Muse Tech - Aug/Sept '11

G R E AT G E A R N E W S & R E V I E W S F O R M U S I C I A N S

COMPATIBILITY

W HARFEDALE PRO Kinetic Series Loudspeakers Hammond SK1 Mesa/Boogie Transatlantic TA 15

Gretsch Catalina Maple 6-piece

TC Electronic BH500 Proel M16USB Blue Spark Microphone

GEAR & INDUSTRY NEWS ALAN RATCLIFFE | ALISTAIR ANDREWS|DAVID CHISLETT KURT SLABBERT & JON PIKE

CONTENTS Proud Supporters of SA Music!

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EDITION 16 AUG/SEPT ‘11

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Simply nline.co.za s@museo ‘join’ to new

Editors Note and Index Cover Feature: Wharefedale Pro Kinetic Series Cover Feature: Wharefedale Pro Kinetic Series Gear News Gear news Instrument Review: Gretsch Catalina Maple 6 Piece Drum Set Gear Review: TC Electronic BH500 Instrument Review: Hammond SK1 Gear Review: Mesa/Boogie Transatlantic 15 Gear Review: Proel M16USB Mixing Desk Gear Review: Proel M16USB Mixing Desk Studio Review: Blue Spark Microphone Hot To Get Ahead In The Music Business

by David Chislett Guitar Maintenance with Alan Ratcliffe Play Better Bass with Alistair Andrews Play Better Bass with Alistair Andrews Play Better Guitar with Kurt Slabbert Play Better Guitar with Kurt Slabbert Your Private Universe with Jon Pike

EDITOR’S NOTE

S

o Mediatech has come and gone. The big push towards 20 July for all those who exhibited meant a crazy month for many I am sure. Attendance by all accounts was pretty good this year – a bone of contention previously – with more of the ‘man-in-the-street’ attending as opposed to corporate execs. I’ve also heard great feedback on some serious deals being struck so all in all this is a positive sign for the MI and pro audio industry. For you the reader – if you missed Mediatech this year – be sure to attend the next one which only happens in 2013 again.

This edition of Muse Tech sees us look at more affordable PA gear for the gigging musician in the form of the Kinetic Series by Wharfedale Pro. Wharfedale loudspeakers have been a bestseller in this country for a while now, offering decent sound at very affordable prices. Kinetic sees them push the envelope of affordability to new heights (or should that be lows) that’ll please many a small band on a tight budget. Talking of budgets we also look at the Proel M16USB mixer – another brand that seems to maintain a tight challenge on the ‘reasonably priced’ stakes. But it’s not all budget talk with some higher end brands on test too to include Mesa Boogie, Gretsch, Hammond, Blue Mic and TC Electronic who all weigh in with some excellent new products giving our reviewers a lot to smile about this month.

Lastly I would like to welcome David Chislett to our pages as he embarks on a series of articles to educate and enlighten young musicians and bands with his wise words on how to remain relevant in this industry as he maps out important advice on the business end of being a band, taken from his excellent book, “1, 2, 1, 2: A Step By Step Guide To The SA Music Industry.”

As always... Enjoy.

Dave Mac

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COVER FEATURE

By Dave Mac

Wharfedale Pro

“The Kinetic Series is suitable for a wide range of applications; they are an ideal choice for small bands or portable DJ's that need heavy duty sound reinforcement on a budget.”

I

n Africa price is king.

Evidence of this will be found in dozens of venues and bars where sound installations are constrained by tight budgets and, dare I say it, misdirected priorities when it comes to apportioning funds by club and bar owners alike.

In this country decor, bar counters and general aesthetics tend to take preference over quality of sound and sadly most owners of said establishments tend to be oblivious to the importance of good quality audio, remarkably even at venues whose main target is to host live bands or DJ’s. Which is why many live acts, particularly 1, 2 or 3 man outfits (and often cover bands) or crate DJ’s (those guys who spin for hours and cover multiple genres and are usually the only music source for the evening) often take things into their own hands by arriving with their own portable rig to either provide the sound for the night or bolster the inadequate setup at the venue. The Wharfedale Kinetic Series is directed at this market of individuals and gigging musicians looking to provide adequate sound for their performances.

Anatomy As the press release will tell you, “The Kinetic Series is suitable for a wide range of applications, they are an ideal choice for small bands or portable DJ’s that need heavy duty sound reinforcement on a budget.” In total there are seven models to choose from [although the 215 does not seem to be stocked locally]

On review: Kinetic 15 starting with the Kinetic 8, 12 and 15’s – all two-way passive loudspeaker configurations – you will need a minimum of two of these for a basic stereo setup – naturally the 8’s with their 8-inch custom designed woofers are the most portable of the three but also have the lowest power rating (150w continues/ 300w program) and a sub-frequency range of 70 Hz. Understandably, as the woofer sizes increase the sub-frequencies get lower; 60 and 50Hz respectively on the 12’s and 15’s and of course the power ratings increase. Aside from the 3 two-way loudspeakers there is also a Kinetic 12M stage monitor – essentially the same as the Kinetic 12 but with a cab designed specifically at the angle required for floor placed stage monitors.

The 18B sub boasts a frequency

response of 45Hz-250Hz and a power rating (continuous) of 300 watts. The series also includes the obligatory 215 cabinet with its double 15 woofers and an interesting addition – the 153 which is in fact a 3-way cab complete with tweeter, mid and woofer. The 153 could prove particularly popular for those looking to keep things really compact and simple but still able to provide enough beef on the bottom end as well as good mid delivery – the bottom end frequency response is a healthy 50Hz just 5Hz less than the sub so I would expect with the improved sound separation of a 3-way cab, for small gigs two of these and a decent amp could do the trick without having to lug those pesky back-breaking subs around.

Speaking of weight the Kinetic series is not heavy by any means – their general weight to size proportion is pretty standard – neither super light nor unusually heavy. The claimed SPL starts off at a decent 124dB on the 8’s and goes as high as 131dB on the 215’s – impressive figures but very much in line with what is claimed by most modern passive loudspeaker ranges these days.

Probably more important than the always hotly debated and often refuted SPL claims of speakers is the fact that the impedance of these cabs is 4 OHM which means more bang for your buck when driving these from your amp. On testing the Kinetic 15’s and doing a direct comparison to 8 Ohm cabs driven through the same amp it was instantly apparent how much extra gain the 4 Ohm setup offers.

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COVER FEATURE

Kinetic Series Aesthetics vs. practicality If I had to sum up the Kinetic series’ looks in one sentence I’d have to say it’s a ‘no-frills, easy on the eye, yet very basic looking speaker,’ but then most of Wharfedale Pro’s ranges look like this; handsome in a rugged, practical kind of way. The ‘road-tough’ black carpet finish and steel grill suggest a hardy exterior that should withstand the rigours of speaker bashing at 2 AM when you’re throwing stuff into the back of your van.

Features include parallel Speakon 14” jacks for input and daisy-chaining, dual plastic sunken handles and pole mount receptacle underneath.

On Test I spent an hour with a pair of Kinetic 15’s in a medium sized room. I also had the benefit of comparing them to the Wharfedale EVP-X 15’s as well as the DLX-15’s, both of which are dearer than the Kinetic’s although the EVP series only by a few hundred bob. The most obvious difference is volume and I think this is where the Kinetic’s are going to prove possibly more popular. At 4 Ohms you simply get more juice out of the speakers. I would say a good 25% louder is what I experienced.

Overall sound quality on the Kinetic 15 is pretty good. There wasn’t really much between the EVP-X15 and the Kinetic 15. The personality of the two is very similar other than volume but of course the costlier DLX-15 whilst also not as loud, was noticeably more polished and easier on the ear in its overall delivery. But then it is two grand dearer than the Kinetic equivalent.

Putting the speaker through its paces with a variety of music from dance to pop and rock my lasting impression was one of versatility and adequacy. For a shade over 3K (suggested retail) for a pair of the 15’s they are well worth giving a listen and certainly have that extra bit of loudness and let’s face it; we’re always looking for as much volume as we can get out of any rig.

Who should own one?

Mobile DJ’s and 1 or 2 man bands will find the Kinetic series an attractive proposition. On a tight budget you can pack yourself with a set of Kinetic 15 tops and an 18B sub plus a decent power amp for under 10K, suitable for 150 odd people (conservative estimation) in an average size function

Supplied by: Audiosure| 011 - 7904600 | 021 - 5551617 031 - 5699260 | 051 - 4304455 | www.audiosure.co.za Suggested retail price per speaker: Kinetic 8 - R 1,195.00 | Kinetic 12 - R 1,495.00 Kinetic 12M - R 1,495.00 | Kinetic 15 - R 1,795.00 Kinetic 153 - R 2,195.00 | Kinetic 18B - R 2,495.00 Prices incl. 14% VAT

facility. Of course with the extended range you could build quite a rig on a budget too and like I said... in Africa price is king so why not build yourself a kingdom of sound?

Pros: ! ! ! ! !

Super affordable Highly rated SPL Rugged durable finish 4 Ohm impedance Loud!

Cons: ! A little harsh when pushed ! Plastic handles a little uncomfortable when carrying

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GEAR & INDUSTRY NEWS

For daily gear, instrument and industry news visit museonline.co.za

Technology Innovated Distribution to distribute JHS products in South Africa Worldwide trade distributor John Hornby Skewes & Co. Ltd. has increased its global reach after Technology Innovated Distribution (TID) signed up to exclusively distribute Vintage, Encore and Fret-King guitars in South Africa. A fresh and positive company, Johannesburg-based TID adds the guitar ranges to a number of other high-profile brands it already distributes in Southern Africa. The JHS guitars were launched at last month’s Media Tech trade fair in Johannesburg on July 20th.

Matthew Eales, Sales Manger MI & Retail at TID, said: “TID is excited to be part of the JHS family. The JHS brands are complimentary to the brands in our stable and we are motivated to grow the market share of the brands in Southern Africa.” Adam Butterworth, Export Sales Manager at JHS, said: “We are delighted to have secured the distribution of our main guitar brands in South Africa through TID. TID is very much an up-and-coming distributor with some excellent brands forming part of the MI distribution range. We feel that Vintage, Encore and Fret-King compliment these perfectly.” The partnership between JHS and TID follows up on JHS's recent announcement that it had signed an exclusive distribution deal for Fret-King and Vintage guitars in Japan with Kyoritsu Corporation Limited.

For more information on TID and JHS, visit the relevant websites.

Distributor: Technology Innovated Distribution (TID) | +27 10 5000 111 | www.tidistribution.co.za

TV Audio appointed as South African distributors for Carlsbro The continued expansion of the 52 year old Carlsbro distribution network continues with the appointment of TV Audio in South Africa. According to news on the Carlsbro website the company has been inundated with requests from numerous distributors, dealers and consumers who had previously purchased Carlsbro from overseas. Carlsbro appoint distributors for the long term and TV Audio met all the company’s criteria and will look after all the Johannesburg based company’s loyal retailers and maintain the supply chain stability, which they believe is very important in this industry. “TV Audio and his dealers will look after all the loyal musicians in South Africa and expose the exciting new Carlsbro products to the new generations of music makers.

We are truly excited by this appointment and the new products will arrive in store, in South Africa in September and will be supported with a high profile campaign reinforcing the global success of our unique British Carlsbro Tone.”

Distributed by TV Audio | +27 11 805 9910 | info@tvaudio.co.za | www.tvaudio.co.za

ProAudio Have Moved Proaudio, a leading SA professional audio company have recently moved to new premises with a brand new showroom. Stockists of the following international brands; AUDIX • BEHRINGER • Cerwin-Vega • FANE • HK Audio • Hughes & Kettner • Kirlin cables • KRK Studio Monitors • Pioneer DJ • Pro Audio (name brand) • Stanton • SKB, their new showroom and offices can be found at the following address: 419 Martin Crescent, Greenhills Industrial Estate, Tunney Extension 6, Germiston/Edenvale

011-822-1430 | www.proaudio.co.za

Here’s a look at the new premises before and after...

BEFORE

AFTER

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The iPad holders from König & Meyer – ideal for iPad wielding musicians and sound engineers

GEAR & INDUSTRY NEWS

Due to its versatility the iPad is fast becoming an established tool in the music industry!

In this day and age sheet music and lyrics are available in digital format and with the technology of the iPad it is no surprise that it has a recording feature. Musicians can look forward to other applications as well ranging from instruments and tuners for synthesizers and harmonizers to multi-effect processors right up to a complete recording studio.

For easy use, König & Meyer have developed various iPad holders. The iPad stand holder can be screwed onto any 3/8" thread; it can therefore be attached to all microphone stands.

Due to the clamp mounting feature the iPad holder can be fastened to the tube, in any size from 7 to 30 mm in diameter. The third version is the iPad wall holder, which means it can be mounted and used without a stand. The holder can be attached to a wall by means of three mounting holes.

Depending on the application, the iPad can be inserted vertically or horizontally into any one of the three black holders and can be easily adjusted to tilt at any angle. This enables the user to align the iPad stand holder and the iPad holder in any desired position. All the holders feature the proven König & Meyer material quality and workmanship and are made in Germany.

These stands are available from Wild and Marr from August 2011.

Wild & Marr | (011) 9740633 | (021) 7879378 | (031) 5643877 | www.wildandmarr.co.za

Sax Legend Courtney Pine On SE Microphones Courtney Pine is one of the true British Jazz legends of our time. In a career spanning almost 25 years he’s played with many of the Jazz greats, won the prestigious Mercury award, a MOBO, an OBE and a CBE in recognition of his services to the black community and Jazz music. No one better embodies the dramatic transformation in the British Jazz scene over the past twenty years than Courtney Pine. The saxophonist heads a new generation of exciting and innovative musicians who have chosen to turn their talents to the demanding requirements of jazz music, in all its shapes and forms.

Courtney‘s mic of choice is sE Electronics; “My favourite, because it is so unique, is the sE Rupert Neve RNR1 Ribbon mic. I have just started to use it and found it to be truly remarkable… a real modern day classic… for recording woodwind there is simply no equal.”

“I use the sE4400a on every session I do nowadays.

It’s incredibly flexible and durable, with honest and open characteristics. I’ve used it on pretty much everything, from Mandolin and Congas, to Triangle and acoustic Piano, and it recorded all those tones and frequencies perfectly without any fuss or bother.”

On why he chooses sE he had this to say, “I’ve compared my sE mics to ‘classics’ which are three or four times the price and found them to easily stand up to and better those ‘old-school’ mic brands… sE mics are true modern day classics… they’re for people who care about music” Distributed by Tuerk Music Technologies | (011) 792-8402 www.tuerkmusic.co.za

Play Your Way To Winning Superb Prizes To The Value Of More Than R 100,000 From Yamaha!

Whether you’re an accomplished performer, an aspiring pro or a hobby honky-tonker just having fun, show off your style in the Yamaha Key Performers of Note national keyboard & piano competition. Your musical moment on stage could have you playing your way to winning one of three superb sets of keys worth R 85,000 from Yamaha – the legendary name in quality musical instruments. You could even be selected as one of Yamaha’s official piano or keyboard demonstrators!

For more information, please visit www.keyperformers.info or send an e-mail to: admin@keyperformers.info.

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INSTRUMENT REVIEW

By Steven Jacobson

Gretsch Catalina Maple 6 Piece

T

he Gretsch Catalina Maple series is known to be one of the best maple kits around and when you take into consideration that you are getting a 6 piece kit (16” Floor tom FREE), for R 9,995.00, you’ll realise that you’ll be hard pressed to find a better deal.

Anatomy The Catalina Maple comes with 10”, 12”, 14” and 16” toms, a 22” Bass drum and a 14” x 6.5 Snare drum, and is available in 3 different finishes: Cherry red, Amber and Transparent Black. No hardware is included in this kit, so an extra cost to consider is a Gibraltar Hardware Pack.

Options include the 4600 series, 5600 series or 6600 series at a cost of R1,995.00, R2,995.00, R3,495.00 respectfully. All packs include: a snare stand, hi-hat stand, one straight cymbal stand, one boom cymbal stand and a single bass drum pedal.

O n d i s p l a y a t B e r t Ko s t e r Percussion, South Africa’s importer of Gretsch drums was a very professional looking black finished kit for me to test.

At first glance it appeared to be a flat black, but on closer inspection you’ll notice some black stroke work under the finish which should show quite nicely under stage lighting and with a flawless build quality, from near or far, on looks alone, I would be proud to own such a kit.

With the full 6 pieces set up, it is easy to see how drummers from all genres would benefit from this versatile kit. There are numerous ways to configure the drum set; for an all round rock kit (using all 6 drums), to a fusion kit (using 5 drums), to a small jazz set up (using only 4 drums), it all depends on which drums you choose to use, and where.

A Closer look...

Closer inspection revealed that the 14” and 16” floor toms are leg mounted and not floating. This makes for a quicker, more solid set up that is much closer and tighter. It also come with a multirange ball and claw tom arm, allowing

for infinitely different angles for your tom-toms. This is a great benefit when you are in a rush to set up or when you have to share your kit at a show with other drummers. All that needs to be done is to hold the tom at the desired angle, tighten the screw and you’re ready to play. The toms connect to the tom arm via a GTS tom suspension system, allowing there to be no hole in the drum for better resonance and less structural noise from being attached to the bass drum.

All drums come with ‘Gretsch made by Evans’ one ply coated top skins and clear one ply bottom, giving the kit a more old-school sound. There is always the option of changing skins; my preference would be a clear double ply skin and with maple shells such as these it would only enhance the sound and resonance. Also having between five and eight lugs depending on the drums dimension helps considerably for its durability and strong hold against drummers who put a bit more muscle into their playing. All lugs, screws and bass drum clamps are die cast which aids in a better tuning process. From unpacking to setup, it took only a few minutes to get a sound that I could work with.

Conclusion I am sure that this versatile Gretsch Catalina Maple kit is going to be loved by whoever purchases it; Amateur to professional, for stage, to theatre, to the practice room. From its great finishes, to the beautiful tone of its maple shells, to the precise and solid build quality along with the fact that you can turn it into various kit sizes and setups makes this a good buy.

To be honest the only thing that bothered me was that I would have to purchase a hardware pack, but having said that I believe that nothing should take away the fact that this kit has been designed to accommodate drummers in all genres, rock, pop, jazz you name it which adds to its value for money. Set up, play and enjoy!

Supplied by: BK Percussion | 021 510 7770 | www.bkpercussion.co.za Suggested Retail Price: R 9,995.00 incl. VAT

GRETSCH CATALINA Maple 6 Piece The Gretsch Catalina Maple Series are the best value maple shell drumsets on the market. To top it the kits come with an extra 16”floor tom at NO extra charge.

Toms are 10,12,14, and 16”with a 22” Bass and 6.5 x 14 maple snare drum.

“LAST TWO AVAILABLE”

GRETSCH CATALINA Club Mod

The Gretsch Catalina Club Mod set has been designed for the player who is looking for quality features in a modern 4pc configuration. With the power and warmth of the mahogany shells, the 20” x 22” bass drum (awesome sounding) and retro finishes, the Catalina Club Mod offers the looks and features of a pro kit.

GRETSCH Black Hawk

RE R HARDWA GIBRALTA 6600 | 9600 SERIES 00 |

4600 | 56

Black Hawk by Gretsch were our best selling drumsets when they arrived in 2008. The kit has heavy duty hardware and an awesome 6.5 x 14 steel snare drum rivalling other brands in sound and quality at really low prices.

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ACCENT CS LS 125 The Ludwig Accent CS Combo has 9 plym 8mm veneer shells and a durable double post style tom holder. The hardware is a lighter weight, double braced version. The set is available with an extra10” tom making it a 5pc The most affordable quality brand 5pc drumset in SA

BK PERCUSSION JUNIOR Our own BK Junior drumset is a basic 3 piece starter kit for the young 3 to 8yr old and includes a cymbal and pedal.

Available Colours: Black, Red, Blue Retail Price: R1295 incl. VAT

BK PERCUSSION FT900B BK Percussion drumsets have double braced hardware, a throne (seat) and incl cymbals.

Colours available: Black, Wine Red, Blue.

Still the best value drumset in Southern Africa.

Available at a Music Store near you.

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muse | twelve

INSTRUMENT REVIEW

By Alistair Andrews

TC Electronic BH500 “A close to perfect amp that is very easy to use.”

First Impressions When you invest in new gear first impressions somehow always set the tone for what’s to follow and the TC Electronic BH500 is no exception. When I opened the box I was very impressed with what I saw; a very important requirement for me in a bass amp is the layout of the controls.

The BH500 immediately get’s a ten out of ten for visibility and ease of use. I also couldn’t hope but notice that the amp head as well as the BC210 2x10 Cab is also lighter than most 500 Watters I’ve experienced. So I guess you could say that first impressions do count as visually this is a very handsome package and it does not break one’s back unpacking.

Layout from left to right First up is a 1/4” jack input that can take either passive or active basses. There is no pad-switch or separate inputs for Hi and Low impedance but I can’t say I missed this as this can actually be controlled with the gain control. Directly above this jack you’ll find the On and Peak Led’s; a good idea to have it directly above the Gain control. All the control knobs are solid and easy to get to. The Spectracomp Compressor is not bad at all. It sounds like a type of multiband compressor and is one of the most controlled built-in compressors I have come across. It handless every playing style very well.

Directly above the compressor is a built in tuner which can also act as a mute switch. I highly recommend silent tuning so this is the way to go. Unfortunately the designers of the amp did not consider myself, John Patitucci and Steve Bailey, as the tuner does not cater for the high C on a six string bass, or alternate tunings. You only get B, E, A, D, G notes, but to be fair this is fine for 95% of the bass players on the planet.

The 4-Band EQ section is very well laid out; Bass, Lo-Mid, Hi-Mid and Treble.

Above the EQ section are 2 predetermined Contour presets that allow you to quickly get to that “scooped” sound.

BASS: Centre Frequency 100Hz | LOW MID: Center Frequency 335Hz HIGH MID: Center Frequency 900Hz | TREBLE: Center Frequency 1600Hz The next section is the Tweetertone that controls how much tweeter sound you want. In Centre position it is flat. Left cuts, right boosts. It’s great to have this control in front of the amp and not at the back of the speaker Cab. The Tubetone section gives a

surprisingly good tube-like sound. One of the better tube simulations I have heard. It replicates both a full pre-amp, a power amp to create old school tube warmth and you can even get a happening overdriven sound without losing punch.

Another great feature is being able to store 3 sounds to Memory. This makes it easy to change your tone on the fly. My only objection is the lack of a foot-switch to change the preset easily in mid-song. You can store all front panel controls except Mute and Master Volume.

The Master level control is next in line. There is also an AUX (RCA Left/Right)in for connecting iPods, computers etc to rehearse with.

The headphone amp sounds great too and speakers are muted when inserting headphones. The Balanced Output has a Pre and Post EQ switch; a very useful option, as not every mixing desk or engineer will be able to please you.

At the back of the amp you will find the power switch (with thankfully a standard kettle chord plug connection) and speaker output via Neutrik Speakon connectors.

the test model could be considered pretty lightweight and is a great match too for this amp.

I highly recommend the BH500 to any serious bass player, irrespective of your style.

Unfortunately I did not try it on upright bass, but I believe it could work very well with this too.

In a nutshell: A close to perfect amp that is very easy to use.

Supplied by Prosound (Pty) Ltd | 0861 4SOUND | www.prosound.co.za Suggested Retail Price (incl. VAT): BH500: R 7, 848.90 | BC210: 4,801.68

Watch the video on your phone by scanning this tag or go to www.museonline.co.za to watch on your computer.

Sound This bass amplifier sounds great; Lots of power, punch and definition! It looks great too. Since first seeing the legendary SWR Redhead amp, I’ve started liking the look of red amps... maybe because it reminds me of a Ferrari.

You can use the BH500 for virtually any style of music and playing. They even give you a chart with some lay-outs to dial into a sound nice and quickly.

The 2x10 BC210 Cab supplied with

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http:/ / gettag.mobi

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muse | fourteen

INSTRUMENT REVIEW

Hammond SK1

By Damien Albetto

“The designers have taken great care to create an instrument that pays homage to its predecessor with a classy finish that cries out retro.” notable feature missing are bass pedals but remember because this is a digital emulation you can split the keyboard and actually play the lower register.

Digital = More

T

he Hammond electric organ was invented by Laurens Hammond in 1934. Originally intended and indeed used in churches as a cheaper replacement for the costlier wind-driven pipe organs, the psychedelic 60’s and rock ‘n roll 70’s would change all that as it became the keyboard instrument of choice for many jazz, rock and blues players. Using additive synthesis of waveforms drawn from a harmonic series (the use of columns of air oscillating to create standing waves, the combination of which – air and standing wave – will create a sound wave), the distinctive sound of the B-3 organ, often played through a Leslie speaker, was as significant to the evolution of rock music as the electric guitar.

Although the last electromechanical Hammond organ came off the assembly line in the mid-1970’s the legendary sound has lived on such has been its impact on modern music. There have been numerous emulations throughout the 80’s, 90’s and indeed in the 21st century some respectable soft-synth versions of the B-3 organ but let’s face it, nothing compares to playing an instrument brandishing the original Hammond logo.

First Impressions It doesn’t take a rocket scientist to appreciate the fine good looks of the new Hammond SK-1. The designers have taken great care to create an instrument that pays homage to its predecessor with a classy finish that cries out retro. The crimson wood side panels, the retro drawbar slider knobs and overall finish make a bold statement of vintage class.

Now once the purists have run out of steam lamenting about the virtues of pure analogue vs. digital the rest of us will be overjoyed with the power and feature-rich add-ons the SK1 offers starting off course with the host of additional voices available which means your Hammond does more than just emulate Hammond organ sounds to include emulations such as Vox, Continental and various Farfisa models. The range of onboard effects, including adjustable vibrato/chorus, reverb and overdrive are all wonderful benefits of the digital platform. The full MIDI and USB capabilities also bring Hammond firmly into the 21st Century. The USB is great as you can save your own customised patches direct to flash or hard drive aside from connecting to your DAW.

Verdict There have already been dozens of comparisons between the Nord C2, Electro and the SK1. Each of these instruments has their own virtues and depending on your requirements you’ll no doubt buy accordingly. What I like about the SK1 is that this is a dedicated organ catering specifically for organ players and it’s a Hammond! What could be cooler than that? For advanced usage there is also the SK2 which has an extra layer of 61 notes for double-decker organ ripping. Expect to see the SK1 and SK2 on many a gigging stage soon! A highly desirable keyboard – it has the looks, the sound, the playability, portability and the features.

Watch the video on the Hammond SK1 @ museonline.co.za or scan this tag to watch on your Smartphone.

Anatomy Whilst Hammond has endeavoured to recreate the magic of their vintage electromechanical organs, thankfully in one area they haven’t; weight and size. Weighing in at a paltry 7 kg’s and measuring roughly 90 x 30 x 10 cm it’s fair to say the SK1 is a truly portable instrument and this alone will guarantee its popularity on many a stage from now on. As far as emulating the original B -3, portability aside, the SK1 is going to please Hammond fans in two key areas; the nine mechanical pitch drawbars, an iconic feature of the original Hammond organ that essentially served as a built in mixer by allowing you to control the levels of various frequency waveforms, is a key feature as well as the built-in digital Leslie feature, which emulates the Doppler Effect of a true Leslie speaker remarkably well. This Doppler Effect from the Leslie speaker was a key part of the personality of the original Hammond and the emulation on the new SK1 is superb and whilst self-proclaimed purists on forums worldwide may start nitpicking, for the rest of us B-3 fans these two features alone make the SK1 a sure thing. A

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http:/ / gettag.mobi Supplied by: Tradelius Music Group 031-502 3080 | www.tradelius.co.za Suggested Retail Price: Sk1 – R 21,595-00 | SK2 – R 38,995-00 V.AT incl.

SP Series Loudspeakers A live sound standard for 30 years

SP 4

SP 2

SP 12M

- Quasi-three-way, full-range, bi-ampable sound reinforcement system - RX™ 22 compression driver with ferrofluid cooling

- 2-way full-range, bi-ampable sound reinforcement system - RX™22 compression driver with ferrofluid cooling

- Two-way, full-range floor monitor - Sound Guard ™ III tweeter protection

SP 218

SP 118 - One 18 inch Pro Rider® Black Widow® woofer with Kevlar® carbon fiber cone and field-replaceable basket, flat-wound 4 inch voice coil, and cast-frame basket

- Two 18 inch Pro Rider® Black Widow® woofers with Kevlar® carbon fiber cones and field-replaceable baskets, flat-wound 4 inch voice coils, and cast-frame baskets

PV Series

Pro features made affordable, all in a heavy-gauge steel chassis

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PV 6 USB - Channels 3 & 5 with stereo line inputs - 3-band EQ on channels 1-2

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eight

muse | sixteen

By Nic Roos

INSTRUMENT REVIEW

Mesa/Boogie Transatlantic TA 15 “Few other amps, if any, could put the detail and nuance of so many classics under one hood.”

Channel Two

I

n recent years amp manufacturers have been producing smaller low powered tube amps for big tube sounds at bedroom and club gig volumes.

Mesa/Boogie arrived late to this party but offer a rich and versatile take on the ‘micro amp’ trend.

The Transatlantic 15 is a small alltube 2-channel amp with multiple preand power-amp modes. As the name implies the Transatlantic is inspired by classic British and American amp tones and crams them into a tiny but powerful package. The all-metal lunchbox-sized chassis looks stylish yet very rugged with fewer controls than the average Mesa/Boogie, in fact neither channel features a mid tone control.

Channel one has two modes, Normal and Top Boost. Channel 2 has three, Tweed, Hi 1 and Hi 2. Both channels can switch the power amp from 25W down to 15W or 5W and brings out different dynamic flavours in each mode. The open back speaker cabinet matches the amp’s wide tonal capabilities nicely and there are more than enough highs on both channels in all modes.

Because this is a small amp, when cranking gain one should decrease bass as the EL84 tubes cannot faithfully reproduce the

lows at higher gain settings. That’s not to say that it sounds thin with less bass at these high gain settings.

In fact the tone stays rich, full and, especially on the 25 watts setting, dynamic. The well written manual is very detailed. It also lists possible speaker cabinet connection configurations for further tonal shaping.

Channel One Normal mode is the amps dedicated clean sound. Very sweet and glassy with ample headroom in the 25W setting. It accepts pedals very, very nicely.

Maintaining note definition with distortion pedals particularly well.

Top Boost mode captures the British Vox flavour brilliantly! The signature raspy mids, cutting highs and crackly distortion really shine through! I couldn’t resist aping a few Brian May licks. The extent of the detail in this recreation is astounding. The way the distortion varies from note to note is spot on.

Tweed mode is a recreation of an old Fender Bassman and is also amazing; punchy and full of the smokey Fender warmth with rich harmonics. It also captures the smooth drive brilliantly which sings when playing slide with a Strat.

Hi 1 mode captures Marshall’s sonic character and nuance. While this amp is in no way designed for modern metal it has more gain than I expected and has a very quick attack. Even with a Les Paul it’s quite bright with tone controls at noon but darkens and gets creamier when lowering the guitar volume. I was able to get some smooth feedback at a whisper quiet level. Hi 2 mode is based on the classic Mark series Mesas displaying their characteristic sizzle at a higher frequency than the Marshall making it ideal for cutting lead playing.

Verdict The sheer richness of tone makes this amp amazing. Few other amps, if any could put the detail and nuance of so many classics under one hood. On top of that the head and combo are incredibly lightweight.

The supplied foot switch, however, is a straight-forward channel switcher.

What’s really missing here is the ability to switch between modes or power settings.

Another issue is that it doesn’t have an FX loop, making it impossible to take advantage of the amp’s sweet distorted tones while employing delay or reverb pedals. With these two issues in mind I must say the Transatlantic TA-15 is aimed more towards studio use and in this capacity the ability to switch between authentic classic tube sounds at the flip of a switch instead of moving cabinets and microphones will be a godsend.

For live use they have recently released the Transatlantic TA-30, which includes higher wattage, effects loop and gorgeous tube reverb.

Supplied by: Rockit Distribution | | 021-511 1800 Suggested retail prices: TA-15 Head - R 12,995.00 | TA-30 Head R 18,895.00 | TA-30 Combo: R 20,795.00

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muse | twenty

GEAR REVIEW

by Alan Ratcliffe

T

Proel M16USB

he Proel M16USB is a fairly inexpensive, but full-featured mixer aimed squarely at the small band market.

Sporting 12 microphone pre-amplifiers, inserts on every mono channel and main outputs, three-band EQ (with parametric mids on the mono channels), three auxiliary sends, four output busses, phantom power and built-in digital effects, the feature set is enough to handle most bands and even small home studio setups.

First impressions The M16 has a solid feel and heft with an all-steel casing, plastic side panels and a built in power supply, so first impressions are of a well made unit.

All the controls and connectors in the right places with a logical signal flow indicating a well thought out layout.

There are some nice extras included – a padded woven nylon carry case and a set of rack ears (fitted by removing the plastic side panels and attaching with the same screws), both of which are surprising at this price point. Something I was happy to see was a BNC socket for a 12V gooseneck light (not included, but easy to find), which are not always a feature on an inexpensive mixer, but invaluable for low-light situations.

Inputs and channel strips Inputs and channel strips on the M16 fall into two types: mono and stereo.

There are eight mono channel strips and four stereo to make up the 16 inputs. Unlike many other inexpensive mixers, the stereo channels also have a single mic input, allowing the M16USB to be

used as a 12-channel mic mixer.

There are also two stereo Aux returns (which can be used as line inputs if you are not using the aux busses for effects) and a pair of RCA tape/CD inputs.

Mono channel Strips The preamps of the mono channel strips offer -20 dB trim to +20 dB gain for the line inputs and 0 dB to 60dB gain (mislabelled as -60 on the panel), plenty for most modern sources. Each input has an insert for adding outboard compression and/or EQ to individual channels or taking a post preamp send for multichannel recording (or a separate monitor mixer in a larger setup.) There is a switchable lowcut/high-pass filter button set to 75 Hz to filter out low frequencies for those instruments that need it (basically everything but kick drum mic and bass) and to clean up the low end of the mix. The EQ section is three band: high shelving (12 kHz); low (80 Hz) shelving; and a parametric midrange (100 – 500 Hz), each with 15 dB of boost or cut. I do

find the midrange frequency range to be very limiting, concentrating on the lower midrange and ignoring the upper mids completely.

Stereo channel strips The stereo strips’ preamps have 20 dB less gain for mic and lack the lowcut of the mono channels, which is a pity when being used for mic or guitar inputs, but not essential for most stereo line sources. The EQ section differs from the mono strips only in the mids, replacing the parametric midrange controls with low-mid (500 Hz) and high-mid (3 kHz) controls.

Shared features The auxiliary section has three aux sends, one pre-fade (for monitor sends), one post-fade (for effects) and one switchable. The post fade send goes to the onboard effects, but can also be used for an outboard effects unit. Panning and fader controls as well as mute switch are all straightforward - as they should be. Routing is better than most small mixers, allowing you to route the

16 Channel Mixer

muse | twenty one

GEAR REVIEW

channel to both pairs of output busses if needed, instead of the usual single switch either/or arrangement, which immediately makes the M16 more flexible. The solo switches can be used either pre- or post-fade and the clip LEDs are bright and clear.

Aux strip The M16 has an additional, 17th channel strip, used for control of aux sends and returns. Aside from the expected controls here, there are controls to send the onboard effects to both aux 1 or 2, allowing you to add effects to the monitor mixes as well as the mains. There is also a volume control for the tape/CD inputs. The fader is used to control overall effect level to the mix and can be routed to either the mains or group 1 & 2.

Master section The master section comprises effects, graphic EQ, control room controls and master faders.

Effects The effects are digital, but have analogue switching and no display.

There are sixteen types of effects, ranging between reverbs, delay, chorus, flanger and combinations.

There is very little control, with only sixteen variations of each of the sixteen effect type or combos and a tap tempo for delays. Unusually there are also sockets for connecting footswitches for both tap tempo and FX mute functions.

Graphic EQ The graphic is a simple seven band affair which can be muted or assigned to either the main output or Aux 1 and 2. While a little limited for EQ'ing front of house sound, it is surprisingly good sounding and comes in handy for a bit of monitor EQ.

Control room The control room section allows routing the four busses and/or CD input to both the control room and headphone outputs with a simple overall level control.

In use Using the M16 in both live and home settings over the last six months and generally it has worked very well.

The flexibility has saved me a few times live where I was able to come up with ways around problems with gear and venues. I have found that the onboard effects don’t have much input headroom, it’s easy to get clipping from even one input by turning the send up too far, so I’ve been forced to keep sends low and boost the effects master fader all the way up (which adds noise. The effects are also fairly noisy – even without any sends, simply enabling the output of the effects module easily triples the noise floor of the

mixer (generally pretty quiet).

Another niggle is the faders are all very sensitive around 0 dB (where a good mix usually lives), so it can be a bit difficult to tweak levels at times. It should be noted that I had a problem with the effects dying completely after a couple of months, but backup was excellent and the mixer was quickly replaced with no argument.

Conclusion Other than a few small niggles, the Proel M16USB is a great mixer with more than enough features and quality for most applications and offers serious value for money.

Supplied by: Musical Distributors | Tel: 021-799-4950 | www.bothner.co.za Suggested Retail Prices: Proel M.16 USB – R6 495.00 | Proel M.20 USB – R9 995.00 | Proel M.8 USB – R3 595.00

Mixers FOR ALL APPLICATIONS

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Hybrid Power Amplifiers

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B900MK4

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eight

muse | twenty four

By Matthew De Nobrega

STUDIO REVIEW

Blue Spark Microphone

A

s modern music has become increasingly computer based, using fewer and fewer recorded sounds, the range of microphones needed to produce to a high level has shrunk – gone are the days of needing an arsenal of microphones to put together anything radio-ready. However the one sound that is pretty much impossible to 'fake' in the studio is the sound of the human voice, and thus the one microphone that remains indispensable to any studio is a vocal microphone.

The Blue Spark is aimed squarely at that role. It's a retro-looking (in a very good way) cardioid condenser that comes in a handsome wooden box with a custom pop-shield and a shock mount.

Build quality seems to be very good – overall it's a really comprehensive package for the price.

The Test My first test was on male vocals. I lined it up against my go-to vocal microphone, a Pearlman TM1 tube mic, and ran them both through an A-Designs Pacifica.

Saying that the Spark was very close to the Pearlman is high praise indeed for a microphone costing a fraction of the price – the TM1 was slightly smoother in the low midrange and a fraction less brittle, but the Spark still captured a very wellfocused and ‘finished' vocal sound. The TM1 has a frequency response that captures a range of vocals extremely well, so judging by the similarities the Spark should be very versatile. Also, because of its medium diaphragm size, it's less prone to proximity effect than an LDC, which means you can get really close without getting unwanted rumble.

An unusual feature of the Spark is the focus button, which boosts the higher midrange and generally captures a more ‘cutting' tone, as opposed to the standard, more neutral presentation. Given the amount of processing on modern pop vocals I would have preferred a more pronounced effect, but it's still a really handy extra that can get you a step closer to a 'modern' vocal sound at the push of a button.

Round two was a head-to-head against a Rode Nt1A and a Josephson C42 on acoustic guitar. Here the Spark was a clear winner – sounding, without any processing, like a finished product. It dispensed with the high-end 'sizzle' and jangly transients of the Rode and delivered a focused sound with smooth strums and great tone. And while there will always be a use for the C42 to get a bright, sheeny acoustic sound in busy mixes, for general-purpose use I preferred the more natural tone of the Spark, and felt it flattered my acoustic guitar more.

The final test was a three-way on trumpet and flugelhorn, against an SM7B and the Pearlman, again through the Pacifica.

While my brother (who did the recording) preferred the SM7B for

its brighter, more expansive presentation, I really liked the more focussed Spark take – again it sounded finished, like the intro bars to a movie. The Pearlman was very similar to the Spark, but slightly boxier in this application. Both the SM7B and the Spark recordings ended up being used in the mix.

So what's the overall impression? As a first studio microphone, for vocals and other bits as needed, I think the Blue is awesome for the price. It adds just enough colour to give everything that goes through it a focused, finished tone that I have never heard from a microphone in this price range. It has an uncanny knack of capturing just what you want it to and nothing extra. It's flexible enough to use on a range of sources without losing the character that makes it so good for vocals. I'd have to go to a significantly higher price bracket to start finding any negatives, and the extras – great looks, great add-ons, and the focus button – make this pretty much a no-brainer at the price.

For a video review of the Blue Spark Mic go to museonline.co.za or scan this tag to watch on your Smartphone.

Get the free mobile app for your phone

http:/ / gettag.mobi

Price: R 3,505.50 incl. VAT Supplier: Prosound (Pty) Ltd | Tel: 0861 4SOUND | Web: www.prosound.co.za

muse | twenty eight

BAND TIPS

By David Chislett Photo by Jacqui Van Staden

The first in a series of useful tips and advice to help bands with the business end of being successful by the author of “1,2,1,2: A Step By Step Guide To The SA Music Industry.”

How To Get Ahead In The Music Business

G

iving wannabe stars advice on how to crack the scene is a tough job.

Mainly because it appears that there really are NO rules when it comes to what makes a song a hit.

So we’re just not going to go there. No instead, we are going to talk about another thought... How to get ahead in the music business by taking care of Business!

To most artists business is a four letter word, and not one they like to use.

This is a regrettable attitude because, by adopting it, artists empower those who would seek to exploit them by buying into a myth that was created in order to rip them off. Yes, you heard me. It’s rubbish. If you wanted to play for Bafana Bafana you would know the offside rule, what is a foul, how to deal with your captain, your coach and the other players. Because that is what you need to do to be a pro. It’s amazing how in the arts, this attitude is completely absent.

See, the truth is that, in the music business, money is made because people do business. Now business people, they are always looking for a good deal. Remember buying your first second hand car? Exactly! If you are

ignorant, you’re going to get ripped off.

Period.

So, first piece of advice for how to get ahead in the music business is: accept that it is a business. Rule number two, is learn the rules! The industry is governed by laws, rules and contracts which dictate the flow of money and the parties involved in it.

You need to know who these players are, where they stand in the food chain, what is a good deal and what is not.

Flinging up your arms and declaring you are an artist and someone else must take care of it will result in one thing and one thing only: you throwing your arms up in the air later and wailing that you have been ripped off and stolen from.

Objecting to the fact that the music industry is a business environment is a bit like complaining that the sun came up. It is how it is. Deal with it. And if you refuse, then stop your whining! Firstly it won’t change anything and secondly, you made your choice not to play by the existing rules! Get acquainted with the existing structures. There is not enough space here to go into detail, but use them and they WILL help you The best advice is for you to get reading. There is a great international book called “All You Need To Know About The Music Industry” by a guy

called Donald Passman. It’s big and red, and very useful. But it’s also very international. Also available for SA conditions are “The SA Music Industry”

by Jonathan Shaw – a university-level text book on everything about the music biz. Check out Nick Matzukis’ very helpful book on SA entertainment and contract law as well as of course my book, “1,2,1,2: A Step By Step Guide To The SA Music Industry.” Once you have read all of these books, you will have a far greater understanding on how this jigsaw puzzle fits together.

Then you need to take the 3rd important step: Put a plan of action together. Ja, I know, also not very rock and roll. Truth is though I have always seen the hardworking, focused and business-like band succeed over the very talented, clueless and unfocused band. Discuss your ambitions and break them down into concrete steps that you can start taking the very next day and you’ll be amazed at what happens. I know it’s not cool to admit that you are a hugely ambitious and hard working dude that is moving heaven and earth to become successful. But you must be, even as you develop a look that says the opposite!

Author Blurb David Chislett has been in the SA music industry for 25 years. Bassist, journalist, manager, publicist, film maker, author and consultant, he has gotten his hands dirty.

His book 1,2,1,2: A Step By Step Guide To The SA Music Industry is an easy to understand, no holds barred self-help book for anyone wanting to do better in the business.

It is available from Exclusive Books, Look & Listen stores and all good independent shops.

He also hosts workshops and private consultations to help artists get ahead. www.davidchislett.co.za

eight

muse | thirty

TUTORIAL

by Alan Ratcliffe

O

Dynamics Effects Part 2 – Gates

f all dynamics processors, gates are the easiest to understand and use.

Commonly referred to as "noise gates" they are basically a switch used to get rid of the noise you hear during quieter parts of a track by muting the sound.

However, they can also be used as an effect, altering the dynamics of the sound.

How Gates Work Noise is usually hidden by the music signal, as it is normally much quieter in comparison. However, as the signal fades away in quieter sections of the music, the noise can become noticeable. A gate works by switching off the signal when it falls below a certain level (the threshold), muting both the signal and the noise.

Various controls set how fast the gate starts working (Attack), how fast it stops working (Decay) and by how much it reduces the level (attenuation).

A waveform of a distorted electric guitar with noise in the quieter sections.

and more of the signal is gated out too.

When there is a lot of noise, you will need a low threshold setting, and you can raise it with low noise sources.

Attenuation This control sets the level that the signal is reduced by when the gate is closed, -60dB or more is usually the same as off. With higher attenuation settings you'll hear some of the noise coming through between the wanted sections of the signal.

Attack and Decay You can "shape" the envelope of the sound as it starts (attack) and finishes (decay), to change from silence to signal and back again as naturally as possible. If these settings are wrong, you'll either hear a little bit of noise as the sound starts and finishes, or the sound will be clipped short.

Trigger Input The trigger input allows you to use a second audio signal to open and close the gate - regardless of the level of the signal is being gated.

Gates as an Effect There are a few ways to get some obvious effects from gates.

The same waveform after gating to remove noise

The Controls Threshold The lower the threshold, the more radical the gating and the more unnatural it sounds. As you raise the threshold, you will hear more of the signal, and also more noise will slip through. Conversely, as the threshold is lowered, you'll find that more

Slow Attack Settings - with a slow attack, a gate will release slowly, changing the attack of the sound. It's like using a volume control to 'swell' into a note. Boss has an effect called "Slow Gear" which does this.

Gated Reverbs - using the original signal as a trigger input, the sound with added reverb is gated. This makes for a very controlled reverb sound - allowing huge reverbs to be used which are strictly controlled, without adding to much sustain to the sound.

'Synching' Instruments - The common example is locking the bass guitar with the kick drum. Using the bass drum as a trigger input, the bass guitar is gated so that it only sounds exactly when the kick drum does.

Another example is using a rhythmic

instrument to supply a rhythm to a sustained sound like distorted guitar or, quite commonly to a synth pad. The sustained sound is given a pulse by using the rhythmic instrument as the trigger input.

Guitar Effect Gating With the better guitar pedal gates, the trigger input can be used for the clean guitar signal so that the gate follows the natural envelope of the clean guitar regardless of the noise level generated by the effects.

Reverse Gates - On some gates, it is possible to reverse the effect of the trigger input, so that the gated signal is only passed when there is no signal at the trigger input. This makes sure that the two sounds are always in counterpoint to each other.

Ducking - Think of when a DJ speaks over music, and the level of the music drops to make space for the voice. This is ducking.

This is done by using a reverse gate where the voice is the trigger input and the music is the gated signal. The attenuation is kept lower than usual, as you still want the gated signal to come through - just at a reduced level. It can be used in any situation where you need one sound to make space for another (voice-overs, ducking delays, etc.).

muse | thirty two

TUTORIAL

by Alistair Andrews

I do not think that there are a lot of people that can come up with an absolute definition of what world music is. This is a short summary of my humble view. It is a style or styles of music and instrumentation that unites musicians from all over the world to collaborate and develop a “different” sound” and it is taking the world by storm.

The Bass, like in a lot of modern music styles is the heart of World music. Bass players nowadays fuse tabla, marimba, mbira, and tuba grooves, etc. and apply it to their instruments.

World Music is a musical genre incorporating diverse styles from Africa, Eastern Europe, Asia, South and Central America, the Caribbean, and non-mainstream Western folk sources. Initially, African popular music and world music were virtually synonymous and the genre's biggest stars included the Nigerians King Sunny Ade and Fela Anikulapo Kuti and the Senegalese Youssou N’ Dour.

Bassist and fellow Warwick endorsee Jonas Hellborg (above) has recorded dozens of albums and collaborated with various artists on some amazing world music projects. I heard him for the first time with guitar m a e s t r o J o h n M c La u g h l i n’ s T h e Mahavishnu Orchestra. About classical Indian music he had this to say; “Coming from one of the world’s deepest musical traditions, Indian classical theory isn’t something you can blithely define in a few hundred words.”

Here are a few basic terms to whet your appetite.

Hindustani: Heavily influenced by the influx of the Moguls into the Indian subcontinent in the 16th Century, it is the tradition of classical music generally associated with Northern India. It was made famous in the West by such players as Ravi Shankar and Zakir Hussein, and its most common instruments include the sitar (long-necked lute), tabla (hand drums), and sarod (short-necked lute). It is closely related to the qawwali music of Sufi singers like Nusrat Fateh Ali Khan.

Carnatic: Regarded by some as the older of the two traditions, it is the style of classical music generally performed in South India. It has an especially rich tradition of complex rhythmic compositions, and is often performed on vina (lute), violin, mridangam (hand drum), and ghatam (clay pot). Popular performers include L. Shankar and U. Srinivas.

Raga: Somewhat akin to a Western mode, it forms the melodic backbone of a classical performance. Often with extramusical associations (time of day, season,

PLAY BETTER BASS BASS in WORLD MUSIC (Part 1) Jonas Hellborg

Richard Bona who hails from Cameroon, is without a doubt one of Africa’s greatest exports.

His compositions naturally took in different sources: Africa, jazz, fusion…

Bona is highly sought-after as an instrumentalist, and he regularly receives calls from some of the greatest musicians, including the late Joe Zawinul, Mike Stern, Bobby McFerrin, Larry Coryell, Chaka Khan and Pat Metheny.

South African bassist, Bakithi Kumalo laid the solid foundation down for Paul Simon on his Graceland Album.

The rhythmic feeling of two against three is very prominent in African music. (Tap on any solid surface) Right Hand Left Hand

Richard Bona colour, etc.), it may or may not start or end on the root played by an accompanying drone instrument.

Tala: A metric cycle in Hindustani music.

The most ubiquitous is teental, a 16-beat pattern subdivided 4+4+4+4.

Sargam: Like an Indian version of solfège, it is the solmization of the notes in a raga.

Rather than “do,” “re,” “mi,” sargam utilizes the syllables sa, re, ga, ma, pa, dha, ni, sa. “ Jonas mixes Rock and Jazz with Indian Music. Go search for his videos on YouTube. It’s an education in mixing styles.

1 * 2 * 3 * 1 * * 2 * *

Stem up = Right Hand and Stem down = Left Hand on percussion chard below.

Some of the bassists that have defined the Latin style since its initial development are: Israel Lopez, Andy Gonzalez, Bobby Rodriguez, Al McKibbon, Carlos Del Puerto and Oscar Stagnaro. These are bassists from many sides of Latin Jazz - Afro-Cuban, Brazilian, Peruvian, and Argentina and are busy creating new Latin Jazz approaches. It is interesting to note that Latin music has become less “Jazzy” and more “Worldly”.

You will know what I mean once you have checked these guys out on YouTube.

The line below is an example of a World Drum and Bass Groove with a Latin feel:

... Continued on pg 34

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TUTORIAL

BASS in WORLD MUSIC (Part 1)

... Continued from pg 32

by Alistair Andrews

On the following examples, we see that the mbira (Zimbabwean instrument) lines could be used on Bass in World Music. The Bass line could be both lines on joint Treble and Bass Clefs.

Turkey, Egypt and the Arab world all contribute to this style. You can see the similarity between this Turkish bass line below and a Latin Bass line.

There are many collaborations between various cultures, which could create a new aspect of music which does not already exist or remain interconnected with other elements of music around the world.

I only mentioned a few artists. There are thousands more to check out.

To make things easy for myself, I think of World Music as popular music from Latin America, Africa, and Asia and any combination thereof. You can mix it with Rock, funk, Jazz or whatever.

Since I’ve made World Music more prominent in my style, my journey has become one of challenge and “out of the box thinking”.

Check it out and open the doors to the “Real World.”

Till next time, LET THERE BE BASS!!!

Alistair Andrews endorses ROTOSOUND bass strings www.rotosound.com

THE WORLD’S FINEST MUSIC STRINGS MADE IN THE UK SINCE 1958

muse | thirty six

TUTORIAL

by Kurt Slabbert

PLAY BETTER

My question is, how much about sound lies in the ability of the player?

I

N this article I have decided to talk about the journey of sound, and the reason I call it a journey is because the pursuit of sound never ends.

I think there is a huge lesson to be learnt from using gear that is not perhaps the best. I have seen buskers playing with really old guitars and yet they make the instrument sound amazing!

My question is how much about sound lies in the ability of the player?

So even before we get to playing guitar how do you sound as a player and how are you developing your sound?

I have seen too many awesome players playing gear that is not classed as professional gear and wow, so let us begin with how can I articulate sound with my hands?

If you look at players like Mark Knopfler he has developed his sound by using his fingers instead of a plectrum; the flesh part of the finger sounds very warm compared to the sound of the plectrum. He also uses a pop technique where he picks the string really hard to get a popping like sound. This kind of technique and sound generation would be difficult if not impossible with a plectrum.

There are also local musicians that I have seen that use the nail on their index finger of their strumming hand

and once again it has a very specific sound and I would assume they do it because that's how they were taught.

So your Guitar teacher will also have a huge influence on your sound whether you realize it or not.

Then there are people who can articulate these different ideas very well and go from using plectrum to fingers and they can do it seamlessly.

A player to check out would be Eric Johnson; he manages to use his hands very well to articulate sounds.

Okay so that's the first place to start... a teacher once said that I should go to a music shop and try playing a bunch of plectrums until I find something that I really like or that suits my playing style.

GUITAR Mark Knopfler

muse | thirty seven

TUTORIAL

completely owned his gig. Wow what a player! I think in this country ESP guitars have always been associated with the metal bands but on that day here was a guy that just knew how he sounded and what he was doing with that guitar and it was totally mind blowing. What a player, and off course he had no help from any pedals and the amp sounded really good on its own so I think in closing I would like to say that no matter how burning a player you are it still needs to sound good and usually that's gonna make all the difference. This part of music should never be overlooked and is probably more important than learning your next sweeping technique or another scale.

I am writing this article from Bali and the other night I saw a band on the beach busking. The guitarist had an old acoustic and in the sound hole he placed a speaker and behind the bridge there was another speaker. Somehow he managed to get a delay between the two and he was backed by a percussionist, bassist and rhythm guitarist.

They sounded so good, these guys took instruments that weren't great and made them sound amazing so it can be done.

I suggest you spend some time on your sound and it might change the way you play so until next time enjoy and please email me questions or some ideas you would like me to look at for future articles.

Brett Garsed

Moving on to the controls of the guitar and the guitar itself... Strumming or playing the strings back towards the bridge has a very different sound to strumming up along the neck; you will find that the closer you go to the bridge, your sound will become thin and trebly which works sometimes depending on the musical situation you in.

Then you have volume and tone pot controls on the guitar; the volume pot can also control gain which will have a direct effect on your sound overall.

Then the tone pots... have you tried to roll them off?

Sometimes that can give you the smooth sound you are looking for on your lead breaks. So before you buy the next pedal look at articulating your guitar and your hands or plectrum to create different sounds and also remember that you will begin to sound like the music you listen to so try and listen to as much music and different players as you can.

Next we look at Amps. There is so much to be said about amps and I remember watching Brett Garsed in 2007. He was doing a tour with ESP guitars and he also used Hughes and Kettner amps. On that day he went directly into the amp; no pedals, no plectrum and

Copyright Kurt Slabbert Bluenoise Productions kurt_slabbert@hotmail.com

muse | thirty eight

YOUR PRIVATE UNIVERSE

by Jonathan Pike

T

he electric guitar is undoubtedly one the most popular instruments in modern music and over the years many different guitar tones and sounds have become highly desired.

One can fairly easily capture a decent guitar sound with a good source instrument and amp. In this article however, I am going to look at a number of unconventional techniques that can be used to capture this versatile instrument.

I would like to mention that, as always, sound is a highly subjective thing. Many guitarists (and engineers for that matter) are guilty of pursuing THE ULTIMATE guitar tone, when in reality a sound is only truly great when it fits well within the context of the song.

One way of achieving a different sound is, in addition to your close mics, to place a few mics at varying distances within a large room to capture the sound of the room itself.

There will of course be no way of getting rid of this room sound once it’s recorded in, so make sure that you are happy with the way the amp sounds within the space before placing your room mics. This technique can also make the guitar lose detail and be highly reverberant; however, a blend of the close sound and the room mics might yield something pleasing.

As soon as more than one mic is used on a single source the issue of phase relationships between the mics is introduced, so make sure that you place the mics with the combined phase in mind. You could even constructively use phase cancelation by intentionally cancelling out certain frequency ranges to create some weird and wonderful tones.

Another way of using the locations available to your advantage is to set up an amp in an unconventional space like a corridor or basement. Again, set the mics up at varying distances. In a corridor with an amp on one side, all the frequencies emanating from the amp will be bouncing around the length and width of the corridor, reinforcing and cancelling out different frequencies, thus creating a complex tone. The concrete walls of a basement

Techniques forio the home stud

Unconventional Recording Techniques:

Electric Guitar

reflecting the sound back into the room can reinforce certain frequencies and can help to get a “big”, or at least, unique sound.

This ties in somewhat with Phil Spector’s infamous Wall of Sound. In the 60’s Spector gathered large groups of musicians, including electric and acoustic guitarists, and recorded them playing large orchestral parts. He then sent the signals down into an echo chamber (essentially a large base-ment), played them out of speakers in the chamber, and recorded the resulting sound. This produced a rich, complex sound with a lot of depth.

A useful technique to try is to route the guitar signal into multiple different amps or heads, and to use different mics that when blended, will yield a sound with more impact and a

richer tapestry of tones. Pick the amps and mics critically, keeping the final tone that you are after in mind.

One final technique involves intentionally recording with low quality mics, high impedance mics, or you could even use the earpiece of a set of headphones as a transducer to capture the sound. This will result in a grainy, almost vintage tone which can be great for creating effects and interest within a piece of music.

There is virtually a limitless amount of unconventional recording techniques that can be used to create your unique sound. I can’t promise that everything you try will result in something cool and unique, but every now and then you may stumble on something truly inspiring and this makes the endless hours of trial and error completely worth it.