MUSE TECH - Oct/Nov'12 by Muse Mag

X32 comes with a premium dust cover as well as a powerful XUF FireWire/USB audio interface card pre-installed. The XUF interface provides: Ultra low latency 24-bit audio interface 32 In x 32 Out, with MIDI Transmits HUI and Mackie Control data along with the audio I/O, providing convenient remote control of DAW via the X32 group fader section controls Compatible with CoreAudio on Mac OS 10.5 and above, and high-performance ASIO drivers for Windows PC are downloadable from behringer.com

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

EDITION 22 | OCT/NOV ‘12 | Proud Supporters of SA Music!

CONTENTS

tech 3 6 8 10 12 16 20 22 26 28 30 32 36 38 40

Editor’s Note and Index Cover Review: Washburn HB32DM & J7 Gear News Instrument Review: Tanglewood Sundance TW40 O ANE Gear Review: Fender Mustang III Guitar Amplifier Gear Review: Mackie DL1608 iPAd Mixer Instrument Review: Line 6 JTV 69 James Tyler Variax Gear Review: Warwick BC80 Combo Bass Amp Instrument Review: VOX SC 33 Guitar Special Feature: SAE Institute After Dark Sessions Manage Your Manager by David Chislett Recording Vocals with Academy of Sound Engineering Guitar Maintenance with Alan Ratcliffe Play Better Bass with Alistair Andrews Play Better Guitar with Kurt Slabbert

hen I grew up everybody wanted to be a guitarist. Yup I’m that old! Well maybe not everybody; there was always the odd dude who wanted to bang drums and of course the frontman i.e. singer who fancied himself the ‘rock god!’ But mainly guitar. Have things changed? Well I guess every kid wants to be a DJ now. Thankfully guitars don’t seem to go out of fashion though – not if the number of new models and various gear being produced is anything to go by. This edition we seem to have covered a ton of guitar and guitar related products. Our lead story features two very nicely priced Washburn ‘vintage’ looking axes, both leaning towards

jazz and blues but with a definite rock edge, according to reviewer, Nic Roos. We also look at Tanglewood’s Sundance acoustic, a brand that continues to make waves with each model in its range. Fender certainly need no introduction and Alan Ratcliffe takes a long hard look at their Mustang III amp, the company’s foray into the less expensive modeling amp market. We also look at the Vox 33 Series, another instrument that gets a big thumbs up from reviewer, Kalin Palishnev as well as the Line 6 JTV 69 Variax designed by master luthier, James Tyler; an interesting instrument and well worth the read.

Described as a traditional electric guitar with a digital modeling brain, the JTV 69 offers no less than 29 modeled guitar variants. It’s certainly an instrument for the tech-savvy willing to step outside the analog box. Speaking of technology Mackie have also released their DL1608 iPad mixing desk. Greg [Bester] attended a demo to see what the fuss is about. So yes, maybe every kid does want to be a DJ nowadays, but nobody told the guitar manufacturers and this is a good thing. Guitars are still the definitive instrument of popular music and long shall they reign! Dave Mac

Cover Review | WASHBURN HB 32DM | WASHBURN J7 | words: Nic roos

WASHBURN HB32DM “The guitar's true character lies in the woody low mid resonance, which is brought out quite nicely in the middle pickup position, which I preferred for jazzier chord work.”

emi-Hollow body guitars are typically lighter and more resonant than their solid body counterparts, providing a great alternative for electric players looking for something different. Their slightly mellower tone is well suited to jazz, blues and rock. Washburn’s HB32DM is a midpriced guitar that pays homage to Gibson’s archetypal semi-hollow body, the ES-335, capturing elements of the original sound but with its own unique look.

Anatomy The HB32DM is a well-constructed, no-nonsense, duel humbucker tone machine. It features a doublecutaway, semi-acoustic mahogany body and top with bound f-holes and sides, a mahogany neck with a 24.75" scale, 22 fret rosewood fingerboard. The neck joins the body at the 19th fret for easy high fret access. A solid block of wood runs through the body to improve sustain and reduce feedback. Again, keeping things simple there are two open coil humbuckers in the standard control configuration: two tone and two volume knobs and a 3-way selector switch. All the hardware, from the stopbar tailpiece and Tune-O-Matic bridge, to the strap pins and Grover tuners are in distressed brass, which along with the distressed natural finish and black binding gives the guitar a pseudo relic'ed, almost steam-punk look.

Playability Out of the box, the HB32DM feels quite rugged and solid and despite the acoustic chamber is quite heavy. It definitely has the potential to be a real work horse. There is a surprising amount of sustain on tap, due, no doubt, to the solid wood block in the body.

While the matte finish looks great and allows for easy non-stick movement up and down the neck, it does make the guitar feel a little cold and dusty. I suppose this is in keeping with a post-apocalyptic blues look and it will soften with prolonged use. The neck is quite slim but is a little on the wide side, making it more suitable for jazz, blues, country and rock. I was still able to get some fast runs out on it and, dare I say, the string spacing is ideal for chickenpicking. The string tension felt quite stiff, even with the shorter scale length. As is often the case with guitars shipped to our shores from overseas, the guitar was unfortunately in need of a setup. While there was absolutely no fret buzz, the intonation was slightly out and the action was incredibly high. This is possibly due to a shifted truss rod, causing further intonation problems. That said the tuners were quite stable and I was able to make very small adjustments.

Sound As mentioned before most semihollow body guitars are usually lighter, mellower and more resonant than solid body guitars. While the HB 32DM has a nice low mid resonance, overall it’s tone is bright and clear. There is also a surprising amount of sustain on tap, thanks to the solid block of wood in the body. The pickups have a higher than expected output and have a modern mid-range voicing that is well suited for rock styled playing. On a cleaner amp setting the highs can sound a bit sterile and the mids can get a bit brash if pushed. The guitar’s true character, however, lies in the woody low mid resonance, which is brought out quite nicely in the middle pickup position, which I preferred for jazzier chord work. The bridge pickup does react nicely to overdrive and sweetens the tone somewhat, bringing out a nice breakup and

woody attack when digging in to the strings with a pick. I was able to get quite aggressive on gain without worrying about feedback or a loss of clarity.

Conclusion The Washburn HB32DM is a great choice for anyone looking for an affordable semi-hollow body that has its own character. I really appreciate its simplicity and looks and, while the pickups didn’t blow me away, the combination of the low mid richness and open highs makes this a surprisingly versatile instrument. Well worth checking out.

WASHBURN J7 “Featuring a big single cutaway body made of quilted maple and a solid spruce, double F-holed, curved top, the J7 truly is gorgeous and ornate.”

ig ‘Jazzbox’ hollow body guitars have a certain allure, conjuring up images of smoky juke joints, hot-rodded cars and the decadence of bygone musical eras. They generally have a big resonant sound with a relatively short sustain that makes them perfect for jazz, hence the name. With the J7, Washburn capture much of the feel, look and sound of these old creatures at an affordable price. While its looks and features are in line with jazz boxes of old, the inclusion of a vintage looking Bigsby vibrato system suggests that a rock ‘n roll heart beats underneath its jazzy exterior.

The Bigsby is a lot of fun. Its spring action gives a nice smooth resistance that allows easy vibrato arm motion, so you can be as subtle or crazy as you want with little effort. Tuning instability is an issue, although Bigsbys do take a while to play in. Unless one uses a locking trem system there will always be some tuning issues but I found myself having to retune very often even without using the Bigsby. It could be that the strings are getting stuck in the nut. Intonation was slightly off higher up the neck and there was some fretbuzz from the low strings on the first fret. The action was a bit high for my liking. These issues may simply be down to it needing a proper setup.

Anatomy

Sound

Featuring a big single cutaway body made of quilted maple and a solid spruce, double F-holed, curved top, the J7 truly is gorgeous and ornate. The 20 fret rosewood fretboard has abalone split block inlays. The Washburn logo and headstock design are also abalone. All the hardware is gold, from the Bigsby to the duel humbuckers to the retro looking Grover Imperial tuners. I’m not a fan of gold hardware at all but it does seem to suit the overall look. The body, neck, headstock and even the f-holes are beautifully bound. Unlike traditional jazz boxes the rosewood bridge is fixed to the body for stable intonation.

The J7 delivers sonically on what its looks suggest. There’s tons of body resonance in evidence, especially on the neck pickup, and has a shorter sustain as is expected from the large body cavity. On clean amp settings the J7’s humbuckers delivered a gorgeously thick tone with silky highs and throaty mids and lows. The neck pickup is the obvious choice for a more mellow traditional jazz tone but it also has great degree of clarity. The Middle and bridge pickup position yielded more open tones that still retained the silkiness and woody attack that make it great for single note blues and country licks. This beauty really sprung to life with some overdrive, though. The bridge pickup screamed for some Chicago blues and Stray Cats runs while the middle pickup position sweetens up with a bell-like BB King-type tone. Overall it’s a very inspiring characterful, warm tone that simultaneously has a lot of clarity.

Playability The J7’s big body is a lot more comfortable to play than I imagined it would be, even if it is a bit on the heavy side, feeling a lot less like an acoustic and more like and oversized Les Paul. Also surprising is a rather slim neck that easily accommodates fast lead runs. Despite the 25.5" scale length the string tension is low making string bending effortless.

Conclusion It’s a pity about the tuning stability but again this could be down to it needing a setup after international shipping. Regardless of this I highly recommend the J7 for its majestic character and tone. Washburn deserve no small amount of praise! This is a luxurious instrument in terms of look and playability. While it may not be the first choice for many electric guitar players as it’s quite a speciality item it does show a surprising degree of versatility and character to match its looks.

Supplier: Tradelius Music Group Tel. No: 031 502-3080 Suggested Retail Prices: HB32DM : R4,995-00 J7 : R 9,995-00

Gear & Industry News | FOR DAILY GEAR, INSTRUMENT AND INDUSTRY NEWS VISITS MUSEONLINE.CO.ZA

Gear News HARTKE INTRODUCES LIMITED EDITION DAVID ELLEFSON SIGNATURE COMBO A70 BASS AMP The A70 is a powerful bass combo that features a matched 12inch aluminium bass speaker in a specially designed cabinet that can be used in a typical flat floor position or in its special “kickback” position for increased high end clarity and sound dispersion. Delivering 70 watts to its 12-inch aluminium bass driver, this versatile bass combo is perfect for use in small venues or home recording studios. Plus, the CD input and dedicated headphone output make it an ideal practice amp. Also, with professional features like 7-band graphic EQ for finer tone control, a variable limiter, XLR balanced outputs, passive and active inputs and an effects loop, the A70 is as comprehensive as it is versatile.

Hartke has released their newest combo amp, the David Ellefson Signature Combo A70 bass amp. The limited edition combo features the Megadeth bassist’s signature badge and a custom chrome grill in addition to all the features of the pre-existing A70.

Hartke David Ellefson Signature Combo A70 Bass Amp Specs: ! 12-inch aluminum cone driver ! 70 watts of output power ! Bass, treble and 7-band graphic equalization ! Line level loop send and return jacks ! Dedicated CD/MP3 input ! Headphone output

! Dual position (flat or kickback) cabinet design

! Rugged construction for supreme durability

! Dimensions: 473mm/18.62˝ (H) x 425mm/16.7˝ (W) x 385mm/15.15˝ (D)

! Weight: 20kg/44 lbs Audiosure | (011) 790-4600 | www.audiosure.co.za

CHORD ROGUE GUITAR FOR BEGINNERS The Chord Rogue is a very low cost step into the world of electric guitars which features an interesting body design and is available in some pretty funky colours (black, Surf-blue or Threetone Sunburst). Interestingly, the pickup configuration features a Humbucker, plus a single coil, with a 5-way selector switch to access the sound you require. With an Alderwood body, Maple neck and a Rosewood fingerboard, this 'Little Rogue' is big on value! It has a compact, single cutaway alder body bolted to a maple neck, adjustable hard-tail bridge and closed geared machine heads for accurate intonation and tuning. Humbucker at the bridge with a single coil pickup at the neck offer a choice of tones to suit different music styles via a 3-way lever switch and volume & tone rotary controls.

Main features: ! Hot bridge humbucker for rock lead tones ! Adjustable hardtail bridge ! Compact alder body

TV Audio | (011) 805-9910 | www.tvaudio.co.za

BEHRINGER ANNOUNCE NEW 3 YEAR LIMITED WARRANTY ON ALL PRODUCTS BOUGHT FROM OCTOBER Behringer has announced its new free 3Year Limited Warranty, available on all Behringer product purchases. “We always strive to provide the best possible customer experience,” said Uli Behringer, CEO of The MUSIC Group. “To that end, we recently invested US$ 20 million in upgrades to our factory

including state-of-the-art automation, enhanced production workflows and quality assurance labs with the most sophisticated test equipment available in the world. As a result, we have one of the lowest product failure rates in the industry, and we back it up with this incredible 3-year warranty.”

Proaudio | (011) 822-1430 | www.proaudio.co.za

BEYERDYNAMIC CUSTOM ONE PRO: DESIGNED AND MADE IN GERMANY The beyerdynamic Custom One Pro Headphones feature an over-the-ear design, and can be customized both sonically and physically. The four-way Custom Sound Slider adjusts the bass response by incrementally opening the flexible bass-reflex vents on the ear cups. By the time you get to the fourth and highest setting, there's so much low end that you can literally feel the air pushing out. The Custom One Pro's highly efficient 16Ω velocity drivers offer a maximum volume of 116 dB, providing you with ample headroom. The Custom Sound Slider also changes the amount of noise isolation. On the lowest setting (the one with the least amount of bass), the Custom One Pros give you their maximum sound

RAM AUDIO INTRODUCES NEW V SERIES HEAVY DUTY POWER AMPS The touring, live, big gigs world is not a trivial matter for an amplifier to work on. Every performing condition is hard: stressful music, high ambient temperature, suboptimal mains service, carelessly transported, dirty places, long working schedules and so on. So, the product that has to cover these challenging performances, has to be robust, naturally strong, but performing

isolation, which is great for listening in noisy situations like planes and trains. The noise isolation process is completely passive and doesn't fatigue your ears like electronic noise-cancelling headphones sometimes do. The headphones can be physically changed in a couple of ways: The detachable cable is adjustable in length, going up to a maximum of 4.9' (1.5 m). The look of the headphones can be changed, as well, via the CUSTOMizer feature on the beyerdynamic website, which was launched in September of 2012. This allows you to purchase optional rings, covers, ear pad cushions, and headbands in a variety of colours, letting you style your Custom One Pros to your taste. The parts are all easily user-installable.

Now retailing at R 2,995.00 incl. VAT in SA. Technology Innovated Distribution +27 (0)10 5000 111 | www.tidistribution.co.za/

the same audio quality as in a full care environment. The task mandates top class gear and RAM Audio answers this with the V Series... not conventional machines. V Series implements dual oversized regulated SMPS with PFC front end to deliver their full performance independently of mains status or load requirements. An oversized high-efficiency bandwidth audio power stage is responsible for audio power and quality. The cooling system is the guard that takes care of maintaining every power device within its operating temperature boundaries, forcing into the case fresh air through an optimal path. The air filters and the upside down assembly guarantees a reliable operation in dirty environments. RAM Audio® has introduced this

new generation of professional touring amplifiers based on the field proven QuantaPulse™ Technology. These new devices feature two or four channel models, ready for rough handling in the touring world. For this purpose, V Series amps implement oversized high efficiency regulated power supply with PFC front end to deliver their full performances independently of mains status. This together with oversized high efficiency audio power stage, forced front to back cooling through a component-free path with removable front panel dust filters, improved rugged mechanical design with even weight distribution, full digital control from LCD display on the front panel... Resulting in: just power, reliability and robustness for your touring gigs! Viva Afrika (Pty) Ltd | (011) 250-3280 | www.vivaafrika.co.za

Instrument Review | TANGLEWOOD SUNDANCE HISTORIC TW40 O AN E | words: Nic Roos

TANGLEWOOD SUNDANCE

“The smaller body is quite comfortable compared to standard sized and seems to make me want to play more considerately.”

HISTORIC TW40 O AN E

Playability

Anatomy

Sound

hile many guitar manufacturers are happy to churn out another variation on the dreadnaught styled acoustic, British owned guitar makers Tanglewood pay homage to various classic designs from the 1930’s and 40’s with their midpriced Sundance Historic series. The TW40 O AN E is a smallbodied ‘folk-styled’ electro acoustic based on the classic Martin OM models of the early to mid-20th century. The advantage of a small bodied acoustic is that it is ideal for fingerpicking. A dreadnaught’s size compensates for the bright attack of a pick when strumming chords, resulting in a nice big chiming tone, but when using one’s fingers it is often too bassy or trebly. A small bodied acoustic has more mid-range and projects the already warm sound of the fingers with clarity and punch on each note.

Manufactured in China the TW40 is very well constructed, featuring an ‘Orchestra’ shaped body with laminate mahogany back and sides and a beautiful single piece spruce top. The wide neck has a comfy V-profile that changes to a Cprofile further up. The nut and saddle are bone. With a classy gloss finish, body and sound-hole binding, small headstock, Waverley style 'Butterbean' machineheads and a kitsch but authentic looking yellow tortoiseshell pickguard, the TW40 looks truly vintage. The only non-traditional twists are the neck joining the body at the 14th fret instead of the 12th and the Fishman Sonitone pickup, with its controls cleverly (if somewhat awkwardly) place on the inside edge of the sound hole. Bizarrely the battery is contained in a canvas pouch, Velcroed to the neck heel inside the body! I would have thought this would affect the tone but this doesn’t seem to be the case.

The smaller body is quite comfortable compared to standard sized and seems to make me want to play more considerately. The wide neck accommodates finger-styled playing nicely and my picking hand was able to manoeuvre easily from string to string but wasn’t uncomfortably wide for my fretting hand. Great fretwork and a well setup neck meant there were no buzzes. The 14th fret neck join means higher fret access bringing it up to modern non-cutaway standards, although, one would rarely venture too high with this style of guitar. Tuning stability is also great. The guitar comes with a set of Elixir Nanoweb Custom Light .011 to .52 strings and was set to a comfortable medium action. It also has a slightly longer scale length which easily accommodates alternate tuning often found in folk or country music styles. Overall it’s a rather inspiring guitar and plays easily.

I was surprised how loud it is considering its small size and a few open chord arpeggios revealed a full punchy tone with a sweet mid-range emphasis. Some further exploration on the neck yielded very responsive dynamics as well as dynamic sustain, where softer and louder picking can control the level of sustain. Much of the sweet mids and punch is retained (although the tone gets slightly boxy) when playing chords with a pick, but this guitar is at its most expressive when fingerpicking. I noticed that placing one’s palm on the body thins out the low end quite noticeably. This could be a good or bad thing depending on your technique as it may allow for more tonal expressiveness. The Fishman Sonitone pickup does not hide any of the tonal characteristics. That said the tone control can be quite useful to dampen a bit of brashness when strumming with a pick.

Conclusion The TW40 is an excellent choice if you do a lot of fingerpicking and struggle to cut through a mix or want to make delicate musical parts really shine. It also performs admirably as a straight strummer. I tip my hat to Tanglewood and give the TW40 O AN E two thumbs up for its clear tone and punch, attention to detail and great vintage look.

Supplied by: Rockit Distribution Tel: 021 511-1800 Suggested retail price: R5,595-00 incl. VAT

Guitar Amplifiers | REVIEW: FENDER MUSTANG III GUITAR AMPLIFIER | words: Alan Ratcliffe

FENDER MUSTANG III

Guitar Amplifier

hile Fender is one of the original and most respected guitar amplifier brands, they were relatively late to the inexpensive modelling amp market with their GDec and Mustang I and II models. The Mustang III, IV and V are the logical next step – modelling amps powerful enough to use on stage.

Main Specifications 100W power output 1 x 12” Celestion speaker 12 amplifier models 37 effects in four groups Effects send 100 presets Aux input Headphone output USB connector for digital output and computer editing ! Two button footswitch

! ! ! ! ! ! ! ! !

First Impressions The first impression is of a lightweight and compact amp for a 100 watter – light enough to be very easy to carry with a single hand and small enough to fit in any car. The “Carbon Tweed” vinyl covering brings a more modern look but fits in well with the classic silver grille cloth and skirted black knobs. The included two button footswitch and LCD screen are nice touches at this price range. One notable omission from the rear panel is an extension speaker jack.

Operation The small power switch on the back panel is the only thing which looks and feels a little flimsy – understandable for a relatively inexpensive amplifier, but not does not instil too much confidence, wear and tear wise.

The controls are simple and intuitive, with a familiar array of amp controls – Gain, Volume, Bass, Middle, Treble, Reverb and Master. The display, data wheel and buttons on the right hand side of the panel are very well laid out to be incredibly easy to figure out and use, even if you have never used the amp before or opened the manual. Unlike the smaller Mustang amps, the III allows you access to deeper settings if needed without software. The display and push button switches are all backlit, which makes adjustments in a low light situation a breeze.

Amp Models There are 12 amp models to choose from and Fender models are well represented: ’57 Deluxe, ’59 Bassman, ’57 Champ, ’65 Deluxe Reverb, ’65

Princeton Reverb, ’65 Twin Reverb and the Super-Sonic, with the final five models going to British '60s (VOX AC30), British '70s (Marshall Major), British '80s (Marshall JVM800), American '90s (Mesa Boogie Mark IV), Metal 2000 (Peavey 6505). While many would regard 12 models as a minimal selection, they are high quality and well selected to cover a wide range of tones and styles. You can mix and match amp and speaker models which broadens the possibilities and you can also manipulate both bias and sag settings, which is a unique feature and one that is very useful to tweak the amps to your personal tastes.

13 Effect Models The effects are fairly simple and are grouped into four blocks: Stomp (Overdrive, Fixed Wah, Touch Wah, Fuzz, Fuzz Touch Wah, Compressor, Simple Compressor); Modulation (Sine Chorus, Triangle Chorus, Sine Flanger, Triangle Flanger, Vibratone, Vintage Tremolo, Sine Tremolo, Ring Modulator, Step Filter, Phaser, Pitch Shifter); Delay (Mono Delay, Mono Echo Filter, Stereo Echo Filter, Multitap Delay, Ping Pong Delay, Ducking Delay, Reverse Delay, Tape Delay, Stereo Tape Delay); and Reverb (Small Hall, Large Hall, Small Room, Large Room, Small Plate, Large Plate, Ambient, Arena, Fender ’63 Spring Reverb, Fender ’65 Spring Reverb). The selection of effects is quite minimal and effect chain order is unchangeable. Only one type each of overdrive and fuzz and no distortion is almost a criminal oversight. There is also no way to use an expression pedal to control the wah (hence “fixed wah”). So you might want to use your favourite drive pedal and foot wah in front of the input or, if you are a true effects junkie, a competent multieffects unit in the loop. On the plus side, each effect that is modelled is fully tweakable and there is a good chance that Fender will broaden the range in future firmware updates.

Software The included Fender Fuse software allows you to edit and organise your patches quickly and easily as well as share and download new patches with

other Mustang users (regardless of model!). Also included are Ableton Live Lite Fender edition and AmpliTube Fender LE edition, so you have everything you need to start recording.

Other Features The Aux input allows you to plug in an MP3 player to play along with, although this means it plays through the speaker, which adds its own flavour on to the playback. Using headphones however, the aux input is full range while the guitar sound is speaker simulated, so it is perfect for practice. The headphone jack is a 3.5mm “mini” jack and while I would have preferred a full ¼” socket for pro cans, the advantage is that mini-jack headphones are more common.

Control The included two- button footswitch switches through presets in its simplest mode, but can be set to take care of effects bypass and tap tempo or toggle between two quick- access presets. If you want more foot control, a four- button switch unit is available and the Mustang allows you to use both at the same time for a total of six switches.

Presets The stock presets display the range of the amp models and effects, but don’t do the amp justice. However, Fender has included a range of “basic” amp presets without effects, which allows you to start playing and setting up your own patches quickly.

Suggested Retail Price: R 5,295.00 Supplier: Musical Distributors Tel. No: 021-790 4950 Website: www.musicaldistributors.co.za

Sound The overall sound of the Mustang III is very good, particularly the Fender models, and especially once you get to tweak and create your own patches. Most models are pretty spot-on and respond well to guitar volume changes, playing dynamics and different guitars. The VOX model lacks a little liveliness, particularly at the edge of breakup, but still gets you 95% of the way there – as do the much-maligned high gain amps, which I found surprisingly good once I had adjusted bias and sag settings. The effects are useful and usable and some of the reverbs are really good. As with most good modelling amps, the Mustang gives a very polished studio sound that works well in the mix, but trades off a little of the rawness that can make playing live such a visceral experience. The 100 Watts of power makes sure that it can hang with a loud drummer or most 40 and 50 Watt allvalve amps easily. Where this amp really shines is with keeping that sound at a variety of different levels – it sounds great at bedroom or personal practice levels, moderate practice-room levels and even small to medium sized gigs.

Verdict Flexible, portable, looks and sounds good as well as being surprisingly inexpensive; the Mustang III is a great all rounder which can cope well with a variety of playing situations.

V Series

NEW!

HEAVY DUTY POWER AMPS

RAM Audio introduces this new generation of professional touring amplifiers based on the field proven QuantaPulse Technology.

Features:

V12004 - R 52,561.00

• PFC QuantaPulse™ Regulated Dual SMPS • Digital Control with extra large LCD display user interface • Channel Temperature and Output Level Monitor in the LCD • USB port for firmware update and DSP control • 25 position Gain, Bridge mode, Input Links and ICL, front panel configurable • Digital Potentiometers with Encoder control • RAM Audio Power Management System • Hi Efficiency, Heavy Duty Audio Power section for extreme use • Easily removable front panel dust filters • Industry standard Neutrik® XLR and Speakon® connectors • Optional low latency 24bits high performance DSP with post-DSP signal links and Ethernet control. It features up to 70 meters input delay • Optional EtheRAM II Ethernet monitor and control system • Optional EtherSound™ audio transport and AES/EBU Digital input • Efficient front to back cooling

Protections:

• ICL2™: improved Intelligent Clip Limiting • PMS™: Power Management System controls the amount of power that the amp delivers under diferent circumstances. • SSP™: SOA Sentry Protection effectively limiting the power that the amp could deliver into an incorrect load or to a direct short-circuit • Faulty Channel Management (FCM™) • Soft-start, turn-on transients, Over-heating, DC, RF, short-circuit • Overloaded power supply, Mains overvoltage

Models: V6000 - R 33,444 V9000 - R 41,400 V9004 - R 46,179 V9044 - R 46,179 V12044 - R 52,561

V12000 - R 47,772.00 Prices are recommended retail incl. 14% VAT

RAM Audio available exclusively from For trade enquiries or to find your closest retailer : Call (011) 250 3280 | orders@hybrid.co.za

www.hybrid.co.za

Audio | MACKIE DL 1608 | words: Greg Bester

MACKIE DL 1608

he new Mackie DL1608 mixer is a revolutionary new piece of kit, soon to be released in South Africa by MIDI Music Distribution, the local importer of all Mackie products. But what makes it so revolutionary? Well, it has no faders, for one. Another thing is that it is tiny for offering sixteen channels; about the size of a compact 8 channel mixer. However, the biggest draw card for this product is that it uses an Apple iPad as its main interface controller and up to ten of them can be wirelessly connected to it via a standard network Wi-Fi router for the use of either multiple engineers, or for onstage for the band to set their own monitor mixes. That’s the gist of it. Want a little more? Follow me.

Features As mentioned the DL1608 is a sixteen channel digital mixer that has replaced its entire control section with an apple iPad. It has sixteen patented Onyx microphone preamps which are accessed in a traditional manner via XLR inputs at the rear of the mixer, the last four of which – channels thirteen through sixteen – also include hi-z instrument inputs in the form of combo XLR/¼” jacks. Accompanying the channel inputs on the rear of the mixer there are also left and right main outputs and six

auxiliary outputs. Phantom power is toggled globally and the Ethernet port for connecting the mixer to a Wi-Fi router is found next to the power supply jack. AD/DA conversion is handled by Cirrus Logic and is 24-bit throughout, boasting a dynamic range of 114dB, which is approaching specifications only seen on high-end studio converters. The Onyx preamps have been calibrated with the AD conversion section to provide maximum headroom and lowest noise/distortion possible. As a side note, Mackie Designs signed a licensing deal with Peak Audio (a division of Cirrus Logic) earlier this year in order to utilize their CobraNet technology in their future products. In order to use an iPad with the DL1608, it is required to download the Master Fader app from the iTunes App Store, which is free. Once you’ve connected the DL1608 to a Wi-Fi router (a DHCPcapable router is required) and docked the iPad in the 1608 with the software turned on, it will be assigned an IP address automatically and you can begin working. The DL1608 comes with a host of on-board processing. All in all you get

a four band parametric, graphically editable EQ and full dynamics including compression and gating. There are two effects processors that are fixed on reverb and a tap delay, so you get one of each. This should be more than enough for the market that this mixer will most likely find itself in. There is also full scene management in what Mackie calls its Total Snapshot Recall technology, however the microphone preamp gains are not recallable since they are not digitally controlled. Other notable features include the ability to take a picture with the iPad’s camera and assign it to a channel, the inclusion of channel presets which are either factory or user assigned, 31-band graphic EQs for the main and aux outputs, the ability to play back music from any application on your iPad, and the ability to record the stereo mix directly to the iPad’s SSD. Finally, for security’s sake, the DL1608 enables you to lock your iPad into the dock by using its cleverly named PadLock system.

Conclusion The DL1608 is set to make waves in the Pro Audio market quite simply because it is compact, easy to use and packed full of powerful and necessary features. The fact that more and more people have iPads these days is most definitely a pivotal prerequisite circumstance that prompted its design and Mackie obviously feel that it was pertinent to do so at this point in time. The price is decent, too, even with the inclusion of the additional cost of an iPad so I can see this mixer doing very well. Let’s just hope the iPad doesn’t go out of fashion!

Suggested Retail Price: R 18,699.00 Supplier: Midi Music Tel. No: 011 417-3400 Website: www.midimusic.co.za

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

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

Instrument Review | LINE 6 JAMES TYLER VARIAX JTV-69 | words: Greg Bester

LINE 6 JAMES TYLER VARIAX JTV-69

he Line 6 James Tyler Variax JTV-69 is the latest offering – along with four other models – in the Variax line by Calabassas, Californiabased digital modeling company, Line 6. Line 6 is a company that, over the years, has created a name for themselves as the forerunners in digital amplifier modeling, starting with their AxSys 212 modeling amplifier and culminating in the current slew of digitally modeled guitar products, from effects, to wireless guitar systems, and now to actual guitars. In this particular line, however, they have collaborated with renowned guitar luthier James Tyler of James Tyler Guitars fame, who is based in Van Nuys, California.

Features The JTV-69 is basically a traditional electric H-S-S guitar with a digital modeling brain. I can see your eyebrow rising but I assure you, the digital modeling section of it can be bypassed and the guitar can operate like a normal guitar so you can put your digi-fears to rest. It looks just like a normal guitar, too, with the exception of a battery bay in the back of the instrument, a model selector knob, and an alternate tuning knob, which we’ll get to later. The battery bay has four LED indicator lights to indicate battery charge and every Variax guitar comes with two batteries and a charger unit with multiple plug adapters for various countries. Also included is a Variax interface for your computer, which connects to the JTV-69 via an Ethernet cable, allowing you to use the Variax Workbench software downloadable from the Line 6 website. The Workbench software enables you to dig deeper into the modeling brain of the guitar and configure 'til your heart’s content. Getting back to the modeled guitar selection, all in all there are 29 models – 18 electrics and 10 acoustics - which are modeled after vintage, rare, and sought after specimens that none of us will ever likely get the opportunity to play. To activate Variax mode, all one does is depresses the model selection knob.

There are up to five guitars modeled per bank and the specific selection of these models is dependent on the position of the five-way selector switch. Some variants model each position of the pickup selector of the original and some – like in the Acoustic models – have a different model of guitar for each pickup selection. Alternate tunings without actually touching a tuning head is also reality with the JTV-69 guitar. All that is required is to select the Custom 2 model (it is the only model that comes pre-loaded with alternate tunings), and select the tuning from the alternate tuning dial. Further alternate tunings can be created manually (instructions in the documentation) or done within the Variax Workbench software.

In Use After plugging in a charged battery into the rear of the JTV-69, I plugged into a Marshall JVM50 half stack and set the gain to dirty clean. Firstly, the guitar sounds great on its own. Nothing fancy, mind you, but with the humbucker I got a punchy, thick rock sound, and switching in between the combinations of the single coils, I got what I expected, from chimey, to quacky, to warm and bluesy. Putting the guitar in Variax mode and switching through the models, I was immediately met with a huge variety of tones, which kind of seemed a bit daunting at first. Knowing where you are without the manual obviously requires some memorising. Having never heard the original models, I would have to take Line 6’s word for it that they sound faithful.

That being said, there is just so much to work with and I think anyone would be hard pressed to not find a use for at least some of the models. Quite simply, the tones are definitely distinct and different across the board and I thought most of them sounded pretty good!

Conclusion The JTV-69 is an onslaught of tonal variation. I can see this guitar being a huge hit with gigging musicians who need A LOT of versatility and a guitar that delivers night after night with complete convenience and efficiency.

Suggested Retail Price: R 25,995.00 | Supplier: Active Music | Tel. No: 011 466-9510

Instrument Review | WARWICK BC80 BASS COMBO AMPLIFIER | words: Kalin Pashaliev

WARWICK BC80 BASS COMBO AMPLIFIER

Amplification looking to play with sub frequencies, you’ll have to invest in something much bigger. But the 80 is perfect for a studio setting, a small gig, and mainly practicing. It is not heavy so transport is not an issue. The unit also has Send and Return channels, as well as Passive and Active inputs, and a Line Out channel – the doors are wide open for just about anything you wish to do, whether it be in a studio or gig setting.

Sounds and Playability

he Warwick BC80 bass amp combo was designed by legendary bass player Jonas Hellborg who is known for having played with Bill Laswell, John McLaughlin and Buchethead. The BC80 is part of a series that includes the BC20, 40, 150, and 300 but its size is not what sells this amp. I call amps such as the BC80 a bijou amp because it resembles a gem of sorts; it is small and compact, yet extremely agile.

Anatomy The Warwick BC80 (which is 80 Watts as the name suggests) looks like a little tank (perhaps like an M4 Sherman) because of its deep cabinet and enclosure. It has no internal fan, which makes it ideal for the recording environment, eliminating unwanted sounds and vibrations if you mic up the 12 inch speaker. You will also notice a 2 inch horn/ tweeter at the top right corner under the logo. This amp is really easy to use: the power switch is at the back, at the bottom – there is no standby switch, making the 80 a Class-A Circuitry amplifier; this means you won’t experience any crossover distortion.

Simply flip the switch and start playing. The BC80 has 4 equalization dials; Bass, Low Mid, High Mid and Treble. There is just one output Volume dial and an Aux Volume dial right next to it which is used to control the volume on any external audio device such as an iPod, PC, or even a sampler that you have plugged in to play along to a backtrack or a band’s song that you’refiguring out (I learned the bass by playing along with my favourite bands). This amp also has a built-in compressor circuit which is active at all times and becomes quite handy if you enjoy slapping or playing flamboyantly with a pick. I found the amp highly complementary using an acoustic or upright bass. The BC80 is essentially hiss-less and its high and low mid-range capabilities are just perfect for an acoustic instrument, or for any low-output instrument you can think of. I’m willing to bet that the BC80 could even be used with an acoustic guitar or even a keyboard. You could probably even sing through the thing. Why I say this is because this amp is very well-balanced and gives players a canvas of a wide frequency spectrum. Of course, if you’re

I have already discussed most of the capabilities for this amp, but it won’t hurt to mention some settings that I came across while trying it out. One should set the EQ in the middle before doing anything. From this position, try playing around with the Low and High mid frequencies – by doing so you’ll notice how well-pronounced playing with harmonics becomes. I believe that players can get their general sound from just these two controls and round of the edges of their preferred sound with the controls on the instrument itself. They can then paint over these base settings with a thin layer from the bass and treble on the amp (i.e. amp’s mids first, guitar controls second, bass & treble last = sequence of getting the right sound and tone correctly). And don’t worry about going too loud – you can go all the way up to ten because the BC80 has the Dynamic Distortion Limiter (DDL), which stops any distortion coming onto the output stage of the amplifier. This, in combination with the built-in compressor, ensures that your amp plays cleanly no matter how loud you crank it!

Conclusion The BC80 is a great amp and compared to the big boys, a much cheaper one. It is noiseless, much like most German automobiles, giving players plenty of variety and applications for a number of musical endeavors; but again, if you’re looking for real low frequencies, I’d go for something bigger in the range. It is an exceptionally good practice/ cocktail bar bass amplifier and not much more – a bijou; small and compact, yet extremely agile.

Suggested Retail Price: R 2,995.00 incl. VAT Supplier: Music Power Tel. No: 011 466-9510

Instrument Review | VOX SSC -33 | words: Kalin Pashaliev

VOX SSC 33

”... I have always believed that sound comes mostly from the player, but even within this statement, this guitar acts as great catalyst in creating a comfortable abode for just about any guitarist out there.”

hen was the last time you looked at a guitar, or any other inanimate object, and had dirty thoughts about it, I mean very unchristian thoughts extremely unchristian thoughts?! Oh Lord! Look, I’ve never experienced quite such ungodly urges before, but this time I understood the term paraphilia for the very first time. The guitar is the VOX SSC 33, in a Teaburst finish, and I thought that PRS was the only guitar manufacturer capable of creating aesthetically pleasing instruments fit to be called ‘extensions of the human body’. So later on that day, after I fetched the guitar for this review, I went to the Bohemian in Johannesburg to play a show and I decided to show it to the rest of the gang. When I took it out of its bag you could’ve heard a pin drop. The place went quiet and they all began drooling over it like a greenhorn photographer about to do his first Sports Illustrated swimsuit edition shoot. So let’s look at this beauty and see what you can expect; because after all, a guitar’s looks are just the same as a woman’s: if she doesn’t sound good, then looks are simply irrelevant.

Anatomy

Suggested Retail Price : R 7,999.00 incl. VAT Supplier : Tuerk Music Technologies Tel. No : 011 792-8402

The first thing I noticed is that the body of the guitar has been cut three dimensionally to give it ergonomic properties. Although the Gibson SG, for instance, is one of the most important guitars in the history of the instrument, it cannot be argued that it’s one of the most comfortable or easiest to play. Hold the VOX 33 horizontally and you’ll see its exceptional curvature. Perhaps this is the main element that gives this guitar its lifelike property. It is also available in a single and double cutaway version depending on your style of playing. Starting from the rear of the guitar the MaxConnect™ Bridge is full contact and made out of top-quality aircraft aluminum secured by two pole pieces that go down into the wood, eliminating unwanted vibrations moving up into the bridge itself. You’ll notice those on each side of the E strings. The wonderful thing about this unique bridge is that its saddles have enough distance to intonate the instrument with 8 to 13

gauge strings. The next thing I noticed is the two CoAxe soapbox pickups – one fastened to the bridge and the other at the end of the fretboard. The 33 features a dualelement magnetic configuration in each soapbox, giving players a variety of sound combinations for just about any musical style. The 22 fret rosewood fretboard itself is nothing special on this guitar but does get fancier as you upgrade to the 55, 77, 99 and Virage models. The headstock of the 33 brandishes a design that is very similar to the Gibson SG and its tuning keys are forged in an S-shape to once again help towards the ergonomic mission of the instrument.

Sounds and Versatility The pickup selector (found just below the volume and tone dials) allows players to pick a combination of both pickups or play the neck and bridge pickups individually. On top of that, players can pick one of the two elements of each CoAxe by the use of the top mode switch. Two positions are available for this: up is for the clean setting and down for the crunch setting. Having two selectors allows players to create countless sound possibilities, meaning that you can play blues, jazz or even sludge metal on this guitar. However, I have always believed that sound comes mostly from the player, but even within this statement, this guitar acts as great catalyst in creating a comfortable abode for just about any guitarist out there. This is one guitar that you can definitely date long term, because in my mind she has both the looks and croons the right way for anybody’s arousal.

Playability The VOX SSC 33 is a very comfortable guitar to play. Its neck is smooth and all players will be happy to know that the body is perfectly balanced and weighted. For some reason playing the VOX 33 makes you break into jazz licks and blues runs and chords that only Fred Frith knows of. If you’re not scared of becoming a paraphiliac, get this guitar or even look into the more high-end end models in the range.

Special Feature | SAE INSTITUTE: THE AFTER DARK SESSIONS | BPM Reports

SAE INSTITUTE:

THE AFTER DARK SESSIONS

nspired by the desire to offer their students the opportunity to work with some of the best artists in the business, and at the same time give artists a chance to record in their Neve studio [which is one of the top facilities in the country], the SAE Institute embarked on an initiative they call the After Dark Sessions. Says Head of Marketing, Trenton Birch, “The industry is growing so fast and we think it's important that there is interaction between the future professionals of the industry and those who are making it happen now.” Birch elaborates, “An artist is invited into our studio to record a track of their choice. We provide the engineer and technical support staff and then the session is filmed and edited by our film students. The artist retains all the rights on the track (including the master) and the session is showcased online.” The sessions are naturally time consuming and resource intensive so SAE have opted thus far to work with established artists “who have worked hard to earn their stripes,” says Birch. “It's not always about the big guys though. We had Tombstone Pete in, who is up and coming, because he has a really dynamic performance and we wanted to capture that on film. We've also had the Brother Moves On in because they are doing something different and they are working hard to create a buzz. It's not just about the name, the performance has to be dynamic as well for filming.” Having completed sessions with the likes of Mr Sakitimu (featuring Teba Shumba and Seven Raggasouljah), Ben Sharpa, Jack Parow and Mix & Blend thus far, SAE Alumni, Itamar Weiss who engineers the sessions says they are keen to do more live studio performances thus giving more people the chance to come and check out these recordings. “Lately we recorded a full live show of the Mix & Blend band, which meant having to put out a nice mix for a

live audience while getting a good signal into tape. Izan Greyling, the head of the audio department, has immense experience in live sound and it was great to collaborate with him on that.” Involvement from the students vary; says Weiss, “Our audio students get to be mainly involved in the recording process, which is what the sessions are all about- getting the best performance

out of a given night. It really depends on the student's level of confidence and knowledge, the more they step up the more stocks they have in the final result. The film department is also involved as the students get to cut and direct the videos. The most important thing to me is that they get to experience what a successful session depends on more than anything - making the artists feel at home and yet be stimulated and challenged to give a unique performance, and that's something you can't learn in theory- it's different every single time.” He continues, “SAE's facilities have the goods to accommodate the process of a song production from start to finish, but the Neve studio specialty is recordings. There is also the Icon studio where we have a Pro Tools setup which is perfect for mixing and another studio dedicated to mastering where David Maclean [College Director] does his magic.” Currently they are in discussions with a number of high profile artists but as Birch says, “the more high profile the artist the harder it is to lock them down because they are so busy but we have some promising conversations going on.“ Feedback from the students has of course been very positive, “Our students are always eager to get involved and excited about the opportunities to work with successful artist and get their work showcased. They work really hard with great passion to deliver the best results possible and its inspiring to see future entertainment industry personal so amped.” To keep tabs on the After Dark Sessions join SAE Institute's Facebook page - facebook.com/saecapetown or check out the videos and songs from the sessions that have been completed on their website: capetown.sae.edu - simply select the After Dark tab.

Band Tips | MANAGE YOUR MANAGER | words: David Chislett

MANAGE Your Manager

know the cry is not usually, “How do I manage my manager?” It is, “Where do I find a good manager?” But the ugly truth is that, if the artist does not provide serious, specific input into what they want and how they want to do things, most management relationships are doomed to end in failure and break up. Typically, most musicians are looking for a manager so that they can surrender control over certain aspects of their careers and not have to think about it ever again. This is the biggest reason why so many artists get ripped off. Rather try to think about it as finding someone who can take the good work you have done so far to a higher level, an expert who can escalate everything around you. Once you start thinking this way you begin to realise that, no matter how it appears from the outside, the artist is always the boss in the management relationship. The manager just has the mandate to act like the boss but the power lies with the artist. Nine times out of ten the relationship between artist and manager breaks down because there is a break in value that is being pursued. To put that in English, the artist starts to feel like the manager is chasing their own plan and

their own ideas and they no longer feel like it is their own career at play. But it is easy to see how this happens. If the artist does not provide a specific brief, with specific outcomes desired and describe in detail their image and how they want to be seen, the manager will just put their own in play because these things are needed in order to be effective.

SO THE GOLDEN RULES ARE: Be specific: Define what you want from your manager. Must they book gigs and do PR or find you a sponsor and a record deal? Understand the business: Make sure you understand what a synch deal is, the difference between a door deal and a fee, mechanical and performance royalties and the like. The more you know, the better you can run your manager and the more they can do. Talk about image and feel: Who you are as an artist is valuable. Make sure your manager understand how you feel about issues like being commercial, endorsements, puppies and bene Fit shows.

Author of “1,2,1,2: A Step By Step Guide To The SA Music Industry,” Dave Chislett offers Music industry tips for aspiring bands and musicians Set goals: Tell them how much money you expect to be earning in 12 months time and let them know they must meet those targets. Define who, where and when you want to play shows. What deals you want and how long you expect it to take place. Pay Attention: Yes, your manager is there to handle the business side of your career. But it is still your career. So pay attention to what is going on and what opportunities are out there. Keep providing leads and input to your manager. Don’t get in the way of them doing their job, but keep an eye open and keep giving input. Oddly enough, artists also often end up feeling alienated by management. Like they no longer matter. This is, I am afraid, the fault of the artists. Keep involved. Do not surrender total control. Again, don’t get in the way, but keep tabs, make a contribution. It will help your manager and keep you feeling in touch with what is going on. This shouldn’t interfere with your music; we’re talking a 2 hour meeting once a week... but keep tabs on your business. It’s your money and your art after all, why wouldn’t you?

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

Guest Tutorial | RECORDING VOCALS | words: Peter Pearlson

RECORDING VOCALS Winner of 8 SAMA Awards (mostly for Recording Engineer of the year) and a lecturer on Music Production techniques at the Academy of Sound Engineering (www.ase.co.za), Peter Pearlson offers invaluable tips on recording vocals.

ocals are probably the hardest thing to record. There are many things to consider before we even start to think about microphone and pre-amp choices. Environment, lighting, climate, general vibe are all important. It would be extremely difficult for a singer to engage emotionally with a song in a cold room under glaring fluorescent lights. Soft lighting, comfortable climate and whatever aesthetics the singer needs in order to connect with the music. (Within reason of course!). The relationship between the engineer/ producer and the singer is also important. For an artist to truly give to a composition it entails leaving a bit of themselves in the song and there must be a degree of trust in order for them to do this. When I record and produce vocals I normally don’t like anyone else in the control room unless the singer particularly wants someone there. (Partner, fellow band member, co-writer, etc.) A crowd of people in the control room laughing at something totally unrelated to the song can destroy the confidence of the artist on the other side of the glass. They automatically think that they are the object of the joke. If the vibe is lost it can take a long time to re-create it. A really good headphone mix goes a long way to obtaining a good performance. If the singer feels really good sonically and the sound of the mix is inspiring the performance will follow. Take the time to prepare a really good mix. The extra effort will be reciprocated. Also, start recording

immediately, even during set-up, rehearsals and run-throughs. When the artist thinks they are not being recorded, they can often do some remarkable things. If a competent singer seems to be singing genuinely flat, check the level of the voice in the headphones. You may find it is too loud and the singer is under compensating because of this making the pitch slightly under. Conversely, if the singer is singing a bit sharp, the voice may be too soft in the headphones. Too much reverb can also negatively affect tuning. When it comes to microphone and pre-amp choices there is never one combination that will work for all. Every voice is different and responds differently. If I am working with a singer for the first time I will set-up three or four different microphones and see which ones sounds the best on that voice. Just because you set-up a R40,000 vocal mic doesn’t mean that it will always be the best choice for that voice. I am a big fan of large diaphragm condensers for vocal recording. The Shure SM7 is also a great sounding and somewhat underrated vocal mic. My initial set-up will normally include a vintage Neumann FET47, a Neumann TLM147, a Miktek C4 valve mic and an SM7. I really like the character of old Neve pre-amps for vocals. The 1073 and 1081 are both wonderful. I have found the much vaunted Avalon 737 and M5 a bit disappointing. A pop filter is also recommended – not only will it shield the mic’s diaphragm, it will also hide the microphone and make the singer less

aware of it. I use a small amount of compression when tracking, a gentle envelope – medium attack and release times and low ratios (no more than 3:1) are best suited. When tracking with compression the compressor should never be heard and you never want to affect the dynamics of the performance. With regards to auto-tune – I use it to sort out slight anomalies just before the mix – it is far better to address major tuning problems at the time of the vocal recording. I won’t record an outof-tune vocal and think “I’ll sort that out with Auto-tune later”. For me, a voice that’s been over-tuned sounds unnatural and soulless. Sometimes slight tuning issues can add personality and character to a performance. And remember a great vocal performance will also transcend technical perfection. Happy tracking.

Tutorial | RESTRINGING NYLON STRING GUITARS PT 1 | words: Alan Ratcliffe

RESTRINGING NYLON STRING GUITARS Part 2

ast edition I looked at the problems with restringing a nylon string guitar and the general approaches to solving them. This edition I’ll show you how I wind the strings on the guitar’s machine heads to get the shortest string length and firm string hold with no untidy wrapping to cause tuning or settling-in problems. I use this method on all strings but my low E, which is too large to fit through the capstan hole twice, so that string I simply put through the hole and wrap the first two windings, one on either side of where the string comes out on the other side of the hole.

Step 4 – Pull the string over itself and back through the hole

Step 1 – Get the hole in the capstan to the top

Now tune the guitar to pitch, stretch the strings and retune. Do this a few times with each string until the pitch does not drop after stretching it. At this point the guitar should be 90% of the way to settled in. You can play it immediately, but expect a little slippage and settling over the next 24 hours. After that it should stabilise.

The first thing to do is to turn the keys on all the machine heads so that the hole through the capstan (the white nylon covered post that the string wraps around) is facing upwards

Step 2 – Pull the string over the top of the capstan Now pull the string over the top of the capstan. Do not put the string through the top hole, but rather pull it around to the underside of the capstan, where the hole exits it.

Step 3 – Feed the string through the bottom hole Feed the end of the string through the bottom of the capstan hole, so that it pops out at the top and then pull it through and take up all the slack.

Step 2

Now pull the string over the top of itself and then feed the end through the hole, back down through the capstan to the rear, forming a loop around the string.

Step 5 – Pull the string tight Pull the string to eliminate all slack and to pull the loop around the string so that it grips the string tightly right where the string leaves the capstan to the nut and bridge.

Step 3

Step 6 – Tune up

Step 4

Step 7 – clip the excess Do not clip the excess length of string immediately on first tuning – rather allow it to settle overnight so that any slippage at the machine head can occur. After the initial 24 hour period, the strings should be settled in nicely and you can clip the excess without fear. If you still want to be on the safe side, you can clip the strings leaving a centimetre or so of excess.

Step 5

Next edition I will show you my unusual but effective method for fixing the strings on the bridge.

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Tutorial | PLAY BETTER BASS | words: Alistair Andrews

PLAY BETTER BASS Bass Pickups

n the previous issue I discussed the influence of various types of wood on shaping your bass sound. Pickups also play a major role in achieving the desired sound. In this issue we will go for a basic overview. We get (in order of popularity) MAGNETIC, PIEZO and the newest kind available, the OPTICAL pickup. Some companies also manufacture pickups to work with MIDI devices, but this topic will need to be discussed in an article by itself.

MAGNETIC PICKUPS: In this pickup a magnetic field is established by the use of a coil of wire and a magnet. There is a disturbance in the magnetic field coursed by a vibrating string and the signal is then carried out of the bass to the amp. Because of the magnetics these pickups only work with steel strings. Not all magnetic pickups are designed the same. Some have magnets inserted directly in the coils, while others have magnets below the coils, and cores of soft iron in the coils. In many cases these cores are screws (this is useful for getting the right balance amongst strings.) Some pickups have a metal cover for shielding and protection of the coils, others have a plastic cover that does not shield against electromagnetic interference, and still others have only isolating tape for protecting the wire. You have a choice of Single coil and Split coil pickups as well as Humbuckers and Soapbars (in most cases, the same thing.) Pickups could also be either passive or active. The difference between passive pickups and active pickups is active ones are batterypowered while passive pickups are not. Each type has its own sound and advantages/ disadvantages. One of the drawbacks using active electronics in a bass, is that your battery can go dead when you need it most, but many basses with active electronics allow some sort of a bypass so you're not dead in the water at a gig. You can easily prevent this by always having a spare battery in your bass case or gig bag.

Here are some advantages using active electronics: Active pickups produce a louder sound with more bite, more sustain and greater dynamic range and control. They produce less unwanted noise and hum than passive pickups, eliminate the need for a string ground (a wire connecting the strings on most electric guitars to an electrical ground somewhere in the circuit, removing the potential hazard of electric shock), and produce a strong signal relatively unaffected by instrument cord length, amp input characteristics and other tone-shaping qualities of the instrument itself. However, active pickups often cost more than passive pickups, and they will become noticeably quieter when their batteries run down. Active pickups became popular on bass guitars because they deliver a brighter, clearer and snappier sound that is much better suited to the slap-and-pop playing style. Single-coil pickups have one coil wrapped around the pickupâ&#x20AC;&#x2122;s magnet. A drawback is they can pickup external noise and give off a humming sound. Radio waves, fluorescent lighting and dimmer switches can all cause this humming/buzzing. If two single-coil pickups are used (as on a Fender Jazz bass) and the pickup volumes are set equally, the noise will get cancelled out. If you just use one of the pickups, you may get some noise. A single coil is great if a sound rich in midrange is what you are looking for. Split coil (P-bass type) could be the answer. Single coils generally have a crisper sound with more definition. Split-coil pickups are basically double coil pickups split apart. This is what you see on Fender Precision basses. Instead of one double-coil underneath all 4 strings, the pickups are split in two - each under one pair of strings. Humbuckers are actually doublecoil pickups. Just as two single-coil pickups can be put together to cancel hum, a double-coil pickup can be created to cancel the hum within one pickup. These pickups are often called humbuckers for their hum-reducing qualities. Humbuckers tend to roll off some of the tonal highs when they

SINGLE COIL

SPLIT COIL

HUMBUCKERS

SOAPBAR cancel the hum and they usually have more output than single-coils. Soapbar pickups refer to the shape of the pickup housing. They look like bars of black soap. They are often found on 5- and 6-string bass guitars. I use MEC active soapbars on all my electric basses.

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Tutorial | PLAY BETTER BASS | words: Alistair Andrews

was full of new musical potential. Also the timbre was surprisingly dependent on the construction and placement of the pickups as well as combinations of pickups. A pickup placed near the neck has a fuller and warmer sound while a pickup placed near the bridge has a brighter sound. A pickup placed in between those locations has a nasal sound. On an acoustic bass every component of the string vibration is audible. Pickup Placement Longitudinal waves, transverse Strings vibrate as a sinusoidal waves, along any axis, any wave moving in infinite direction, every harmonic; patterns called "partials" or they all eventually find their "harmonics". way to being a force on the The resulted sound bridge and thus a contributing depends upon the pickup component of the sound of the placement along the vibration instrument. On an electric bass pattern of the string (scale). If only the displacement of the we play an open E we will note string at the pickup location is that the string is firm at the sensed, and then only the sides and that its maximum displacement of transverse vibration width corresponds to waves along the axis of pickup the half of its length. The note sensitivity. produced by this first vibration is the first harmonics Number of Pickups (fundamental), it's the loudest Some basses, like the Fender one and it gives the name to Precision bass, have only one the note. pickup. Many bass guitars The points where the have two pickups. With two strings are firm (nut and pickups, the pickup nearest the saddle on the bass) are named neck is called the neck pickup "nodes" while the points where and the one nearest the bridge the string reaches its is called the bridge pickup. maximum width are called You mix the pickup sound "anti-nodes". to get a wide range of tones. When electromagnetic Unfortunately I did not go pickups were first applied to into pickups for double bass, guitars the goal was to make a as that is a discussion all on its louder instrument. I'm sure it own. didn't take long to realize that Keep your basses the new electric guitar not only talking!!! sounded very different from an acoustic guitar, but the sound

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PIEZO PICKUPS:

Piezo-electric pickups work with all kinds of strings, (steel, nylon, or gut) and are therefore very popular on acoustic bass guitars. It normally gets fitted under the bridge. On electric bass the piezo adds more options to your tone. You normally blend piezo with magnetic tones. There are piezos that can be fitted onto each individual saddle.

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PIEZO (on the saddles)

PLACEMENT OF SOAPBARS ON A WARWICK THUMB6

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Tutorial | PLAY BETTER GUITAR | words: Kurt Slabbert

PLAY BETTER GUITAR COUNTRY RHYTHM 101

s I mentioned last time I wish to carry on with our country style of music and look at various rhythm styles for the different genres. We will begin with Ballad country style and look at what we can do to make the rhythm part interesting. Once again this is aimed at the guitar being part of the accompaniment in the band and not a solo instrument.

ACOUSTIC COUNTRY BALLAD RHYTHM 1 Okay so although this might seem really basic there is a specific pattern to the idea. You want a smooth constant rhythm that highlights the snare. As you can see the acoustic guitar is accenting on the 2 and 4 and once again to add to the backbeat of the track. It is simple rhythms like this one that can really give a recording or a live performance momentum. Make sure the accent is not over played but keeping really nice and tasteful in your attack. What might seem simple live can be an absolute task in a studio so record yourself with a metronome playing the simple stuff and decide whether your rhythm is happening or not.

ACOUSTIC COUNTRY BALLAD RHYTHM 2 So here is a variation on slow ballad rhythms, one of the most important things to remember on an acoustic guitar is to really get the chords sounding rich, which will be a combination of voicing, fingers and attack. Obviously timing on this example needs to be tight because you are playing on the off beat at a slow tempo so this can be tricky; I suggest practicing this between 60 and 70 bpm and try and record it and listen back to how tight you are.

COUNTRY ROCK RHYTHM 1 Here we have an example that has a very strong shuffle feel and should be played at about 115 bpm. What makes this piece work is the subtle nuances that are statements of the country style, like the small quarter tone bends into chords etc. Those small bends have to be correct or the piece could sound boring and stale. Some of the chords should be played with a staccato feel to really give it a bounce.

VARIATION OF COUNTRY ROCK RHYTHM 1 Here is a small variation of the previous rhythm, I have added a 16th note role and a F# in bar three, once again small variations make a huge difference.

ELECTRIC GUITAR COUNTRY RHYTHM 1 If you listen to the country greats then this rhythm lick is bound to be heard. The lick itself is built around a dominant 7 type chord and is definitely an old country great, once you have the idea under your fingers then create your own variations by changing the timing or adding some extra notes.

ELECTRIC COUNTRY RHYTHM POPPING This is such a powerful rhythm style and can add so much momentum to the song. Take note these are constant 16th and every 2nd beat you have an accentuated 16th note so this can be tricky. You would want to give this some sort of rhythm either swinging with the song or playing it straight and varying your attack maybe even accenting the snare drum.

Hope this helped with some stylistic ideas, once again play through it and focus on coming up with your own thing, enjoy!

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