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Akai Professional

Monkey Banana Gibbon5

Akai Professional

Monkey Banana Gibbon5

SAMSON Resolv

SA Artists rocking AKAI gear

Studio MonitorsSAMSON Resolv

SA Artists rocking AKAI gear

Studio Monitors

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CONTENTS3BEATS PEOPLE MUSIC• •

T EDITOR’S NOTE

JAN/FEB 2014 | EDITION 71

here’s a good chance you’ll be reading this magazine just We also take a look at the South African contingent of Akai before or around Christmas. I know how keen many of Professional endorsees on Pg. 8. Akai have been quite pro-active in you readers are to get your hands on each edition as it supporting local artists and getting the right gear into their hands. I comes out and this one is packed as usual with plenty found the remarks by the various artists quite interesting. It seems of tech goodies to ogle over. the APC40 is the weapon of choice for many.

AKG is an American brand that has been around Monkey Banana is a new brand of loudspeakers that have since 1947, manufacturing microphones, headphones, wireless audio recently become available in South Africa through Viva Afrika. Dave systems and related accessories for professional and consumer Skinz reviews the budget-friendly Gibbon5’s on Pg 14. Sticking with markets. They are also the subject of our cover feature in which budget-friendly studio monitors Dave also gave the shiny new David Scott from local electro-swing dance band, The Kiffness, got Resolv series monitors by Samson a test and was well impressed the chance to check out three models; the D5, D12 VR and D40. with the results. As usual you will find some real pearls of wisdom

from our tutorial contributors on the back pages of our tech Now BPM is an electronic music magazine and BPM Tech section so please read these and absorb the knowledge; it’s the one caters for producers, engineers, DJs and sound professionals and thing nobody can take away from you... Knowledge!not specifically for musicians. So when we got the D12 VR, which is

a damn fine instrument mic as David found out, its primary FREEBIES! As our Festive Season gift we have another purpose - as a kick drum mic - was not really within our portfolio competition on the go [Pg. 6] and it’s perfect for those summer to test. As a bunch of samplers and programmers we do, though, jams with you and a bunch of friends. Check out the DJ-Tech iCube like to record-in analogue instruments at times too and the D12 VR 90 and Bluedio Bluetooth headset we’ve got up for grabs. I proved to be a very versatile mic, for more than just a kick drum. wouldn’t mind one myself. So enter and who knows. You could be The D5 has been used by The Kiffness for some time now so David jamming your own little iPod parties on the beach in 2014...speaks with genuine authority as to the quality of it and the D40 Lastly, happy 2014 and remember... make it count! Nobody proved useful too, as he tested it in studio on his trumpet and else will do it for you.other instruments. I have always found AKG headphones to be of the highest quality, personally, so I have no doubt that these mics do

Dave Macthe business too.Editor-in-Chief

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EDITORS NOTE & INFO

COVER FEATURE - AKG MICROPHONES: D5, D40 & D12 VR

DJ TECH ICUBE 90 COMPETITION

GEAR FEATURE: AKAI ENDORSEES

GEAR NEWS

STUDIO REVIEW: MONKEY BANANA GIBBON5

STUDIO REVIEW: SAMSON RESOLV STUDIO MONITORS

CREATING DYNAMIC LEAD EFFECTS

TUTORIAL: SAMPLING TECHNIQUES

EDUCATION: OWN IT THEN KNOW IT

AKG D-SERIESMICROPHONES

4 COVER FEATURE By David Scott

AKG GIVES THE SHURE DOMINATED MARKET A RUN FOR ITS MONEY

I t's without a doubt that smashed into the gives a pretty accurate and even response AKG have made some ground due to my up to about 8kHz. There's a switch on the serious headway in the general disregard for front which gives options for an open kick dynamic microphone safety on stage. But drum, vintage sound and a closed kick market in the last couple the last year of drum. The switch changes colour when of years. I'll be reviewing touring has proven you're using different settings which is three different mics in the that my D5 can take useful if you're going to be using the mic D range: The D5 vocal mic, care of itself, in dark environments.the D12 kick drum mic regardless of how At Kiffness Studios, we deal mainly

and the D40 tom mic. These mics reckless I am. with electronic drum programming so are all more or less in the same What also unfortunately I didn't have a kick drum price range as their competitors, but makes it great as a lying around. My band mate however is a how do they fare? vocal mic is the bassist and doesn't get much chance to

use his bass amp because we normally plug his bass straight into my desk. I called him up and we tried out the mic on his

The classic bulb shaped Shure SM58 bass amp. The result was better than we has pretty much been the standard expected. We found the mic gave the in vocal stage mics over the last few bass much more character and a juicier decades, but AKG have shown that attack than what we're used to when the D5 is a force to be reckoned recording through the desk. with. I know this first hand, having

When looking at the frequency used the D5 myself for some time

response, it has a little bump at 5kHz as now. The clarity you get from the D5

well as 8kHz which contributes to the is simply in a different ball park in my

attack of the mic. It also had a great opinion. I found with other popular

warmth, and sounded like a bass from vocal mics I always had to cut out a

the 70's or 60's. We did have the mic on lot of the lows on my EQ to get it

the 'vintage' setting after all. It's definitely sounding decent in a mix.

super-cardiod polar pattern which a mic I'd like to add to my collection for The D5 I find has a good balanced basically helps in eliminating feedback more authentic bass recordings. Based on

response, and doesn't need much EQ in a issues as well as this I'd venture to say that live situation. The highs can be a bit harsh giving you great it must be a pretty good if you're playing out of a crisp PA, like the clarity when kick drum mic too.JBL Eons for example. I've often had to singing directly cut a couple dBs off the highs, but it's into the mic. easier to clean up highs than it is cleaning up lows, so the clarity really is good for live situations. In the end it all depends on what you're going to be using the mic for.

This D12 VR is a I think generally some other vocal mics large diaphragm may have a smoother character and may mic with an sound better with spoken word i.e. for extremely thin MCs, rappers. But for singing the AKG D5 diaphragm to does the job perfectly for me. ensure the

The D5 has an extremely rugged deepest low end.

spring-steel wire-mesh cap covering the Looking at the

diaphragm, and a rugged Zinc Alloy Die-frequency

cast body, which is pretty strong. There's response graph, it

been plenty times where my poor D5 has

D5

D12 VR

Verdict

D40

I own an SM57 and when I AB'd the What we can argue is that we're two against each other on a snare drum living in a new decade, and we have new and I honestly couldn't hear much microphones at the same price. AKG is difference. They both do a great job. If pretty fresh off the block so it might take anything the D40 produced slightly more time for people to realise that they make attack and slightly more sizzle than the 57, great mics and that legacy is generally while the 57 seemed to have a warmer over-rated when there's alternative and tone. potentially better technology out there.

I also tried it out on my trumpet and If you want a mic that delivers got a good result. I like that it's pristine quality and at a competitive price,

smaller that a SM57 because it then I'd say check out the AKG. makes it easier to place on Basically I could talk about how great

toms or snares. these mics are all I want, but you'll never know how great they are until you test them out. You won't be disappointed.

The 'industry standard' is being challenged as far as live microphones go. The problem with

some of these ‘industry-standard’ mics is they

haven't really changed the way they make them in the last

couple of years, and there are newer companies like AKG coming out

The D40 is an all purpose instrument mic. with new technology that make It also comes with a built on clip, so it microphones sound awesome and at the doesn't require a microphone holder same price point. which is handy. It's a dynamic pressure

But it’s not easy shifting people’s gradient microphone, which means it's perception because of the legacy they great for anything with lots of attack i.e. have and we can’t argue with that. horns, drums or percussion.

Brendyn "Rusti" Rossouw of Heritage Sound chooses:

C12 VR | C451B | C414 | C214

D12 VR | K271 MKII

Goodluck chooses:DMS 700 V2 | IVM 4500

C519 | K181DJ

LOCAL ARTISTS ROCKING AKG MICROPHONES

Price: D40: R 2,195.00D5: R 2,095.00

D12VR: R 8,695.00Supplier:

Rockit DistributionTel:

(021) 511-1800Web:

www.rockitdistribution.com

5

AKGby HARMAN

Digby & Lullaby chooses:AKG D5

DJ-TECH Rock your iPod and take your sound

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ou’ve seen them onstage performing their wizardry on the 1’s & 2’s. But what are the weapons of choice amongst some of the country’s top producers and Djs?

We caught up with the South African Akai Professional endorsees to find out what Akai gear they

use and how it has helped to sculpt their work in studio or onstage...

SA’S LEADING BEAT-MAKERS USING AKAI PROFESSIONAL GEAR

On stage and in the studio, many of South Africa's top producers rely on Akai to keep the soul in their music

8 ADVERTORIAL BPM Reports

Y

37mph37mph is an award winning music producer and composer. When performing live with his MPC2500, a keyboard and a pair of CDJ’s, he brings a seamless and timeless masterpiece to the stage.

“The Akai MPC2500 is the centre piece of my studio and valuable tool for my live performances. I enjoy its crisp sound, ease of use and the ability to make music standalone from the computer. When playing live the MPC2500 allows me to bring to the stage songs I produce in studio with their original sounds and being able to make live remixes. I even use the MPC to trigger backing tracks when music directing live bands.”

Christian Tiger SchoolBased in Cape Town, sourcing beats straight from their own ridiculously ambitious imaginations, Christian Tiger School’s live shows are popular due to just that, it being live. Sprawled across the table are samplers, drum pads, keyboards, and an electric guitar lit up by their laptops.

“For our live setup we use Ableton, being controlled by the APC40. Simply, the APC is the only controller that can allow you to trigger loops and move around Ableton easily for live use. We use the MPD 18 for triggering samples live, and the MPK mini for playing some keys every now and again. The 18 and MPK mini are perfect because they are small and can pretty much fit in your back pack, especially when travelling to gigs.”

Audiophile 021Audiophile021 is an unquantifiable music powerhouse. A Sound engineer by trade, he spends most of his life enveloped in chords and rhythm. A DJ and producer - he perfectly marries solid production steeped in originality.

"Whether in the studio, on the road or at a show I cannot do without my APC40. Its fluid integration with Ableton Live and its intuitive design have allowed it to become an extension of my creative process in the studio and an essential tool during my live performance. Next to my Mac it is my most trusted and essential piece of gear. “

Craig de SousaCraig is synonymous with house music in Cape Town having plied his trade since 1996. He has enjoyed a career that has seen him tour South Africa and enjoy sets in countries all over the world. He also runs his own label called Heads & Tails Music, releasing quality house music.

“I use the Akai APC40. I originally purchased it as a controller for my live sets with Magic Carpet Ride but was surprised at how quickly it became a studio production controller. For live performance I’m able to map out an entire set of separates with dedicated channels of each instrument with the ability to record live loops as well as add FX on the fly. In studio it has replaced my mouse with so many time saving functions and has in turn helped with creativity. The APC40 in short is the best value for money hardware that I have ever purchased.”

9

Crazy White BoyLabelled “The future of dance music in South Africa” - Crazy White Boy felt compelled to try and add a fresh twist to house music and set about writing with an African Kwaito style which they call “Ghetto Tech.” The results are multiple Gold and Platinum-selling albums with a sound that challenges the local and international ear.

“We contacted Akai around 4 years ago when we first heard about the APC Series, since then the 40 has been the core of our live show. We use the MPK88 in all of our studio productions because it plays like a real piano, and that’s a tough thing to find in a midi controller. Finally we have added the MAX49 with its light weight and fantastic response it is a perfect addition to our live show.”

Lady MLady M is based in Cape Town and plays an intelligent and unique electronic sound, continuously earning herself recognition as the country's original and leading lady in the local deep house scene. Her 'Solitude' EP released in January 2013 marked her as the first female electronic artist in South Africa to release a solo record.

'I use the Akai MPK mini and absolutely love it! I was looking for a midi controller I could take with me when travelling and it’s proved to be the perfect size and weight and item that fits easily into my DJ bag with my other gear. The MPK mini is a lightweight 25 key compact controller with pads and knobs that can be used for studio sessions or live performance and has a plug in and go USB connection which makes for an easy and quick set up, running smoothly with Logic and my Macbook Pro. It is definitely the ultimate item for any music producer that’s on the go as it enables you to set up studio wherever you are! My recent material is all written using the MPK mini.”

GoldfishDance duo, Goldfish, have been blazing a trail of success across the country and indeed across the world since their debut release back in 2005, Caught in the Loop, and have been at the forefront of performing genuinely live onstage, setting the benchmark for others to follow.

“We use the APC40 in the studio and the Synth Station 49 live...and we love them. They never let us down.”

Ryan DentRyan Dent is one of the most influential DJ’s, producers and songwriters in South Africa. Having been in the scene for 16 years he is the DJ that has taken our local beats to an international level. Since 2006, Ryan has invested most of his time being an instrumental part in his chart-topping dance band – Flash Republic - with singer/songwriter Tamara Dey and Craig Massiv.

“I use an Akai APC 40 for live performances with Flash Republic. It has been an integral part of our set up and has been indispensable due to its ease of use and quick toggling between FX parameters. The controller becomes an instrument during performance and allows me to manipulate anything I need without having to operate the mouse or laptop.”

DJ InvizableThe man behind the mask, Nick Matthews, has been a professional DJ and producer for over the last decade. His experience and ability to crossover musical genres has taken him around the world with projects such as Gazelle, Iridium Project and Coda. Nick has carved a niche for himself where he combines his production and DJing with live performance.

“The APC40 is my favourite Akai product as it turns my Ableton Live set into a tactile performance system. It’s the first time this kind of integrated hardware was created for software navigation of a DAW and certainly improves my creativity by minimizing the time it takes me to record clips and automate parameters in the studio or launching scenes and using send and return effects in the live show. Two thumbs up to Akai for making my production and performance so much fun".

GEAR & INDUSTRY NEWS10 GEAR & INDUSTRY NEWS BPM Reports

DENON ANNOUNCES THE MC6000 MK2

VIVA AFRIKA SECURES MONKEY BANANA DISTRIBUTION IN SOUTH AFRICA

BLUEDIO 3.0 HIFI STEREO HEADSET

The Bluedio B Multimedia Bluetooth Headset is a fundamental part of the Bluedio revolution. After careful design and testing by Bluedio Lab, clear and clean sound is delivered by the 40mm 150Ω neodymium dynamic drivers in each ear-cup, ensuring a balanced sound quality with excellent treble, mid range and bass.

Aside from being a Bluetooth headset, Bluedio B also supports Micro-SD card playback and includes FM radio which means you can listen to your favourite radio channel anytime. It also has a channel memory function so you can store your stations of choice. Product Features at a glance:! Clean and Clear Sound Quality - 40mm 150 neodymium

dynamic drivers! Micro-SD Card Music Playing - Up to 32GB Micro-SD! FM Radio - Auto searches FM radio channels! Bluetooth 3.0 - up to 24Mbps 8 times faster than v2.1! Ultra Long Standby Time - up to 430 hours standby time and

up to 23 hours music playing time! Convenience - Foldable and stretchable headband so they

easily fit in one’s pocket

Supplied by

Kolok

0800 124 099

www.koloksa.co.za

On 9th December Denon Other notable features which it announced the release of the all retains from the original MC6000 new MC6000 MK2 DJ Controller. include 2 Mic inputs, booth output Boasting no less than 37 buttons with 2 band EQ and a Mic ducking and knobs on each deck and a 4- feature, 45mm channel faders, channel mixing console this high- illuminated buttons, a dedicated and end Serato compliant controller comprehensive FX section, a proper is set to ruffle a few feathers in fully functional 4-channel mixer, a this hotly contested market. theft-locking port and is even rack

mountable for fixed installations.So what’s new you may ask? Mirrored pitch sliders, LN1/2 So Denon fans and other thru to PC mode, improved USB professional DJs may want to stick port, pitch range keys and the around until 2014 (when the MC6000 jog-wheels come with roll, slip MK2 will no doubt be available in mode and censor. There are also South Africa) to give this new baby a 4 independent Deck Layer whirl. It sure seems like Denon have Change Keys, covered all their bases and then some

Traktor LE with the previous model, something Panel/View/Area/List Keys, a Beats parameter with the new MC6000 MK2.

Denon are quite serious about since the new knob, TAP button for FX and FX Mode change

unit has a Serato logo embedded above the key and 8 independent FX assign keys (4 on

cross-fader. Finally they have also included an previous model). The MK2 now comes bundled

independent vinyl button assumedly for quick with Serato Intro as opposed to Virtual DJ or

changing of jogwheel mode.

Supplied by: Audiosure (Pty) Ltd

www.audiosure.co.za | (011) 790-4600

There’s a new kind of ape on the block and it’s called Monkey Banana. The German company has appointed Viva Afrika as the official distributors of their range of studio monitors in South Africa. Launched in 2004, Monkey Banana was formed by a group of engineers who were reportedly fed up with the quality of so-called ‘good’ studio monitors so they decided to develop their own. They proved so popular amongst friends and colleagues that they decided to put them into full production.

The result is a range that includes the budget friendly Gibbon5 (reviewed on Pg. 14), the extensive and pro-end Turbo Series and a bunch of accessories namely a wall mount, stand and a base option. They also have a D.I. unit. Reviews have been decidedly favourable on this relatively new brand, not least from us both in this magazine [Pg. 14] and in Muse Magazine where the Turbo Series got glowing feedback too.

Viva Afrika is a leading supplier of professional audio, DJ gear, and lighting in South Africa including brands such as Numark, Audiocenter, RAM Audio, dB Technologies, Beyma , Real Sound as well as their proprietary brands: Hybrid and Hybrid +.

Viva Afrika: (011) 250-3280 | www.vivaafrika.co.za

BEAMZ LIGHTING PRODUCTS NOW AVAILABLE IN SOUTH AFRICA

11

SAMSON'S GRAPHITE M25 AND M32 USB MIDI CONTROLLERS GIVE “MOBILE MUSICIANS” OPTIONS FOR EVERY LEVEL OF

PRODUCTION AND PERFORMANCE

Triple Flex centre Pro LED DMX

Carpo Laser Moving Head Fat Beam Red

Jupiter Blue Laser 450mW DMX

LS-1W Animation Laser RGB DMX

Big Fireball Lamp Multicolour LED S1800 Smoke Machine DMX

H2O Pro LED Water effect

long life time. Suitable for disco, night club, bar, at heating element and a big built-in reservoir for LS-1W Animation Laser RGB DMX - An RGB home and other entertainment places. smoke fluid.Animation 1W Laser featuring many play modes.

128 kinds of patterns showing astonishing beams, S1800 Smoke Machine DMX H2O Pro LED Water effect - A bright 20W animated graphics, animation and blanking effects. Horizontal/Vertical - Professional 1800W LED simulated water flowing effect. Great for Comes with high speed scanner with a scan smoke machine with large capacity for fabulous mood or background lighting. Equipped with two angle of 20°. Perfect for discos, clubs, bars, smoke emissions in various premises. Next to glass effect wheels, manual focussing lens, two casinos, all kinds of parties etc... the standard horizontal you can also use this operational modes etc. Designed to project on

smoke machine vertically. This way you can hook walls, ceilings and floors with or without fog.Big Fireball Lamp Multicolour LED - This it into a truss system or use it in 2 different ways Fireball LED light creates a stunning light show on the ground. The S1800 can be used with the by fast rotating multicoloured beams. It contains supplied remote control, equipped with a timer a 3W LED producing a high light intensity. It has control, or via DMX-512. Features a high quality a low power consumption and the LED has a

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

Whether you’re a producer, performer or DJ, programmable functions for advanced playability with a variety of programmable controls for Samson’s Graphite M25 and M32 USB MIDI and customization. And with iPad/USB bus power optimal playability and customization in an ultra-Controllers give you all the music production and plug-and-play operation, the Graphite M25 portable design. Also with iPad/USB bus power control you need for home studio and mobile makes it easy to express your most dynamic and plug-and-play operation, the Graphite M32 applications in two unique, ultra-portable designs. musical ideas, no matter where creativity strikes. makes home studio and on-the-go music The Graphite M25 USB MIDI Controller features production accessible to everyone. With options The Graphite M32 USB MIDI Controller a 25-key velocity-sensitive mini keyboard, four for every level of performance and production, features a 32-key velocity-sensitive mini keyboard velocity-sensitive trigger pads, a full-featured Samson’s Graphite M25 and M32 USB MIDI control surface and additional Controllers are constructed to

withstand the demands of the “mobile musician” and offer a variety of presets and programmable features that allow for dynamic, easy-to-use integration into your music software.

Supplied by Audiosure (Pty) Ltd

www.audiosure.co.za

(011) 790-4600

12

SA Distributor: Viva Afrika Pty Ltd 0112503280 | www.vivaafrika.co.za

Supplied by Musical Distributors www.musicaldistributors.co.za

THE WORLD'S FAVOURITE STUDIO MICROPHONE JUST GOT A WHOLE LOT BETTER, SAYS RØDE

NUMARK MIXTRACK EDGE AVAILABLE IN

SA - 2014

72 PIN AUDIO CONNECTORS

NUMARK ELECTROWAVE HEADPHONES GETS EDITORS CHOICE AWARD

ON PCMAG.COM

GEAR & INDUSTRY NEWS

Redesigned from the ground up, the new RØDE patented Lyre technology from Rycote®. This techniques to ensure completely even coverage. NT1 studio condenser microphone contains a internal shock mount isolates the HF6 capsule The coating is then baked onto the surface, new HF6 capsule with an internal shockmount, on the X, Y and Z axes, providing protection before having the graphic components laser new electronics and a new finish. against vibration that is superior to conventional etched, resulting in an extremely hard wearing

capsule suspension techniques. finish that is resistant to scratches or marks.All of these elements combined provide a high-quality sound for anyone doing studio The Electronicsrecordings to voice-over work. The NT1 is now RØDE’s meticulous even better than ever, with a self noise of manufacturing process has 4.5dBA SPL, a new heavy-duty matte black finish resulted in our quietest and the RØDE 10 year extended warranty. microphone ever - With only The Capsule 4.5dBA of self-noise the NT1 is

the quietest studio condenser The HF6 is the perfect example of RØDE’s microphone in the world!state-of-the-art fusion of artistic design

approaches and cutting-edge manufacturing The Finishtechniques, with a sound signature reminiscent of The aluminium body of the NT1 the famous microphones of old, while at the is first nickel plated for corrosion same time exhibiting extremely low noise. resistance, before being coated in Internal shockmount an extremely durable ceramic

firearm coating using advanced Beneath the body of the NT1 you will find the electrostatic application internal capsule suspension, which employs

The highly anticipated Numark Mixtrack Edge is set to arrive in South Africa in January. The Mixtrack Edge is a USB-powered controller and is just 14 millimetres thin and can go with you anywhere with ease. Its low-profile design features an integrated cover to protect the control surface and a full array of bright backlit controls surrounded by brushed aluminum. It’s small on size but big on features, so you can command your mix with precision. An audio interface is built in for headphone cueing and output to a PA system. Plus, Mixtrack Edge comes with Virtual DJ LE software and a 1/8"-to-RCA audio cable so you can start mixing right away. Mixtrack Edge is class-compliant with both Mac and PC and operates via standard MIDI, so it’s compatible with virtually any DJ software.

Browse through your music library, cue the next track, search, scratch, and adjust pitch all without touching your computer or mouse. Mixtrack Edge’s slim metal platters put you in control of it all. And its tight sample, loop, and hot cue controls on both decks give you the power of instant creativity.

Jaycor’s 72 Pin Audio Connector terminates up to 24 channels of audio cable in one complete connector, and the silver plated pins are ideal for high-quality audio applications. The rugged IP65 (Weatherproof) hoods and chassis mount housings make them ideal for both indoor and outdoor applications for fixed wiring and high-flex snake cables.

Supplied by: Jaycor International | 011-444 1039 - 021-447 4247 | www.jaycor.co.za

Numark’s Electrowave DJ headphones have comfortably in place for hours, so you can been receiving some serious accolades for keep your head nodding and perform at their design and quality having recently your best. Electrowave headphones feature been awarded the Editors Choice on 50 mm drivers in each ear cup, providing leading online site, PCMAG.COM. “…this is full bass that will allow you to feel the music a very comfortable, powerful pair of as well as hear it. Their accurate frequency headphones…” -Editor's Choice" - response and plush lining mean you'll be PCMag.com Electrowave headphones are able to listen for hours without suffering high-quality isolating headphones designed from "tired ears," a weakness of other, for DJs, built to get you in the mix and keep substandard headphone designs. Glow-in-you there. With their remarkably robust the-dark Numark logos on each side keep headband and premium, isolating ear cups, you looking good as the lights go low and Electrowave headphones will stay your mix heats up.

www.numark.com

14mm Thin

A PORTABLE SYSTEM FOR EVERY DJ

www.vivaafrika.co.za

Trade Enquiries or to find your closest retailer call: Tel: 011 250 3280 | orders@hybrid.co.za

At less than 1-inch thin, Mixtrack Edge goes anywhere with ease. Its low-profile design features an integrated cover to protect the control surface and a full array of bright backlit controls surrounded by brushed aluminum: Sync, Hot Cue, Loop, plus EQ controls, and two effects controls on each channel. It’s small on size but big on features, so you can command your mix with precision.

· Built-in Audio Interface· Full Metal Platters· Class A Compliant· USB Powered· Virtual LE DJ Software included

Featuring the ideal combination of essential capability and compact design, Mixtrack Edge is a controller every DJ should have in their arsenal. USB-powered and just 14 millimeters thin, Mixtrack Edge goes anywhere with ease. Its low-profile design features an integrated cover to protect the control surface and a full array ofbright backlit controls surrounded by brushed aluminum. It’s small on size but big on features, so you can command your mix with precision.

MIXTRACK EDGE

ArrivesJanuary2014

@NumarkSA

The entire face is covered by a waveguide with a light-up Monkey Banana logo when they’re switched on. They are also fitted with an automatic switch that will put the monitors into I am well impressed with the Gibbon 5. One is Monkey Banana is the rather strange brand a stand-by mode if they aren't playing anything naturally a bit hesitant and maybe even sceptical name for a new range of studio monitors for 5 minutes. The logos will dim to let you know when confronted with a new product especially coming out of Germany that are sure to shake they are in stand-by mode and it automatically when it breaks the mould of all the scientific things up in an already competitive segment of disengages when simply playing something names pro-audio and studio gear companies the audio market. through them. normally choose. Maybe some zoology is The entire Monkey Banana range is

needed. And that is what was so amazing about The rear panel of the Gibbon 5s make designed and engineered in Germany before the Gibbons, they really exceeded my provision for most analog inputs by offering being assembled in China and a quick inspection expectations of what you can get out of a 5” either RCA (unbalanced) or two balanced of their Facebook page and dab of Google monitor system priced at the budget end of the inputs in the form of XLR or TRS (1/4” Jack) translate led me to the thinking behind the new market. inputs and there are adjustable EQ's for both HF brand. Turns out the founders were unhappy

and LF right below the volume knob. The What really stood out for me was the with the quality of the monitor they were Gibbons are made from MDF and each monitor incredible stereo image they presented. Most getting for their money, so they did what most tips the scales at 5.9kg. Monkey Banana includes speakers and some entry level monitors sound engineers wish they could, they decided to a power cord and a set of small rubber feet to like the audio is coming directly out the speaker design and build a set of monitors for settle your monitors on. (which it of course is) but with the Gibbons themselves. This humble starting point provided

running in my test position and set a ½ metre the platform for them to begin building the apart the stereo image felt right in the centre. same monitors for their friends before getting It's such an important part of the mixing and started on building the Monkey Banana brand in mastering process and it’s often overlooked by Europe back in 2010. new producers just because they are at the So the apes make their way to Africa; let’s The Gibbon 5s are going to impress a lot of ears limits of the gear they are working on. You could take a look at the starting point in the Monkey both trained and untrained. They would suit all really get your head into the mix the Gibbons Banana range, the Gibbon 5. They come in a sorts of applications where accuracy is vital so present you with and this allows one to isolate, choice of a black or striking red rear-ported cab. whether you are monitoring in your bedroom, EQ and filter with far more accuracy in your The Gibbon 5 is a bi-amplified monitor with a recording in a pro-studio or editing and mixing own studio space to get a tight and balanced 45W amp driving the 5 1/4” polypropylene down in a post-production suite you will be mix before you attempt to master or send it off. woofer cone while the 35W HF amp drives a 1” thrilled with the Gibbon 5s. Even compared to Your trust would be well placed with a set of silk dome tweeter unit. The frequency range is monitors that have slightly more wattage or the Monkey Banana Gibbon 5 studio monitors.48Hz to 22kHz and the Gibbons are crossed- bigger cones, the Gibbon 5 will still put up quite

over around the 3kHz mark. All this equates to a a fight. peak of 90db on the tops and 95db on the LF.

14 STUDIO GEAR By Dave Skinz

Price: R 4,534.00Supplier: Viva Afrika

Tel: (011) 250-3800

Web: www.vivaafrika.co.za

www.monkey-banana.de

MONKEY BANANA GIBBON 5 YOU'VE GOTTA BE BANANAS TO PASS UP ON THESE

WHO SHOULD OWN ONE?

THE VERDICTWHAT IS IT?

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SAMSON RESOLV STUDIO MONITORSSAMSON SOUNDS EXCEPTIONAL

16 STUDIO GEAR By Dave Skinz

What is it?

Who should own one?

The Verdict

Prices: SE5: 2,995.00

SE6: R 3,495.00SE8: R 4,295.0012A: R 3,995.00

Supplier: Audiosure Tel: (011) 790-4600

Web: www.audiosure.co.za www.samsontech.com

Samson Audio have updated their popular range of studio monitors and the new SE series is a slight redesign that builds on the success and look of the A-series. The hallmark of these new SE models are an improvement in the frequency reproduction and a small rethink of the aesthetic and cabinet while still retaining the affordability and reliability we have come to expect from the guys at Samson.

Both the SE6's and the SE8's produce 100W of power from its single amp module with an electronic crossover balancing the tone and splitting the power needs of the monitor between the woofer and tweeter. The woofers in their varying sizes are made of woven carbon fibre and all the models use the same 1.25-inch soft dome tweeter.

The entire SE range comes with a 4-position HF-lift control so you can adjust the monitor for different positions and environments and the MDF enclosure is magnetically shielded so it can run close to CRT screens or other sensitive gear. The facia of the SE's are pretty modest with a single blue LED light to let you know the monitor is on, fitted in the middle of a grey waveguide which is pleasantly offset by the whether you have a studio in a bedroom or something that is built super solid and can run white carbon fibre cone. There are also rounded larger custom space Samson have a set of for hours on the trot. All of my own experiences front ports to help deal with noise when you monitors that'll be a good fit for it. and feedback from engineers has been push the monitors towards the upper range of exemplary for the wide range of pro audio their capacity. products that Samson deliver.

The smaller model in the range the SE5 The SE8's are a great set of monitors but pushes 70W and covers a decent frequency one should always consider the space the range of 50Hz – 27kHz while the 100W SE6 monitors are going to be positioned in. A big and SE8's cover from 45Hz – 27kHZ and 40Hz monitor in a small room is going to cause more Samson have always managed to deliver the – 27kHz respectively. The rear panel has a full problems than it solves so most bedroom goods when you have to balance between price complement of inputs for either RCA, jack, or studios will do quite nicely with a set of the point and quality. The SE8's I had on review are a balanced XLR on both the SE6 and SE8's with SE5's or SE6's, while the SE8's will service bigger great set of monitors for their meagre price tag RCA's and XLRS on the SE5's and all the SE's spaces with far more ease. and a measured improvement on the Resolv come with a kettle cord to supply its power

80a's. I know that because I have a set of 80a's needs.

in my home studio and I luckily had the chance to run them side by side. In hindsight, probably not the greatest thing for my already haggard Christmas wallet.

One of the first things I picked up listening to the SE8's was that the low frequencies The entire Samson SE range would suit a wide sounded tight and controlled while the high range of audio and video applications from ends managed to sound natural without being newbies to old hands. So whether you are too vibrant even when they are both driven starting out and looking to set up a home studio quite hard. The stereo image was solid and or want to get a new set of monitors or having worked with the Resolv range before it reference for recording or post-production was easy to decode the audio picture the SE's studios you would do well with a set of the SE's presented in a coherent depiction. Another thing pointing at the hallowed control seat. The SE one should always remember when you are range covers 5”, 6.5” and 8” stereo pairs so investing in Samson kit is that you are getting

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CREATING DYNAMIC LEAD EFFECTS

18 TUTORIAL By James Copeland [Broken Toy, Sad Paradise, Super Evil, James Copeland Music]

A few years ago I sent in a through the ages used to great effect mostly mellow it out a bit if it’s too in your face. Use remix I was working on to the on guitars. If you're really in a pinch and smaller feedback amounts and dry/wet ratios original artists for approval already have a mono sound you're for subtle quality, and find the perfect rate to and was told one of the main committed to, there are stereo processor suit what it is you're working on. Slower lfo leads of the track needed to plugins available to help out and add a bit of sweeps for longer notes and vice versa. Also be more “3D.” This space, but not nearly as effective as the two note that good FX might have a “Channel description was a bit puzzling methods above. offset” function which will add difference to at first, but after further your left and right channels and create more

queries we established that while the lead depth - Use this! My search for the perfect 2. EXTRA HARMONICS - There are few patch, pattern and automation were all effects ended when I discovered the U-HE sounds that don't benefit from a bit of extra totally fine, the actual sound in the mix was uhbiks collection. Essential.harmonic richness. A sound dull in tone or static and unexciting. Too dry and sitting

even a sound that is most of the way there awkwardly in the mix without blending in or

can really benefit from varying degrees of 4. DYNAMIC MIXING - Make your overall standing out either.

distortion. Different tools for different jobs; I mix come alive by keeping it constantly Sound familiar? It’s a pretty common use PSP vintage warmer for sounds that just shifting. Sometimes a particular sound

hurdle when trying to make the jump from need a touch of richness without the tops doesn't have to be smothered in delay to noobie tracks to ultra polished production getting overly crispy, Ohmicide for outright create depth - just automate reverb or delay and over the years I’ve come up with some destruction and Devastator for punchy to catch crucial notes at the right time. You'll basic essentials for giving important sounds in midrange. All of these have a dry/wet signal end up with the same feel , but a much less your mix that extra layer of polish for a that can be backed off to preserve dynamics congested mix. The same applies to panning perfect finish. in your sound so experiment with that. and filtering on your channel - subtle changes

throughout the track or even just on a loop Bitcrushers can also be used to fill in the gap can create a flowing, ever-changing, living 1. STEREO - Add whatever effects you want and add interesting high tones in sounds that sound with just a few small automations.and it`ll never sound huge and wide if it ain't don't have any frequency content there at all

stereo. Most high quality synths will have a - just EQ out any overboard sizzle factor in Unison mode which will let you make the ultra highs above 10kz. Good for pads or 5. As a final thought on this matter, multiple copied layers of your sound which even sub basslines. remember that not every sound in your you can pan and add slight pitch variations in track needs to be a hero and be as lush to achieve a wider sound (NI Massive has a sounding and smothered in effects and 3. FX - Even the extra harmonics from more great section for this under the VOICING automations as possible. Know the areas that distortion or overdrive can still be static, so tab). If the synth you're using doesn't have can stay as the dry foundation in your mix give it some extra dynamics by adding light this option, record it or bounce it twice and go to town on the rest. Hopefully you`ll flanger, chorus or phaser before the adding slight changes on the second copy end up with an overall sound where your distortion in the chain to give it a varying and pan these two copies hard left and right. leads and melodies mesh with the track yet signal to react to, or after the distortion to It’s a tried and tested mix trick going back also pop with character and quality.

SAMPLING TECHNIQUES PART 1

I

20 TUTORIAL By Donovan Leon from Oaksfield College

n this month’s tutorial I’m going to touch on something almost all of us use during our everyday music productions, this something called “Sampling”. Even though we have a vast variety of virtual studio instruments and plugins galore in today’s music production DAW, there are still dependable needs for a software sampler to be used. In fact I can’t even imagine a world without sampling as most of our VSTi sounds come from a sampled instrument.

Ever wonder to yourself how they manage to bring a whole orchestra, or how they got some of those vintage sounding synths into your software sampler? To understand how that is done we need to understand what a sampler really is. Simply put a “sampler is a musical instrument similar to a synthesizer but, instead of generating the sounds, it uses recordings (also known as samples) of sounds that are loaded or recorded into it by the user then played back by means of the sampler’s programme itself, a midi keyboard, sequencer or other triggering devices to perform or compose music.”

Well believe it or not Sampling has been around for many years (more than 30 years!) from the very first hardware sampler (The CMI Fairlight, which changed music history) to today’s high end DAW samplers.

But this is just the tip of the iceberg of what a sampler can really do! There is more you ask?

Well yes. Besides being recorded and played into your software sampler, we are able to manipulate the sound, whether it be chopping, dicing, pitch-shifting, endless mapping abilities, or even sustaining - almost anything is possible these days, except it can’t make coffee… Bear in mind a sampler can do all of these things I’ve mentioned and more but it can be rather difficult to understand especially if you just started off in music production. Another downfall is that some software samplers can be taxing on your computer’s memory and CPU as well as require a large amount of space on one’s hard drive. By this I mean anything from 10GBs to 30GBs and upwards. You’re probably thinking “geez well that’s a lot of space required for just a simple yet sophisticated software VSTi. Why the need for so much space?” A software sampler is nothing without its Library (data) where the sound is stored. Each of the libraries’ sounds are recorded in different formats and mapped to specific keys on the sampler’s keyboard. The library is what gives the sampler its sound. Let’s see some ways on how we can utilise our very own DAW’S samplers.

Making our own composition by using audio samples only:

One has to be very careful while doing this method of production as there are certain copyright laws regarding sampling, so before you go and chop up some audio bits out of your favourite song make sure you understand the rights and wrongs first.

I’ll be using some demo loops for this tutorial from well known sample companies which you can actually go and download from their website for free and they are completely royalty free to use and sample.

Also please note that these examples are for all types of music, so go crazy and try it out!!

Using your stand alone DAW sequencer as a sampler

1. The beat1) Firstly I’m going to import all 3 of my samples/loops I know I’m going to use making sure I pick out different sounds in them that we can cut up and mess around with. Also it’s good to know the samples/loops BPM as it will make life much quicker and easier to work with. If not, don’t stress, there are ways to work around it as well, as most DAWs have BPM detectors built in them. (Pic1)

2) Now it’s time to cut and experiment with the audio samples we have. As you will see I’ve added 5 audio channels. Kick, snare, hat 1, hat 2, perc and bassline. Generally this is a nice starting point for a song. Out of my 3 samples I have edited and cut out certain segments from each sample. From sample 1, I’ve cut out segments of the bassline, then moved it to my new bass channel and made a completely new rhythm with it. From sample 2, I’ve cut out a snare which also is on top of a kick (I’ve added an EQ on the channel to eliminate the bass of the kick so we are left with just a fat snare), as well as a nice percussion element. Finally the last sample I’ve cut out two different hi hat sounds.

3) Once all my cutting is done its time to sequence the samples in different orders as per pic 3. Notice I have also faded out each sample to stop the unwanted clicking sound caused by the cutting of the audio sample. There you have it; you can now either delete the first 3 sample loops or mute them for later use.

For parts 2 & 3 of this tutorial I deal with in the mix and mastering. Check it out at bpmmag.co.za by selecting the TUTORIALS tab.

Happy Producing, Merry Christmas and safe travelling!!

Da Don

This tutorial was brought to you by Donovan Leon from Oaksfield College - JHBDONOVAN LEON is a Producer/ Engineer for DCL Studios and Sound/ Music Lecturer at Oaksfield College JHB. He has had the opportunity to worked and collab with many artists/producers such as: Loyiso Bala, Crighton Goodwill (Good Noise Studios), Robin C Khol (Jazzworx), L’loyd Cele (2010 Idol Runner up), Jamali (Popstars), CH2, Denim, Thembi Seete (Boom Shaka), Kwesta, Zubz, Sasha P (Nigeria), Ziyon (Liquid Deep), 37MPH, L-Tido, Maggs, Mandoza and many, many more.

Oakfields College: Tel: 010 591-7314 | Cell: 082 42 66 400 | Email: dclstudioz@gmail.com / jhb@oaksfieldcollege.co.za

BBM Pin: 28ED7476 | FACEBOOK: DCL. STUDIOS OR DONOVAN DA DON LEON | TWITTER: DCLSTUDIOS

Fig. 3

Fig. 2

Fig. 1

21

OWN IT THEN KNOW IT22 EDUCATION By David Maclean

W

I can do it, and I know why I am WE ARE TOLD THAT HANDS-ON TRAINING IS THE BENCHMARK OF EXPERIENTIAL

LEARNING; BUT SIMPLY TOUCHING SOMETHING OR BEING SHOWN HOW, DOES NOT

GUARANTEE US MASTERY OF IT.

e don’t get good at or equipment does not ensure it. lecturers, instructors, and mentors to something by ‘make us competent’. We are all students and, if we enjoy accident. We achieve learning, we will be for the rest of our skill and lives. Being life-long learners keeps us The essence of this article is highlighted in understanding if we purposeful and stimulated. People who bold below:choose to, by being are informed and receptive to new deliberate and information, ideas and workflows are

‘Experiential learning exists when a focused in our effort, more inspiring to be around. It is no personally responsible participant generally over a significant period of time. secret that these people are consequently

cognitively, affectively, and behaviourally This combination equates to experience, more employable, and can command processes knowledge, skills, and/or skill and credibility, which are not just a higher incomes. This article is for us, as

attitudes in a learning situation good idea, but also the minimum Students, to own our part in the process characterized by a high level of active requirements of a career. We have to of our learning and knowing more, and

involvement.’ facilitate this for ourselves; a stellar not to rely solely on our teachers, curriculum, trainer, working environment - Hoover and Whitehead (1975)

23

As with anything we a living. Far fewer know why. If do in life, our attitude to it you do not know why you do influences its outcome. If something, how can anyone we know why we are else!!?? The reality is that those doing it, and if we want to who already know their why do it, we will be more as clearly as their what go to willing to put more effort the front of the job queue, into learning how to do it because they start out with correctly. Afterwards, we purpose, and don’t waste time must ask: how did my having to work it out. attitude influence its Each person's life outcome? experience is hard to quantify

Many students and because it is unique to that employees naively believe person and therefore that, if someone is teaching subjective and a challenge to them, that it is the measure objectively; but it is teacher’s responsibility to also one of the most valuable ensure they become aspects of a person's work competent. Competence experience and skill. Life is a personal choice. Yes, a experience and experiential passionate teacher or learning are inseparable. instructor makes the Remember that we learn process enjoyable and more from an experience inspiring, but you decide when we ask ourselves largely the quality of the immediately after it: 'What outcome of your did I learn from this? How can knowledge and skill. Too it help me in future?' If we many students enroll in a deliberately desire to course or commence remember and apply what we employment and believe learn from each experience, there is a virtual lid on the we will keep getting better at top of their head that is what we do for a living, and in opened by a teacher, who living life generally. It’s quite fills it with stuff, and then simple really. miraculously -- without we are prepared to embrace private In summary, be cautious any input of their own -- they become a study is ultimately the deciding factor in in believing that because a person, genius at this activity or information! whether we become leaders or followers company or training institution offers Reality has a completely different agenda. in society, business and knowledge. We all hands-on training that you are guaranteed You have to get involved to evolve have a choice of which category we want to become brilliant at something. The yourself. to reside in. other party doesn’t decide this; you do!

Another aspect to consider is that, In his paper What Is Experiential If you own it, you’ll know it, and can regardless of how comprehensive a Learning? James W. Gentry states: ‘The do it!curriculum or staff development program instructor is responsible for providing the Until 2014, have fun and be safe. is, alone it will never suffice as your sole experiential stimulus’. This is true, but source of training. You will need to students still have a significant influence to

For feedback, suggestions, and embrace a significant portion of private what extent they are stimulated! interaction, join me on study in your own time to achieve

Most people know what they do for https://twitter.com/TheMacleanBrainmastery of anything. The degree to which

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.

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