressive control.

My favourite features are the 'touch' and 'tweak' animate buttons. Press touch, and the rotary knobs transform into touch sensitive buttons with custom effects, effecting the sound by merely touching the knob (yes, you don't even have to turn it). Press tweak, and various filters which are most applicable to the sound appear on the screen ready to be tweaked to taste (this time with turning the knob). There's also a useful arpeggiator and chord memory function.

Novation have cleverly added great software capabilities to increase its 21st century appeal. The synth can act as an Automap controller and effortlessly works as a MIDI controller for any DAW with its easy to use software editor plug-in.

BELLS & WHISTLES

HOW DOES IT SOUND?

The microKorg's built-in vocoder was very popular upon its release so I'm stoked that Novation have followed suit with a 12 band vocoder that is capable of creating some impressive vocoded voices - a sure selling point.

You can run up to 5 effects simultaneously

After scrolling through some of the presets, the UltraNova clearly demonstrates its sonic versatility and has everything from souped up dirty bass patches to screaming leads which meet the demands of electronic music today. I did find that they went a bit overkill on the

processing of the presets, kind of like a girl with too much make-up, and found that I had to bypass a few of the effects to get the dry sounds I wanted for recording.

The 300 presets are a good place to start for those who aren't seasoned synth technicians.

You can search for sounds by genre or category, making it easy to find the sound you're looking for. Among one of the genres is 'Dubstep' which hosts a couple of crazy 'wup-wup-wup' sounds.

I'm sure Skrillex would be thrilled.

THE VERDICT The UltraNova does everything a synth should and can do, and I can't really find any chinks in its armour. The fact that it has all-round appeal stands it in good stead against its competitors; however it doesn't have a distinctive wow factor that I could pick out.

The touch and tweak buttons are handy as performance tools, and factoring in the arpeggiator and chord memory function this is a really fun, engaging synth for the stage.

Its DAW integration means that you're getting the best of both worlds - and for its price, it's undoubtedly very good value for money.

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STUDIO

By James Copeland

CUBASE 7 “CUBASE REFERS TO ITSELF AS THE PRODUCER’S DAW. I`D REVISE THAT A BIT AND CALL IT THE EDITOR`S DAW.” teinberg`s 7th edition of Cubase marks its whopping 23rd year on the cutting edge of digital music production. I've had the privilege to watch a large portion of these advances take place, such as the introduction of VST something we all take for granted these days. It’s hard to imagine a world without software synths and effects but just over a decade ago Steinberg was only just introducing the now ubiquitous VST protocol in Cubase 3.7 - a move that would revolutionise the way we make music.

Since then however, one could say that Cubase has matured gracefully rather

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than showing us more of its initial prodigious growth spurts, so it’s great to see that Cubase 7 has surprised us and brought some exciting major overhauls as well as a few completely new additions to the new version. Rather than just lumping in a few new plugins and library content with a list of expected tweaks and upgrades, this is the first version in a while that both looks and feels different. Mostly due to the addition of two main features: MixConsole and Chord track.

The New MixConsole By far the most notable change is this completely reworked mixer. It’s all pretty much as you'd expect a mixer to be laid out, but flaunts a new minimally sleek design that is scalable for different sections and also capable of full screen mode for multiple monitor use.

It’s flanked on the left by a very handy folder style search window for navigating easily to different sections of complex mixes that also controls what to show/hide to minimise clutter. A handy VU meter bridge rests across the top section to provide an instant overview of what's happening across the board.

In an effort to speed up workflow, a new customisable channel strip has been added to every track with all the most frequently used effects already lined up to achieve “hard-hitting radio ready production values“. It’s fully customisable and can be reordered as you like with the

most basic knobs for operation available from the desk itself without going into edit mode. These are the usual suspects like noise gate, saturation for tube and tape effects, a dynamics section with compressor, brick wall limiter or maximiser, EQ and also an envelope shaper.

All in all the effects sound good and work well except for the overly heavy tape saturation effect , which is a matter of taste anyway and should be used with a light touch. The new EQ now also has a handy built in spectrum analyzer which can be displayed in a small window on the desk itself or larger in edit mode. It can all get a bit busy on a small monitor but luckily it's possible to resize and customise as you like.

Clever modern tweaks round off the mixer package like text search and adding

icons to tracks for quickly identifying channels. Settings you make are easily copied drag-and-drop style and there is also a channel and parameter linking mode that lets you change multiple settings incrementally or “absolutely” if you like. Presets to get you started for channel strips and for the mixer are also included.

Overall, the MixConsole is aiming at trying to be your one stop shop for all your tweaking needs. While this is perhaps a bit ambitious depending on your screen real estate, it’s a noble move harking back to pre-digital days when an analog mixing console indeed was the central focus of the studio rather than clicking through endless sub windows.

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Chord Track The next totally new feature introduced in this version is the Chord track, which is added in the arrange window and can analyze existing midi data or indeed supply it to the project via an editor that also includes an “assistant”. The assistant can suggest chord progressions based on selected musical style and the level of complexity you set. To some users this could appear as a bit of a cheat, but it’s aimed at speeding up creativity and workflow, so use it / don't use it I guess.

Where it really gets interesting is when the chord track interacts with the newly updated Variaudio 2.0, which although still not perfect, boasts improved note detection and now harmonising based on the chord data supplied by the chord track. Of course it’s all dependant on having a nice clean recorded audio signal and results may vary, but it’s still impressive to get intelligent multiple part harmonies following a song from a monophonic audio track with just a few mouse clicks.

Even pre-Cubase 7 projects can be opened up, easily analyzed and changed instantly with the chord track, so it’s an interesting and powerful new feature indeed.

Other Features So, with the 2 main new features covered, there are a whole host of lesser but still important additions.

On the plugin side, Halion and Groove agent One have got expansions with new sounds and new kits respectively as well as professionally performed midi patterns to match.

Effect-wise the most surprising addition is the 3rd party Voxengo curve EQ, which can copy a frequency curve from one signal and apply it to another. A handy new remote control editor can now be opened from each plugin to map to hardware controllers giving you finer hands on control of your VST effects and instruments. Settings can of course be saved for future recall.

The new VST Connect app is a Skype-esque video chat window allowing you to record and work with other artists over a solid internet connection. You can remotely tweak and adjust monitor mix and levels for vocalists you're recording

and the best part is it’s not even limited to just Cubase thanks to the standalone version that can be installed for other DAWs. Although it’s not a feature most people would use, it does lend a nice futuresque aspect to the program.

The buffer system got an overhaul with the new ASIO Guard setting, promising lighter CPU load, smoother performance and better dropout protection. Although most modern machines would hardly benefit from this, it’s still good to see development in these basic areas of operation. The troubleshooting and diagnostics on errors has also been enhanced to provide more detail.

Conclusion Cubase refers to itself as The Producer’s DAW. I`d revise that a bit and call it The Editor`s DAW. The devil is in the details, and the in-depth slicing, dicing, arranging and manipulation of audio that Cubase manages with ease has always been rather

cumbersome when using its competitors.

New additions like drag-and-drop text search for effects / channels and the Memzap feature, (which allows you to memorise and hot-key zoom and window layouts) further increase the depth and speed at which you can edit.

However, the level of detail that Cubase possesses has always come with a steep learning curve that's been a bit of a turnoff for some. Cubase 7 certainly hasn't changed that perception, but a lot has been done to streamline workflow and the overall ergonomic feel of the program. The new built-in Steinberg Hub that gives you direct access to forums as well as the included HD video tutorials are also a step in the right direction for getting first time users over the dreaded curve.

Overall, the new version has succeeded in keeping it interesting as well as becoming more intuitive without losing any of the depth Cubase is known for. This will surely help it hold its position as one of the top DAWs for the next few years to come.

10 GEAR & INDUSTRY NEWS

BPM Reports

NAMM 2013 SPECIAL FEATURE ach year music technology and instrument companies rush to show off their latest and greatest offerings for the year ahead at NAMM, held in Anaheim, California. BPM looks at the pro audio, studio and DJ gear on offer in 2013, focusing specifically on products that are available in South Africa...

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Gemini G4V and GMX Pro DJ Controllers Gemini have come out firing this year with two new controllers that look very promising and, of course, are fully up to speed with the latest software available. The GMX Pro is aimed at the home user, newbie and potentially the mobile DJ and could price under R 4,000. It boasts XLR master-outs and has 2 USB ports plus the obligatory controls required. For its anticipated entry price, the GMX Pro seems packed with pro features, hence its name.

The G4V is a four deck controller and is also expected to price very competitively (under R 6,000). Build quality is said to be very, very solid and it also includes 16 multi-functional pads, all the rage now it seems. Other notable features include touchsensitive jogwheels and 14-bit sensitivity which translates to higher accuracy. There are both Master and channel LED indicators too. Both models we are told will be packaged with Virtual DJ, a strong contender these days, but naturally Traktor and Serato compatibility will be included.

SA Distributor: Audiosure www.audiosure.co.za | (011) 790-4600

Samson set to launch DJ/Producer Controllers Samson Technologies entered the MIDI controller game last year with their Graphite 49 and Carbon 49 keyboards, both of which have proven to be excellent value for money products. NAMM 2013 saw them show off their brand new MD13 and MF8 controllers which are similar to what Korg and Akai offer. The MD13 is a pad controller whilst the MF8 is a mini control surface controller.

Only prototypes were available at NAMM, so expect this to appear on shelves toward the end of 2013 and as we’ve come to expect from Samson Technologies, quality should be top notch and price should be friendly.

SA Distributor: Audiosure www.audiosure.co.za | (011) 790-4600

Korg announces MS-20 mini Retro is the new cool. Well it is if the technology companies had their way.

Harking back to 1978 when the first MS-20 analog synth appeared, Korg have kindly update this legendary instrument to 2013 with the new MS20 Mini. As the name suggests it is, of course, smaller than its predecessor (86% of original size) but looks very similar other than that.

Whilst is has the same synthesis set up (two oscillators, ring modulation, VCA design etc) and manual cable patching, there are naturally some modern additions, notably USB-Midi to plug into your DAW. Lighter and more compact, it is said to generate sounds that’ll please any analogue synth fiend. Even Deadmau5 was said to be having a good look at it at NAMM. SA Distributor:Tuerk Music Technologies www.tuerkmusic.co.za | (011) 792-8402

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Numark Orbit wireless MIDI DJ controller Flashing lights and big bright buttons are enough to grab attention, so it’s no wonder Numark’s new Orbit wireless DJ controller had NAMM 2013 abuzz with excitement this year. Of course it is more than just the bright lights that piqued interest; the Orbit is a wireless handheld DJ controller designed in a similar fashion to a game controller. It connects via USB (and charges at the same time) or by using a 2.4 GHz ultra-low-latency wireless connection. Features include 4 selectable banks of 16 backlit pads, 8 on each side, for adding and blending effects or launching hot cues and samples. Located in the centre of Orbit are 4 bank selection buttons, 4 virtual knobs, and a

Numark unveils NS7 II & Mixtrack Pro II Numark’s latest incarnations of their highly successful NS7 & Mixtrack Pro controllers were also on display at NAMM and are now in production and should be in SA quite soon. Both controllers boast the trigger pads that are all the rage (in fact the NS7’s are the AKAI Professional MPC pads) as well as full compatibility with the recently released Serato DJ software. large aluminium-faced touch-sensitive control wheel, which controls the selected virtual knob for instantly tweaking effects and filters.

SA Distributor:Viva Afrika www.vivaafrika.co.za | (011) 250-3280

a standard SD card packed with your favourite samples, assign each one to any one of the 8 backlit pads which are both velocity and pressure sensitive and wam bam, you’re in business. Connectivity covers all the bases; 2 x ¼ Akai have some mighty fine new products available for 2013, enough to get inch jack outputs, 1/8 inch headphone out, 5-pin and USB midi onboard. You also get a drag-and-drop sample editor (Mac/PC) to convert samples. any producer just a little giddy when you look through their catalogue.

Other new gear from Akai Pro includes the Max25 Keyboard MPC Headphones – The headphone market all but blew up in 2012, it’s no wonder Akai have jumped on this bandwagon, fashioning three models Controller, MPC Renaissance, MPC Studio both with the MPC software editor as well as the iMPC iPad APP and MPC fly an actual MPC controller in their range; MPC Pro, MPC and MPC Earbuds are the 3 variants on offer. for your iPAD. Gnarly!

The full cup ‘phones are made from gunmetal aluminium and are pretty SA Distributor: Musical Distributors eye-catching in a Dr. Dre kinda way if you know what we mean! The www.musicaldistributors.co.za Earbuds are very sporty with earclips to hold them in position.

MPX8 Sampler – This is a rad little portable sample player. Simply install

Akai Professional unveils exciting new 2013 product range

Other new products to look out for from Reloop include the IQ2 2Channel Midi Mixer for Scratch DJs. The Every year it is said how Reloop is becoming a serious contender in the DJ unit has a 4x4 multichannel USB audiointerface and high-end DSP effects. Also market with their innovation and quality of products. I think it’s about time we afforded them more credit than ‘serious contender.’ Reloop rocks, simple check out their Laptop Stage stand for your laptop at gigs. It is height adjustable as that. Reloop Tape is a handheld USB recorder designed for DJs to easily and can be set up in 2 steps. records their mixes at a gig. It’s a novel idea. I mean how many times does one think, ‘damn I should have recorded this,’ but the hassle of connecting is SA Distributor: always a bit of a downer.

Tradelius Music Group This cute little retro looking device solves all that. What Reloop Tape www.tradelius.co.za actually is, is a recording interface designed to record at 192 or 320 kps (031) 502-3080 MP3. You will still need to plug a flash disc in for storage. Simply connect to an output source (usually from the mixer) via RCA and get that killer mix down. We love the retro design too. It’ll make you look cooler than an iceberg!

Reloop Introduces Tape Recorder Tape - Direct to USB Recording

*Laptop not included

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GEAR & INDUSTRY NEWS

have also been equipped with the X-Art tweeters, and include the The A-series has been overhauled, taking all the news Hexacone performance attributes of this formidable studio woofers which monitor and improving them. The A5 and A7, have larger and now revitalised as A5X and A7X are joined by longer voice new additions, the A3X and A8X. Improvements coils that deliver include the ART tweeter upgrade to X-Art. The a more linear excursion for higher SPL. X-Art tweeter is said to sport an even higher Innovative new front panel controls efficiency and maximum sound pressure level as empower the user to adapt the speakers well as a frequency response up to 50kHz. The to the room. woofers and amplifiers have also been ADAM’s new F-Series – consisting reengineered from scratch and now feature of two nearfield monitors and a dedicated larger voice-coils and amps with twice the power. subwoofer – is the company’s most affordable Even the cabinets have been given a new design, range to date. The F5 & F7 include a newly whilst all models sport two bass reflex ports. designed version of ADAM’s Accelerating Ribbon Likewise the SX series – from S2X to S5X Technology.

ADAM Audio shows of their AX and SX ranges as well as the new FX Series

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

Electro-Voice ZLX line launched at NAMM 2013 Electro-Voice launched their brand new ZLX line of portable powered loudspeakers at NAMM this year and was awarded "Best of Show” for their efforts. Budget seems to be high on the agenda of top technology companies nowadays and EV is no exception. The ZLX series is said to boast the same EV quality and user control as is expected from this leading brand, but at a price point that is far less than anything they’ve offered before. Available in 12- and 15-inch two-way versions and ideal for use as either mains or monitors, ZLX was designed for musicians, DJs, and all performers looking for more from a portable powered loudspeaker. The line will be available from April 2013, worldwide.

SA Distributor: Prosound www.prosound.co.za | (011) 470-6800

Behringer’s new NEKKST K5 and K8 Studio Monitors Keith R. Klawitter may be a name that does not sound immediately familiar but shorten that to KRK and the penny will surely drop for audiophiles. Klawitter is the man who founded and built KRK! The new Behringer NEKKST K5 & K8 nearfield studio monitors have reportedly been developed by him, enough reason to take them seriously.

As we’ve come to expect from Behringer, who are really making a strong go at it in the professional music gear industry now, the K series monitors come packed with some nice new features, for example; As well as RCA, TRS & XLR inputs the speakers have iOS and Bluetooth connectivity, which can work simultaneously with the wired inputs. Both have 1” silk dome tweeters, and they have 5” and 8” long-throw glass fibre woofers respectively. But the cherry on top must be the patent-pending, DSP driven option to switch between different studio tunings. Users will be able to download and install, via iOS, various iconic studio speaker tunings from the Behringer website. Now that’s progress that’ll no doubt have engineers’ tongues wagging!

Pioneer shows off its Platinum Edition Pioneer did not have any brand new products to display at NAMM this year, although of course the WeGo and Aero are pretty new. What they lacked in outright newness they certainly made up for in flashiness, showing off their limited edition chrome finished range consisting of the CDJ2000 Nexus, DJM900 mixer and the RMX-1000; and when they say limited they mean it; only 4,000 units of the CDJ2000 Nexus 1,000 RMX1000s and 2,000 DJM-900 Nexus mixers are in production. With flash comes cash but hey... if you got it, flaunt it, we say!

SA Distributor: ProAudio www.proaudio.co.za | (011) 608 2099

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GEAR & INDUSTRY NEWS

M-Audio announces new Axiom Controllers

Novation Launchkey – just add keys

M-Audio showed off their new Axiom Air 25, 49 and 61 Midi keyboard controllers at Namm this year. These controllers come packaged with two music creation applications, namely; Ignite by AIR and Pro Tools® Express from Avid. Ignite is a sort of streamlined, quick capture software program which enables one to record ideas on the fly without the hassle of creating a project in a DAW first.

As explained by AIR Product Manager Samara Winterfeld, "Ignite was designed from the ground up to provide instant integration and controller mapping with Axiom AIR and every M-Audio keyboard. This is one less thing a musician has to worry about when inspiration strikes.” The idea is that once you’ve captured those hit-making ideas, these can easily be migrated into Avid Pro Tools Express for further sequencing and DAW production work. Bizarrely you get more trigger pads on the 25 than the 61, best explained by their press release. It seems the Air 25 is aimed squarely at the beat-maker/producer, the Air 49 at keyboard players and composers and the Air 61 for the more accomplished keyboardist. Both the 49 and 61 have 9 70mm faders whilst the 61 also has semiweighted keys. The white/grey finish is certainly attractive and as with all M-Audio gear, pricing should be competitive.

SA Distributor: Midi Music www.midimusic.co.za | (011) 417-3400

Novation’s Launchpad is one the most affordable midi controllers around and has been likened to the Swiss-army knife of controllers such is its multipurpose use. Whether you’re in the studio or live onstage, the Launchpad does the business in any environment.

It’s certainly a winner from Novation but the one thing it doesn’t have is keys. Enter drum roll here...

Namm ’13 was abuzz with this latest incarnation from the technology company - a Launchpad with keys, appropriately called Launchkey! Okay whilst it’s not exactly the same, you can see why they’d use the name extension right? Incorporating elements of the popular midi pad controller into a keyboard (25, 49 & 61 versions) the Launchkey is aimed at the more musically inclined and less button pusher types out there. What you get to justify its name (it’s not all marketing) is a Launchpad section with velocity-sensitive, LED backlit pads to trigger scenes, loops and clips via Ableton Live.

Each unit also has MIDI slider controls, mod wheel and pitch bend controls, transport controls and an LED display and erm... keys; 25, 49 or 61 of them! Here’s where it gets interesting though; included in the package is the Novation Launchkey APP. Using an iPAd camera connection kit your can turn that keyboard into a powerful synth, no doubt housing Novation’s rad synth patch library.

SA Distributor: Rockit Distribution info@rockitdistribution.com (021) 511-1800

American Audio shows off brand new VMS controllers Three brand new DJ controllers were unveiled at Namm this year by American Audio; the VMS DJ, the VMS ELM-C1, and the VMS Jelly. Although they were still prototypes, these units received some positive feedback. Here’s the rub; The VMS DJ is a classy, if somewhat retro looking 2-channel unit. It has notably large silver jogwheels, the usual mixer section and FX controls. The money-shot for this is the XLR outs and probably at a really good price too.

The VMS Jelly is very similar to the VMS DJ except it has a classy white translucent finish (jelly?) and it, erm glows from inside. Apparently the glowing can pulse to the beat too, and you can decide to use one colour or several. Gimmicky? Maybe. But we know how much DJs and punters love flashing lights now don’t we?

Lastly there’s the VMS ELM-C1. This unit is destined to be American Audio’s most budget-friendly unit to date with a price of around R 1,500 being cited (dollar exchange dependant, of course). It is a bare-bones unit though with no soundcard, pitch and volume faders (cross fade only), but the jogwheels are said to be the shiz. All units will be packaged with Virtual DJ LE. SA Distributor: Legacy Brands info@legacybrands.co.za | (021) 551-3296

Specifications Model

LA212

Type

Mid format Line source speaker

Power handling (RMS AES)

LF: 900W HF: 200W

Sensitivity (SPL 1W/1m)

LF: 101dB HF: 113dB

Calculated RMS SPL /1m

LF: 131dB HF: 136dB

Calculated Peak SPL /1m

LF: 137dB HF: 142dB

Frequency response (-6dB)

65~18000Hz (-6dB)

Impedance

LF: 8 ohm HF: 8 ohm

Nominal directivity

Horizontal 90 degrees Vertical 0~8 degrees depending on the array configuration

HF driver

2 x CELTO HFDN72-16, 1.4" exit / 2.8" voice coil, Neodymium

LF driver

2 x CELTO 12MB450-16 with 3" In/Out voice coil

Crossover

Active, 1200Hz at 24dB/oct

Input

NEUTRIK Speakon 1+ / 1- for LF, 2+ / 2- for HF

Physics Cabinet Finish Weight Dimensions (HxVxD)

18 and 15mm void free exterior grade Birch Plywood UltraTex (USA) black mat touring grade textured coating 59kg 960 x 377 x 488 mm

Application Recommended AMP Recommended limiter Maximum number of cabinets per array SPL at 80m for a typical 12pcs array Recommend audience area Recommended Sub

LF: 1000~1600W at 8 ohm (no clip) HF: 400~600W at 8 ohm (no clip) LF: 84V RMS HF: 35V RMS 12pcs if audience under the array 16pcs if no audience under the array 118dB up to 100m from the arrray or up to 80,000 persons (for typical 12pcs per side stereo array setup) EXS218, EXS121, EXS221

Prices are recommended retail incl. 14% VAT For trade enquiries or to find your closest retailer : Call (011) 250 3280 | orders@hybrid.co.za

LINE ARRAY LA212

R 14,124.00 each*

www.vivaafrika.co.za

18 TUTORIAL

By James Copeland

CREATING A PSYTRANCE BASS PATCH ON SYLENTH1

S

ylenth1 is a great synth for making quick and easy 16th note psytrance basslines. Although I feel it lacks the funk and character that longer or slower notes require, its clean, defined sound is perfect for tight 145bpm basslines and beyond. Best of all, it only takes a few minutes to get up and running. Program a simple 16th note bassline loop. For this example, sticking within a 1 octave range and avoiding notes under your kick will sound best.

1

PIC 1 Initialise the preset by clicking INIT PRESET under the MENU tab. Adjust OSCILLATOR A1 “OCTAVE” in the top left corner until it suits the range you programmed your sequence in (C3 on the keyboard will need around -2 octave setting)

2

PIC 2 Go to FILTER A, select Lowpass filter in the FILTER TYPE section (the green line sloping downwards to the right). Set FILTER A “CUTOFF” to 0. You`ll hear no sound at this point.

3

PIC 3 Go to MOD ENV 1 (bottom right corner) and select “Cutoff A” from the list.

The Mod dial to the left of this selection must be set on maximum. ! Push the D slider in the ADSR section of MOD ENV1 upward slowly. You`ll hear only clicks at first until clear notes are heard. Stop at the point where you find a balance between a nice percussive sound and clearly identifiable notes. Done!

4 EXTRA TWEAKS: PIC 4 ! Adjust the DRIVE dial in FILTER A to fatten the sound. Don’t go past halfway. ! Adjust the PHASE dial under OSCILLATOR A1. This is the start position the sawtooth wave is triggered on. You can alter the click or attack sound here quite radically, so play around below 180deg.

PIC 5 ! For deeper subs, add a sine wav on OSCILLATOR A2 by setting the octave the same as on OSC A1 and increasing the VOICES tab from 0 to 1. Adjust the OSC A2 volume to around 50% or less. ! If there are any clicks on the note release, increase the AMP ENV A “R” slider.

5

New Features Video

20 TUTORIAL

By Donovan Leon from DCL Studios

THE FOUNDATION OF A KICK IN YOUR MIX PART 1 ith this tutorial I want to look at the foundation of a good kick drum in your mix.

This is part 1 of the 3 part tutorial. To get the full story, you’ll need to go online to bpmmag.co.za and select the ‘Tutorials’ tab from the menu.

When I say “the foundation of a good kick in your mix” I mean the following elements : choosing the right kicks for your song, how to layer them correctly and create your very own unique signature kick, how to give them that added punch, bringing your kick through the bass by use of side chaining and finally tuning your kick to your bassline of your song.

W

CHOOSING THE RIGHT KICK I remember back when I started creating some of my first productions and sent it to the mixing/mastering engineer and his response being that my kicks used in my songs did not have the punch or fatness

to that of commercial songs on radio currently. I went back to the drawing board and did my research on why my kicks had problems in them. Only to find out that I wasn’t using the kicks that match the music I was trying to produce.

The importance of choosing the right kick sample for the song plays a huge factor as the driving force in the song since this holds the overall vibe for the actual track. Choosing an incorrect kick sample can actually result in losing the vibe of the song which we don’t want to happen. If you are struggling to get your kick to sit properly in the end of a mix, change it. You will be surprised how much lift a new kick can give a slightly lacking track.

HOW TO LAYER AND CREATE YOUR VERY OWN UNIQUE SIGNATURE KICK SAMPLE:

individual kick and understand what it is made up of. If we zoom into any kick sample we will see that a kick is simply made up of a sine wave that shifts down in pitch over a length of the sample or time. This creates the bass that follows the initial attack of the kick. It starts off with a peak thus being the “thump” of the kick and will normally end with sub bass.

Layering multiple kicks together can be a tricky process. This is normally done by taking different kicks and using the prominent complimenting characteristics of each, with proper use of EQ to assemble a whole new fresh sound. If done incorrectly it can actually phase and cancel out different frequencies leaving you with a very dull sounding kick.

The best way to ensure that your kick’s frequencies are filling up the frequency range you are trying to achieve is by using a spectrum frequency analyzer.

For this tutorial we will be using M-Audio's Izotope Ozone 3 . Although it’s mainly used for mastering, it has an easy to view frequency analyzer.

Firstly in order to understand about layering kicks, we will need to look at an

To find out how to use sidechaining with your kick and how to tune your kick to the bass go to bpmmag.co.za and click on TUTORIALS.

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

21

Pic 1

HOW TO: Create a fresh new session with your DAW and import two different kick samples into separate audio channels. Kick 1 should be more of a knocking sound of a kick with very short release of sub bass with good body (pic 1). Kick 2 however should be totally different with less of a knock and more sub bass.

The idea is to bring these two sounds together to make a whole new fresh sound, without cancelling out and phasing.

Insert your spectrum frequency analyzer onto the master channel, this way we can see what’s happening with both kicks.

Now with kick 1 cut out the entire sub bass around 60-300 Hz, this depends on the kick used. In our example I’ve cut around 170Hz (pic 2) and boosted around the 6Khz to add abit of clarity to the sound.

Go to the 2nd EQ and boost the sub bass around 60 Hz as this is where sub is mostly found. I’ve also cut a bit by 800Hz to allow space for my kick 1 to come through.

Pic 2

Now insert an EQ on both of the kick channels, (Kick 1) (kick 2). Solo each kick to hear and see what the kick’s frequency consists of.

Now unsolo both of them and play them. There you have it, your very own new sounding kick from two different kicks. (pic 3) Don't forget to check out Part 2 & 3 of the tutorials online.

Pic 3

Happy Producing!!

Da Don

22 EDUCATION By David Maclean

YOUR NETWORK IS YOUR NET WORTH

ou’ve heard it often, ‘it’s not what you know, it’s who you know.’ This statement is largely true, but one also has to have the right skills and attitude, to be the right person in the right place.

To develop a network you need to network, right? This may seem obvious, but many of us, out of fear, passively wait for people to come to us, with the belief that ‘my talent and passion will attract others to me’. Wrong! While you are waiting, others are networking!

A network is how we establish our place within society’s business and social communities, and forms the vital link in creating awareness in others of who we are and what we do. As with any product, you cannot be referred for an opportunity if a person or company doesn’t know you exist!

The more people and organisations that

Y

know and trust you, the greater the opportunities are for referrals of you and your services. A referral is free and often leads to work.

Networking is defined as, interaction with others to exchange information and develop professional or social contacts.

Consequently, networking by its very definition is a proactive and deliberate endeavour. No person has a network by accident. As with all things, some find networking easy and enjoyable, and others are intimidated by it, and even find the thought of it excruciating.

You do not have to be an extrovert or an entrepreneur to create a network and be taken seriously. You simply need the will and focus to do so. Think about this the next time you want to sleep in, or succumb to a lack of confidence; while you are sleeping, or playing small, someone else is networking and getting known. If they are

skilled and reliable, it leads to the expansion of their network, while yours stagnates.

Think of how many times you have referred someone for his or her time, expertise, and advice. If you have a presence within your social and business communities, and are skilled and reliable, others will do the same for you. The important commodities are, skill and integrity. Because we work earnestly to create and maintain our networks, we will do nothing willingly to compromise our own credibility, by referring someone who may deliver. We will only refer someone if we are sure that they will deliver.

Remember, when you refer someone to someone else, it is as important to your network and credibility, as others referring people to you.

While you are creating and maintain your network, pay attention to the following:

23

COMMUNICATION

GRATITUDE

ALWAYS reply to every email or telephone call (correspondence). NEVER delay and then use the excuse ‘Sorry for the delay, I have been busy’. If you are good at what you do, you will be BUSY!! No person is too busy to not give a prompt reply, even if it is to state that they are very busy at present and will address the correspondence in greater detail shortly.

If you live on planet earth, and want to grow your network, you will have a mobile phone and an email address. With these devices it takes no time to receive and reply promptly to all communications. A very revealing sign of a person’s professional persona is the speed and quality of their correspondence. If you know you will be away from your mobile or email for a period, simply set an auto reply so that the sender is not waiting for a reply believing that the delay is because you’re a flake.

If you are in negotiations for a job opportunity, whether you have offered a position or applied for one, DO NOT go AWOL by not checking your email and phone messages constantly. This is a dealbreaker, so don’t do it.

We live in a world that is quick to take and far slower to reciprocate the generosity of time and skill. If someone gives of their time or services, because you asked them for it, then thank them! ALWAYS send a follow up communication after meetings and negotiations. This maintains the momentum of the meeting and keeps your credibility intact.

Creating your network is one thing, maintaining it is where the long-term sustainability of it really resides. We’ve all been the recipients of a sales person who is extremely helpful, until they confirm our business and receive their commission cheque. The network equivalent of this is, when you don’t treat a person or company with the same attention and respect that you did when you wanted to make a good impression across the interview or negotiation table.

Even when a professional relationship naturally concludes once the business arrangement is complete, continue to treat the person or organisation with the same courtesy as when you wanted them to employ you, or give you a good price.

Grateful people are happy people, and are a joy to be around and do business with.

Let us revisit the statement ‘it’s not what you know, it’s who you know’. How about ‘because I know/have heard about you, I shan’t be using your services’. This may be because one hasn’t delivered on time or promises, (unreliable), or because someone has warned someone else against using your services. Either way, our credibility and reputation either builds or destroys our network.

Sir Donald Gordon, founder and former chairman of Liberty Life, and after whom The Gordon Institute of Business Science (GIBS) in Johannesburg is named, said ‘remember that overnight success usually takes about 15 years’. Creating a sustainable network is no different. Growing our network takes time because it relies on other people’s trust in our competence and integrity. The more folk that trust and deem you competent, the larger your network!

Be humble, be honest, be reliable, and watch your network grow.

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.

For trade enquiries or to find your nearest dealer call Pro Audio - SA (011) 822-1430 | sales@proaudio.co.za | www.proaudio.co.za