BPM TECH - NOV/DEC 11

ALL ABOUT THE

BEATS

THE

PEOPLE

& THE

3 | BPM

MUSIC

contENts

NOV/DEC ‘11 EDITION 58

Latest in DJ, Music and Production Gear 3.

4.

5.

6.

8.

9.

10.

12.

14.

16.

20.

22.

24.

25.

EDITORS NOTE & INFO COVER FEATURE - DENON DN-MC6000 COVER FEATURE - DENON DN-MC6000 REVIEW: NUMARK M8 MIXER REVIEW: REASON ESSENTIALS WITH PROPELLERHEAD BALANCE REVIEW: REASON ESSENTIALS WITH PROPELLERHEAD BALANCE GEAR NEWS GEAR NEWS REVIEW: M-AUDIO KEYSTATION MINI 32 REVIEW: RELOOP DISC JOCKEY 3 PRODUCTION TIPS: SPEAK NOW OR FOREVER TUTORIAL: ABLETON TUTORIAL WITH CRAIG DE SOUSA EVERY DAY'S A SCHOOL DAY EVERY DAY'S A SCHOOL DAY

EDITOR’S NOTE e all love to remind people when we think we’ve seen the future so here’s my claim to fame. The day the first decent DJ controller landed on my desk to review – actually it was not that decent but it worked, kinda – I foresaw the end of the nasty CD as a preferred media format for deejaying.

So yes you will see a lot of DJ controllers being reviewed in BPM each edition – there are two in this issue – but that’s because everybody is manufacturing them now. You the consumer is so spoilt for choice and there are so many decent ones that it really does boil down to personal preference. One such controller is the Denon DN-MC6000. As reviewer Dave Skinz says; if it were a beast, this would be the pick of the litter!

Elsewhere we also look at German company, Reloop’s highly regarded Disc Jockey 3, another 4-deck controller to choose from and it too impresses us.

Propellerhead have released Reason 6. It feels like Version 5 was out just yesterday but actually it was two years ago. Eek! Where’d the time go? We’ve chosen, however to look at the new Reason Essentials and Balance Audio interface – a great package offering newbies a fantastic entry into the world of producing and recording. The full blooded

W

Version 6 looks very appealing too though.

Numark also weighs in with a really good 4-channel DJ mixer with FX – at a price that is hard to believe when compared to some of its competitors. We were well impressed with the value for money the M8 offers. Read about it in this issue. Portability has also become an important criteria for travelling DJ’s/producers so M-Audio have cleverly come up with their Keystation Mini 32 - a well thought out keyboard controller that almost fits into the palm of one’s hand. Who would have thought? Expect to see them aplenty behind DJ booths everywhere!

And lastly, SAE Institute Director, David Maclean offers another thought provoking must-read on education in the music industry on Pg. 24.

Add to that music and gear news, Jon Shaw’s Production Tips, Craig De Sousa’s Ableton tutorial and it’s another great read.

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

DAVE MAC Editor-in-Chief

4 | BPM

COVER FEATURE

By Dave Skinz

Denon DN-MC6000

If controllers were beasts, then this is the pick of the litter.

What Is It? The Denon DN-MC6000 is a 4 channel MIDI controller and fully functional DJ mixer that is both Traktor and Virtual DJ compliant directly out of the box. The hardware's nerve centre is an 8 in / 8 out 16 bit 48 kHz sound card and Denon have opted for four line, two phono and two mic channels for the analog inputs.

The shell and housing of the controller is very compact and extremely solid with very little plastic used in the construct. The centre of the layout is shared by the rotary search, folder navigation buttons and four line channels with Denon opting to go for two identical control sections for the layout, thus avoiding the sometimes confusing mirrored controls that some other controllers have.

All the channels on the MC6000 have three band EQ's with full kills, even the two MIC channels, which also add echo and talkback to their arsenal. Each of the line channels has a matrix style assign selector to allow you to decide which input you want to utilize with the familiar gain and EQ positioning above and below the EQ's. The digital layout was a touch tricky though with Virtual DJ; sending channels 1 and 3 to the two left faders and 2 and 4 to the right. The Traktor default of the outer faders for the lower decks and the inners for the two top channels on your screen did feel a bit more intuitive. The crossfader on the MC6000 can be set to fade any channel or it can be assigned to video

control. There are twin 10 segment VU meters between the centre line faders that are selectable between master, channels 1 and 3, and 2 and 4 and while I always prefer each channel having its own VU on the controller if you are in digital mode you can always just check the screen.

The control wheels are similar to those used on Denon's stand alone MIDI controller the DN-SC2000 and I really like the weight, feel and resolution of the two wheels on the DNMC6000. The wheels are also dual function with the top part handling scratching and the sides for pitch bending. There is no visual reference on the platter to give you feedback but once again you could do that by glancing at the computer screen.

Each side of the MC6000 has a host of rotaries and backlit buttons to explore the intricacies of your respective software system. Deck select buttons are each individually coloured in either blue for deck A and B and red for deck C and D to allow you to reference which channel you are manipulating and most, if not all, of the other backlit buttons are multifunctional so it might be handy to keep the manual nearby when you are learning the device. Each side of the FX

section consists of four backlit buttons each with its own rotary control to really tweak that effect modulation and there are 8 hot cues in Traktor and four sample and four cue points in Virtual DJ to play around with. The sampling section is pretty comprehensive with Loop in, out and auto loop buttons with up-and-down timing shift controls.

The output section is as professional as the rest of the DNMC6000 with balanced XLR or unbalanced RCA's for your master outputs. The booth output is 1/4� Jack and also doubles up as an assignable audio send with its own high and low EQ so you could route an effects unit out and back in.

As with any MIDI controller there is a certain amount of setting up to do and while Windows users will have to install the custom Denon ASIO drivers, Mac users just select the DN-MC6000 as their sound cards input and output source. You would then have to make the correct settings within your preferred software package. The MC6000 can be used with any DJ software package that supports MIDI control, although as I mentioned earlier, it arrives both Virtual DJ and Traktor ready.

The unit ships with Traktor LE and as with all devices of this calibre it would be a shame to run it without a pro software system. Also included in the box are 19� rack mounting plates and if racking is your thing then the front of the MC6000 is a cleverly thought out 6U space.

5 | BPM

COVER FEATURE

Who should own one?

Anyone looking to step up from their basic entry level controller or someone with a pro controller that’s just getting too hefty to cart around. This is not the greatest choice for a first controller though unless you are looking to take things really seriously. The MC6000 is a device meant to be customized and setup around your tastes and that can be near impossible when you are still grappling with the concepts of mixing never mind the possibilities of MIDI.

The Verdict There are certainly quite a few unequivocal positives to the DNMC6000, one of which is the fact that it can handle both digital and analog sources. It strikes that happy medium of having your CDJ's, decks and laptop in the mix and this makes it a very shrewd decision. What's also great about the DN-MC6000 is that when compared to

other professional 4 channel controllers, in my opinion it’s the most versatile, the most compact and certainly has the strongest build quality.

Most of the competitors need a lot more space and materials to be able to achieve the heady heights that the DNMC6000 is capable of.

Denon have managed to integrate so many functions on the DN-MC6000 such as video control, EQ's on both the Mics and the booth, headphone split, analog and digital source choices, rack mounting, and even the balanced send function that if you like them, you will only be able to find them exclusively on this particular unit.

I was a little surprised to the see the DN-MC6000's sound cards specs as 16 bit/ 48 kHz but it sounded great on all the reference gear I tested it on from studio monitors to digital active loudspeakers to a good old analog passive system. The only real drawback in my eyes is that the digital side ships

with Traktor LE so while the price is certainly attractive bear in mind that an upgrade to Pro 2 will set you back 129 Euros. After all, pro grade hardware and light edition software is often an impotent mix.

As with most Denon gear they manage to pack a whole stack of buttons in a compact space and this can be tricky to play around with especially if, like me you have ‘larger’ hands. But all the functions are very intelligently managed by a wide array of backlit buttons and they all respond with a solid click when pushed. The faders and rotaries are all similarly solid. The DNMC6000 also looks the part and would fit aptly in any hi-tech looking DJ booth around the world.

If you will allow me some latitude and we imagined for a second that controllers were beasts, then the Denon DN-MC6000 would be the pick of the litter because it does stand head and shoulders above its competition in my opinion.

To see the DN-MC6000 in action scan this tag for Smartphone access or go to bpmmag.co.za

Get the free mobile app for your phone

http:/ / gettag.mobi Price: R 11,495.00 | Supplier: Audiosure Tel: (011) 790 4600 Web: www.audiosure.co.za / www.denondj.com

6 | BPM

DJ GEAR

By Dave Mac

Numark M8 Mixer

“It's the brand new M8... Mate!”

Keep that beat and get effected

What Is It? The brand new M8 from Numark is a four channel professional DJ mixer. Short of USB connectivity this mixer comes packed with every feature needed to connect any sort of analogue device you may find yourself needing to DJ with.

Unpacking the unit one is met with a robust, solid silver facia, black chassis and squared off corners. It’s not the prettiest looking mixer but it certainly emits a sense of ‘no-nonsense’ professionalism. Inspecting the back of the unit where most of the connectivity is done, you will find both balanced XLR outputs (the yardstick to measure its pro rating), as well as RCA master outs.

Additional RCA outputs include booth and record. As a four channel mixer obviously there are four sets of input sections, two of which are the standard line/phono combination. The third has dual line-in (line 3 & 4) and the fourth has line in (line 5) and a mic jack input as a secondary mic connection.

On the top facia you’ll find additional inputs; a double RCA aux input (useful for iPods, Smartphones etc) and an XLR mic input on the top left, complete with

EQ, balance and a handy off/on/talkover flip switch. The auxiliary input is mapped to CH4 along with the secondary mic.

Ergonomically the mixer layout is very familiar; in fact it’s not too dissimilar to a Pioneer DJM-800 to be honest, although not quite as fancy. Even the channel sliders are of similar length which at first glance may worry some but actually, they work great. I’m not crazy about a slider for the master volume – I once pulled this down at a gig thinking it was the channel slider – but it’s no biggie. A rotary volume is my preference. Auditioning tracks includes 3 key features; cue gain rotary, cue mix (mixing in your headphones between track playing out and the cued track) and a mix/split switch to separate tracks in left and right headphones for those who like it this way. Additional well placed features that make this unit very practical to use include an easy to find masterbalance and booth rotaries above the master volume slider.

The real money shot on the M8 comes in the form of the beat-matching assistance it provides as well as its gnarly FX. The Beatkeeper comprises of a BPM tempo display, a tempo tap button, sync lock button and an assign knob for each of two selectable channels. The assign rotary allows one to choose which channel the corresponding tempo display and Beatkeeper LEDS should respond to. I usually ignore these kinds of novelties when mixing, choosing to rather trust my ears but I must say this one works really well.

You can see the beat offset (unmatched beat) visually and adjust using both this display and your ear and it really works!

The FX are the bomb on this unit.

Features include a BPM Tap for the FX but also 10 tempo presets from 1/16 all the way up 16 beats. You can also set the FX to pre or post fader. The rotary serves up 10 effects and they are really, really good. The flanger and phaser are super rad creating bizarre sounds, but actually they’re all very impressive. You can also assign FX to each of the four channels, mic or master.

Verdict Visually it may not be the ultimate looker.

Its rugged steel chassis makes it more workmanlike than pretty perfect and its only real shortcoming is the miserly LEDS for both master and channels.

These really are too short for a pro mixer.

But feature-wise and under the hood the M8 is a definite winner.

At a fraction of the price of several other top name brands this baby delivers both in features and quality. The FX are rad, the Beatkeeper actually works and definitely assists one’s beat-mixing visually, and the crossover when mixing – both the sliders and EQ – make for a very smooth transition. If you’re on a budget but still need something pro and robust, the M8 is a damn good proposition.

Supplied by: Viva Afrika | 011-250 3280 Suggested Retail Price: R 3,700.00 incl. VAT

R

8 | BPM

SOFTWARE REVIEW

By Dave Mac

Reason Essentials with

t seems like just the other day I was sitting in my studio reviewing Reason 5 and Record 1.5. Together as Reason-Record Duo they made a formidable package but that was the catch; you really needed to buy the combo to reap the benefits off the mixer based on the SSL 9000k as

I

well as the Line 6 amps and of course audio editing, all of which were missing from the stand-alone Reason 5 without the Record software. With Reason 6 all these features and some brand new ones now come integrated into the package. A novel offer that Propellerhead also put out to owners of the Reason-Record Duo package before 31 October was to be able to pay

What Is It?

the Subtractor synth, Redrum drum machine, NN-XT sampler, ID-8, Dr Octo Rex loop player and the Combinator. Now if you actually consider the instruments you do get, it’s all the essential (hence the name) ingredients to create music. The same applies to the effects. Reason Essentials leaves one with just that; the basic necessities to create professionally produced music.

The Balance audio interface is a really elegant looking device. Boasting a gorgeous matt black finish this audio interface will look good on any small studio desk. Although it is essentially (there’s that word again) a 2-in/2-out interface which means 2 stereo outputs to your speakers or amp, and 2 recording channels Balance hosts four different actual stereo inputs to plug your devices into. Result: You don’t have to keep plugging and unplugging instruments all the time, unless of course you’re recording an orchestra in your home studio! These include two microphone preamps with phantom power, high impedance guitar and bass inputs with pads, and four line inputs.

Now since you can keep your instruments connected all the time Balance has a handy input source section on the front facia to activate whichever ones you’re about to record. Handily the active input lights up.

Other clever features include the

Reason Essentials in the words of the marketing ‘manne’ at Propellerhead is “built for independent-minded musicians but has the feel of a million dollar recording studio with the streamlined simplicity of a tape deck.” Pretty poetic right there!

Jokes aside though as the name indicates it’s a leaner version of the full Reason 6 and of course a more affordable version too. Although it can be purchased on its own for R 2,995, Essentials also comes packaged with Propellerhead’s brand new two-in by two-out audio interface simply called Balance. Bizarrely Balance cannot be purchased on its own without Essentials which will surely irritate owners of the full blooded Version 6 looking to add the device to their studio, a query we have already fielded by a few people when first publishing the news of this on our website.

So, let’s look at Essentials first. The plusses are these; Essentials includes the aforementioned and very important features of the superb, SSL 9000k emulated mixer (albeit a stripped down version), the Line 6 amps and of course audio editing and recording of an unlimited number of tracks, CPU dependant. Notable instruments not included in Essentials are the NN-19, Kong, Thor and Malström, leaving one with essentially (pun intended)

as little as €1.00 / $1.00 (or more if you chose to), for the upgrade, their way I guess of acknowledging users who had spent the extra cash to reap those features that are now standard in Reason 6. Anyway more about Reason 6 in our next edition. On review here is Reason Essentials along with Balance, a two-in by two-out audio interface for Mac and Windows.

Recording Meter/Tuner which when pressed loads up a large onscreen input meter display which also has the tuning fork built in. This means from a distance you can view your input volume and of course check your tuning.

Then there is the Clip Safe button which records your take on two channels, one at a lower volume. If your recording clips, it lets you substitute it for the other one. The mute/direct monitoring button does as it says; press it and the master channel is muted, press and hold the button will activate latency free monitoring while recording. LEDS are limited to a simple signal/clip light, a ready light which indicates an input assigned to an audio channel in Reason and the phantom power light when in use with a mic. Each of the two input channels has their own record volume controls and volume for the main outputs and headphone output are compliments of the two large dominant knobs.

The headphone jack is tastefully located on the right panel of the device.

Connectivity to Reason is via USB 2.0.

One last feature of Balance is that it also serves as your license dongle so should you load up your software on multiple computers, say your laptop and desktop PC, by simply plugging in the interface the software will happily activate.

Propellerhead Balance

9 | BPM

SOFTWARE REVIEW

Who should own one?

Although I cannot remember Propellerhead announcing the demise of Record it seems to me that Reason Essentials, particularly packaged with Balance, is a rethink on this program since Essentials offers everything that Record could do and more. So any budding producer looking for a cost effective way to produce music of literally any genre with the added power of being able to record live instruments and vocals through a professional interface (Balance) would benefit tremendously from this package. Likewise for a band who wants to do home recordings, since the input options cater for everything, save a full live drum kit I guess. Take this package, add a laptop and a set of powered monitors and you have a pretty good setup to make music with quite limitless possibilities.

The Verdict Stripped down versions of full packages are always going to take some stick and personally I think I’d miss some of the excellent instruments, tools and effects that have been omitted from Essentials.

Add to that the fact that third-party plugins are still not available and probably never will be as it will risk the stability of this resource friendly platform, and Essentials may be a little limiting long-term. However, it’s a fantastic place to start and once you include the magnificent Balance as part of the package it’s a really good deal at a reasonably affordable price.

The real money shot comes in the fact that should you buy Reason Essentials with Propellerhead Balance you can upgrade to the full Reason 6 for a reasonable price too, I am told, so the growth path when you are ready is there.

Suggested Price (vat incl.): Balance with Reason Essentials: R 5,595.00 Reason Essentials: R 2,995.00 | Reason 6: R 4,995.00 | Reason 6 Upgrade (licensed users): R 1,995.00 Supplier: Tuerk Music Technologies | Tel: (011) 792 8402 | Web: www.tuerkmusic.co.za

10 | BPM

GEAR & INDUSTRY NEWS

Numark Laptop Stand PERFORMANCE STAND FOR LAPTOP COMPUTER Rugged, solid, gig-ready computer support.

Laptop Stand is the DJ’s computer-elevation station. Every performer who uses a laptop, including DJs with Total Control, Stealth Control, Omni Control, MixMeister Control or NS7; producers working with an MPC or any other production or DJ controller and cutting-edge home studios can appreciate Laptop Stand.

It is the only laptop stand for DJs that balances solid, secure construction, portable, collapsible, low-weight design and excellent affordability. Laptop Stand is fast to assemble or disassemble and comes with a zippered, protective case for convenience in transport.

R

! Solid, easy-to-assemble laptop stand for DJs ! Secure construction, yet portable, and collapsible with low-weight design

! Fast to assemble or disassemble ! Comes with a zippered, protective case for convenience in transport SA Distributor: Viva Afrika |011-250 3280| www.numark.com

New Audio Interfaces from Roland DUO-CAPTURE: Versatile Audio I/O for Mac and PC Two is the magic number for the Duo-Capture USB audio interface.

It’s equipped with two audio inputs and two audio outputs. The dual headphone outs are perfect for side-by-side musician/engineer sessions, with no additional mixing hardware required. Duo-Capture boasts ultra-stable, low-latency drivers for both Mac and PC platforms, and provides a versatile selection of I/O formats to accommodate a variety of gear. With its unique, slim-line design and stable performance, it’s the perfect audio interface for recording musicians on the go TRI-CAPTURE: The Power of Three! Triple Inputs & REC Modes The new head of its class is the multifaceted Tri-Capture USB interface — a unique, compact audio interface optimized for personal and mobile recording, vocal and guitar recording, and streaminginternet applications. With its mixer-like design and dedicated frontpanel controls, Tri-Capture makes it easy to mix, control, and monitor a variety of signals. Plug a microphone into the XLR input, an instrument into the 1/4-inch jack, and a stereo instrument or device into the AUX input. The unique REC Mode section provides instant selection of recording scenarios, including Loop Back for web streaming applications. Tri-Capture is full-featured yet portable, and is USB bus powered for a clean, simple setup

DUO-CAPTURE

TRI-CAPTURE

QUAD-CAPTURE: Pro Performance for Portable Production With a pair of premium VS Preamps onboard, plus superb 24-bit/192 kHz audio quality, ultra-low latency performance, and convenient USB bus power, Quad-Capture sets a new standard for portable USB 2.0 audio interfaces. Its compact, durable design and pristine sound makes it the perfect foundation for portable, multichannel computerbased productions on the go. With quality and performance that far exceeds its size and price, Quad-Capture stands at the head of its class. * All units packaged with Cakewalk Sonar X1 LE. SA Distributor: Musical Distributors| (021) 799 4950| www.musicaldistributors.co.za

QUAD-CAPTURE

Continued on Pg 12 ...

12 | BPM

Continued from Pg 10 ...

GEAR & INDUSTRY NEWS

Vestax announces the VCI-400 The new four-channel controller comes with over 200 assignable parameters.

In early October Vestax announced details of the brand new VCI400 controller. Building upon the legacy of the highly influential VCI-100, the VCI-400 has been designed to function with any DJ software that has a MIDI learn function and comes bundled with Serato DJ Intro and Virtual DJ LE 4 Decks. The VCI's front panel has over 200 assignable—and largely unlabelled—knobs, faders and buttons, as Vestax look to provide as blank a canvas as possible for user customisation. (Overlays are included to write your own functions directly on to the front panel.) MIDI maps for a range of DJ software have also been bundled. The built-in audio interface is 24-bit/48 kHz resolution.

SA Distributor: Rolling Thunder | Tel: (021) 557 8630 / 0090 www.rollingthunder.co.za

Martin Launches MAC Aura The Martin Professional MAC Aura is the first compact LED moving head wash light with zoom that offers never before seen eye candy aura effects plus functions as a highly capable single-lens wash with fully pre-mixed colour.

The Aura’s optical system combines two illumination systems in one luminaire – multicolour beam LEDs and a backlight LED lens array – to produce an all new visual palette that takes the synthetic look out of LED wash lights for truly unique lighting design possibilities.

You can use the fixture as a powerful single-lens wash or employ a separate set of individually controllable multicolour LEDs for radical to subtle eye-candy looks. You are able to mix, match, and create new effects that take the unnatural LED look out of LED lighting. You can also employ the Aura’s built-in FX engine to create extraordinary effects fast.

The MAC Aura houses an unrivalled 11-58 degrees of zoom for fantastic beam effects with great definition. The zoom is capable of angling wide or extremely tight for high intensity beam looks. A uniform field of light and excellent efficiency is maintained throughout the zoom range.

The MAC Aura delivers almost 4000 lumens of output in an ultracompact 5.6 kg (12.3 lb) package for a performance to size ratio that you don’t find in comparable fixtures. And the Aura moves at a speed and precision that was once only associated with moving mirrors.

The MAC Aura is also a versatile wash light, it features superior colour mixing with a broad range of shades from two independent colour systems. Colour shades mix completely uniform from vibrant saturated colours across beautiful pastels to authentic warm and cool shades of white.

Thanks to an excellent cooling system and high optical efficiency,

the MAC Aura is extremely quiet for noise sensitive environments like TV and theatre. Incredibly low power consumption (1 amp) also allows multiple fixtures to be daisy-chained on the same power line for an easier, faster and less expensive installation.

With or without eye candy Use the fixture as a powerful single-lens wash or employ a separate set of individually controllable multicolour LEDs for radical to subtle eye-candy looks. Mix, match, and create new effects that take the unnatural LED look out of LED lighting. For the ultimate in easy-to-produce visuals, use the Aura’s built-in FX engine to create extraordinary effects fast.

Zoom with boom!

The MAC Aura houses an unrivalled 11-58o zoom for fantastic beam effects with great definition. The zoom is capable of angling wide or extremely tight for high intensity beam looks. A uniform field of light and excellent efficiency is maintained throughout the zoom range.

The MAC Aura delivers almost 4000 lumens of output in an ultracompact 5.6 kg (12.3 lb) package for a performance to size ratio that you don’t find in comparable fixtures. And the Aura moves at a speed and precision that was once only associated with moving mirrors.

Wicked wash The MAC Aura is a versatile wash light of the highest calibre. It features superior colour mixing with a broad range of shades from two independent colour systems. Colour shades mix completely uniform from vibrant saturated colours across beautiful pastels to authentic warm and cool shades of white.

Oh, so quiet Thanks to an excellent cooling system and high optical efficiency, the MAC Aura is extremely quiet for noise sensitive environments like TV and theatre.

1A is enough Super low power consumption (1 amp) allows multiple fixtures to be daisy-chained on the same power line for an easier, faster and less expensive installation.

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

14 | BPM

STUDIO GEAR

By Dave Skinz

M-Audio Keystation Mini 32 Pocket Performance

What is it?

Who should own one?

The Keystation Mini 32 is an ultra portable 32 note MIDI keyboard controller from one of Avid's many brands M-Audio. It connects to your computer via USB with the relevant cable provided to you in the package and it runs totally off bus power from your computer. There is a Kensington slot on the right side of the controller to ensure it won't go walkies in the middle of a gig because unlike full sized exponents the Mini 32 could easily fit into someone’s pocket. The 32 minikeys on the Keystation Mini are all low profile and dominate the working surface with a tiny section on the left of the controller for the single assignable knob and seven buttons.

Those extra controls are made up of a rotary knob which is defaulted for volume control, and four backlit buttons which encompass the Sustain button which can be switched from hold to latch, multi-colour coded Octave Up and Down keys to give you a more complete guide as to where on the keyboard you are working, and the Edit button. Pushing that magical Edit button gives you direct access to one of five keyboard velocity curves including one made specifically for drum programming as well as a couple more button or key assignment choices and MIDI send messages. The remaining three buttons deal with your Pitch Bend Up and Down and Modulation Select to use the same up and down buttons to control your modulation.

The Keystation Mini 32 also ships with a copy of Sibelius First Ver. 6 to get you playing right out of the box.

While the Keystation Mini 32 would certainly fulfil the requirements of most producers whether a know-it-all or novice, the main focus of this product is its portability. With it being slightly longer/wider than a 15” laptop and super lightweight it will fit snugly into most laptop bags and give you stacks more control and input options if you compare it to using your qwerty keyboard for keys which most times is limited to a one octave range with no velocity, or the less appealing option of carting a full sized 25 key controller around with you.

The Verdict Being blessed/cursed with the unusual combination of a pair of butcher’s hands and a background in classical piano I found it tricky to try and replicate what I am capable of on a piano on the smaller keys of the Keystation Mini 32, despite the claims on the packaging that you could easily play it with two hands. But to be fair it’s not really there to play full concertos on, is it? It's been designed as a portable controller to give you that familiar layout and feel; miniaturised! And for that purpose it is superb, the build quality is great and while the keys might not be weighted there is some springy-type feedback as to how hard the keys are being pressed. The perfect amount of buttons and controls are there to let you shift octaves, control your pitch bend and/or modulation as well as getting into the finer stuff by using the Edit feature.

The fact that it is compatible with an iPad also adds a welcome lustre to an

M-AUDIO A part of

already shining piece of kit but you will need an iPad Camera Connection Kit to actually get it talking to the iPad itself.

The packaged software Sibelius First is a great little program to get guys connected and making music right out the box even if they've never had the chance to work on a DAW system.

The Keystation Mini 32 is a great competitor in the relatively new field of micro MIDI controllers and it strides in, carrying M-Audio's hefty reputation for building rock solid and reliable MIDI keyboards. It'll be sure to fulfil all the requirements of any producer out there for a portable keyboard controller whether they be fledgling or first-rate exponents of the craft.

Scan this tag to watch the video for the Keystation Mini 32 on your Smartphone or go to bpmmag.co.za

Get the free mobile app for your phone

http:/ / gettag.mobi

Estimated Retail Price: R 995.00 incl. VAT Supplier: MIDI Music | Tel: (011) 417 3400 | Web: www.midimusic.co.za / www.m-audio.com

16 | BPM

DJ GEAR

By Dave Mac

Reloop Jockey 3 Master Edition “German precision and build quality to match...”

he digital DJ market has blown up and to some extent grown up too and with so many choices these days it really is a buyer’s market. It may possibly be one of the lesser known brands in South Africa but Reloop, designed and engineered in Germany, is big in Europe, particularly in its home country of course and they could do worse, with the likes of Berlin and even Hamburg being a pivotal force in the world of electronic music and dj’ing.

Recently they have also made strong moves on the international market with their presence at NAMM this year. Locally the brand has been selling strongly and continues to gain support from SA DJs.

T

What is it?

The Jockey 3 ME is a 4-deck midi DJ controller designed specifically to interface with DJ software. Built like a Panzer tank, this latest incarnation of the series is constructed out of a metal casing, with nut-inserted potentiometers, very smooth faders and sexy backlit solid rubber buttons all of which suggest a finely crafted machine. This robust solidity is the first thing that will impress anyone who picks it up but then you may also be surprised at how heavy it feels. Weighing in at 4.5 kgs the Jockey 3 is actually no heavier than some of its counterparts (they range 3.4 & 4.5 kgs) but for some reason just feels very heavy. The stats don’t lie, though, so I guess it must just be the overall sturdiness of the unit affecting my judgement.

Aside from being a DJ controller the unit also features strongly as a fully functional stand-alone mixer with a 6-in, 4-out channel interface. To achieve this you will find dual RCA inputs (dip) switchable between line and phono. The master out

section features jack and RCA outs along with booth RCA outs. No XLR unfortunately but very few units do have this.

There is also a handy master-thru mini-jack which enables connection of a second controller to be routed and even monitored; perfect for DJ team setups.

Other features include a small jog sensitivity dial and a LED dimmer to set all the front facia lights to your desired brightness. The top of the unit, where all the real action takes place, is laid out in the obligatory standard fashion, no surprises here. Everything is really easy to find. What does impress though, on closer inspection, is the quality of the knobs, buttons, sliders and jog-wheels. The faders are very smooth and the backlit rubberised buttons are both responsive

and seem designed for loads of abuse.

Even the rotaries light up and are rubberised too which makes for a very tactile experience.

The jog-wheels are perhaps the most impressive though; they are extremely flat with adjustable drag and high resolution with 4096 steps per turn. I found them to be extremely precise and very close to that of a CDJ. There is a jog-drag wheel on each side of the unit so one can set up the torque of the platter to suit your mixing style.

Who should own one?

Any DJ in the market for a professional, built-to-last, DJ midi controller should try one of these out. Not lacking in features and certainly high on overall quality, both build-wise and features-wise, the Jockey 3 ME compares very favourably to its competitors.

Verdict On closer inspection you may have noticed only two physical channels (faders, EQs etc,) on a deck that claims ‘4-deck control’. This is because it uses a simple deck-select switch to toggle between control of your two primary virtual decks and the two secondary virtual decks. Whilst this is a big plus for keeping the unit compact, some may prefer 4 physical channels. Also be aware that whilst the Jockey 3 ME comes packaged with Traktor LE, you’ll need to upgrade to the Pro version to use most of the gnarly features the controller is designed for. That will set you back an extra 1,500 odd bucks but this applies to most of its competitors too.

The Reloop 3 ME has stiff competition in the upper echelons of the pro DJ controller market but it stands its ground with aplomb and should definitely be considered before making that all important investment.

Supplier: Tradelius | 031- 502-3080 | www.tradelius.co.za Suggested Retail Price: R 9.995.00 incl. VAT

NDX SERIES NDX200 ................. R 1,908.

00

TABLETOP CD PLAYER NDX200 features seamless looping for creating and integrating loops in instant remixes. Single, continuous, and programmable playback modes enable you to control playback order and create custom playlists. NDX200 also has fader start, which starts NDX200 playing when you move the crossfader on a compatible mixer .

Whether you are an experienced veteran or just starting out, NDX200 gives you more features for your money.

NDX400 ................. R 3,092.

00

TOUCH-SENSITIVE SCRATCH MP3/CD/USB PLAYER NDX400 is a flexible, slot-loading player that not only plays standard CDs, but it can also play MP3 CDs for lengthy playback from a single disc. Additionally, it can play from a USB flash drive for even more music-format flexibility. For easily navigating through folders on MP3 CDs and USB flash drives, NDX400 has an easy-to-read text display.

NDX400 is a powerful, rock-solid player for a variety of music formats. Professional DJs and weekend warriors alike will appreciate NDX400’s great mix of features and capabilities for a surprisingly affordable price.

................ R 4,600.

NDX800 PROFESSIONAL MP3/CD/USB PLAYER AND CONTROLLER 00

NDX800 is high-performance controller for DJs who blend different kinds of music sources. Whether your music is on your computer, USB flash drives or CD, you can perform with it using NDX800. This digital deck has the feel and layout you’re used to, with a twist of Numark innovation * FLEXIBLE FORMATS * DYNAMIC DECK * FX FLAVOUR. * PITCH POWER * REAL TIME REMIXING * VIVID VIEW

(NDX800 NOW COMES WITH TRAKTOR LE SOFTWARE!)

Whether you play parties, clubs, events, or in a group, NDX800 gives you the feel you like, the look a professional demands, and the utility of built-in effects, remixing, looping, and sampling. Pair a couple of NDX800s with your favorite Numark mixer and start making some hips move.

www.numark.com

Prices are recommended retail incl. 14% VAT

DJ HEADPHONES HF125 ................. R 208.

00

PROFESSIONAL DJ HEADPHONES CLARITY AND COMFORT FOR THE MODERN DJ One place a DJ can't compromise, is in how they hear their mix. The Numark HF-125 headphone set delivers the goods with flexible 7-position independently adjustable dual ear cups, large 40mm Mylar speaker drivers, 6' tangle-resistant cord with 1/4" connector, and padded headband and ear cups.

PHX USB ........... R 500.

00

USB + ANALOG DJ HEADPHONES CUE WITH TRADITIONAL DJ GEAR OR DIRECTLY FROM YOUR COMPUTER. PHX USB professional DJ headphones feature an innovative, dual-connection design. You can connect PHX USB to virtually all of your gear thanks to their traditional analog and modern USB stereo outputs. With the standard analog cable, you can use PHX USB with mixers, CD players, and other analog gear. Connect the USB cable and you can cue right out of your computer with no need for an interface box!

RED WAVE ........ R 998.

00

CLEAN, POWERFUL AND COMFORTABLE HEADPHONES. HEADPHONES DESIGNED BY DJ FOR DJS. RED WAVE headphones are designed specifically for the professional DJ. They employ a comfortable, closed–cup design for great isolation from outside noise. RED WAVE’s large, 50mm neodymium drivers produce clean, powerful output. Designed by DJs for DJs, these headphones have a convenient, swiveling design on one cup so they're easy to wear one-sided between the ear and shoulder. The ear cups also have breathable protein-leather for DJs to remain comfortable during prolonged use.

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

20 | BPM TUTORIAL

Tricks from the Pro's 9:

PRODUCTION TIPS

By Jonathan G Shaw

Speak Now or Forever

S

alutations and greetings BPMings! The amount of effects used on vocals in the past is numerous, and I have written about them before. They include the famous auto-tune effect, reverse reverb, heavy delay, reverb, chorusand so on. Here are a few I haven’t touched on:

The Telephone Effect: Here’s a simple classic – take an EQ and shelve off at +/- 250 Hz and 2 kHz. Then apply a little bit of distortion. Tweak to taste and put in for effect on the vocals at poignant parts. The image alongside is an example of the EQ filter for it.

Vocal stutters (a.k.a. the Nicki Manaj vocal effect): this is actually pretty simple and just requires you to cut out a syllable of vocal on the grid (a 1/16, 1/8 or ¼ note) and copy the sample a few beats back in time. You can use your imagination and style the timing to whatever suits you. It sometimes helps if the vocalist records the stutter, and its then chopped up and put in time precisely. Alongside is an illustration and the highlighted bit is the syllable I copied.

The Telephone Effect

Vocal Stutters

Vocal doubler: Waves makes this gizmo that has been used countless times on vocals for hit records. You know that shimmer effect vocals sometimes have, but it’s not really a second voice doing a double take? Then it’s a doubler. If you want the vocal to sound bigger but not overly effected, this is the one to use. Below right is a pic of its interface.

I usually adjust the time of the doubles (you could have between 1 and 4 takes, here I have 2) and then adjust the delay proportionately and the depth between 1 and 20 to get a nice shimmer on the voc. I buss the vocal to an auxiliary and then mix in the effect while playing back the track until I have a nice balance.

If you have any tricks you think would be good to share with the BPM crowd for next time, holla at me or post them on the BPM Facebook wall.

Play long and prosper!

Resistance to better sound is futile!

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

Vocal Doubler

22 | BPM

ABLETON TUTORIAL

I

Working with Loops in Ableton Live

By Craig De Sousa

n the previous issue we covered ‘Programming Drums’ where we created a Drum Rack and with separate audio files we were able to program any desired drum pattern. Once I have achieved the basic drum groove I like to introduce a drum loop to give my drums a bed. This can be achieved with any audio loop in your library with Lives fantastic ‘Elastic Audio’ warping engine. Any loop can be previewed at your track tempo whilst playing the track to find a correct match. There are many ways to use a loop but for purposes of drums I prefer slicing audio loops to MIDI. Open your browser and navigate to a folder of your drum loops. As mentioned you can hear them at the project tempo by simply clicking on them while Live is playing. Find the one you like then right-click (ctrl click for Mac) on the loop and choose ‘slice to new MIDI track.’

A window with options appears. For rhythmical drum loops, choose ‘create one slice per transient’.

Live will analyse the clip and add a single slice for each individual sound.

Under the slicing preset you can choose ‘built-in’ or one of the others, which will add an effects chain to the resulting Drum Rack, complete with macro effect controls.

Click OK. Depending on how complicated the loop is a various number of slices will now be mapped to the Drum Rack. Select the Clip Overview and you will see it mapped across the keyboard, with each MIDI note representing a slice.

For a simpler MIDI part with fewer slices you could choose ‘One slice per 1/16 note’ or something similar.

You will now find that reordering the slices changes the beat creating your own unique loop to match your track.

The MIDI track will also receive input from your MIDI keyboard, so if you like you can record a totally new MIDI clip, playing back the slices as if they were a virtual instrument. Simply record arm the same channel and hit record on any free cell in that channel.

Loops can enhance your drums giving them that bit extra they need. Live gives you the ability to take just about any loop and bring your drums to life. With just a few tweaks you don’t even have to leave the loop as you found it, but can create something unique.

24 | BPM

EDUCATION

EVERYDAY'S A SCHOOL DAY

“I slacked on maths and physics in school with the thought 'I will be in the music industry anyway, I don't need this sh*t'... and now that I'm getting deeper into music, half of all the work seems to be maths and physics. It just shows; always strive to excel in everything you do. You never know what skills and knowledge you may need in the future.” his statement was the Facebook status of a student at SAE Institute who had completed eight weeks of study at the time.

To m o s t p e o p l e , subjects like maths and physics are deemed hard and they promptly drop them to take subjects they find easy in their latter years of high school.

We are inherently lazy and consequently choose the option of greatest ease. This principle has a lot of merit in the context of working smarter not harder and taking the shortest route between Point A and B. However, when it comes to study and research, many of us choose the easy subjects through laziness and a lack of ambition. This easy option often serves to achieve great dis-ease as we embark on our careers or tertiary study when our lack of commitment to our studies at school hijacks our preferred career or study path.

Regardless of what subjects you chose in high school or what tertiary qualification you may choose to study, being deemed educated by our associates and peers is singularly the most vital component in our employability. For clarity; educated in this context does not solely denote having a tertiary qualification or having obtained good grades at school, it denotes what one knows and the skill with which one can use it.

Mark Spitz commented that ‘everyone wants to be a champion but very few want to train’ after winning seven gold medals at the 1972 Olympics for swimming. This statement encompasses why for all the people setting off for work each day around the world, there are so few that are truly excited about another day in their career versus those that simply clock in and out each day at a job. Many people who place themselves in the stupid category believe that a career is reserved for the clever ones and consequently they under-achieve in a job for decades until they retire. Dear friends, what we know and don’t know is a choice. People that are deemed experienced have achieved this reputation by deliberately expanding their knowledge and skill over a sustained period and not because someone opened their head and filled it with something.

We know that experience is the most

T

SAE Staff

Current SAE Students valuable currency in forging an inspiring and lucrative career for ourselves but, if you are a recent school leaver you can hardly present a relevant level of experience to prospective employers because you haven’t achieved it yet. So, how on earth does one kick-start a career?

Who you are and what you know influences how you are perceived by everyone else but, in addition there is a very powerful and authentic way to gain experience and skill and communicate your professional aspirations to the world.

If you do not currently have many years of work experience but you can

provide prospective employers or clients with evidence that you are genuinely committed to a discipline for which you are seeking employment, and consequently that you have a brain and are prepared to use it, a tertiary qualification is probably the most valuable evidence you can present. If you have a tertiary qualification from a reputable education provider, it will give you a significant advantage and consequently send you closer to the front of the job queue. Yes, there is the ongoing cynical belief of some creative media industry practitioners that one cannot learn the necessary skills required for

25 | BPM

EDUCATION

By David Maclean

employment in a formal institution but, if this were true, education providers offering tuition in these disciplines would not exist. Education is not an island on the planet of supply versus demand. In fact, a reputable education provider would not gain this reputation if they do not employ trainers with extensive professional credibility and the resumés to support it.

The irony is that if the institution has discerning hiring practices of trainers, it provides a student with not one but many

internships that run concurrently during the course of the student’s studies. This is achieved by exposing the student to many informed and highly skilled thoughts, opinions and workflows during the course of their studies that do not simply simulate industry scenarios but provide actual industry experience during the curriculum.

This profile is not the case if a single person mentors an individual in a single facility, as is the case in the traditional profile of an internship.

The reality is that many of the most revered vocations that afford career professionals higher earnings and greater scope, are not often obsessing about maths versus home economics but rather the quality of the grades the individual obtained in whatever course of study they have undertaken, as evidence of their commitment to whatever they do and their intellectual capacity. Yes, for certain vocations specific subject matter is essential to be considered for entry into a tertiary study program or line of employment, but most clients and employers are more concerned with what you can do and how well you can do it.

The division we place on clever and stupid further exacerbates this reality.

‘Clever folk take maths and physics, while the stupid opt for the soft options in subject matter’. This article is not interested in clever or stupid but real life, and more specifically skills that afford us greater opportunities and higher earnings as career professionals.

Our attitude and what we know are the two most important criteria to a prospective client or employer when they are deciding whether to invest their time and money in us. Many people believe that their resumé (CV) is the instrument that gets them the job or gig. Our resumé, at best, will get us a call to attend an interview at which the client or employer will then decide, quite simply, if they like us or not.

Yes our qualifications and skills are very important but we tend to over-complicate the process of qualified and qualifications, when in fact it is a far simpler scenario of whether the person across the interview table believes they can work with us or not.

Of course all parties are traditionally on their best behaviour around the interview table but, a discerning professional will quickly establish whether they want to employ, or be employed by this person or not. Most of this process is dictated by human interaction and not by how many PhDs someone has.

In summary, the more you know, the more employable you are, and the more money you can earn from your knowledge.

How do you know when you are qualified?

Get the Jan/Feb 2012 issue of BPM to find out.

About the author: David Maclean is a mastering engineer, educator and business executive with two decades of experience in the music industry and tertiary education sector. David is the Director of SAE Institute South Africa and is based at their campus in Cape Town. The Cape Town campus is one of 53 SAE campuses across the globe. David is known as the ‘white crocodile’ because of his unusual portfolio that includes equal-parts business, education and music production. Consequently David understands the attitudes and opinions of the industry professionals within the creative media technologies industries and the educator’s and authorities within Higher Education in South Africa and abroad.

HAVE YOU HEARD WHAT

ALL THE FUSS IS ABOUT?

GREAT SOUND - GREAT PRICE – AVAILABLE EVERYWHERE! TRADE ENQUIRIES WELCOME Unit 11, Hitec Village, Superior Rd, Midrand JHB: Tel: 011 805 9910 | Fax: 011 805 9930 | www.tvaudio.co.za