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

CONTENTSJULY/AUGUST 2012 | EDITION 62

jing and performance related gear takes centre stage again controller is certainly leading the charge. Whilst I am sure Ableton Live in this edition of BPM Tech. For some time now the users will be crying foul as they remind us that what NI have boundaries have been blurred on so many fronts thanks to introduced into Traktor Pro has been available in Ableton forever, and the incredible advances in technology and computer that devices such as the Akai APC20/40 etc have all been able to do processing. Clear evidence of this is in the content we what the F1 now does. What makes this development so significant in cover this edition. Take for example the new Denon my opinion is that DJs, (as opposed to producers and beat-junkies) will SC3900 Media Player featured on our front cover. This become much more involved with remixing than ever before. You can

player firmly places you in the digital age of DJing yet sustains the read all about it on Pg 14 where I attempt to distil the product down original core ingredient - beat-mixing - by including a platter perfectly to its basic use. But if you are a beat-junkie check out the Beat Thang as weighted with the same torque as the Technics SL-1200 turntable. The reviewed on Pg. 6 and if you are new to DJing have a look at the very unit is a CD player, a Media player (thumb drives and hard drives) and a well priced Gemini CDJ-650 reviewed on Pg. 12, a professional player controller for seamless control of DJ software. But it’s the platter that at an entry-level price.intrigues me; no matter how fast technology is developing and changing It’s not all futuristic this edition. Witness our two page spread on the nature of DJing, it seems we still cannot get away from the original the good old fashion headphone which too has come a long way but performance tool for DJs; the turntable. still remains 2 speakers in head-dress to fit, heh heh. Jokes aside this is

It certainly makes one think twice about the [now very tired] such an important piece of gear both in the studio and behind the debate of what a real DJ is and whether ‘laptop DJs’ are the real deal or decks. We feature some of the latest models to look out for although it not. Units such the SC3900 certainly offer the best of every world in must be said, these are just some of the many brands out there. this respect as do DJ programs such as Traktor Scratch Pro and Mixvibes Cross, both of which offer Timecode for interfacing with

DAVE MACturntables and CD players. The Cross software will be reviewed in the near future but for now check out Mixvibes’ new U-Control Pro DJ Controller, complete with Cross DJ software. The review is on Pg. 16.

Don’t forget to visit www.bpmmag.co.za for daily gear news.But speaking of blurring the lines between oldskool and nuskool Native Instruments’ new Traktor Pro 2.5 and Kontrol F1 remix

Editor-in-Chief

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EDITOR’S NOTE & INFO

COVER FEATURE - DENON SC3900

DJ GEAR: BEAT THANG

HEADPHONE SHOOTOUT

GEAR NEWS

DJ GEAR: GEMINI CDJ-650

DJ GEAR: TRAKTOR F1 AND TRAKTOR PRO 2.5

DJ GEAR: MIXVIBES U-MIX CONTROL PRO

PRODUCTION TIPS: WITH JON S SHAW

TUTORIAL: ABLETON TUTORIAL

EDUCATION: THE 70 PERCENT PHILOSOPHY

3BEATS PEOPLE MUSIC• •

DENON SC3900 4 DJ GEAR By Dave Skinz

Price: R 10, 495.00Supplier: AudiosureTel: (011) 790 4600www.audiosure.co.za www.denondj.com

A DIGITAL DISTINCTION IN AWESOMENESS

What Is It?

Who Should Own One?

The only thing that Denon seems to have dropped from the previous model is the digital and vinyl effects section and in my estimation the SC3900's are meant to be paired with the phenomenal DN-X1700 mixer which has dual effects units to efficiently manage the incoming audio and manipulate it comprehensively from one point. What has been retained is the Hot Cue, looping systems and reverse functions. There are 4 hot cues ready to use and a simple loop in, loop out system with a loop shift or an auto-loop if you're not as accurate with those in and out buttons. A dump feature has also been minute CD both audio or MP3 formatted. added if you're not fond of the reverse Then it’s an ultra-fast USB mode that can function. read up to 100,000 tracks on your

memory stick or portable hard drive. All your track selection happens via a The Denon SC3900 is the new top of the There is also Link, and this mode lets you rotary selector and the display screen line Media Player and Controller from couple up to 4 SC3900's via an Ethernet comprehensively lets you know what’s Denon DJ which replace's the DN-network cable and a router so you can going on albeit on a dot matrix type SC3700. One of the biggest features on play off all four units using just a single screen. The USB slot has finally been the new flagship model [carried over from USB source. The other set-up for Link moved to the face of the SC3900 so you the SC3700] is a 12 pole electric motor involves plugging the SC3900 into your don't have to fiddle around the back any directly driving the platter with an PC or Mac also via a router. This use of more to try and get your thumb drive in. adjustable torque setting in 0.1 increments the Link mode lets you use Denon's The USB B port for MIDI mode and from 1.0 Kg/nm to 3.0 Kg/nm. The default custom music library software Engine and network connection is on the back along setting for the platter is set to 1.7 Kg/nm, your computer as the music host and you with RCA and Digital outs. Denon have which coincidentally is the exact same can now browse your music library using also now fitted the Sc3900 with a figure 8 torque figure that the now defunct your computers screen. If you happen to power socket so transporting is a little Technics SL range of turntables produced. have an iPad lying around then you can easier and less hazardous with a power Add platter start and stop times and 33 also connect it to Engine and use the cable dangling around.or 45 speed selector and now you can lovely touch screen interface as your really begin to see how far Denon have music browser and monitor. gone to emulate the vinyl feel. Details on

the platter even extend down to an The final mode is MIDI which is also infrared stroboscope to check the platter multifunctional but as the Denon SC3900 is accurate and it is really a sight to see is not fitted with a user accessible sound- The Denon SC3900 is at the pinnacle of [and feel] in motion. Now if that doesn’t card you will still need a decent audio professional performance media players at pique your interest then settle down and card to run that side of things. However the moment. It'll go toe-to-toe with any carry on reading because the SC3900 is a for those making use of Timecode the of the other major DJ brands and fair beast on so many levels. SC3900 can run in Hybrid MIDI mode favourably, so DJ and music orientated

and for Traktor users you get 1, 2, 2.5 and One of the key features of the venues should definitely consider a pair of 3K control tones as well as the Serato SC3900 has to be the multitude of file the SC3900's if they need to update their Scratch Live one right in the menu. No formats and modes that it can perform in, gear. I'm hard pressed to think who word yet on if its compatibility with and how quickly and painlessly it can wouldn't want a pair of these in their Traktor 2.5's reformatted time code signal, switch between sources. The default venue, studio or bag. but I’m certain Denon will come up with mode runs off a format that in my a patch for that soon.opinion is on its way out, the humble 74

5

The Verdict

I really got a chance to put the Denon SC3900 through its paces for a couple of weekends at my club residency and besides being a real head turner (what is it about a spinning platter that just captures everyone's eyes?) it also had the added benefit of improved audio quality thanks to the hi fidelity Burr Brown 24 Bit digital to analog converter. After being with one will love the chance to be able afforded the opportunity to play on both to use it in your DJ setup. the 3700 and 3900 I can say that the

The slam dunk, however, for Denon, latter is a huge leap forward for Denon

has to be the platter and for those DJs and a talented contender in the

who know what it is like to perform off competitive high-end CDJ market. I spent

vinyl (still regarded as the pinnacle of some time speaking to a couple of clubs’

DJ’ing prowess) the SC3900 is unmatched resident techies and most of them

and certainly carries the torch as the mentioned that up to two thirds of CDJ

most authentic feeling player on the damage is related to laser and/or CD

market. If you’ve not yet used a Denon loading mechanisms, so you can imagine

player, this extremely competitively priced the interest and relief when you can play

unit is built like a tank, oozes an entire set off of a thumb drive.

professionalism and gets the job done. Another neat feature unique to the 3900

Simple as that!is that you can change between MIDI and CD or USB live without a break in audio or having to reset your software package every time you switch back and forth.

The SC3900 is a definite step up from the older 3700's in all respects. It loads music quicker, lets you have more options about how you want to utilize it, and the SC3900 allows you more control of your principle area of contact, the control wheel. What it did lose though was the digital and platter effects but with most DJ's preferring to control their effects from the mixer it falls into line with direction that all the pro gear is following at the moment. Denon's custom software Engine was quick and easy to install but beware this is not a plug-and-play option. Engine will have to scan your music library first to generate waveforms and track data for use with the SC3900. The scanning is fast and comprehensive but can still take some time. Once your music has been scanned Engine re-saves all your audio files with the waveform and info embedded into the file, so if you want to use your USB flash stick to perform, all of those tracks will have the info (hot-cues, cue points etc) ready for you to use.

Another cool perk to Engine is the iPad connectivity and while I’m still pining for one I’m sure those of you out there

ANATOMY

BEAT THANG6 STUDIO By Fletcher Beadon

“AESTHETICALLY IT HAS TO BE SAID THAT THE BEAT THANG IS BEAUTIFUL. IT HAS A BLANG BUTTON WHICH CONTROLS THE LED LIGHTING DISPLAY WHICH KEPT ME AMUSED FOR A FEW MINUTES.”

Supplier: Midi Musicwww.midimusic.co.zaSuggested retail price:

R 13,995-00

luxury of full screen displays in the modern era of electronica. Everything is hidden inside menus and then submenus, with a knob to scroll and a knob to change values. Once you know the architecture I'm sure it's understandable, but it does feel a bit counter-intuitive to begin with. Mixing volumes, panning and effect sends all found inside submenus does not make for quick action results on the fly. If this device was a touch screen, it would probably make more sense.

The sequencing happens in blocks of dope, and are really phat for hip hop and times so it's very difficult to interject some urban music production. But the basses, new patterns into your song without going instruments and sound effects are all a little back and making a new pattern, saving a cheesy; they reminded me of a Roland 505 copy, making whatever changes you want. If from the 90’s. But you can load your own My first impression as I open the box and your pattern is 16 bars long, it always has to samples using the software provided to remove the Beat Thang from its packaging is play 16 bars in song mode. create your own sound banks which is an that this machine is heavy. It’s small, compact important feature. No doubt an online and yet weighs a good few kilos more than community will develop creating sounds expected. It looks impressive as I turn the tailor-made for the Beat Thang too.power on, blue lights flashing everywhere;

it’s very reminiscent of Tron. So far, so good. The Beat Thang has some cool features But let’s see what’s under the hood.[once you get away from the DOS-like filing Aesthetically it has to be said that the system] such as the two headphone Beat Thang is beautiful. It has a BLANG outputs that allow you to jam with a friend. button which controls the LED lighting As you record, the Beat Thang automatically It was a bit time-consuming to record, display which kept me amused for a few quantizes your notes and swings them rename and edit a sample but there is a minutes. It also boasts extremely rugged according to the SWING setting. This is visual waveform display which makes life build quality, so you could take it hiking with where the machine excels; its ability to easier. Auto-chopping, time-stretch and you thanks to the long battery life and quickly whip up a 16 bar drum loop using reverse are also just a button away. MUTE portability, but you would have to forfeit at the preset kits. There’s an awesome PITCH and SOLO are both fun to play with, it's the least a few kilos of trail mix. bender on the left and a MOD wheel on only real way of switching between different

The manual tells me how to make a the right that globally pitches and parts inside your pattern on the fly, as a basic PATTERN, which is the building block modulates the whole kit, which is very performance tool.of a SONG. Think Fruity Loops and Roland intuitive to jam. It’s from that point on that

Entering into a market dominated by MC-series Groovebox pattern sequencing. I things become a little less practical.the likes of Roland’s SP-range, Akai’s MPC select a kit and set up the tempo, set the In order to SAVE a pattern just range, and KORG’s Electribe range means bar length, and change the record mode created, one has to manually scroll through you need to offer something new and from replace to overdub. Right let’s jam! each letter of the alphabet, first capitals innovative if not at least at a much better

The pads are great quality, really nice then lowercase. This is a bit like an old price. The Beat Thang is well built and a little velocity sensitivity and playability. They’re laid arcade game (if anybody remembers those). heavy but looks pretty nifty in use. It is, out like a piano keyboard although I It can take minutes just to name a pattern. however, not quite as easy to use as they wonder why they didn’t go for the standard There is also a rather long LOAD and would lead you to believe. My suggestion; if 4x4 pad layout which is so common in hip SAVE time for every pattern and song. you’re looking for a portable beat making hop drum machines? Navigating around the Beat Thang is device pop into an outlet and try one out

The preset drum kits sound supa also rather fiddly when compared to the first to see if it’s to your liking.

CONCLUSION

IN USE

HEADPHONE SHOOTOUT 8 DJ GEAR BPM Report

Pioneer HDJ-500

Numark Red Wave

Pioneer HDJ-2000

Numark HF-125

For DJs on a super tight budget the Numark HF-125 is a decent proposition and good value for money.

Pioneer’s entry level headphone in the HDJ series, The low-down: Notable features include a padded the HDJ-500 is anything but entry level, offering headband and 7-position height adjustments. The comfort, good sound quality and great aesthetics. speakers have 40 mm Mylar drivers and are covered

The low-down: The Pioneer HDJ-500 headphones in a thin black material with vinyl cushion pads. They have good overall sound quality with solid bass are quite comfortable but may become a bit sweaty representation and crisp mids and tops. Included are with prolonged use due to the plastic pads. Sound two types of cables plus they are nice and light and quality is not bad; the bass is quite exaggerated very comfortable. Best feature: they have a cool which does make the mids a little muddy only to be rotating right earpiece. The only really minor issue is combated by quite sharp treble. They are loud and that they don’t completely fold away for traveling seem pretty robust so for the price the HF-125 is and storage like some of the others are able to do. bang-on great value for money.Pros: Pros:

Great Sound Quality LoudRemovable/Replaceable Headphone Cables Padded Headband -Great value Straight and Coiled Cables included Cons:Urethane pads for Ears/Headband with Real Could prove a bit sweaty after an hour or twoLeather

Only a ¼’ jack (no 3.5 mm option for MP3 Rotating Right Earpiece players)

Cons: Expect to pay: R 225.00Non-Foldable design

Expect to pay: R 1,169.00

Numark’s trendy silver, black and red headphones ‘designed by DJs for DJs,’ is a featured packed set of cans that won’t break the bank.The HDJ-2000 is the flagship model in Pioneer’s HDJ

range and can pretty much handle anything you The low-down: The Red Wave is a real eye catcher throw at them. and will no doubt prove popular with anybody who

wants to make a statement behind the decks. Build The low-down: The Pioneer HDJ-2000 headphones quality is particularly impressive despite the complex have exceptional sound quality; the deep bass and design and whilst quite chunky, are a comfortable fit crisp highs deliver without so much as a hint of thanks to the soft earpads and lavish headband . A distortion no matter how hard you push them. The classic DJ headphone sound with heavy bass and pads are protein leather covered with a low-prominent mids is what impresses the most. Isolation rebound urethane – this means uber comfortable is not remarkable but they do fold up really nicely and tight fitting with great isolation from exterior for transporting despite their bulkiness.sounds so no matter how high the booth monitors

are you’ll no doubt still hear every note while cueing Pros:your track. More flash for your cashPros: Classic DJ sounding headphones

Stereo/Mono switch Robust build qualityTight comfortable ear seal Comfortable and well padded Thick diaphragm and long voice coil Excellent value for money 6.3 mm gold plated threaded type plug adapter Cons:and carrying bad included

Lacks isolationGig proof solid metal frame

Expect to pay: R 1,098.00Removable mini XLR connector

Cons:

The ear pads don’t quite swivel 90 degrees, probably due to its metal frame.

Expect to pay: R 3,499.00

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HEADPHONES ARE AN INTEGRAL PART OF YOUR DJ SETUP AND CAN AFFECT YOUR GIG AS

MUCH AS ANY OTHER PIECE OF TECH YOU USE TO PERFORM. LARGELY BASED ON PERSONAL

PREFERENCE THERE ARE A NUMBER OF THINGS ONE NEEDS TO

CONSIDER BEFORE INVESTING IN A NEW SET OF CANS. HERE’S OUR TAKE

ON A FEW MODELS THAT HAVE CAUGHT OUR EYE RECENTLY..

Numark HF-125

Numark Red Wave

Pioneer HDJ-2000

Pioneer HDJ-500

9

Shure SRH-550 DJ

AKG K81DJ

Reloop RHP-5

Reloop RHP-20

Reloop RHP-5 Shure SRH-550 DJ

AKG K81DJ

Reloop RHP-20

The Reloop RHP-5 Portable DJ Headphones The SRH-550 DJ delivers tried and tested are a great pair of lightweight, compact, and Shure performance in a mid-priced package durable headphones that will appeal to both that looks both serious and professional in a DJs and those looking for a great set of cans non-flashy kind of way. for your MP3 player or Smartphone. The low-down: The black ear cushions are The low-down: Despite their somewhat nicely padded and importantly are removable lightweight appearance (that’s ‘cos they are and replaceable. The DJ-friendly design light, duh!) the RHP-5 headphones are quite provides flip-out earcups that make it easy to the surprise package. Not only is the bass monitor the room with one ear and what's in response better than expected, you can crank your console mix in the other and the them pretty loud and still get a damn good package includes a drawstring protective sound. Isolation is also a surprise considering carrying pouch and a ¼-inch gold threaded the obvious lack of large ear cups and adapter for larger headphone jacks. The although they may look a little dainty for higher-than-standard-earphone impedance hardcore DJ use, they proved extremely (32 Ohms) means it won’t drill your resilient when tested. We love the rubberised eardrums but they are still loud enough and feel to them, a trademark of Reloop’s offer a very flat response without the products. Unfortunately the RHP-5’s do not exaggerated bass so many DJ ‘phones have. have a user-replaceable cable which may Isolation is better than on most in this price deter some, considering the perilous damage range.than can occur in a DJ booth. Pros:Pros: Flat response but with good bass presence

Compact, Lightweight, & Durable Folding/collapsible build allows easy Construction storageWorks Great with iPhone and Blackberry Great isolationSmartphones 2-year manufacturer's warrantyGood Sound Quality Cons:Great Price-point Can be uncomfortable for long listening

Cons: periods. Non Replaceable Cable Expect to Pay: R 1,254.00No travel bag or case

Expect to Pay: R 679.00

Compact and neatly packaged the K81DJ is a very competitively priced DJ headphone that packs a solid punch and is easy on the eye.With a Frequency range of 3hz- 30khz, the

RHP-20 Pro DJ headphone will cut through The low-down: AKG are a brand the mix. Stylish and expensive looking, the synonymous with quality products. The K81DJ sleek minimalistic approach will appeal to is billed as suitable for ‘small club and parties,’ many. but they actually punch above their weight in

terms of features and appearance. Build The low-down: The futuristic design and quality is excellent and they have a rugged extremely sturdy rotary/folding mechanism, feel to them. Sound is very balanced and which allows monitoring with one ear-cup as smooth with great bass, albeit that they are preferred by many DJs, is what immediately not as loud as many other DJ ‘phones. impresses on the RHP-20. The pivoting Isolation is also superb and they are light and construction is made of high-quality comfortable – they should wear easily for aluminium and the head band of robust hard several hours. The 3D-Axis folding rubber. The earcups are finished in soft mechanism means maximum versatility and leather. Sound wise they are very convincing, portability. with a warm but punchy distribution. There is

clear frequency separation and isolation is Pros:particularly good. The spiral cord is 3D-Axis folding mechanism exchangeable with mini XLR and the plug has Great Isolationgold-plated contacts.

Excellent soundPros:

Portable and light Futuristic, stylish design

Cons:High quality materials and construction

Flimsy straight cableExtremely comfortable for DJ use

Non-replaceable earcups & cableSound and feel more expensive than they

Expect to Pay: R 895.00are

Cons:

Don’t fold flat so not as portable as some

Expect to Pay: R 1,799.00

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GEAR & INDUSTRY NEWS10 GEAR & INDUSTRY NEWS

PROAUDIO APPOINTED AUTHORISED DEALERS FOR RCF AND BESPECO IN SOUTH AFRICALeading supplier of professional audio and DJ gear, Proaudio, were recently appointed as distributors for both Bespeco and RCF.

RCF was founded in 1949 in Reggio Emilia, an Italian city with excellent mechanical and electronic industries. Over the years the company has established itself as a world leader in design, production and marketing of high technology Professional and Commercial Audio products. Notable products for the SA market include their Art 7 Series – a Multi- purpose active speaker range representing the finest example of digital audio design that offers the best audio choice for a multitude of live sound applications.

Bespeco is an Italian manufacturer based in Ancona and has been in operation since 1982. They manufacture a massive range of accessories for musical instruments including Metal, Flight Cases & Bags, Cables, Connectors, Electronics, Audio Systems, Lighting, Silos, Bags, Microphones, Home-Soho design, Sportswear and DJ Gear. Bespeco is a world leader in the production of cables - Made in Italy and renowned for high quality and long-lasting performance. They are also well known for their quality metal stands for a vast range of musical instruments as well as connectors and Silos.

Proaudio | www.proaudio.co.za |

(011) 822-1430

LSR STUDIO MONITORSJBL Professional produces some of the finest studio monitors for demanding music, post production and broadcast applications. With three professional monitor lines, JBL has a model to meet your requirements and budget. No matter which system you choose, your mixes will hit their mark with clear and accurate sound dispersion. Utilizing over 65 years of R&D, JBL meticulously designs transducers and system components to give each model industry-leading performance. Since room acoustics play a significant part in what you hear, JBL LSR Linear Spatial Reference design criteria requires 72 measurements representing the entire sound field heard by the listener. This provides 1296 times more information than a single on-axis measurement.

Although far more challenging, optimizing speaker performance to LSR Criteria, gives these studio monitors superior accuracy and imaging in any room. So even if you work in a small home studio, you'll have clear sound at the mix position. With JBL's Flagship LSR6300 Series, the revolutionary LSR4300 Series and the affordable LSR2300 Series, mixing is a pleasure. JBL is the Proud Recipient of the coveted Technical GRAMMY Award® "FOR CONTINUAL MASTERY AND INNOVATION.”

Wild & Marr | (011) 974-0633

(021) 787-9378 | (031) 564-3877 www.wildandmarr.co.za

DECKSAVER DJ GEAR COVERS NOW AVAILABLE IN SOUTH AFRICADecksaver covers are clear covers designed to fit specific DJ equipment like a glove.

Each cover is manufactured from Polycarbonate - the same hard wearing plastic used in bullet proof glass.

Made in the UK, Decksaver can be used in situations where a wooden flight case is overkill but a cloth cover is not enough. Suitable for Pro DJ's, Hobbyists & Rental Companies, Decksaver will protect your gear, without compromising aesthetics. Fixed installations and clubs will benefit greatly from Decksaver since it protects gear, without the cost of a full flight case. Being transparent, it ensures that your latest gear purchase is still available for everyone to see. There are over 40 different covers for popular DJ gear including CDJ's, DJ Controllers, DJ Mixers & Effects controllers. Decksaver in now available in South Africa at all leading outlets.

Distributor: Pinnacle AV

Tel: (021) 802 0709

www.pinnacleav.co.za

11

MIXVIBES CROSS MixVibes CROSS is a DJ solution that provides complete control for professional Djs.

New Features in CROSS 1.7

The ultra-precise beat synchronization will lock your mix forever in one click. The new Sync Meter will help you to visually sync on the beat (1), on the bar (4) or on the cycle (16 beats) for each tracks. Thanks to the spinning colours, it is easy to know which track needs a fine pitch to be slowed down or speeded up while you are mixing. Media management has also been

Because old school tracks are not vastly improved enabling one to create 100% straight recorded, an advanced User definable smart lists, a "Prepare" mode is now available in CROSS beat pane to organize and prepare your set, grid. DJs can rescale the grid, adjust the being able to flag your tracks with down beat and create sub-grids colour labels and find them back within whenever the BPM is moving within the seconds, iTunes integration and a host track. All actions you perform are now more.instantly snapped to the grid to CROSS includes a lot of perform perfect CUE points, locators professional features, allowing you to and loops! release your creativity to make every

Whether you are a Traktor or a mix different. Features such as; Smart Virtual DJ user, you can now import audio effects, Locators & CUE points, third party playlists in CROSS and Ultra precise BPM, analyzer, Automatic CrossDJ. This function allows you also and Manual loops, locators, auto beat to import cue points, locators, loops matching, Multiple routing modes to and beat grid analysis saved in your accommodate various audio set-ups, former DJ software for an instant mix in Effect synchronization on music Cross and CrossDJ. beat/tempo, High-end master tempo &

hybrid pitch allowing speed change Pioneer Rekordbox power-users while keeping the original tonal Key can now import their playlists into (note).CROSS and instantaneously mix their

prepared tracks. CROSS also allows you spin audio files using timecoded Vinyls/CDs and/or The FX section is also updated MIDI controllers and includes 2x 12-with 12 new effects – 15 in total inch control vinyl + 2 control CD including DJ industry standard FX such records.as Low-Pass, Hi-Pass, Roll, Brake and for

creative DJ exclusive Mixvibes FX such as Transform, Crush, Bliss and Jet.

Distributed by Tradelius Music Group

(031) 502-3080 | www.tradelius.co.za

REASON 6.5 RELEASED, INTRODUCES ‘RACK EXTENSION’Propellerhead recently released new versions of their award-winning music making platform: Reason 6.5 and Reason Essentials 1.5. New in these versions is the introduction of Rack Extensions - a groundbreaking new technology from Propellerhead that opens up the rack to third parties, enabling developers to create their own instruments and effects for Reason and allowing users to expand their collection of instruments and effects with the Reason devices they want.

Propellerhead has also opened the doors to the Propellerhead Shop - the central location for all Rack Extensions. All Rack Extensions are full Reason rack citizens, delivering the same ease of use and total integration as all other devices in the rack, including automation, unlimited undo and cables on the back as well as integration with Reason’s patch browser. In the Propellerhead Shop users can get fully functional thirty-day trial versions of all available Rack Extensions, downloaded and installed into the rack with a single click. “

Rack Extensions combines all the things that musicians love about Reason with the creativity and inspiration that comes from having tons of instruments and effects at your fingertips. And it manages to do all that without any of the drawbacks of old plug-in technology. It really is the best of both worlds,” says Ernst Nathorst-Böös, Propellerhead CEO. “Reason 6.5 is an incredible update to Reason, changing the world of music making on computers, again.”

To get people started, Propellerhead offers the Pulsar Rack Extension - a dual LFO and mono synth with plenty of character - as a free download in the Propellerhead Shop to everyone who upgrades before September 30, 2012.

SA Distributor: Tuerk Music Technologies

(011) 794-8402 | www.tuerkmusic.co.za

12 DJ GEAR By Dave Skinz

INTUITIVE, ELEGANT, DEPENDABLE

Price: R 4,500.00Supplier: AudiosureTel: (011) 790 4600

www.audiosure.co.za / www.geminidj.com

What Is It?

As impressed as I am with the display, the USB and track display functions really take it to the next level. There is no delay in track loading time, and as soon as your USB docks, the full-colour screen lights up with all your folders and your tracks are ready to go with a compact wave display! Most The unit is powered via a figure 8 other CDJs require that you power cable with a recessed power prep the tracks or let the switch and you have a single set of RCA's entire track play before you out with a USB B port for connection in have access to a decent MIDI mode on the back in addition to the amount of visual info. So while USB slot on the face of the device.you might not have a full track display on the CDJ-650 you can interchange between views of 3.2, 6.5, 12 or 24 seconds of music to have a decent look-

This is going to be the perfect CDJ for ahead view.

mobile and bedroom DJ's, or guys getting The Gemini CDJ-650 also has a full into DJing who haven't made a decision as

MIDI mode for use as a software to their music format yet. The CDJ-650 controller and unlike most devices in its will give you a good feel for the different bracket the CDJ-650 has a built in audio The Gemini CDJ-650 is touted as the formats, how to set them up and how to interface to make it far easier to utilize. replacement for the CDJ-600 and the use a multifunctional device like the CDJ-For the more traditional jocks out there, improvements put it leagues ahead of the 650 in a live environment. there is a CD slot for CD, CD-R or MP3 old CDJ-600 in its design, build and discs and Gemini use a rotary selector to functionality. The first and most noticeable browse your folders and tracks with a change is in the dimensions; the CDJ-650 push-in to select your track. is slimmer, trimmer and more compact

(290 x 220 x 111 mm) and while the The CDJ-650 offers one six different The CDJ-650 feels fresh and up-to-date CDJ-650 has sacrificed the large control pitch settings of 4%, 8%, 16%, 24%, 50% even with all the developments happening wheel and replaced it with a smaller 5” and 100% as well as a backlit Master seemingly at light speed in our scene. I touch wheel, the feel and responsiveness Tempo lock. You have pitch bend buttons have been harping on about the screen I of the new platter is far better. As with if you really don't like the pitch wheel and know, but its more than a little irritating to most CDJs you can use the jog-wheel in the play and pause buttons have been see an inexpensive device strut around either bend or vinyl mode. hardened and backlit to better resist the with features that all but a handful of incessant pounding these particular The real clincher for me however manufacturers pride themselves on. Time buttons are subjected to. Hot cues have was seeing the 3.2” full-colour TFT screen for a wake up! The same applies to how also seen some attention and the CDJ-fire up for the first time. Yep that’s right, a well the USB loads and how quickly the 650 has three hot cue buttons in addition full colour angled display! After seeing a info you need displays. The CDJ-650 is to Loop In, Loop Out, and Reloop/Exit similar display on some of the other big efficient, solid and will give many first-time buttons. budget media players out there

DJ's a good baseline of what I thought that full colour displays a good CDJ should do.would forever remain in the

For the price it's an realm of those with deep absolute winner.pockets but thankfully, that’s not

to be. With the CDJ-650 and the bigger CDJ-700 both having similar full colour displays you'd do well to wonder how long it’s going to be until the other manufacturers start to pull up their socks and include similar displays on their models.

Who Should Own One?

The Verdict

DJ

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TRAKTOR KONTROL F1 & TRAKTOR PRO 2.5

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FROM DJ TO REMIXER TO LIVE PERFORMER...

W Traktor Pro 2.5

either side, one can naturally mix things up to your heart’s content.

Two significant features that make this so compelling is that firstly one can record and capture any loop from the track playing on your track deck into a remix slot and then save this loop and secondly; load a full ‘Remix Set’ from your library. What this means is that you can store a complete collection of loops and hits under a set name and call this up anytime, so if you have a full deck of 64 samples, these will load into their slots with all the parameters with which they have been saved.

So the same way you would normally load a track into a track deck, you can now load a ‘remix set’ into the ‘Remix Deck.’ The primary difference is

hen Native Instruments that a track is one complete audio file, introduced the Kontrol S4 it whereas a Remix Set can be up to 64 came packaged with a individual parts of a track, broken down special edition of Traktor for example into the different basslines, To fully understand the point behind Pro specifically designed for drum loops, melodies, pads, percussion, owning a Kontrol F1one should first look use with the controller. The FX etc. But the way you use the Remix at the enhancements made to Traktor Pro

key new features evolved around the decks is not limited to this. Whether you 2.5. It all hinges around the new Remix ‘Sample Decks’ and the ability to record want to use it to ‘perform’ tracks live as Deck feature. Here’s how it works. short samples on the fly. This first version, per my example, or whether you simply Instead of the conventional 2-deck or whilst totally usable, was also a little want to grab parts of a full track on the 4-deck configuration, one sets up Traktor limiting in that you could only load up to fly and trigger them in your DJ set or with 2 Track Decks (for loading and 4 samples each side; one per slot in each maybe just use the Remix Decks to drop playing full tracks) and 2 sets of Remix of the four decks per channel. Now with acapellas in your set, it really is up to you. Decks. I say ‘sets’ ‘cos each Remix Deck the introduction of the Traktor Kontrol F1,

For Live performance of one’s own can host up to 64 samples in total; 4 per NI have also introduced Traktor Pro 2.5 - music, this is the bomb though as you can slot with 4 slots either side and then 4 which sees the evolution of the ‘Sample remix your own stuff any way you want pages. The idea is then to load either a Deck’ concept, now aptly named a ‘Remix to each time you perform. Each Remix loop or a single hit sample into a slot and Deck.’Deck slot has its own filter and volume trigger this via the corresponding pad on control so one essentially has a mini mixer the Kontrol F1. Up to four samples can be within the mixer for each individual triggered per Remix Deck simultaneously sample you trigger.but since you have up to 64 sample slots

15

Traktor Kontrol F1other, e.g. loud bass over softer drum loop). A clever little trick with the shift button and the volume slider allows one

Now having run through the basics of to set the volume to your desired level ‘Remix Decks’ in the software you’ll need (louder or softer) so that it will play at the a controller that is seamlessly mapped out right loudness when the slider is pushed and designed to trigger these samples. all the way to the top.

Enter the Kontrol F1. Boasting the Other nifty and quick tricks include same dimensions as the Kontrol X1, the things like setting a sample to loop mode unit will fit snugly in your bag and in the or one hit mode easily, editing sample DJ booth plus look aesthetically cool too. lengths, editing when the sample should We DJs love flashing lights and the F1 be triggered - on the first bar, half bar, does not disappoint with 16 RGB colours quarter bar etc. (one for each pad) to choose from. The Keylock, activating/ deactivating FX build quality is very good, basically the on a set of pads, auto-loading of a whole same as the X1 so durability should not bunch of single samples at once (as be an issue and the trigger pads, whilst opposed to individually loading each one not velocity sensitive since they are to a pad), and a whole bunch of other designed to simply trigger loops, seem gems are hidden beneath the surface on durable enough and respond well. this compact controller.

Beneath each vertical row of pads is a mute/on/off button to mute or stop a loop. Above the pads are 8 buttons which perform a host of functions and a rotary for browsing your loops and remix sets

All users of the Kontrol S2, S4 or X1 library. At the top are volume sliders and should take a look at the F1 as a potential filter rotaries for each of the 4 channels add-on at some stage. In fact anybody within each Remix Deck. How the F1 using Traktor Pro and ready to unlock the works is that the entire unit controls true potential of Ver. 2.5 will want an F1. either the left side Remix Deck or right But it is an add-on. This is not a controller side at a time. Not both at the same time. to replace your existing setup; it’s to However to skip between each deck is enhance your setup which is probably a pretty simple as is a plethora of other big part of why NI have so generously functions either via the specific buttons or included a full Pro version of the software via shift and a specific button. in the box.

Native Instruments really have The Remix Deck feature is massive in covered a lot of ground and it is clear to

the greater context of digital Dj’ing. In fact see that they’re getting advice from the one could easily perform an entire set right circles. An example of their smarts without loading one full track into Traktor can be illustrated by a simple thing like by simply using ‘Remix Decks’ only! Borrowing from Ableton Live’s ‘Clip view’ volume control of a sample. Considering

mode, Native Instruments have that we as DJs like to have our sliders So just when you thought DJ’ing was successfully blurred the lines between DJ pushed right to the top this can pose a all about layering 2 (or 4) tracks one after and Remixer and/or Live performance. problem if one sample is louder than the the other with some smooth beat-mixing,

the rules of engagement have been changed forever. Anybody who uses Traktor will attest to its stability and how well it works.

What NI have done with Ver. 2.5 is combine the ‘DJ-ability’ of Traktor with the ‘remix-ability’ of something like Ableton Live. The potential is now mid-boggling.

As for the F1 controller, it’s the shiz both in terms of looks and functionality. The [Kontrol] X1 impressed the hell out of me when I discovered its full potential. The F1 feels the same; a compact, robust, and highly functional piece of gear to take your DJ performance to the next level.

Who Should Own One?

The Verdict

MIXVIBES U-MIX CONTROL PRO16 DJ GEAR By Dave Mac

FUNCTIONAL AND FEATURE PACKED WITHOUT THE NEED FOR FLASH...

Mixvibes U-Mix ControlPrice: R 1,999.00

Mixvibes U-Mix Control ProPrice: R 5,999.00

Supplier: TradeliusTel: (031) 502-3080

Web: www.tradelius.co.za M

ixvibes is a French technology inputs. company which built its name You also get a double set of stereo on their Digital Vinyl System output RCAs should you wish to plug into a software (MixVibes DVS) in DJ mixer and mix of that instead of internally 2003, a Timecode format and through the unit itself. The device is USB of course their Mixvibes DJ powered with an optional 6V DC in (PSU

software. Recently though, they have moved not supplied) which is handy if your laptop is into the hardware market too, hence the running off batteries and you’re try to Mixvibes U-Mix Control Pro DJ controller on conserve juice. The front of the unit hosts review here. Notably this also includes their the headphone socket (mini and regular) and new Cross DJ software - boasting a microphone jack along with the obligatory revamped GUI and professional DJ features. volume, mix knobs etc. This 2-channel Both the controller and the software each controller belies its size by neatly including all won an award at the Mixmove Tech Wards in the ‘add-on’ features beyond basic mixing 2011 for “best DJ controller under 600€” controls (3-band EQ, dual-channel sliders, and “best DJ software,” respectively. cross-fader, gain knobs, browser button etc)

The U-Mix comes in two models, an old-school tape-delay. None are mind such as 6 cue points (3 buttons toggled with namely the U-Mix Control 2 - simply a DJ blowing but they do get the job done. Beat-a shift key), FX buttons which includes the controller sans audio interface and the U-Mix syncing and/or beat-matching [manually] via FX On/Off which also doubles up as the FX Control Pro which features a 2 In / 2 Out the jog-wheels and tempo slider is very tight. selector knob, ‘Amount’ which controls the Stereo integrated soundcard. Both units are Once you’re in, you’re in. depth of the effect and the ‘Loop’ button otherwise identical except the Control 2 is which enables one to select the length of Ditto the looping and hot-cues. The

thpackaged with Cross DJ LE and Control Pro said effect in increments from 8 to 1/16 . track snaps to the beat so you can jump to with Cross DJ - the full software, one tier Pressing the Loop button activates the different parts of the track comfortably beneath the company’s flagship DJ looping feature based on the same length knowing you’ll never be out of sync. Tempo application simply called Cross. The main parameters. The jog-wheels whilst quite small can be controlled in 3 different ways; ‘speed’ - difference between Cross DJ & Cross is are touch-sensitive and took a mere few increasing speed of the track will also pitch primarily the Timecode features and multiple minutes to get used to. the track’s key (or vice versa), ‘tempo’ - which routing modes. implements a master tempo algorithm (pitch

does not change) or ‘hybrid’ which kind of does something in between these 2. I’m old school and opted for the regular ‘speed’ option.

A DJ Controller is ultimately only as good as The U-Mix Control Pro is a relatively small the software it is controlling and Cross DJ, unit which will please DJs who travel a bit as like the U-Mix controller, delivers all the it fits neatly into a backpack with plenty essential features you can expect on a space to spare. They have managed though, professional piece of DJ software; The FX to include all the features you will find on a section has 15 different effects ranging from The U-Mix Control Pro and Cross DJ pro unit and surprisingly without it feeling like the regular low and high-pass filters, flanger, software is a very good package. Everything a tight squeeze. Connectivity includes 2 phaser etc to a few more interesting ones works seamlessly after installation and you stereo input RCA jacks, suitable for CD or such as the chopper, roll and my personal really do get all the pro features found on MP3 player but also includes phono on both favourite the delay which seems to work like the professional platforms. The unit itself

punches well above its weight in terms of usability and intuitiveness. Without so much as a gander at the manual I found myself pressing the right buttons (sometimes combined with shift) - it’s all there, where it should be.

The same with the software; whilst I’m not crazy about the GUI, aesthetically, everything is really easy to find and follow and that is perhaps what impresses the most. No gimmicks, no flash, but it’s all there, feature packed and functional.

Cross DJAnatomy

Conclusion

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

TRICKS FROM THE PRO'S 13: 18 TUTORIAL: PRODUCTION TIPS By Jonathan G. Shaw

GOOD VIBRATIONS

S

TFTP13 MIC SELECT

TFTP13 NAVIGATOR

TFTP13 VOC EFFECTS

TFTP13 VOC RECORDED

PLAY LONG AND PROSPER! RESISTANCE TO BETTER

SOUND IS FUTILE!

o you’ve got a PC, a small mixer, some software and a mic. You’ve been working on a beat for a while and the time has come to put down an idea or two for vocals. Let

me show you how to do it.

A lot of guys ‘n gals are running Cubase and Rewire some of your favourite programs like Reason and FL Studio into them, while you work on a small MIDI controller. You are often running something as basic as a Presonus Audiobox which allows you to run two mics, probably option should read “Mono In 1” (see the something as affordable as a Shure PG58 diagram), if not, click where it should be and into the system and put out a signal to select this option. Your microphone in input some headphones and KRK Speakers. Does 1 is now connected to the “Vocals” track this sound familiar? If not, it’s all in Shaw input. Turn up the Mic 1 input dial on the Music Studios’ Suite B at the moment Audiobox to increase the gain of the waiting for you to jump in. (The editor microphone. Speaking into the mic, you frowns and shakes his head, tsk, tsk, tsk). should see the blue bars in Cubase’s

navigator flashing up and down on the left channel only (mono usually defaults to the left) – you have signal coming in! Careful not to set it too loud as you will get noise into the system. On 24 bit systems, lower gains are not really an issue anymore, but

Anyway, to get the best vocal don’t have it too soft anyway. Hitting star [*] recording out of your setup you need to will start recording. Spacebar stops the understand how it works together. Let’s recording. Always be mindful of the start: plug the mic into channel 1 on the loudness the signal going in is, and make Audiobox and turn up the main speaker/ sure the mic is the right distance from your headphone output. Pressing play, you should mouth. The further way it is the more room hear your song playing back as usual. If you you’ll get into the signal, but the close you are using a condenser microphone, press are the more bass and distortion could the 48V button to send the mic some happen.power. Set the Mixer dial to half way – the Once you’ve laid down your vocals, Mixer dial controls the balance of volume you can put processing on them. Click the between the direct microphone input and Inserts tab, click in one of the black boxes the sound from Cubase. and select “Compression” to smooth out

Next, create a new audio track which the highs and low volumes in the voice. is in mono. Click on the name of the track Click on the Equalisation tab and easily click and rename it “Vocals”.To the left are the in the diagram where to put in EQ changes. track’s options. Click on the top of these Finally, a bit of reverb from the Insert tab options on the track’s name and a menu may round off the perfect vocal recording. box will open. If the Audiobox is installed We’ll chat about these more next time as correctly with Cubase, the second last well as how to double up your vocals.

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

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

VOCAL PROCESSING TRICKS IN ABLETON LIVE

20 ABLETON TUTORIAL By abletonlife.com

ABLETON LIVE HAS PLENTY OF GREAT TOOLS INCLUDED WITH IT. SOME MIGHT EVEN SAY IT'S THE SWISS ARMY KNIFE OF DAWS. VOCAL PROCESSING WITHIN LIVE IS YET ANOTHER GREAT BY-PRODUCT OF ALL THE CREATIVE FREEDOMS THIS PROGRAM HAS AFFORDED THE USER. LET'S RUN THROUGH A COUPLE.

1. CREATING HARMONIESVocals harmonizing together can be pleasant to the ear. With a basic knowledge of chord theory (1, 4, 7 is a Major Chord and 1, 3, 7 is a Minor Chord), we can create these through transposition in Ableton Live. Here’s how:

Step 1: In Arrange View, copy and paste your vocal track on to two new audio channels.

Step 2: Engage Complex warp mode on both copies.

Step 3: For a Major Chord “Harmony”, transpose the first copy up 4 steps and the second up (or down) 7 steps. For a minor

key change the first copy can be moved up or down 3 steps.

Step 4: Mix the volume to a pleasing level for all vocal tracks until it sounds like a three part harmony.

2. (ROBOT) ROCK THE VOCODER!Humans can fly with the help of airplanes, live longer with the aid of modern medicine, but only one device can help us talk like the robots; the Vocoder!

I’ve tried to get my hands on a software version of a Vocoder that is as easy to use (and sounds as great!) as a MicroKorg. Ableton delivered. Here are some great ways to get music sounds out of non musical sounds.

Step 1: For this example, I am going to use a sample of a voice saying “Please stand clear of the doors”.

Step 2: Start by dropping Ableton’s Vocoder on your vocal track.

Step 3: Drop Analog or Operator (or any other VST synth) on an empty MIDI channel.

Step 4: Program a simple set of chords on the Synth track (I am using G Minor and D Minor Chords for this example).

Step 5: So far we have two tracks, the MIDI track with the synth playing chords, and the vocal track (or in my case, speaking), lets merge the two together.

Step 6: Mute the synth track and on the left side of Vocoder (remember on the vocal track) choose your carrier to be

External and your Audio Source to be

3. GLITCH THE VOCALAbleton’s Beat Repeat can do some wildly amazing things. At first glance it may seem fairly chaotic (so chaotic, in fact, it can be quite intimidating.). Although, focusing in on these couple of parameters for vocal manipulation will help you get the glitch out.

Step 1: Add some warp points to a vocal track, preferably single words or short phrases.

Step 2: Once you have all of your warp markers set up, right click on the audio track and select “Slice to New MIDI Track”.

Step 3: Select the presets “Warp Marker” and “Built-In-0-Vel”. Click Okay.

Step 4: This will create a new MIDI track

with Drum Rack on it. Drag a copy of Beat Repeat onto this new channel.

Step 5: Trigger any of the samples off. When you do, be quick to hit the “Repeat” button on the drum rack in order to catch a certain part of the phrase. Once you do, twist the “Grid”, “Pitch” and “Pitch Decay” knobs for some VERY interesting results.

http://www.philtron.co.za

THE 70% PHILOSOPHY22 EDUCATION By David Maclean

B y the time you press record, 70% of your production should be finished.

Huh? This principle is based on the author’s experience with thousands of hours of recording,

mixing, mastering and teaching.

Regardless of your workflow or genre of music, it is a given that to give your production the greatest chance of being competitive in the open market it will need to be recorded, then mixed and mastered. This approach is nothing new but how we start the production has a dramatic influence on the quality of the final product and speed at which we can work - what you put in is what you get out.

Too many songs enter production before they are complete because in reality music is an assortment of ideas and not a coherent composition. With the ease and accessibility of the DAW workflow, the music industry is inundated with material (songs) that are a series of loops and grooves that do not have carefully crafted melodies and meticulously planned arrangements. The result is a ‘good idea’ that does not have longevity because after 20 bars of music the song has nothing left to say. While we’re on the subject, the DAW with Virtual instruments and samples has spawned a generation where everyone, including their families and pets, is a producer. In reality, most folk who are referring to themselves as producers are in fact a composer with a computer and the appropriate software! There is also a substantial difference between creating sick beatz and a composition. More beatz are not needed folks, but carefully crafted compositions that have something to say will never go out of style. Miles Davis used to tell his musicians with regard to taking solos when performing live ‘if you don’t have anything to say, shut up’. As with everything, our quality control and being informed are minimum requirements for us to be competitive, because the artists, producers you press record, you have already The principle of the 70% philosophy is and engineers whose productions we aspire determined about 70% of what the record to achieve balance of tones, levels and to compete with, have these qualities will sound like, regardless of what musicality before we press record. With this locked down. automation and clever trickery you have approach, more than ¾ of the production is

So, what has any of this got to do with planned for the mixing. The recording completed during the recording phase, the 70% philosophy? The short answer is, engineer’s responsibility is not simply to which makes mixing and mastering a cinch

capture a signal and watch the levels; it is to in time and effort and bypasses the need everything! Many audio engineers and ensure that a performance is captured that for damage control to produce a stellar production teams spend relatively little time

already balanced result.with the composition and recording of the is ! This principle applies to material and rely, in certain instances almost our workflow whether we are using MIDI completely, on the mixing to achieve or microphones, or both.balance, coherence and musicality. When

23

A

David Maclean | a Brief Biography David Maclean is a mastering engineer, educator and business executive with two decades of experience in the music industry and tertiary education sector. David is the Director of SAE Institute South Africa and is based at their campus in Cape Town. The SAE Group has 54 campuses across the globe. David understands the attitudes and opinions of the industry professionals within the creative media industries and the educators and authorities within Higher Education in South Africa and abroad based on his unusual portfolio of skills in business, education and creative media technologies. Part of the Navitas Group

nother Holy Grail for achieving should be striving for is to present the mix have to pull its fader down in the mix.balance during recording in the engineer with recordings where they can The best sounding productions digital domain is to stop pinning bring all the faders up to unity gain on their (regardless of genre) have dynamics, period.the recording levels! In the days console (virtual or hardware) and already In summary, the 70% philosophy will of analogue tape and noisier have a wonderfully balanced mix. This is support us to produce superb productions electronics, it was vital that only be possible if we use our 70% that are engaging, powerful and exciting by

engineers set the recording levels to tape as philosophy, and it isn’t rocket science to being sure, before we press record, that the close to maximum without clipping, to achieve if we allow the recording levels to performance and tones are balanced. Once ensure the best possible signal-to-noise mirror reality – i.e. optimising your gain we’ve achieved the 70% philosophy we can character of the recording. Most engineers structure to receive the signal and then let sit back, relax and enjoy the music and the in the digital domain still use this approach the music dictate the levels-to-tape itself. It production process with the peace of mind and it is not necessary because of the sounds simple, because it is! of knowing that we have captured incredible signal-to-noise integrity of Mix engineers often need to ride something special and don’t have to rely on modern digital audio electronics (negligible faders and use complex automation the mixing and mastering. Our love of music noise with spectacular transparency). Even because the recording engineer (often the is what brought us into this crazy business entry-level digital audio gear can handle same person) has been level watching and in the first place, so, let’s enjoy ourselves resolutions of 24 bit/96kHz easily so there ignoring what the music is actually and stop hoping we will receive a great is no excuse for us not to be using this in delivering. A soft sound or passage of music production back from the mastering our productions – the benchmark will have a low/softer recording level and engineer because we ensured that by the recordings are. Yes we need to deliver a vice versa - leave it that way! Let the time our finger hit the record button, we 16/44.1 final product but more on than that recording levels mirror the dynamics of the had nailed it already!in a future article. Right now, we’re performance and don’t kill yourself trying to Until next time, have fun, don’t concentrating on the 70% philosophy! get hot levels - it is counterproductive. monitor too loudly and let your love of

When your DAW session is prepped, Many engineers believe they cannot music dictate how you work and don’t routed and ready to go, let the music’s achieve a LOUD production if they don’t obsess that you have to have X preamp or dynamics determine the recording levels, it have high recording levels? Rubbish! If you Y speakers. The listener doesn’t care!is that simple! The benchmark that we record a soft sound loud, you will simply

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