BPM TECH - Mar/Apr '12

ALL ABOUT THE

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MAR/APR ‘12 EDITION 60

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EDITORS NOTE & INFO COVER FEATURE - PIONEER DDJ-ERGO COVER FEATURE - PIONEER DDJ-ERGO DJ GEAR: GEMINI CDJ-700 STUDIO: sE ELECTRONICS MUNRO EGG 150 STUDIO: sE ELECTRONICS MUNRO EGG 150 GEAR NEWS GEAR NEWS REVIEW: AMERICAN AUDIO: MX1400-DSP REVIEW: ALESIS MIC TUBE DUO PRODUCTION TIPS WITH JON SHAW TUTORIAL: ABLETON TUTORIAL TUTORIAL: ABLETON TUTORIAL THE BUSINESS OF CREATIVITY THE BUSINESS OF CREATIVITY

EDITOR’S NOTE xciting news!!! We have another fantastic competition giveaway on offer to you thanks to Pioneer DJ SA. Just turn back one page. Do it... now! Yessirree, check out the cover. That cute little baby right there – The DDJ-Ergo – Pioneer’s newest addition to their controller family – is up for grabs. All the competition information is on Pg 36 in the lifestyle section of the mag. But before you do that you can read Dave Skinz’s review on this new piece of DJ tech on Pgs 4 & 5. Then you can rush off and enter!!!

Other DJ gear worth reading up on is the American Audio MX1400-DSP 4-channel mixer. I was very impressed with this device; build quality, feature-set and price all make for a really good proposition from a brand possibly not quite as well known as some others in South Africa.

But talking of well known brands, Gemini have returned with what I am sure the company is hoping to be a big seller for them – the CDJ-700 Media player. I first had the chance to check out the beta-model of this player back in November 2011 and notwithstanding a few software issues (it was after all a beta version – a work in progress) I could already tell that this player would have a lot to offer. And it certainly does.

Packed with all the features a professional Media player

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should have at a helluva good price makes this a very appealing option for club and venue owners to consider, as DJs are catered for no matter which medium they play off.

Read my review on the CDJ-700 on Pg 6.

For the studio we also look at two vastly different parts of the gear spectrum. Nic Roos test drives the new Alesis Mic Tube Duo, a preamplifier at a budget price and Greg Bester goes high-end with the sE Electronics Munro Egg 150 Studio monitors, a set of speakers that certainly has the global studio world talking... and listening.

And then of course let’s not forget our trusty tutorials; learn more about determining the right tempo for your track with Jon Shaw and for Ableton users; how does a lesson on creating MPC-style drums grab you?

Finally the last say is by David Maclean, the SAE institute – Cape Town head honcho who tackles the very relevant topic; ‘The Business of Creativity,’ something we could all think a little more about as we forge our way through this industry in some form or other.

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 Dave Skinz

Pioneer DDJ Ergo Ergonomic with all the 'basses' covered What Is It? The DDJ-ERGO is Pioneer’s latest foray into DJ controllers and it’s a bold move from one of the leaders in DJ equipment and a smart one at that, as it’s a move away from the strategy of high performance, premium price tag pieces of kit only.

After checking out stacks of footage of the ERGO circulating the net after NAMM I was still taken aback by the design when I got to lay my own eyes on it. The first thing you notice is the very sleek feminine shape of the white chassis surrounding everything other than the face and input/outputs. Very 70's retro, reminiscent of one of those beautiful hanging chair's. But enough romance.

Pioneer continues with the traditional Left and Right deck setup with the mixer positioned in the middle. There are two heavy line faders with a nice quick crossfader and 3 band EQ's, gain control, and band pass filter per channel. Your rotary track scrolling, loading, recording and cue controls are all located comfortably in the middle of the ERGO with the backlit buttons to switch your decks just above your filters.

The platters are identical to the one's on the DDJ-S1 and DDJ-T1 but the sides of the platter are now fitted with a clear plastic to allow for the ERGO's elaborate marker and light cue system. All of your cueing and FX control can be visually monitored now so that when cueing; the red lights go clockwise to reference your beat-matching and in FX mode; anticlockwise to indicate your dry/wet control. The platter and even the two line faders are outlined and light up in different colours to provide a visual sense of timing. The cue and play buttons are solid and compact with the pitch fader fitting the same description.

Above each of the platters are the 4 x 4 rows of buttons and knobs that control your FX, hot cues and samples. There are 7 audio effects available in the software (flanger, beat grid, flippin double, overloop, backspin, brake, echo), 3 video effects (boom auto, strobe auto, negative) and a choice of 3 video transitions (zoom, scratch, cube).

The sample section has 12 recordable sample slots within the software and each channel has its sample volume control. Looping is easily controlled through the same

system as on the CDJ range with loop in and loop out and a rotary control to shift the timing from an 1/8th to 32 beats seamlessly.

The software packaged with the ERGO is a customized version of Virtual DJ that allows for seamless integration between the controller's layout and your view within the software. Everything on the screen is where it is on the controller allowing for a much more intuitive experience. The bottom half of your screen is multifunctional letting you check your library, sample bank, audio and video effects by using any button designated for a particular function to get the screen to change to that view. Within the software the mixer section can be interchanged between audio, video control or a bottom to top visual scroller which I didn't care for. The top of the screen has the left to right view of the tracks playing with 3 magnification modes.

The four deck mode is pretty comprehensive with each channel having its own colour to avoid confusion but you can only view two tracks at a time even if all four are playing. Some might bemoan the use of Virtual DJ but you can upgrade to a copy of Pro for a small fee and the ERGO does ship with a Traktor map as well, and there is also talk of a Serato Intro map on the way.

The ERGO offers you the choice of small or large headphone jack inputs while the little seen back of the ERGO reveals two inputs, one via a set of RCA's, and one for a Microphone via 1/4” jack each with its own volume control. These inputs can also be controlled with the Mic/Line rotary on the right side of the face of the ERGO just below the master volume. Only one of these inputs can be used at a time though and there is no phono input. Output is via either balanced 1/4” jacks or RCA. The ERGO feeds itself 500mA of power off your USB bus so no worries about a transformer. The final feature rounding out this part of the ERGO is a Kensington lock. The ERGO is nice and light, weighing in at only 3 kg and it also ships with a set of optional feet so you can slide your laptop underneath; one of Pioneer’s innovations with their controller series.

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DJ GEAR

Who should own one?

If you’ve grown up on Pioneer DJ gear (as so many of you have) then this will certainly be the controller you should go for. It’s a terrific starting point for anyone looking to get into DJ'ing or even moving from CDJ's and wanting to get a feel for the Pioneer DJ range because this, like all the Pioneer kit is built super solid with clicks and reliability built into every button, fader and knob. The lighting system is another great feature for those wanting to learn to beat match properly, as opposed to relying on the sync button (groan) which seems to be favoured too often these days.

top of each other. So it feels like the features you will use most are all tightly grouped together. The pitch faders are also a little small for my personal taste.

I can also see guys out there criticizing the use of Virtual DJ as the software especially a sort of LE version considering the scope of the FX but it impressed me that Pioneer have now come to the table with multiple controllers each offering almost all the leading choices you

might have in DJ software.

Notwithstanding my nitpicking, I like the DDJ-ERGO a lot; not just because it is fun to play on, and looks like something out of a sci-fi movie but because it presents the opportunity for a lot more DJ's to get their hands on a piece of Pioneer's legacy.

D

The Verdict.

I certainly like the voluptuous design and the innovative use of the colour lighting system and at its core the ERGO is going to please many DJ's out there, but there were a couple of small things I took note of. The pitch fader for CH1 is right next to the Line fader for that channel and the EQ, FX and Sample controls are a little on-

Price: R 8,499.00 Supplier: Pro Audio | Tel: (011) 822-1430 | Web: www.proaudio.co.za

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DJ GEAR

By Dave Mac

Gemini CDJ-700

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emini DJ have been around the block and then some. Back in the 90’s their ubiquitous 626 mixer was the go-to piece of gear for anybody looking to get into DJing and now, some 15 years later (give or take) their brand new CDJ-700 has similar merits; solid performance, great feature set and a damn good price...

What is it?

The CDJ-700 is a Professional Media Player. Yes it looks like a DJ CD player but these days the term ‘media player’ refers to a DJ instrument that is more versatile than just playing good ‘ol fashioned CDs. All conceivable and viable formats are supported from SD cards and USB memory devices – hard drives, flash discs et al – in a variety of file formats (MP3, AAC , WAV and AI FF) to the aforementioned CD format from audio CDs to CD-Rs and MP3 CDs. Add to this USB connectivity to computer and you’re pretty much covered on all fronts.

Boasting a 24-bit/192kHz soundcard the CDJ-700 can be used as a midi controller to control your DJ software and one can route one’s audio through the media player.

Other notable features include 6 DSP-powered effects, 3 hot cues, seamless looping and three selectable jog-wheel modes (Search / Pitch Bend / Scratch Effect with Slip Mode and Reverse) via the touch sensitive 8” platter

which can also be adjusted for sensitivity.

The full colour 3.5" TFT touchscreen offers all the necessary information for browsing through folders, MP3 tag info and a full waveform display.

At first glance one can be forgiven for thinking Gemini have copied the Pioneer CDJ-2000 but on closer inspection they are quite a bit different, screen size being the most notable variable. Media players, like the bevy of DJ controllers on the market today are all going to look very similar; there is a tried and tested layout that works so it would be remiss for a manufacturer to try and re-invent the wheel. But features-wise Gemini have certainly set out to match anything the other manufacturers offer.

Now when I test players of any sort the most important thing to me is not all the fancy bells & whistles. To pass the first test the simple things like track load time, how easy it is to search for a track, easeof-use when cueing and the tactility of the jog-wheel when beat-mixing are absolutely key to even bothering with the rest of the features on offer. The CDJ-700 is remarkably easy to use; the tilted colour screen is adequate – I’m probably a bit spoilt by staring at a laptop screen these days – and browsing through one’s library, even an extensive one is quite quick and simple.

The waveform display is okay but doesn’t really achieve what this feature should do; offer you visual feedback of the breaks in a track and the intensity of the different sections. But browsing, cueing and mixing is a cinch and the platter has a solid enough feel to it. The 6 effects are all pretty decent and super easy to use as are the hot-cues. The loop

function does the business but like all loop functions on these devices you inevitably have to manually adjust the loop to ensure it plays seamlessly.

All media formats work equally well meaning the CDJ-700 indeed lives up to its claim of being a multi-format media player. I downloaded the Traktor Midi TSI file and was pleasantly surprised at how well the player performed as a controller too.

Who should own one?

With all the focus on DJ controllers these days, Gemini’s CDJ-700 offers a very enticing price and places you with one leg firmly in the CD age and one in the digital.

So if you want the best of both worlds, as a club/venue owner or private individual looking to upgrade your existing setup (you will still need a mixer remember) this media player offers a lot of options for a decent price.

The Verdict The plastic fascia and slightly flimsy tempo slider are the only two possible negatives I can find in an otherwise well designed and easy-to-use media player.

Ergonomically, when in use, the layout is logical and the device works well. The effects are decent, the jog-wheel can be adjusted to suit your mixing style and the hot cues are dead easy to setup.

Browsing via the 3.5” screen offers all the feedback necessary to make an informed decision and even the waveform grew on me after a while. On a tight budget, with a great feature set, the CDJ-700 is certainly an appealing proposition.

Price: R 8,995-00 | Supplier: Audiosure Tel: (011) 790 4600 | Web: www.audiosure.co.za

DJ

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STUDIO GEAR

By Greg Bester hen it comes to studio monitors, the last name that is likely to pop into your head would be British/Chinese Microphone C o m p a n y, s E Electronics. Despite this, they are a company that over the last few years has built a really solid name around their products even though they mainly compete within the entry- to midlevel arena. It is true that some of their mics are highly regarded and lately they’ve been adding some real big names to bolster the reputation of their products too, including such luminaries as audio legend Rupert Neve as in their RN series of microphones.

This obviously suggests that sE has some serious clout ($) behind them and that, more importantly, they know which names will strike at the heart of the pro audio community and earn them some rep. The trick, of course, is to make sure those products live up to the name silk screened onto them, which is not an easy task, I’m sure.

The latest such luminary to put his name on an sE product would be loudspeaker guru and acoustics expert, Andy Munro of Munro Acoustics UK, and the subject of this review; the sE Munro Egg 150 Monitoring System.

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Construction The egg shape offers two distinct but conveniently related advantages and it’s a bit of science but here’s the gist of it.

Firstly, the outside curved surface minimizes diffraction interference which is caused by higher frequencies reflecting off of the corner areas of a traditional square speaker and the inside is devoid of standing waves because of the complete lack of parallel surfaces.

This has the claimed result of a smoother frequency response and reduced smearing, respectively. The rigid “monocoque” flat black shell is claimed to be resonant neutral as well and the front bass port is uniquely positioned for maximum bass extension.

Driver size is typical for monitors of this size with a 25mm (1in) high frequency soft dome tweeter and a 165mm low frequency driver.

Features The two Munro Egg monitors are not active, as most near fields are these days,

sE Munro Egg 150 The Munro Eggs are, well, egg shaped, their most striking feature but how do they sound?

but instead are bi-amplified by a separate amplifier which sE calls the control unit.

The brushed aluminium 2u unit is 50/50W per side, free standing and rackable, and incorporates two separate stereo inputs – MAIN and AUX - which are selectable via a toggle switch on the front panel. As far as connectivity goes, the MAIN L and R inputs are XLR and the AUX inputs are RCA. Both the +4dBu and the -10dBV reference standards are featured. Monitor control is built into the unit as well with separate volume controls for both inputs, which is a welcomed feature. There are also separate high and low trim knobs for each driver, located on the rear panel of the control unit. Two 3m speaker cables fitted with Neutrik Speakon connectors are supplied along with rack ears and a power cable.

Standard features aside, the Eggs

also offer some unique features that you’re not likely to see on other monitors. The first is a “sweet spot” indicator LED which is mounted on the front face of each speaker. When turned on from the rear panel of the control unit, the aim is to position the speakers so that the LEDs are viewed at their brightest. It’s probably best, then, to position the LEDs at eye level, which is what I did. Just don’t forget to turn them off or you’ll be half way through a session wondering why it feels like your retinas are burning! The other unique feature is a mid voicing three-position switch, located on the front panel of the control unit. It has three positions, namely, ‘Hard’, ‘Soft’ or ‘Reference’ (0), each supplying a different mid spectrum profile. sE recommends keeping it in the 0 position for most applications.

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Monitoring System In Use After seeing the Eggs on the cover of the UK audio magazine Sound on Sound, my ears were pricked as to how good these monitors actually are and given the hype I’ve heard around their preceding reputation, I must admit I went in to this review with preconceived expectations.

After unpacking them and installing them into my studio, I used the indicator LEDs as per the instructions in the manual and in no time I had a pretty good position that was true to the stereo image. I then turned the LED indicator lights OFF. Next I hooked up my Dangerous Audio DA converter to the control unit and powered the unit on.

With this particular setup my plan was to set the MAIN input volume control on the sE control unit to about two o’clock and use my own monitor controller. I was somewhat forced to do this since my AD converter is a converter/monitor controller combination unit.

The immediate concern was noise because if the control unit was noisy at higher levels, it may become troublesome but to my amazement, the amplifier was whisper quiet as is my Dangerous DA Converter. I then made sure the mid voicing switch was set to 0 and loaded up some reference music to take my initial listen.

My first impression was that these speakers are indeed clear, true and flat.

They are also capable of decent volume (118dBSPL max) and do not lack in low end. A colleague and I commented on how the low notes of an acoustic guitar seemed even and consistent without any sign of note drop outs and the clarity of the strings was stellar. We ended up A/B testing them against some similar sized Genelec 8030a’s and even though the Genelecs had a slightly different tone, we couldn’t decide which speakers we liked better, which says a lot for the sE’s considering the reputation of Genelec.

The Eggs seemed to offer more in the region between 100 to 150Hz however, which gives them a more punchy sound whereas the Genelecs have a more pronounced upper midrange presence.

On the other hand, the upper midrange of the Eggs seems tamed but that does

not mean that they lack in top end or clarity as they are smooth and fast on transients.

After referencing a couple wellknown recordings I decided to check out the mid voicing three way switch.

Switching to “Soft” immediately gave us that scooped hi-fi sound, which I’d expect to be good for normal, lazy listening. Turning the switch back to (0) restored the reference quality that we had gotten used to. The “Hard” setting seems to make mid-range heavy instruments like voices jump forward and it’s easy to see why sE calls this setting the audio “microscope.”

However, I would only use it on the rare occasion that I need more clarity in the mid-range.

STUDIO GEAR

Conclusion The sE Munro Egg 150 Monitoring System is a big achievement for a company who specializes in microphones and I’m sure for the monitoring world in general. They are true, clear and representative monitor speakers that are indeed worthy of the accolades sung at them.

However, I must admit I was quite surprised at the price and would wager that there are other specimens at this price point that might sound just as good or better.

That being said, I think sE has really produced a fantastic product in the Munro Egg and if your budget allows for this type of investment you should certainly listen to these before making a decision.

Suggested Retail Price: R 26,995.00 incl. VAT Supplier: Tuerk Music Technologies | Contact Tel. No: (011) 792 8402 Website: www.tuerkmusic.co.za

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GEAR & INDUSTRY NEWS

Pioneer Steez - Portable Speakers on the run

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We all remember the old boombox era; well it looks like Pioneer have given the concept a new very innovative twist with a new range of portable speakers called the Steez. They have been put together with the dance crews in mind, to be a portable performance speaker that can be customized for your crew or dance competition. The range currently has three sizes out, all fitted with inputs for iPods and iPhones, USB, microphone and a mini-headphone jack input to cater for the huge variety of music storage out there.

But no worries if you don't have tunes on you, the Steez comes with built in music libraries covering most of the dance styles out there. There are multiple modes of use including a DJ Mix mode which will mix the songs for you, to the Auto Battle mode which can be set to run off a playlist for specific times with countdowns in between to let the crews change up. You can set up your own playlists and adjust the tempo of the music playing so this is an ideal piece of kit for dance crews, fitness trainers, or gyms that need a sound system and way of timing your routines or workouts. All of the models in the range come with remote controls and power transformers to make things a little easier or you can take to the streets and use batteries to keep that party or battle going.

SA Distributor: Proaudio |011-8221430| www.proaudio.co.za

Numark – iDJ Pro

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Premium DJ Controller for iPad Deck out your iPad for some serious mixing. iDJ Pro from Numark is a professional DJ controller that expands your iPad’s touch interface, seamlessly integrating with Algoriddim's djay for iPad app to form a completely new DJ experience. iDJ Pro features a sleek, brushed aluminium casing and is equipped with all the professional controls you expect, plus some design features and capabilities that will inspire brand-new surges of creativity.

Combining the industry-leading design of Numark DJ controllers with the power of your iPad and Algoriddim's djay app, iDJ Pro puts a 30-pin dock for iPad at the centre of its traditional dual-platter setup, giving you access to your iPad’s touchscreen alongside an expanded layout of physical controls: touch-sensitive platters, large die-cast aluminium volume knobs, a dedicated music-library scroll knob, plus hot cues, looping, pitch and effect controls. Once your iPad is docked, a latching door provides total, seamless integration, giving you an intuitive, flexible and powerful DJ system.

Thanks to your iPad’s wireless capability, you'll have access to virtually any song instantly. iDJ Pro empowers you with access to the cloud, allowing you to download tracks and have them pumping in seconds. iDJ Pro is fully integrated with Algoriddim’s popular djay for iPad app and can work with other Core MIDI-enabled apps. It's also AirPlay compatible, giving you the flexibility to blast your set wirelessly through AirPlay speakers. iDJ Pro comes ready to party with professional microphone and external device inputs as well as balanced XLR master outputs.

SA Distributor: Viva Afrika | (011) 2503280| www.numark.com

Continued on Pg 12 ...

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GEAR & INDUSTRY NEWS

Ohm RGB by Livid Instruments The OhmRGB is a totally customizable, interactive MIDI instrument, designed to give you hands-on control for your performance. High-quality sliders, knobs buttons, expansion jacks, and multicolour LEDs provide the interface for creative expression, whether you're mixing samples and synths or DJ'ing a cutting-edge set. Constructed with anodized aluminium and hand-finished wood, the quality is felt down to your fingertips. All controllers are hand crafted and assembled for artists by artists at the Austin, Texas shop.

Adaptable The OhmRGB is designed as an adaptable instrument and can be used for music, dj'ing, visuals, lighting, and presentations, in the studio or on the stage. The bi-directional communication keeps the controller in touch with the software, and keeps you focused on your performance. Completely reprogrammable MIDI settings let you set up the controller for any situation.

Scripts and templates are available for many popular software titles like Ableton Live, Propellerhead's Reason and Record, Traktor, Arkaos, Cuelux, and many more for total plug-and-play performance.

SA Distributor: Benjamin Studios | +27 76 984 6691 | www.benjaminstudio.co.za

Robert Juliat: Aledin - 330LF LED 85W With its high output LED, its 200 mm Fresnel lens and its great beam quality, this fixture gives a very powerful wash effect.

Economical, the 330LF extends colour media life due to its low heat output, and requires fewer maintenance calls thanks to its extra-long-life LED. It is particularly appreciated for its electronic flicker-free dimmable PSU. The versatility offered by the choice of two colour temperatures (3500K or 5800K) makes the 330LF perfect for studios, theatres, and events, as well as architectural applications.

Very low power consumption + Significant savings on the running costs + Ideal for venues and events with limited power Extra long LED life + Fewer maintenance calls + Great for inaccessible areas + Perfect for long duration operations Low heat output + Very long lasting gel filters

+ Accessories and spare parts virtually indestructible

+ Less expenditure on airconditioning Built-in dimmer + No need for costly installation and cabling + Constant colour temperature when dimming + Flicker-free ideal for camera and studio work Environmental protection + Low heat, low energy and no UV / IR emissions mean: + Protection for the public; even when close to the audience + Protection for sensitive o b j e c ts : w o r k s o f a r t , museum exhibits and old theatre decor + Less demanding on the environment

Elite QuickStand Staging screens

SA Distributor: Electrosonic Tel: 011 770 9800 www.electrosonic.co.za

+ 2-year manufacturer parts and labour warranty, 3-year

warranty for GEMR (Government, Education, Military and Religious)

Portable Presentation Screen for ProAV + Strong, lightweight and portable folding aluminium fixed-

+ + + + + + +

frame screen for multi-media conference/classroom presentations Standard CineWhite (Gain 1.1) screen material with black backing and drape kit Optional 2.2 Gain WraithVeil (rear-projection) - material sold separately Sealed edge detachable frame design with material snap button attachments and corner pull straps Easy setup and teardown design with no tools required Adjustable frame height can be raised or lowered at 8" increments for various presentations Durable aluminium travelling case is wheeled for easy transport, storage, and shipping for tradeshows and travelling presentations 150" and above models come with AT legs for additional support Available in 72" - 250" diagonal sizes in 4:3 & 16:9 aspect ratio

SA Distributor: Electrosonic Tel: 011 770 9800 | www.electrosonic.co.za

DJ MIXERS & M101 ...................... R 808.00

M101 USB .......... R 1,350.00

GET UP AND RUNNING QUICKLY AT ANY GIG

READY FOR DIGITAL OR ANALOG

+ Two-channel rack-mountable mixer + Two pairs of Phono/Line inputs + Built-in 2-band EQ for quick, easy sound tweaks + 1/4-inch Mic input for voiceovers and announcements

+ + + +

M2 ......................... R 1,342.00 PURE PROFESSIONAL POWER

Two-channel rack-mountable mixer with USB USB audio built in for playing from or recording to your computer Two pairs of Phono/Line inputs Built-in 2-band EQ for quick, easy sound tweaks

M3 ....................... R 1,742.00 EXTREME MUSIC MANIPULATION

+ Two-channel tabletop DJ mixer + Inputs: two phono/line switchable (RCA), two line (RCA), mic (1/4") + Outputs: Master (RCA), Record (RCA), Headphone (1/4" stereo) + Three-band EQ and gain on each channel

+ Two channel tabletop DJ mixer + Inputs: two phono/line switchable (RCA), two line (RCA), mic (1/4") + Outputs: Master (RCA), Record (RCA), Headphone (1/4" stereo) + Three-band rotary EQ and gain on each channel

M4 ........................ R 1,742.00 BONUS INPUTS FOR TOTAL PERFORMANCE + + + +

Three-channel tabletop mixer Inputs: two phono/line switchable (RCA), four line (RCA), mic (1/4") Outputs: Master (RCA), Record (RCA), headphone (1/4" stereo) Steep three-band EQ/rotary kills on each channel

www.numark.com

Prices are recommended retail incl. 14% VAT

HEADPHONES M6USB ................... R 2,147.00 M8 ............................ R 3,750.00 VERSATILE MIXING WITH COMPUTER INTEGRATION + Four input channels, each with gain, three-band EQ, and LED metering + USB computer connection for playing and recording with Mac or PC + Play music from musicplayer software + Record your mix to your computer

FOUR CHANNELS TO MIX, MATCH AND EFFECT ALL YOUR MUSIC + Four channel DJ mixer + Top Panel RCA input for portable MP3 Players + Beatkeeper™ BPM detection to create precise mixes between songs + Beat-synced effects Including: - Delay - Filter, - Flanger - Pan & more

IM9 ......................... R 0,000.00 RED WAVE ................ R 1,017.00 FOUR CHANNELS TO MIX, MATCH AND MANGLE ALL YOUR MUSIC + Four channel DJ mixer + Integrated dock for iPod for playback and recording of sets + Beatkeeper + Beat-synced effects including: - Delay - Filter - Flanger - Pan & more

HEADPHONES DESIGNED BY DJs FOR DJs

+ Swivel design allowing DJs the flexibility to monitor house audio and cue audition + Breathable protein-leather padding that remains comfortable during extended use + Large 50 mm driver, neodynium magnet and voice coil for optimal frequency response + Balanced detachable headphone cable with ¹⁄₈" adapter for use with MP3 players

HF125 ......... R 208.00 PROFESSIONAL DJ HEADPHONES + Flexible 7-position independently adjustable dual ear cups + Large 40mm Mylar speaker drivers + 6' tangle-resistant cord with 1/4” connector + Padded headband and ear cups

www.hybrid.co.za For trade enquiries or to find your closest retailer call (011) 250 3280 | luis@hybrid.co.za | marco@hybrid.co.za | bernard@hybrid.co.za

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DJ GEAR

By Dave Mac

American Audio MX1400-DSP effects which offer 8 different FX with both X & Y parameter knobs. Aside from the X/Y rotaries you have 6 additional presets with different beat ratios as well as a tap button. The LCD screen display feeds back the calculated BPM for the master-out as well as all necessary FX info.

What is it?

The MX1400-DSP is a 4-channel professional analog DJ Mixer jampacked with every conceivable feature – and then some.

Built like a tank, the all metal chassis is as solid as one could hope for with every inch of the console – top fascia and back of the unit alike used to cram in the massive feature list this unit offers. Let’s start at the rear of the mixer first. The master output offers both XLR and RCA, booth outlet is via XLR and there is a set of REC-out RCA’s too. Two final features on the very bottom back of the console include a digital output (S/PDIF) and a clever little ‘trim output’ knob which, since it’s well hidden away, is presumably for the sound engineer to curb the final output volume (other than the Master volume knob) to protect the loudspeakers should the mixer be connected directly without any additional mixing desk and protection via compressors etc.

Above the recessed output section one finds all the obligatory input connections which include 4 line inputs, and 3 phono inputs, all 3 of which can also be switched between aux/phono. An additional third mic jack is also located on the rear along with a small little volume attenuator.

Finally there are 4 ‘fader control’ minijacks should you be using the mixer with American DJ CD players to make use of the Q-control feature on the front console.

Basically with a compatible CD player the Q-control enabled button will automatically start a track at its cue point with the movement of the crossfader.

Onto the front of the mixer and one really is presented with a host of convenient connectivity options, the most notable of these being the assign knobs

Who should own one?

above each channel strip; basically any one of the 4 channels can be assigned to absolutely any one of the input options on the rear on the unit. For example if you have a CD player plugged into ‘Line 1’ at the back, you can make any one the 4 channels line 1; i.e. you are not governed by where you’ve physically plugged the player into on the rear of the unit. Nifty heh?

Alongside the channel assign knobs is a very handy set of RCA inputs called ‘AUX 4 Input’- an ideally placed access point to plug a laptop in for DJs using laptop/controller systems without having to fiddle around at the back of unit. All the standard channel options exist; 3 band EQ, gain knob, cue button, volume Leds and A/B crossfader assignment. On the left are two full-featured Mic inputs – XLR once again – along with 3-band EQ, mute buttons; volume sliders and a talk over button on each. The master volume is also a slider and alongside this sits the DSP

The MX1400-DSP is a professional mixer in every sense of the word. Very solidly built, feature-rich with professional quality connectors, sliders and rotaries, this mixer is ideal for any club/venue or sound specialist. Offering up more options than most will need with extremely versatile and easy to access inputs and assignments, alongside a reasonable selection of FX and a decent BPM calculator it’s an easy-touse unit that most DJs should feel completely comfortable with.

The Verdict I was very impressed. Build quality is excellent, knobs and sliders are robust but not ‘clunky’ and the connectivity options are excellent. The FX aren’t exactly mindblowing but they do the job. Other than no USB-connectivity, the MX1400-DSP covers all the bases admirably and should seriously be considered by club/venue owners and sound companies looking to keep their budget tight but still offer a pro solution.

Price: R 6,821-00 | Supplier: Legacy Brands Tel: (011) 551 3296 | Web: www. americandj.eu

16 | BPM

STUDIO GEAR

By Nic Roos

Alesis Mic Tube Duo Stereo Tube Microphone Preamplifier

"Alesis continue catering for semi-pro musicians and engineers with the recent release of their entry level Mic Tube Duo mic preamp. While not particularly packed with features, the two channel Mic Tube Duo is one of the most affordable tube preamps around with a suggested retail price of R 1,895.” impedance instruments up to line level.

Anatomy In Use The compact rectangular brushed steel enclosure bares a slight resemblance to the infamous (and expensive) Great River ME-1NV mic preamp and houses a single 12AX7 tube driving two channels in what Alesis say is a simplified, low-noise circuit for purer signal fidelity. Each channel features a XLR/TRS ¼ inch Hi Z instrument input, balanced and unbalanced output, phase reverse, a 20dB pad, an input gain control, a drive control that dials the amount of ‘vintage tube tone’, and a nice big LED output meter. There is also a global 48v phantom power switch for powering condenser mics.

The controls are very simply laid out and the unit is very straight forward and easy to use. There is also plenty of gain on tap with more or less 65dB of clean gain including the 20dB pad. Alesis are not very forthcoming about the product specs, such as signal to noise ratios etc so how quiet it actually is remains unknown.

Apart from basic operational advice the reference material is not very informative. All promotional material for the unit claims it has an 80Hz hi-pass filter but there isn’t one to be seen anywhere on the control panel.

In trying to solve this little mystery I discovered that the single channel version, the Mic Tube Solo, has in fact got a switchable 80Hz hi-pass filter, so I speculate that the Duo was originally meant to have one but was dropped before production and the marketing department was never informed.

While tracking vocals with a condenser, the Mic Tube is reasonably quiet, with a bit of a noise floor at higher gain settings. Tonally it is fairly clean, slightly warm but overall nothing too remarkable, as should be expected in this price range.

The 12AX7 tube may just be a ‘marketing’ tube. Its influence on the sound, via the drive control, is very slight.

There’s a barely noticeable roundness to mids, a boost in the extreme high frequencies and a little bit of compression, which does give a nice smooth yet immediate attack to guitars. There certainly is no sign of the advertised ‘tube overdrive‘, even when cranking the drive control. So for those wanting to liven up their synths with a bit of ‘tube voodoo’ may be a bit disappointed as the overall tonal characteristics added here are very subtle.

However, because of its simple design it may be easy to modify the Duo if you are that way inclined. For a start, replacing the 12AX7 tube with one of a higher quality may just bring some tonal enhancements. This is standard practice for some audio nuts.

The Mic Tube does however function well as a DI box, bringing unbalanced low

Sending a 5 string Stingray bass through it proved to be rather pleasant. The tube compression smoothes things out quite nicely as well as adds just a tiny touch of warmth in the mids and rounding out the ample lows.

Summary The Mic Tube Duo is not intended to set the audio world alight but it does perform basic functions cleanly and quietly at a good price. As for its ‘vintage tube tone’, it does bring some very minor tonal qualities to the table.

On a shoe-string budget, the Mic Tube Duo will get the job done well enough, but in an arena of increasingly over-achieving budget audio gadgets, it may have some stiff competition soon.

I would love to see what Alesis do with the next generation.

SA Distributors: MD Musical Distributors | 021-799 4950 | www.musicaldistributors.co.za Suggested Retail Prices: Mic Tube Solo - R 1,395-00 | Mic Tube Duo - R 1,895.00

18 | BPM TUTORIAL

Tricks from the Pro's 11:

PRODUCTION TIPS

By Jonathan G Shaw

Working on African Time?

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alutations and greetings BPMings! Most modern recorded music is produced on a tempo grid. A metronome is used to make sure that every instrument is kept in time and for editing purposes helps create tight music.

Deciding on what tempo a song is at, is one of the most important decisions to get right for a great production. The other is what key the song will be in, but that’s for another column.

For most electronic music, which is based on MIDI sequencer data, changing the tempo is simply a matter of trial and error as the music will speed up and slow down as you change the tempo on your DAW system. For other music involving live instruments, it can place a lot more pressure to get the tempo right to begin with, as changes to timing later can result in tiresome editing work that can be avoided by taking time to explore tempo correctly.

These days you do have “elastic audio” which can stretch or pull-in

audio, but I still find this may not yield the best results and only use it in special circumstances.

I find the best way to get the tempo right, first time, is to use the “tap” feature, if your DAW has it.

What this means is that you open a window within your DAW that allows you to hit a key or mouse button steadily and it calculates the tempo for you. Hum the tune in your head at the speed that feels right to you, or have the performer play their instrument in free time, and tap along with it. Then, depending on the song I’ll round it up or down to the closest beat per minute. So for songs that have a slower feel, maybe take it down a bit and for songs which groove more, take it up slightly.

Then, play the track back, or have the performer play with the click (metronome) and see how they feel and adjust again. With this method, I very seldom have to adjust tempo later on.

A lot of songs have one tempo, however I can suggest that once you have found your ideal tempo, perhaps speeding it up one or two beats per minute (BPM) in a chorus or bridge can help the song have more vibe. Also, try not to just clickclick in all your percussion and drum tracks, but rather play them in as tightly as possible and then quantise a bit. Done right, this can keep a feel in your tracks and make them be tight but groove well.

Play long and prosper!

Resistance to better sound is futile!

Tapping tempo: resolution sets the beat note length (pretty much half- or double-time)

Tempo map with different tempos Jonathan Shaw is a professional record producer who has worked with a multitude of artists and record labels in a freelance capacity. Outside this, he lectures music business at the University of the Witwatersrand and provides business consultation to the music industry. jshaw@smstudios.co.za

20 | BPM

ABLETON TUTORIAL By abletonlife.com

For years owners of the legendary Akai MPC series have been able to create stuttering note repeats and drum rolls with the flick of a switch. Here's how to achieve these exact same results with a copy of Ableton Live's Impulse Drum Machine and Beat Repeat.

MPC Style Note Repeats in Ableton with Impulse and Beat Repeat Step 1.

Under Ableton Live’s device browser, open the folder labelled Instruments. Next, locate the Impulse drum machine and click the arrow to the left of it, opening the presets. Double click on the Vintage Funky Good Time preset to load it in a new MIDI channel.

Step 2.

Open the Audio Effects folder in Ableton Live’s device browser and drag a copy of Beat Repeat onto the MIDI channel that is hosting Impulse.

With the record button enabled, you should be able to play all 8 notes loaded on the Impulse on either your MIDI controller or computer keyboard (Starting on note C3).

Step 3.

For the rest of our tutorial, everything will be handled in Ableton Live’s Beat Repeat. To get those authentic MPC stutters and rolls, we have to change a couple settings in Beat Repeat. Start off by bringing the Chance knob all the way down to 0% (as we will control the repeats manually).

21 | BPM

ABLETON TUTORIAL

Step 4.

Next up, assign a key to the Repeat button on Beat Repeat. Do this by clicking either the Key or MIDI button on the top right of Ableton Live, double clicking the Repeat button and pressing the desired button you want assigned to it. After you’re finished, click once more on either the Key or MIDI button

Step 5.

Depending on whether or not you want your live drumming to be heard over the repeated notes, you can leave the Mix button selected, or activate the Ins button (which only plays the repeated note, your playing will be muted until you switch off the Repeat button).

Step 6.

Start playing a beat on your MIDI controller. Every once in awhile, when it feels “right”, activate the Repeat button with the key you assigned earlier. You will hear the note you last played repeat.

Try and catch a simple snare hit, or a kick drum, it takes a while to get used to, but practice and you will get a feel for how it works. To stop the repeating note, simply de-activate the Repeat button with the assigned MIDI key. Depending on your Grid settings, you will either hear a quick drum roll, or a slower drum roll (1/8 and 1/16 notes for a standard roll, while 1/12 and 1/6 can add an interesting triplet feel.)

Once you’ve mastered simple rolls, you can start playing with the Variation knob (randomizes the Grid settings for you) and even the Pitch and Decay knobs (tunes the drum hits up and down).

22 | BPM

EDUCATION

The Business of Creativity

e l i v e i n a competitive world where there are many more people than sustainable jobs. Most of us need to work to earn an income to survive, and love it or loathe it, money is quite literally the currency of the planet and we need to earn some if we want to be a part of it.

In the realm of the creative arts and creative media technologies there is no shortage of sublime talent and skill.

Sadly, many of these incredibly talented folk completely undersell themselves if they even attempt to promote their skills at all. Many of us naively believe that if we have skill, passion and integrity, it is only a matter of time before the world hears about us and utilises our skills. Wrong. A person or organisation cannot hire us if they don’t know we exist! For many of us selfpromotion does not come naturally but, deliberate promotion of ourselves is not simply necessary but vital if we want to earn a living off our talent. Let us stop suffering for our art and get sharp! The world does not take talented airheads seriously. The world pays attention

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when someone skilled takes himself or herself seriously because they have self-respect and an ambitious desire to forge a sustainable career.

‘There are no jobs!’ This statement is absolutely true for those with a victim consciousness and a great motivation to push harder for those who are ambitious. The truly committed do not waste time blaming others and the system because they are busy letting the world know they exist and that they want to make a significant contribution.

Genuinely ambitious people actually benefit from the masses complaining because it provides them with less competition while they are creating their networks and careers. Esteemed friends, the bottom line is that too few of us dig deep enough, face our everpresent fears and go and get what we really, really want from our careers.

Many of us were raised with the moniker of ‘I want doesn’t get’. What rubbish!! How can we get what we want if a) we don’t know what it is, or b) we don’t tell the whole world about it when we do?

Many of us are terrified of negotiation and consequently accept lower fees or less than what we believe we are genuinely worth. Everything is

negotiable so exercise your right to negotiate. Of course it does not mean you will always get the fee or price you have requested, but at least you have the solace in knowing you tried.

Negotiation is not arrogant; it is a perfectly legitimate way of paying less for a quality service or product, and of course if you want to earn more, then negotiate up!

Conversely, if someone is attempting to negotiate a lower rate for your time and expertise, there are two words you need to use, yes or no.

Many of us believe that if we have recently graduated or have no significant commercial experience yet, that we have to start our career working for free. This belief suits prospective employers because they get to have your time and skill for no initial cost to them. Offering your services for free in the name of getting your foot in is in fact not astute.

Remember, the lower that your income starts, the longer it takes to start earning a higher wage. There is also an extremely feint line between an internship (due-paying employment period) and being a slave. Good ole’ fashioned hard work is a given, but slavery doesn’t have a good reputation.

Another reality to consider is that it is not unique for you to offer your services (initially) for free because recent graduates and newcomers to the industry do this every day. Show evidence of your self-respect and entrepreneurial spirit by thoroughly researching what people are paying and where you fit into that. Ironically, astute employers will in fact question how valuable you actually are if you offer your time and knowledge for free. In the context of employment, it is generally evident within a few moments of interaction that the prospective client or employer will determine if we have the all elusive something special or if we are simply seeking employment to earn an income to survive.

23 | BPM

EDUCATION

By David Maclean

Dear friends, creativity and talent alone are simply not sufficient enough to earn a decent living from our productions. We need to be business-like and take our time and contribution seriously. The world is overstocked with creative folk who are clueless about business. The result is they are broke, bitter and bored.

This of course is the antithesis of an attractive employment prospect.

Professionals invoice promptly, pay for services they have received without delay and pick up the phone to deal with an individual or company in-person who owe them money. Never, ever, feel self-conscious to follow up on money you are owed for quality work you have delivered on time. You have kept your side of the agreement, and if a client is in arrears with payment to you, you have absolutely nothing to fear. Make the call and get your money. Never deal with these matters via email, SMS

or a 3rd party. Feel the fear and do it anyway as the author Susan Jeffers encourages.

Many of us shy away from handling our business affairs astutely because we believe that these skills kill our creativity and are only bestowed on special people.

Let us wake up and take ownership of our lives, our income, and our careers, and stop waiting for others to rescue us. Asking for what we want, negotiating a price or rate and being the architect of the quality of our own lives is mostly common sense and not rocket science. The world is full of flakes waiting for others to save them. Let us not attempt to live off the money earned by others and let’s earn our own.

We can achieve this by asking for what we want, ensuring we are completely informed of the parameters and legalities pertaining to our chosen field, always negotiate, and contribute to the quality of superior productions and to our personal and National economies while we are about it.

Earning a decent income doing what we love is completely possible.

Ambitious people across the globe are doing it as you read this.

Have fun, know what you want, and go and get it without c o m p r o m i s i ng y o ur o w n integrity or the dignity of others.

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.