The Dog - Summer 2012

SUMMER 2012 THE DOG 3

ISSUE 7 Credits

EDITORRoberta Pia

0131 229 8227 [email protected]

DEPUTY EDITORAlex Marten

0131 229 8227 [email protected]

CHIEF WRITERRoberta Pia

STAFF PHOTOGRAPHERAndy McKay

(Purrrfect Photography)

CONTRIBUTORSKirsten Adamson, Signe Akmenkalne,

Will Baker, Garry Boyle, Martyn Hopkins, Phil Hopwood, William MacConnachie,

Craig Ross, Graeme Urquhart, Rod Vaughan, Punit Yaatri.

SHOP PHOTOGRAPHS DN Anderson

www.dnanderson.co.uk

ADVERTISINGRoberta Pia

0131 229 8227 If you would like to advertise in

The Dog, please email [email protected]

FRONT COVER ILLUSTRATION The 16K Design Works

DESIGN & ART DIRECTION The 16K Design Works

0131 661 3737 [email protected] www.16kdesign.com

PRINT Cocoa Creative Consultants

0800 644 0646 [email protected] www.cocoadesign.co.uk

CONTACTRed Dog Music

1 Grassmarket, Edinburgh EH1 2HY 0131 229 8211

[email protected] www.reddogmusic.co.uk

S

ome people say that the number seven is a lucky number. The Pythagore-ans called it the perfect

number. According to Harry Potter, it’s the most powerful number of all. Here at Red Dog Music HQ, we reck-on it’s a pretty special number because it brought us an interview

with formidable techno-heads, Black Dog – a very rare occurrence indeed. They’ve provided us with some pret-ty entertaining reading material so flick to page 7 if you want some intel-ligent, yet witty insight into the deep, dark realms of techno-addled minds. In addition to this; we got some help-ful tips from the studio on how to

record electric guitar, we took a mag-ical mystery tour down the long and winding road of Roland’s vintage synth history, the Red Dog Music team have picked their favourite products for you to drool over (watch you don’t get any on the magazine though, it’s not drool-proof) AND your ever faithful Dog Evangelist has taken a little time out of her day to gush about her musical heroes, The Prodigy.

Please Note: We’re not saying that 7 is, in fact, a magic number. We’re just saying it might be!

editOriAL tOp dOGsWHAT’S on THE RED DoG MUSIC STEREo THIS ISSUE

4 THE DOG SUMMER 2012

HALL & OATES ‘YOU MAkE MY DREAMS COME TRUE’ The three Ms: moustaches, mullets & major keys. What could go wrong?

MI ANCLA ‘MINDY GLEDHILL’ A winsome song of anxious-ness, longing and hope. Sung in Spanish with lyrics that sound like kisses.

SEAN HAYES ‘ALABAMA CHICkEN’ It’s f***ing brilliant. End of.

SIMIAN MOBILE DISCO ‘A SPECIES OUT OF CONTROL’ Bleeps, blops, twings, zargs and doofs with an educated groove.

JOHN WILLIAMS ‘JURASSIC PARk’ THEME TUnE No explanation necessary. Emphasis on TuNE.

DOGPRESENTS

THEREDDOGMUSIC

REDDOGMUSIC’s

“According to HArry Potter, it’s tHe most

Powerful number of All”

SUMMER 2012 THE DOG 5SUMMER 2012 THE DOG 5

Did you know...? Hiya pals!

There are seven wonders of the ancient world. There are seven continents in the world. There are seven colours of the rainbow. There are seven days in a week. There are seven basic musical notes. And this is the seventh issue of The Dog...

Check our blog at...blog.reddogmusic.co.uk


Over the years, The Black Dog has been through many incarnations and, of late, the sound seems to

have taken a darker Techno edge (no complaints). Apart from Ken himself, would you say there’s much

of the original DnA still there?


Interview by Graeme Urquhart and Roberta Pia

I

n 23 years, we’ve only been through 4 incarnations - which isn’t a lot for a band, or a collective - and the current one is 10+ years old. So, we

wouldnt say it’s “many” at all. As artists, we don’t want to stand still and produce the same thing over and over and over again. Why anybody would want to do that is beyond us. As for the original DNA? Well, the DIY ethic, which was present at day one of TBD, is still there. And at the very core of the band, there is still a deep love for techno, shamanism, cyberspace, magick, the beautiful, and the bizarre. The faces may have changed over the years, but the motivation to “make the events occur that we want to occur” has always

We don’t want to stand still and produce the same thing over and over and over again.”

“Temple Of Transparent Balls 1993 (General Production Recordings)

Bytes1993 (Warp Records)

Spanners1995 (Warp Records)

If switching over from techno to dubstep is making them happy, all well and good. We won’t be wagging any fingers. We’ve been interested in, and messing around with dubstep beats for a number of years now and I’d hope that people wouldn’t accuse us of being bandwagon jumpers. That said, we won’t be “going all dubstep” any time soon. No one genre is going to enslave us.• As with the majority of electronic acts nowadays, your live sets seem to be generally laptop based - Ableton Live, I presume - and while this is totally understandable for various reasons (portability, keeping beer out of your 303, etc.), do you miss purpose-built

musical hardware other than controllers when performing?Not really. It was stressful and expensive to transport it, and you’d always be wondering if it would work when you got there. Did somebody remember to bring all the midi leads? It was a logistical nightmare. And I’ve permanently damaged my lower back muscles from lugging the OB8 and DX7 in and out of venues. Nowadays, my home studio consists of an iPad and a Samsung laptop for HDD recording. Our Roland gear - the 808, 909, 303, 202 & 101 - will forever be in our hearts, and I recall with great fondness the times we used to tweak them in front of a live audience. But I’m really enjoying the experience of being portable now.• If it doesn’t exist already, what would your ideal piece of music gear be like?A thought-to-midi input controller which doubles as a pocket pussy.

•

Desert island tracks?It’s 2012. You can put everything onto an iPod and use a solar panel to charge it. That way, you’ll have access to your entire music collection, and won’t have to diddle about selecting individual tracks. However great the song is, you would get sick of hearing the same one for weeks, months and years.

I’m really enjoying the experience of being portable now.”

“

THE BLACK DOG

BLACK DOG’S

ROUND-UPROLAND

RolandTR 808

RolandTR 909

RolandSH101

Check out www.roland.co.uk for a closer look...


been the same. To us, there are definite threads of continuity. We don’t doubt that some people have been put off by the new sound and the harder edge. No disrespect to them but, as we said above, we’re not about doing the same thing forever and ever and ever.• With 3 people in a studio writing sequenced music, I imagine it could get a bit cramped around the sequencer, how do you cope with this? (ie. please describe your writing process a bit).Not really. We have 7 machines in the studio, as well as machines in our homes. When Ken is offgrid, travelling, we use the internet. So it’s never been a problem. There’s no fixed process for writing, we just go with the ideas in our head, and build it up from there. There’s no magic formula, musical roles, or set way of working. Sorry.• How would you say the Techno scene compares to what it was 10-15 years ago?We don’t think it really matters. They were great times, but the past is spent. We enjoy the time we are in and what’s coming. Constant references to, and reverential treatment of the past can be a little boring and rose-tinted. Twenty years ago, it cost £1000 for a SCSI hard disk. Now, you can get a terabyte for less than £100. These are great times to be making Techno. More softsynths than you can ever use! Yes, of course, we feel for the bands, magazines, clubs, festivals and events that have folded and withered as the scene has shrunk and withdrawn from the gaze of media attention. But, as we said above, we’re not living in the past.• Apart from yourselves, of course, who do you feel is making the best impact in the Electronic/Techno scene at the moment?Ha, flatterer! It’s kind of you to say it, but we don’t consider ourselves “best”. We do what we do and people can like it or lump it. Uncompromising to our very last breath. There are lots of artists whose work we admire. And for many different reasons. But right now, we are enjoying Perc, Sigha, Shifted and Blawan.

• Most Techno seems to be predominantly “minimal” sounding nowadays. While this seems to have had a positive effect on the sound quality of a lot of it, do you feel that in some ways this has led to “the baby being thrown out with the bathwater” (ie. clean but bland)?We know what you mean, we often joke that the top 20 of BeatPort all

sound exactly the same. But, in fairness, techno thrives on the dancefloor, which is where stripped down electronic music works extremely well. The gap between the disparate strands of techno has increased over the years, virtually to the point that “listening techno” and “minimal techno” have become seperate genres in their own right.• A bunch of Techno folk seem to have gone all Dubstep, should we expect the same from The Black Dog?

These are great times to be making Techno.”

“

THE BLACK DOG

Silenced 2005 (Dust Science Recordings)

Radio Scarecrow 2008 (Soma Quality Recordings)

RolandTB303

Music For Adverts (And Short Films) 1996 (Warp Records)

Further Vexations 2009 (Soma Quality Recordings)


RolandMC202

Sniff out The Black Dog on the world wide web at... www.theblackdogma.com

Humanity’s technological prowess has moved way beyond the windup gramophone and 78rpm record.• Detroit or Berlin?They both have their merits, but Sheffield does it for us.• There are a lot of occult references in your titles; do you think The Great Beast, Aleister Crowley, darned his socks?Unlikely. The only needles he mentions are syringes. He probably got his scarlet women to do it. When he wasn’t f***ing them up the a**e and ruining their lives.• According to Wikipedia, the black dog is “often said to be associated with the Devil, and its appearance [is] regarded as a portent of death”. Are you associated with the Devil, and is your appearance a portent of death?A lot of superstition and folk fears spring from Cynophobia. The particular manifestation, of the archetype which you speak of, was a large beast with glowing red eyes, whose appearance foretold of a death in the family, or village, of the person that saw (or felt) its breath. It’s still seen in some parts of Devon and Dorset. There was another historical variant that scratched at church doors and scared the faithful within. Over the years, these images have been applied to all supernatural black dogs, malignant or benign. The medieval dogmatic mind has no other frame of reference, than to label them all as demonic.• Do you have, or have you ever had, a black dog as a pet? If so, did it like listening to techno? If so, what kind of techno did it like best?Yeah, Ken has a black labrador who likes watching speaker cones vibrate. But, Soulfly and Lightning Bolt are his favourite bands.

• Your first full length album was released on Warp Records, which other Warp artists do you rate?Rob Hall is a throughly nice human being but, to be honest, we don’t pay much attention to what Warp is doing these days.• Your Dadavistic Orchestra side project takes inspiration from Dada artists such as Man Ray and Salvador Dali. What is the square root of lobster?4 crabsticks.

• Tell us a funny Black Dog story.All the proud historic nations of Europe will surrender their independence and individuality to become part of a corrupt and inefficient bureau-cratic super-state, where everybody will live happily ever after with a single currency unit called the “uro”. Or something.

Techno thrives on the dancefloor. ”

“

Ov Mind, Ov Magick 2009 (Dust Science Recordings)

Music For Real Airports 2010 (Soma Quality Recordings)

Liber Dogma 2011 (Soma Quality Recordings)

iPad and Ableton Live

THE BLACK DOG


Godin 5th Avenue kingpin P90 Hollow Body Electric Guitar(Red Dog Price: £675)

A few of the Red Dog Music staff take time out to tell us what they think are the coolest bits of gear in-store at the moment. Let’s meet them and find out what they think rawks...

O

h My GODIN! With its gentle curvilin-

ear hollow body and Godin’s custom polished

black finish, it’s no wonder the 5th Avenue Kingpin P90 caught my eye. This classic 50’s archtop design wouldn’t have looked out of place in the hands of Elvis, with its tastefully

designed chrome tailpiece and tun-ing pegs, plus a black pick-guard to match the body... it’s hot stuff.

It has a rosewood fingerboard and silver leaf maple neck that plays beautifully. It’s really lightweight too - just as well, as you’ll want to play this thing all day! The laminated wood top, back and sides are made of Canadian Wild Cherry and manufac-tured in Canada – as are all Godins, in fact, where they have SIX different factories spread out over 1000km. Why not just have one giant guitar factory? Well, Godin believe that having smaller factories promotes a more intimate working environment, which gets everybody more involved

and produces a greater end result. I LIKE!

After much acoustic finger-picking and aesthetic admiration, I finally plugged it in and what a lovely sound it has. Going in to a Fender Deluxe with a little bit of reverb is a great combo for this guitar.

It has a warm rich tone on the clean channel and the P-90 pick-up really crunched nicely with a bit of overdrive. It’s full-sounding and has a very evenly balanced tone.

This guitar is the business. It’s versatile, plays like a dream and looks sexy too! At just £675, it’s a steal for such a wonderful instrument. I (insert heart logo here) Godin.

Alternative RecommendationPeerless Gigmaster Custom oR Peerless Tonemaster Custom

PICKS!PRODUCT

REDDOG

Picked By:

Name: Kirsten

Top Tune...Cate Le Bon ‘Shoeing The Bones’

It’s a great song and deserves more views on YouTube. The video is weird; the guitar solo is cool... You’ll like it.

“PLAYS LIkE A DREAM AND LOOkS SExY TOO!”

Buy online at

RedDogMusic.co.uk and use code ‘dog2’ at the

checkout to get 5% OFF

your purchase or come

into the shop for

a demo!


PICKS!PRODUCT

JMP1 Marshall Guitar Amplifiers (50th Anniversary 1970s Edition)(Red Dog Price: Valve Combo £589, Valve Head £519)

T

hese JMP1 Marshall amps sound stunning when you plug a Les Paul in and turn them

all the way up FULL. Because of their low wattage, you can make these wee beasts moan and squeal

with beautiful Marshall encrusted feedback, without blowing your roof off. A perfect recording tool, or alternatively you could try plugging one into a 4x12 - yowzerz! Plus they look totally cool and retro too.

Reflecting the second decade of business - and a decade that will forever be remembered for its impact on rock music - the JMP1C is remi-niscent of 1970s Marshall amplifiers, most notably the JMP. Featuring a

tone that has more gain than the previous JTM1, along with its own unique preamp structure and rear panel gain boost switch, the JMP1 is ideal for everything from big rhythm to searing lead for fans of 1970s rock.

The JMP-1H head and JMP-1C 1 x 10” combo are all-valve 1-watt amps, specifically designed and voiced to produce the sound of Marshall products made in the 1970s. The Marshalls of this decade had a solid punchy mid, a tight bottom-end and an aggressive yet musical overdrive when “cranked”, making them the signature sound of many of the 70s most popular and influential artists.

The JMP-1H and JMP-1C both use two ECC83 (12AX7) dual-triode valves to shape the tone and gain structure in the preamp. The Class-A, parallel single-ended power-amp topology employs two ECC81 (12AT7) dual-triode valves to wring every last drop of harmonic magic from its cir-

cuit. The added bonus is that you get that distinctive Super Lead tone but at the neighbour-friendly volume of 1-Watt. The additional attenuation offered by the Low Power button on your amps rear-panel drops the power even more, should you need to do so.

These are certainly not the cheapest small valve amp

on the market. Howev-er, you are getting a limited ‘Made in England’ collectable - a timeless piece of history from this legendary company.

Picked By:

Name: Phil

Top Tune...Soundhog ‘Whole Lotta Helter Skelter’ (The Beatles Vs. Led Zeppelin)

Last week when I was doing one of the most boring jobs in the world (grouting the tiles in the bathroom) I put on Radio 6 and what I heard was something quite special; something that put a huge smile on my face and gave me a second wind to conquer my mundane task. Arguably the worlds two greatest Rock n Roll bands mashed together to create one of most beautifully energetic noises that I have heard in a long time. I’VE GOT BLISTERS ON MY FINGERS!

Alternative RecommendationMarshall JTM-1H and Marshall JTM-1C

REDDOG


“YOU CAN MAkE THESE WEE BEASTS MOAN AND SqUEAL”

Buy online at RedDogMusic.co.uk and use code ‘dog2’ at the checkout to get 5% OFF your purchase or come into the shop for a demo!

Markbass Minimark 150w Bass Amp Combo (Red Dog Price: £749)

PICKS!PRODUCT

M

arkbass amps, now available in Scotland! Red Dog Music, to be more

precise. Recently, we decided to start stocking these fantastic, funky bass amps and combos. The focus of this particular review is the Markbass Minimark, an ideal companion for any bass player looking for amazing tone in an ultra light package. The Minimark is about the size of two

shoeboxes and not much heavi-er, to be honest. In fact, I can lift it with my little finger - a great feature for the city bassist relying on public transport. But how can a 100 watt combo of this size be any use? Answer: by almost breaking the rules of physics. The sound pressure levels this thing produces are awesome. The Minimark is MORE than capable of keeping up with most small ensemble gigs and sounds much fuller than its two 6 inch cones would sug-gest.. The amp can also power a separate cabinet and you have the option of turning the speakers of the cabinet off if you just want to hear the exten-sion cab. A nice feature is

the VLE function (Vintage Loud-speaker Emulator) that, when dialled in to around 2 o’clock - if you close your eyes - sounds like it could well be a 15 inch vintage Celestion you were hearing. The other main control is the VPF (Variable Pre-shape Filter); although there are no other EQ controls aside from these two, combinations of the pair enable a wide range of useable tones. I have been demonstrating this amp as much as I can - every eyebrow has been raised when this tiny unit causes the price tickets to rattle on all the acoustic guitars! Come in and hear it for yourself.

REDDOG

Picked By:

Name: Will

Top Tune...Charles Wright and the Watts 103rd Street Rhythm Band ‘Express Yourself’

Great bass line, great vocals, inspiring lyrics.

Alternative RecommendationOrange TB500C Terror

“AMAzING TONE IN AN ULTRA LIGHT PACkAGE.”



PICKS!PRODUCT

Yamaha APx1200 Electro-Acoustic Guitar(Red Dog Price: £1115)

T

hree words: ridiculous-ly-reliable, ridiculously-playable and ridiculously-lovely.

As I’ve mentioned in previous reviews, I often wander out of the office to take a magical mystery tour through our acoustic guitar depart-

ment. The Yamaha APX1200 caught my eye one day,

mostly because of its sim-ple, delicate appearance. I like the unique design of Yamaha guitars; they’re unlike most other acous-tic guitars, so you can spot one from a mile off and, if you like their style, you’ll end up fall-ing in love with them. Most people, when picking an acoustic guitar, wouldn’t imme-diately think to buy a Yamaha - I guess because they’re most famous for pianos, boats, motorbikes,

etc... But when Yamaha make

guitars, they

make them LIKE A BOSS.The APX1200 is my favourite of

the APX range, simply because it feels like a dream to play. It’s so easy to get your hands around, making it the perfect guitar for the beginner who wants to invest in a guitar for life. It’s extremely versatile; so what-

ever your style - whether you’re an intricate-finger-picker or a punk-ass-strummer – the APX1200 (or any of the APX range, for that matter) will get the job done and then some. The bonus of spending that little bit more on the 1200 model, is that it’ll last a lifetime, it sounds just that lit-tle bit better, and it looks lovely.

If I hadn’t already bought my Takamine TAN15C, I’d certainly invest in this little beauty. In saying that; if I was looking for another guitar to keep my Takamine company, this would be the one - no doubt about it. It’s so comfortable and easy to play that it’s nigh on

impossible to put it down once you’ve picked it up. In short,

the APX1200 is an absolute dreamboat of an acoustic guitar – and we all know how good Yamaha are at making boats...

“IMPOSSIBLE TO PUT DOWN ONCE YOU’VE PICkED IT UP”

Picked By:

Alternative RecommendationTakamine ETN30C FXC

REDDOG

Name: Roberta

Top Tune...The Roches ‘Hammond Song’

The first time I heard it, I was reduced to complete silence. It has this amaz-ingly calming quality, must be something to do with the three-part harmonies. One of my favourite things to do is ask someone to shut their eyes, and then play them this song through a pair of good headphones. Every person that listens to it properly reacts the same way. It’s one of these songs that shuts you up and humbles you and all you’ll be able to say afterwards is, “woah dude.”

Buy online at RedDogMusic.co.uk and use code ‘dog2’ at the checkout to get 5% OFF your purchase or come into the shop for

a demo!



PICKS!PRODUCT

BOSS BR80 Multitrack Recorder (Red Dog Price: £225)

A

s summer approaches and the weather improves, I want to get outside more. I want to

spend nice days in the park or, better still, in a beer garden. This presents a problem to me as I love writing and making music; however, the record-ing part of this is usually an indoor pursuit. There are iPads, smart phones and field recorders available, and they’re great for getting ideas down, but if I want to record and produce to a high quality with multiple tracks on the go, then what is there?

The answer is the Boss BR80 portable recorder. This tiny but powerful box of tricks is a portable multi-track recorder which allows you to record up to 8 tracks on top of each other - but there is a lot more to this than meets the eye. It operates in 3 main modes: MTR (multi-track recorder), Live Rec and eBand. Let’s look at each of these in turn...

Multitrack mode (MTR) is an 8 track recorder. All you have to do is

fire your guitar, mic or anything else through the input and hit record! Built in are loads of pro quality Boss guitar, vocal and mix effects, so you can enhance your sound wherever you are. In addition to these features, there is also a drum machine with over 300 patterns for instant rhythm.

Live Rec mode reboots the machine into a portable field recorder and the exceptional built in mics give abso-lutely crystal clear stereo recordings.

And last but not least, eBand mode is a powerful practice tool with loads of built-in tunes to play along with AND the option to import your favourite song and slow it down so you can learn faster.

If you want a portable, fun and powerful recorder for

all seasons, look no further than the BR80!

Alternative RecommendationZoom R8 Multitrack Recorder and Interface

REDDOG

sE Electronics sE2200A mk1 Condenser Microphone(Red Dog Price: £119)

PICKS!PRODUCT

T

he sE2200A mk1 is our best-selling studio condenser microphone. It’s a simple, classic,

large diaphragm condenser mic, manufactered by microphone connoisseurs, sE Electronics. The SE2200A mk1 has been used on a plethora of hit albums so, I think that means it’s pretty good.

This particular model – the mk1 - has a low cut filter, 10dB pad and comes complete with a rugged aluminium shock mount. The metal body has a matte-silver metal plate finish so it looks and feels nice and slick. The base unscrews to provide easy access for either servicing, or for just for exploring how the thing works and the grille design offers excellent physical protection of the capsule without affecting the acoustic space around it. So, not only does it look cool, it’ll make you sound AMAZING.

The sE2200A mk1 draws on and improves the fantastic features that won the original sE2200 a plethora of awards across the board. It has since become an industry standard and is used in tudios and bedrooms around the world. This mic is ideal for either vocal or instrumental record-ing, making it an extremely versatile studio microphone. With its improved design and cos-metics, you can now have all the versatility of the original sE2200, only with much better perform-ance, at a ridiculously ow price.

We know what you’re thinking – BARGAIN. Come in and try it for yourself.

REDDOG

Alternative RecommendationRoland DR80C Condenser Mic

“ENHANCE YOUR SOUND WHEREVER YOU ARE”

“NOT ONLY DOES IT LOOk COOL, IT’LL MAkE YOU SOUND AMAzING.”

Picked By:

Name: Dave G

Top Tune...The Melvins ‘A History of Bad Men’

Epic, Filthy, Heavy, chunky, Joy. Ooooooft!



Picked By:

Name: Alex

Top Tune...Si Begg ‘The Bleeps’

Old Skool 90’s acid rave updated for the dubstep generation. Have it. Have it large.

Buy online at RedDogMusic.co.uk and use code ‘dog2’ at the checkout to get 5% OFF your purchase or come into the shop for

a demo!


Go-Go-Gadget!Levy’s Guitar StrapI never thought I’d be extolling the virtues of a humble guitar strap but this MS-26 Levy’s guitar strap is just so good I’ve got to tell someone. Mine comes in a subtle shade of faded green and is constructed from two separate layers of suede, stitched together. It fea-tures the tried and tested, two-piece loop-in/loop-out design so

there are no uncomfortable or unsightly buckles to get in the way. In its unadjusted form, the strap has my guitar sitting just where I want it, but its length can be adjusted by altering the number of loops. Best of all, the suede is non-slip so your guitar doesn’t slide away from you, even if you jump around mid-solo.

PICKS!PRODUCT

Music Nomad:

‘The Guitar ONE’If you want your guitar to remain sparkly clean, look no further than The Guitar One from Music Nomad. It’s an all-in-one guitar cleaner that is designed to look after your guitar and keep it looking shiny new for longer. It cleans, polish-es, waxes and protects with a specially designed formula that includes white Bra-zilian carnauba wax that creates a shield for your beloved axe and will make it look almost brand new again. It also features a UV Protectant so you can sit out in the sun at festivals for longer, serenad-ing the masses. It’s also biodegrad-able, smells great AND every bottle bought contributes money towards helping independ-ent musicians through MusicNo-mad.com… It’s a no-brainer.

Fender Gig StandA modern-design and very simple to use fold-up guitar stand from Fender. Designed to prop up most electric guitars but remains

compact, portable, durable and very lightweight. In fact, it’s SO lightweight; it could fit easily into your back pocket - exactly what every guitarist will be pining after when they’re on the road. It unfolds in seconds, weighs just a little over your average guitar cable and, as guitar stands go, it looks pretty cool. In fact, if James

Bond used a guitar stand,we reckon he’d use the Fender

Gig Stand.

REDDOG

Ik Multimedia iRig Mic

Prepare for the future: this is a handheld microphone that’s designed for use with your iPhone, iPod Touch and iPad. So, if you need to record some vocals, using an app on your iOS device, this unidirec-tional condenser-electret mic (bit of a mouthful, but that means it’s good) will make the job a walk in the park. Whether you want to record yourself singing, rapping or you just want to record a speech that you prepared earlier; the iRig Mic is here to help

you get the best sound possible. It’s rugged, durable and very easy to set up – just plug it straight into your device and you’re good to go. ABC, it’s

easy as do-re-mi.

korg Monotron DelayAs with the original Monotron, this is a little monster of an analogue synth. Featuring the same filter that was originally introduced by the legendary Korg MS10 & MS20, it has all the same whack and attitude, but in a smaller, more portable unit. The Monotron Delay does what it says on the tin – it includes Space Delay, so you can bash out some lovely analog-style echoes, as well as a new LFO (Low Frequency Oscillator) feature, so you can modulate your pitch, either with the traditional triangle or the new square waveshape. It also features an aux input jack, so you can stick delay on any audio source you like and in-built speakers for making tunes on the go.


Godin Guitars


“Rockmachines

to the Core”

the Core series (Between £700 and £900)

Rock machines to the Core – this particular

series will no doubt cause a stir amongst

guitar rawkers across the (fret)board. Each

of these guitars feature chambered mahogany

bodies with maple tops, mahogany set necks,

24 ¾” scale, rosewood fingerboards and fully

adjustable wraparound Resomax bridges by

Graphtech. Core blimey.

We’re very proud to announce our new range of Godin guitars.After speaking to a few of the Red Dog Music team, we’ve deduced that musicians love Godin guitars for the following reasons: 1. They’re built in Canada. 2. They’re made with exceptionally good materials. 3. They play beautifully. 4. They’re a slightly more unusual version of a Fender or Gibson. 5. They’re lovely guitars.

“the perfect vintage style

guitar”

presents

presents

the 5th avenue series (Between £600 and £900)

This range of Godin guitars takes us back to the good old days, when archtop acoustic guitars were the cream of the crop. The 5th Avenue Series takes the soul of a 1950s archtop guitar and combines it with today’s play-ability to create the perfect vintage style guitar. With more projection & volume in the low/mids than tradi-tional archtop acoustic guitars, the voluptuous tone makes these gor-geous instruments an absolute dream to play without being a financial nightmare.


“they’re almost too good to be true”

presents

the session series (Between £600 and £700)

If blues, rock and country music rocks your socks off, Godin‘s Session Series guitars will tick all the boxes and then some. Featuring a classic electric guitar style with Godin’s signature unique twist, in the shape of a very affordable instrument – they’re almost too good to be true. The Session features a rock maple neck with rosewood or maple fingerboard, Canadian Laurentian Basswood body, 2x Godin GS-1 single-coils housed in a vintage white pickguard and a Godin hum-bucker in the bridge, along with a 5-way switch, 1x volume and 1x push/pull tone knob that splits the humbucker. Tasty guitars indeed.

laire Copland had never heard her 4

year-old autistic son, Callum, speak.

Callum had been a lively baby but sudden-ly became a silent toddler who did not seem to like company and hated going to playgroup or being with other children.

Time passed and things didn’t improve. Claire recalls, “As well as not talking Callum didn’t understand any-thing you said to him. He wandered around with a kind of glazed look and he didn’t react to anything you said.” Claire and her partner David became more and more con-cerned about their wee boy. Claire then heard of a new form of music therapy called Brain-Heart Music and decided to give it a try

cont...

C

SuCCeSS StOry!

SP TLIGHTSHEDDInG lIGHT on SoME of oUR fAVoURITE MUSICAl THInGS...

SP TLIGHT

SHEDDInG lIGHT on SoME

of oUR fAVoURITE

MUSICAl THInGS...

After witnessing a silent, 4 year- old autistic boy speak again after listening to his music, Punit Yaatri decided to focus all of his musical energies on this, under the moniker BrainHeart Music. Below, he tells us how he discovered the secret to curing people with specific conditions and illnesses through the art of music. Prepare to be amazed.

B

rainHeart Music is the creation of Edinburgh-based composer,

Punit Yaatri. It is specialised therapeutic music that has the ability to synchronise the electrical activity of the brain and heart (a physiological state known as coherence) which leads to enhanced health.

In 2006, Punit personally witnessed the powerful effect of his music when it enabled a completely silent 4 year-old autistic boy to speak for the very first time in his life.

This discovery was a complete surprise to Punit who had originally composed this music, an album called ‘STAR’, as a result of a pro-found spiritual experience that came to him out of the blue.

Physicists in France & Holland found out about this

story and decided to test the effects of ‘STAR’ using brainwave and heart moni-toring technology (EEG & ECG). Their exact words to

Punit were, “What you claim your music to be, Brain-Heart music, is absolutely correct... within seconds of your music being played we observed the electrical activity of the Brain and Heart link up.”

Punit says, “My life was suddenly and unexpectedly changed as a result of

MUSIC“every- BOdy CAn BenefIT frOM The pOwer wIThIn MUSIC.”

What is ‘BrAInheArT MUSIC’? “He wAnDereD

ArOunD witH A KinD Of GLAzeD

LOOK AnD He DiDn’t reACt tO

AnytHinG”

is working in a profound way and one that has a deeply transforming quality within it.”

Punit says that he is aware that these effects cannot be fully explained as yet. He added, “I never set out to create transformational music but that has been one of the most amazing dis-coveries about the music I compose. It is inspired music and it happens very spontaneously. The music calls me.

Something definitely happens dur-ing the process I go through when a piece of music comes to me. I am gen-erally inspired by a melody that then unfolds and expands into a symphonic piece which is then recorded. I‘m still fascinated by the profound effects that simply listening to this music can have on people and specific conditions and illnesses. I’m currently carrying out more research into these effects as I believe that everybody can benefit from the therapeutic power within music.”

“I believe that Sound and Frequency are music technologies being used to shape the future of human experience. BrainHeart Music is on the frontier of new breakthroughs in ‘vibrational’ healthcare that will ensure the wellbeing of future generations to come.”

cont...

composing this music. I became inspired by the potential to use this music to help others with Autism and also to explore the immense power of music as a valuable therapeutic tool.”

Since that time there have been an increasing number of similar break-throughs as a result of people listening to BrainHeart Music.

These have included a 21 year-old severely autistic boy who began com-municating with his mother for the first time in 18 years; a middle-aged man who has suffered all his life with insom-nia who now no longer needs sleeping tablets to achieve deep sleep and the latest documented effect has been with an 87 year-old man suffering from Alzheimer’s & Dementia. This case study has shown some remarkable effects of the use of this music which has basically reconnected this man with his family having previously been “lost” to the illness. This is in addition to a significant reduc-tion in the amount of sedatives and tranquilisers being needed to control his symptoms of diso-rientation and anxiety. Although this case study is in the early stages of research, the obvious relief to his family of having their father returned to them is unquestionable.

When asked about how BrainHeart Music works, composer Punit Yaatri said,” What I’ve discovered from the many varied testi-monials that I’ve received over the past few years is that there is something very unique that distinguishes BrainHeart Music from other therapeutic music. BrainHeart Music is not merely relaxation music. It is evident that the music

“My lIfe wAS SUddenly ChAnged AS A reSUlT Of COMpOSIng ThIS MUSIC.”

28 THE DOG SUMMER 2012 SUMMER 2012 THE DOG 29

BrainHeart Music& Autism

BRAINHEART

Afterall, what did she have to lose?

Within hours of hearing this music, called BrainHeart Music, she heard her wee boy Callum speak for the very first time in his life. Claire beamed, “We can’t believe the effect this music has had. It’s like I’ve got my little boy back.”

Claire took the BrainHeart Music CDs home and continued to play them to her son at night while he slept. The change in him was remarkable. She enthused, “Callum talks all the time and can’t wait to play with other children. He used to hate going into my friend’s houses but now he can’t get in there quick enough. The difference in him is amazing.” She added, “The other night he said he loved me. It was the best gift I’ve ever been given.”

SuCCeSS StOry!

cont...

“we CAn’t BeLieve tHe effeCt tHiS muSiC HAS HAD.

it’S LiKe i’ve GOt my LittLe

BOy BACK.”

SP TLIGHT

SHEDDInG lIGHT on SoME

of oUR fAVoURITE

MUSICAl THInGS...

Tom. Immediately his aggression, frustration and anxiety vanished. One staff nurse commented how Tom’s face had even become “serene”. He began eating properly again and for the first time in 5 years, he showed affection towards his daughter Ann and even remembered his grandchildren! Most significantly, from the time the music was first played, Tom did not require ANY sedation or tranquillisers. Even his pain medication was dramatically reduced. Ann’s prayers had been answered…she was getting her father back.

So profound was the change in Tom that the manageress of the care home has now requested BrainHeart Music to be played continuously for all the resi-dents in the home. Already she has seen how much more calm and peace-ful the residents and staff have become. She is delighted.

To find out more please visit: www.BrainHeartMusic.com

A

nn’s father Tom was diag-nosed with Alzheimer’s & Dementia in 2005. She was

told by her father’s doctor that “no care home would have him” due to his high levels of anxiety, depression, anger, frustration and aggression. When she finally did manage to get him a place in a care home, he was constantly being sedated with tranquillisers to calm him. This sadly resulted in him deteriorating rapidly, losing weight and sleeping for sometimes 20 hours at a time. When he was awake, he was verbally and physically abusive to the care home staff. Whenever Ann came to visit her father, he would be asleep, heavily sedated. She was losing him and it was heartbreaking for her and her family. As a last resort she decided to give BrainHeart Music CDs, called ‘In The Company of Angels’, ‘STAR’ and ‘Archangel Symphony’ a try, after all, what did she have to lose??

What happened next was nothing short of miraculous.For 7 weeks BrainHeart Music CDs were played continuously to Ann’s father,

Latest BreAk-ThrOUgh in 2012.

“IMMedIATely AggreSSIOn, frUSTrATIOn And AnxIeTy vAnIShed.”


Jupiter-4 1978

Roland’s new Jupiter-50 was unveiled at the Frankfurt Musikmesse in March and though it sits at the cutting-edge of new technology, it’s a synth that sits firmly in line with Roland’s synth philosophy and history.

beyondetro

Unlike anything else, the Jupiter 8 had a split keyboard, oscillator sync, cross modulation and polyphonic por-tamento. Its broad sonic range meant the electro pop community quickly adopted it as their synth of choice, and it appeared on the roster of stadium-filling artists such as Duran Duran, Heaven 17 and Erasure. Its big, room-filling sounds defined the pop-music of a generation.

Jupiter-8 1981

The Juno-6 was the first Roland synth to use Digitally Controlled Oscillators (DCOs). Traditional VCOs were prone to detuning at high temperatures, leaving musi-cians bereft onstage – but the new DCOs were com-pletely reliable.

Juno-6 1982

Proving that Roland was as stylish as it was advanced, the SH-101 ran on batteries and you could wear it! In a decade dominated by outlandish fashion, the SH-101 was designed for posing on stage. Bizarre hairstyle and makeup optional – and that was just for the guys.

The SH-101 1982

The Jupiter-4 was Roland’s first true polysynth, and showed how Roland wasn’t worried about following the competition. The Jupiter-4 had just a single Voltage Con-trolled Oscillator (VCO) per voice and it only had 10 presets. However, the trademark chorus and arpeggiator knocked spots off its rivals and acclaim quickly followed.

The next innovation to come from the Roland camp was more substantial than a single synth. MIDI was the fruit of collaboration with Sequential Circuits, Yamaha and Korg. These manufacturers invented a uniform connectivity that would enable users to link synths made by any manufacturer.

Midi 1983

Roland’s first polysynth to feature a sequencer, the JX-3P was named after the three Ps: Programmability, Polyphony and Presets. It was followed by the JX-10 (1986), which was by far the most programmable synth of the time.

JX-3P 1984This beautiful semi-modular monophonic synth comprised five modular components, all built around the central Synthesizer 101 module – a self-contained mono-synth with tons of sliders and raw power. The System-100 is an ultra-rare and much-coveted beast.

System-100 1976

SH-1000 1971

T

he Jupiter 50 is a streamlined ver-sion of last year’s flagship Jupiter-80

and both instruments fit neat-ly into Roland’s 40-year story of pioneering synthesizer de-velopment. As the Jupiter name suggests, these new synths are related to one of most iconic synth lines ever created – the genre-defin-ing Jupiter-8.

Using the most innovative analogue tech-nologies of the time, the Jupi-ter-8 was released in 1981 and provided musicians with a rich palette of synth textures. Its reliability and ease of use on stage made it a go-to in-strument for the electro crowd of the time. Its built-in arpeggiator and deep sonic potential satisfied the synth elite and awed countless Duran Duran fans.

Now, not a lot of people know this, but the original desire was also to provide

acoustic sounds, but the lim-ited technology of the day meant that this goal remained out of reach.

This is where the Jupiter-80 and new Jupiter-50 come in. Building on Roland’s original philosophy, they both deliver

unparalleled ex-pressiveness and sound creation c a p a b i l i t i e s . Packing Roland’s SuperNATURAL technology, both models are equipped with the detail and nuance to reproduce

acoustic sounds to near per-fection as well as the most powerful synthesizer sounds in Roland’s history.

But to understand the fu-ture you need to look to the past. From its very first synth back in 1971, Roland has strived to deliver the best sounds and this musician-fo-cussed philosophy has pro-duced generations of classic synths and even inspired en-tire genres of music.

Here are some of the best...

“they deliver unparalleled

sound creation.”

Roland’s first synth was Japan’s first synth. The SH-1000 was strikingly different from contemporary modular Moog and ARP synths. Although it lacked the duophony, pressure sensitivity and the performance control of its rivals, it more than made up for it in sheer sonic character and personality.

The History Of Roland SynthsThe History Of Roland Synths


The XP-series were Roland’s first workstations. They were powerhouse keyboards capable of recreating hundreds of voices. With patches galore, they offered intricate sound creation. Six years later Roland would evolve the work-station range further still with the Fantom series. Essen-tially a mobile sample-based studio, the Fantom enables musicians to build and layer their own tracks on the fly.

XP series workstation 1995

The SH-201 was a great-value synthesizer, offering quick, fun sound creation through its array of knobs and sliders. However it is the forensic level of sound creation that really set this apart. The SH-201 was Roland’s first hard-ware synth to offer VSTi integration and came with comprehensive editor/librarian software giving users easy access to hidden parameters, fitting neatly into computer-based studios.

SH-201 2006

Blending digitally-perfect sound with the simplicity of analogue controls, it easily passes for retro, but the con-cept is radically different. With generous polyphony and a versatile triple-core analogue modelling engine, the GAIA is an authentic, super-affordable synth.

Gaia SH-01 2010

JD-800 1991

V-Synth 2003

The History Of Roland SynthsThe History Of Roland Synths


An absolute beast of a machine, combining monstrous analogue-modelling power with pristine, beguilingly-realistic acoustic sounds underpinned by Roland’s Su-perNATURAL technology and behaviour modelling. This is a Roland synth four decades in the making – play one and you’ll understand why.

Jupiter-80 2011

Roland assembled its most advanced technology and crammed it all into the V-Synth. It offered a multi-sam-pling keyboard, real-time looping and tempo-warping. Among other features were PCM oscillators, user sam-pling, multi-effects and COSM processing. The V-Synth remains a force to be reckoned with to this day, in the guise of the second-generation V-Synth GT.

The JD-800 combined digital precision with the look and feel of a top-of-the-range analogue synth. Teeming with knobs and sliders, musicians could once again enjoy the tactile thrill of creating new sounds, but with the confidence and control of digital synthesis. A return to the roots of synthesis.

the Jupiter 50 might be the most recent synthesizer but it’s part of a rich history of innovation. Always focussed on usability and value, Roland has consistently delivered

cutting edge performance and inspiring sounds at an affordable price.

SO


uitar amplifiers all vary significantly when it comes to the way in which they project sound and tone,

as do the results from DI outputs found on most full-sized amps. Ulti-mately, there is no right or wrong - just guidelines. So, get your funk on and do some experimenting.

G

There is a mind boggling array of different methods when it comes to capturing a full, bright and truly satisfying guitar tone...

R e c o R d i n g

ElectricGuitarRecording

inally, for those of you look-ing for an un-amped sound or fancy a wee bit of software

m o d e l l i n g , there is the DI option. Even if you just want to record the u n t a i n t e d sound straight from you gui-tar, always use a DI if you can. The DI signal is an invaluable backup signal to re-cord even if you think you are happy with the sound you get from miking. If you take your DI signal post stomp boxes, you’ll need a speaker simulator (either software or hardware) of some sort otherwise you will get a really grating sound as the output from gui-tar effects are designed to be amped. Most recording setups now have built in effects, compression, EQ and even virtual amp modelling and miking, so having a clean signal to begin with gives a lot of room for manoeuvre. DIs are great for stage and studio use, however, the average guitarist won’t

own one and if you don’t, check your amp for a DI output.

They key is to trust your ears and monitor the sound with headphones as you make tweaks. Where possible; record several signals (or as many as your recording

device can handle at one time!) so that you have options when it comes to the mix. A combination of close mics, far mics, and DIs means that you’ll be spoilt for choice - and that’s before you even get to pann-ing, compression and any other post recording processes you might want to add. Guitarists are the first in line to rival sound engineers for fiddling with settings - just make sure you’re not stuck in the spare room ‘til Christmas!

by William MacConnachie,(Swanfield Studios)

efore even starting the miking up process, make sure that your amp isn’t

pushed up hard against a wall so it has room to breathe and try to insu-late it from the ground with a riser, chair, or empty crate. This can help to avoid your mic picking up any vibrations - especially if you want the amp cranked to the gigawatts! How-ever, bear in mind that different amp heights will have different reflective audio proper-ties in any given space. When setting up your amp for rec-ording, ensure the tone con-trols and any effects are as you would like, and work well in the space you are record-ing. Space is KEY. Whatever you choose; re-member, your amp doesn’t need to be at an ear punishing volume to capture the sound you want. Most studio ses-sions with guitar don’t involve an amp with the master at eleven, so you’ll have to achieve the sound you need with your recording technique.

First thing to do is try out a close miking position. Although most engineers would probably use a dynamic model you can use any type of microphone - condenser, dynamic or ribbon. Just like amplifiers, mics of the same type can vary in characteristics across brands so if you have the option, try them all un-

til you find the sound you’re after. Placement can have just as big an ef-fect as the type of mic itself. To begin

with, place the mic directly in front of the loudspeaker grill and in line with the centre of the speaker cone. This is the position in which you are most likely to capture all the amps top-end bite. As you move the mic

towards the outer edge of the cone, you will lose the detail of the top end but be compensated with inc-reased warmth.

You may also decide you need both a centred and off-centred mic so you can achieve the sound you want with a blend of the two! Let your ears choose your path.

The next leg of the journey is the” far” or

“ambient” mic. As with the close mic, you can use any type, but the engineer’s mic of choice would be the condenser. You can try any position you like in the space - even behind the amp if it is an open-backed model. Again, a centred position, about three feet in front of the cone, is a good starting point for capturing the detailed wails from your beloved axe. Using an ambient mic will give you a really full creamy tone – however, be aware that depending on the positioning, the recorded sound will give an impression of the space be-tween the mic and amp, which might not be the sort of vibe you want!

B

“Most studio sessions with guitar don’t

involve an amp with the master at eleven!”

F

“Where possible; record several signals.”

With over 15 years of experience playing and recording guitar

in, and for, various bands; and having escaped the world of Elec-

tronics Retail Management last year, I am now one of the “Swan-

field Duo”. This involves being a recording/mix engineer, Tech-

nical Manager and getting stuck in with the day to day running

of the Studio. Having had a part in most Studio sessions in the

last 12 months, I have carved out a reputation as Swanfield’s in-

house “Guitar Guru”.

Who is William Macconnachie?

ElectricGuitarRecording


JonesDigital Jones are a live electronic band who lean heavily towards the impure They combine driving programmed beats with fierce

live drums and coarse, growling bass lines; all of which sit eagerly underneath emotion-laden vocals and beautful, soaring trumpet lines. Digital Jones create a musical atmosphere that is simply per-fect for the dancefloor.

Digital


Who are?

dinburgh-based ensemble, Digital

Jones, have a signature sound which has already gained them a substantial following on the Scottish scene. A mutual affection for P funk, Disco and Electro threw multi-instrumentalist Philip Mcbride and vocalist Nikki Kent together a number of years ago, and they have been blasting down the bar-riers of musical cliché ever since. Born to play out, Digital Jones have entertained crowds of devotees at regular Edinburgh gig spots and high-profile shows have included Kelburn Garden Party, Fontana’s Cover Up at the exclusive Ginglik and, most recently, supporting soul legend Marlena Shaw. For media information about Digital Jones, send an email to [email protected]

• How DiD you comE up wiTH your namE? Nikki (our frontwoman) has a friend called Kenny Mclean. One evening, when they lived together, he regaled her with a tale of drunken banter between himself and another pal. As well as putting the world to rights, they also invented an imagi-nary band. I’m not sure who was in it, or what genre of music they played, but this fantasy band’s name was ‘Digital Jones and the

Sweatshop Boys’. When Nikki heard it, she had to have it! We dropped the ‘Sweatshop Boys’ as we weren’t sure that part was so commercially viable. So aye, the name ‘Digital Jones’ was born from the imaginings of an alcohol-addled mind. Nowt deep, ken? Kenny has been thanked in the credits of the album.

• DEScriBE your muSic in THrEE worDS. Intelligent soulful filth.

• TELL uS aBouT your FaVouriTE DiGiTaL JonES GiG. Probably our favourite gig so far was playing Devil Disco in The Bongo Club. The system in there is made for our bass-driven sound, so it was an absolute joy to hear and see how the crowd were reacting. Our most enjoyable gigs so far have been club nights. I think our sound is received best when heard by an audience gag-ging on a beat and a good dance.

• iF you couLD rEcommEnD onE aLBum For pEopLE To SiT Down anD LiSTEn To, wiTH HEaDpHonES, From STarT To FiniSH – wHaT wouLD iT BE anD wHy? Bjork’s ‘Vespertine’. We all love this album. It’s a sort of aural textured cocoon, a soothing balm for the mind, another world full of liquid beats, soaring strings and ethereal vocals that you comfortably slip into. It’s kind of like a blanky, the one that you fall asleep in front of the TV under - only this one is much more likely to inspire movement and wonder. So, it’s actually nothing like the blanky in front of the TV... but you get the gist.

• iF you wErE on DEaTH row, wHaT iS THE LaST SonG you wouLD LiSTEn To? Together In Electric Dreams by Paul Oakley

•wHaT iS DiGiTaL JonES’ FaVouriTE muSic FESTiVaL anD wHy? Kelburn Garden Party. Such beauti-ful people – both the organisers and the attendees – and so much thought has been put into every detail. It’s a really dreamy event and always has an excellent line-up of local and big name artists. It’s the best boutique festival in Scotland by miles.

• TELL uS a Funny DiGiTaL JonES STory. We once met Bodger from ‘Bodger and Badger’. That didn’t actually happen but we wish it had.

•wHaT iS your mESSaGE To THE worLD? HIYA!

Roland SPDS, Roland KD7, Akai MPC, Apple Mac with Ableton, Focusrite Saffire Pro 14, Alesis Micron, Korg, MS2000, Moog Slim Phatty and a Roland Juno D.

•wHaT’S your FaVouriTE TracK oFF your aLBum ‘cLicK cLacK’ anD wHy? It’s a toughie but probably ‘Time’. It’s a really good representation of our sound and it’s also been one of our favourites to perform live recently.

• TELL uS aBouT your SonGwriTinG procESS. Once a year, we go to a cottage up North, in the middle of nowhere. We stock up on whisky, ale and cheese and set up in the front room. We build ourselves a fire and after getting 2 hours worth of white boy funk out of our systems, we get cracking writing some tunes! We jam things out until an idea starts to come together. We do that a lot for four days, making sure we have frequent cheese breaks. We record anything that sounds promising and then take the ideas back to Phil’s studio (Sonic Lodge) and develop them into “choons”. We are all very fond of our time in the cottage. And cheese.

•wHaT arE your FaVour-iTE BiTS oF muSic GEar? Moog x 4. Can we have another 3 please?

•wHicH arTiSTS HaVE inFLuEncES THE muSic oF DiGiTaL JonES? Radiohead, Massive attack, Justice, Metronomy, Bjork, Portis-head, Prince and Little Dragon.

•wHaT Do you wanT your muSic To acHiEVE? Sweaty, grinding bodies and fast beating hearts/world peace.

DiGiTaL JonES

JonES?

DiGiTaL JonES

myspace.com/digitaljones

Online AccessDigital Kitlist

DiGiTaL

“our moST EnJoyaBLE GiGS

So Far HaVE BEEn

cLuB niGHTS.”

“SwEaTy, GrinDinG BoDiES

anD FaST BEaTinG HEarTS”


E


AUTUMN 2011 THE DOG 47

t is said: “Do something long enough and you’ll become good at it.” I know of a few cases where this maxim is applicable and gui-

tar repair is certainly one of them. To correctly assess an ailing guitar, you have to fully under-stand the instrument, inside out.

One of the old-school tests for metalwork apprentices was to be given a lump of metal and told to fashion it into a hexagonal nut. Those successful in completing this task were then told to file the hexagon into a perfect circle. Then, once that was done, back into a hexagon again. This seemingly harsh discipline not only

separated the men from the boys but also ensured participants possessed the requisite mental te-nacity - as well as the levels of manual dexterity - required to achieve their final goal.

Next month, I will be celebrating 25 years as a professional guitar repairman. Every time I reflect on what I’ve learned, the more I realize how much more there still is to learn- it’s a never-ending process. No matter how often I’ve carried out a relatively routine job, I’ve come

to accept that there’s always an exception which disproves the rule. In fact, it’s this con-tinuous variation that makes the work inter-esting and keeps me on my toes.

In recent times, some enlightened Luthier’s suppliers have come up with labour/time sav-ing devices, which supposedly simplify certain

procedures. A good friend and fellow repairer argues that many of their gadgets effectively attempt to de-skill and devalue our craft.

I prefer to take a more pragmatic view and am of the opinion that if we don’t try out these new methods and tools, we will stagnate and become too set in our ways. Why, some of them even work!

I would ask, however - what is it about gui-tarists that enables them to covet hand-made, point to point wired amplifiers, but at the same time enthuse about a machine which supposedly can level and re-profile the frets on an entire guitar neck without any human intervention…?

Throughout my years in business, I’ve al-ways tried to tell it like it is and avoid the in-evitable hype, even when to do so is to court ridicule and appear an unfashionable oddball. Actually, that’s probably exactly what I am.

Ultimately, engineering is a truth of sorts and one I hope to continue the pursuit of for the rest of my days.

www.rvguitars.co.uk Dr. Fretlove returns next time...

The Thrills and Skills of an Aging Guitar Repairman

I“UlTiMATEly, ENGiNEERiNG

iS A TRUTh of SoRTS”

“if wE doN’T TRy oUT ThESE NEw METhodS, wE

will STAGNATE”


S

imple. Legendary. Classic. The CP80 was first unleashed in 1976, and changed the sound of popular music as the world knew it. Yamaha, being the innovative bunch that they are, recognised the

legendary status of what they had created, so decided to re-release an incredible 3-strong range of CP pianos (CP1, CP5 and CP50), led by the revolutionary CP1 - an instrument that could easily, and confidently, compete for the title of Ultimate Digital Piano. The beauty of the CP series - and the reason they’ve been coined “electric grands” – is down to their authentic sound and their live performance convenience. If Yamaha can make trustworthy modes of transport, then we can most definitely trust them implicitly when it comes to musical instruments.

A LOOK AT SOME OF THE BEST PRODUCTS IN THEIR CATEGORY, THIS ISSUE IT’S...

STaGE PIanOS

RoundUp

Stage Pianos are a music industry standard. Almost every musician, at some point in their life, will need/want/have to use one for something or other. So, you want to be sure you’re getting the stage piano to suit your needs. Whether it’s for communal use, personal use, or just to play Elton John songs in your bedroom with, we’re pretty sure one of the following will float your boat. All ridiculously good in their own way, we present the mutt’s nuts of our Stage Piano range...

“coUld EASily coMpETE foR

ThE TiTlE of UlTiMATE

diGiTAl piANo”

Yamaha CP SerieS from £915(CP33, CP50, CP300, CP5)


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A LOOK AT SOME OF THE BEST PRODUCTS IN THEIR CATEGORY, THIS ISSUE IT’S...STaGE PIanOS

RoundUp

I n true Roland style, these stage pianos are built to last. The difference with the FP Series is that they are geared more towards use in venues, churches, schools – basically, where a

lot of people are going to be using the one piano. Again, it’s very easy to use but unlike the RD Series, you can’t do as much sound design with it; instead everything is built in and ready to rock the minute you sit down. If you want a piano sound, press the piano button; if you want a strings sound, press the strings button - simple as that. Special features include the Vocal Harmoniser, the Audio Looper, Audio Key (in other words, a sampler) and last but not least, in-built speakers - very handy indeed.

P L E A S E N O T E ! P R I C E S A R E l I A B l E T o G o U P A S W E l l A S D o W n . C H E C K o n l I n E A T R E D D O G M U S I C . C O . U k f o R A l l T H E l A T E S T P R I C E S .

“ready to rock the minute you

sit down”

I n terms of good-looking stage pianos, The Korg SV1s are the cream of the crop. They bear an unusually curvaceous form, making them appear both modern AND retro, in a way that not many stage pianos

are. The first thing you’ll notice about the Korg SV1 is the orange-tinted lit-up valve, proudly displayed at the front-left of the piano - this is where the warmth and full-bodied tone of these stage pianos lives. It sounds absolutely stunning, with a range of classic sounds from Rhodes pianos, to strings that will tug on those of even

the blackest of hearts, right through to that unmistakable sound of Van Halen’s ‘Jump’

power chords. The vintage reverse-colour keys model (SV1-RV) is my personal favourite – SO retro. Thumbs up.

A LOOK AT SOME OF THE BEST PRODUCTS IN THEIR CATEGORY, THIS ISSUE IT’S...

STaGE PIanOS

RoundUp

“ExcEpTioNAlly wEll dESiGNEd”

“A RANGE of clASSic SoUNdS, To STRiNGS ThAT will TUG oN EvEN ThE blAckEST of hEARTS”

“yoU coUld bEAT A TRoll To dEATh wiTh iT.”

roland FP SerieS from £1275(FP4F and FP7F)

T

he benefits of these stage pianos are, first and foremost, their build quality – they are quite simply industrial pieces of rock, so they’ll last you forever. They’re also exceptionally well designed

and laid out in a very clear and concise fashion, so if you don’t have any keys experience, DON’T WORRY; you’ll figure it out in no time. The special feature of the RD Series is the Piano Designer, which allows you to tweak your keyboard to exactly how YOU want it to sound. It also features a bunch of presets, so you can pre-prepare your sounds. They RD Series is easy to use and will make you feel completely comfortable and confident once you’re behind one, whether

you’re an amateur or a professional.

roland rd SerieS from £1449((RD300NX and

RD700NX)

Korg SV1 from £1299(SV1-73 and 88,

and reverse key models)


Buy online at

RedDogMusic.co.uk

and use code ‘dog2’

at the checkout to get 5% OFF

your purchase or come into

the shop for a Demo!

nord STage 2

from £2559(Stage 2 SW73,

Stage 2 76, Stage 2 88)

STarPiCK!

W

e only ever have the Nord Stage 2s in for a couple of weeks before they sell out, basically because they’re the best sounding sample-based keyboards that

we have in the shop. Piano sounds, keyboard sounds, synth sounds... all of them sound beautiful. Investing in one of these will make you feel as if

you have five amazing keyboards in one and, once you buy one, Nord will treat you like

royalty by constantly providing you with free updates for it. Last but not least, it’s built like a tank – to quote Guy, our Recording Specialist, “you could beat a troll to death with it and then play the Nord

at its funeral.” Also, they look really cool; meaning you will too, by proxy.

“ThE bETTER ThE SpEAkER,

ThE bETTER yoUR

jUdGMENT.”

In the last year, records by The Broken Records, Homework, The little Kicks, The Banana Sessions, We See lights and dozens of others have been produced here; as well as being home to The Mashup Session. Studio engineers - Garry Boyle and Craig Ross - take some time out to talk us through their favourite toys...


dyNAUdio bM5AOur main studio speaker. Packs a punch and is very transparent. May be the best investment we have ever made. The better the speaker, the better your judgement.

Avid oMNi / hd NATivE / pRo ToolS 10 SySTEMWe just updated our recording system to the HD Native. More channels, sounds more open and clear and, func-tionality-wise, a huge advancement.

Plug-ins from SSL, Universal Audio UAD and Waves augment this rig and the outboard beautifully.

bRAUNER phANToM vocAl MicOne of several great vocal microphones we have. This one is like a laser. The clarity of this mic is astounding. After the singer, the mic is the next most important thing.

RolANd RE201 SpAcE EchoEveryone loves this. Everyone. From the late 70s, this one is the real deal.

THE DEPOT StudioS

Works flawlessly and sounds amazing. If you ever find one in as good a condi-tion as this, buy it.

dw collEcToRS SERiES(Birch 20x20, 12x12, 16x16 shells and Maple 13” Snare)

A new addition to the studio is this stunning DW Kit. At the heart of every good recording is a great drum sound and this kit is one of the best we have ever recorded. Includes matching snare.

SUMMiT AUdio TlA 100AKiller boutique compressor based on the La2. One of the few boxes that makes a vocal sound fuller and bigger just by passing a signal through it. Compression goes from gentle controlling to pretty obscene but without ever pumping (that is what the 1176’s are for!).

Api 560 EqA killer 10 band EQ from API. Used on Kick / Snare drums on a daily basis. This thing could carve a great kick sound out of a cardboard box which, thanks to the DW, we try not to do.

NEUMANN kM84ifrom 1978, this little pencil mic is one of the best for acoustic instruments (such as acoustic guitar). They don’t make them like they used to.

lES pAUl STUdio cUSToMWe have several guitars lurking about the studio (a Strat, P-Bass and Stingray Bass included) but for some reason


people just get drawn to this one. It is also guaranteed to get a joke about its sustain in the first 10 seconds, usually before it is plugged in.

ThE hANGERJust outside the control room is a mas-sive open stone space we use to re-amp drums and vocals. It has about a 9 second decay and is one of the most bonkers natural reverbs about. For more info, check out The Banana Sessions latest album, Mixtape.

AMp booThThe back room of the studio is our amp room. Always miked up and ready to go, it houses a Mesa Boogie, an Orange, a Marshall 1968 combo and a Fender Delux. Just patch in through in the control room and swap between these top recording amps until you find the one that suits you.

(Also available - JCM 900, Fender Twin and Engl Stack).

0131 551 6709 depotstudios.com

“AT ThE hEART of EvERy Good REcoRdiNG iS A GREAT dRUM SoUNd”


Chosen by Roberta Pia

the hospital tells us she’s going to take us back the quick way. We stumble our way back through the dark, the fireworks to mark the end of 2005’s T in the Park start thumping through

the air and lighting up the night sky. All of a sudden, we’re walking through Artist Village (ah, the quick way) and it happens. A limousine pulls up next to me with the windows rolled down. I turn to my right and see Keith Flint and Maxim in the back seat of the limo. I panic and shout, “Alright Prod? How’s it going?”

P

icture the scene: T in the Park, 2005. My two best pals and I are standing right at the front of the

crowd. It’s Sunday night. We’re tired but this is our last chance to go men-

tal. We start high fiving everybody around us. “High

fives all round!” we say, with a big smile on our faces. The Prodigy appear on stage and the crowd goes wild... but too wild for us. My friend ends up passing out about a minute into the show and somebody grabs her and passes her to the security guard at the front of the stage. We go with her, obviously (much to my dis-may since it was my first Prodigy show, but needs must and all that). We all get carted off to the festival hospital. When we get there, we’re told that our friend has to stay but we should go back to the campsite and wait there for her. The lady in

“MY FRIEND ENDS UP PASSING OUT ABOUT A

MINUTE INTO THE SHOW”

The Engineers!

Garry Boyle is a top notch Edinburgh music producer who works both as a recording engineer for The Depot, as well as assistant engineer for Stuart Hamilton at Castlesound. As well as studio recording, he’s also done a lot of live recording at venues in and around Edinburgh. If you want to check out his work or get in touch about getting some pro-fessional studio/live recording done, visit cpproductions.com

Craig Ross is an active musician on the Edinburgh music scene, playing with Broken Records (broken-recordsband.com) and his own project, Easy Tigers (soundcloud.com/easy-tigers). As well as this, Craig has also engineered and produced some of Scotland’s most well-known up and coming bands, including We See Lights and The Little Kicks.

This was my first Prodigy experience.Those who know my usual style of music would probably hazard a guess that my musical hero of choice would be somebody like Billie Holiday/Lauryn Hill/Aretha Franklin (delete as appropriate). What people perhaps don’t know about me is that I have two very prominent musical streaks. One side of me loves beautifully sweet female vocals. And the other side of me loves banging drum beats, squelchy synths, catchy as f**k vocal hooks, reaching for the lasers and so on, and so forth.

Music makes me feel an awful lot of things but I can’t quite put into words the feeling I get when a Prodigy song starts blasting through me. In fact, nothing comes close. When I was the ripe age of 11, ‘Firestarter’ was unleashed into the world. The music

video was constantly being played on MTV and I remem-ber watching this terrifying dude with spiky hair and black eyeliner on, running around a tunnel like a maniac. In hindsight, I was scared shitless of him. But I must have watched it over, and over, and over again. This is when I fell in love with The Prodigy.

Fat of the Land was one of the first albums I owned. I know what you’re thinking; I was a late starter. The rave scene had already been and gone and I was still only 11 years old. However, that didn’t mean I didn’t already have impeccable taste in music... *smirk*

Once I’d got stuck into The Prodigy’s back catalogue, I began following everything they released. ‘Fat of the Land’ is, hands down, the “Elvis” of their albums for me, and I’m sure most of you will agree. But ‘Always Outnumbered, Never Outgunned’, believe it or not, is also up there with my favourite albums of all time. I guess a lot of Prodigy fans would disagree with that because, stylistically, it was quite different to anything they’d done before.

“I CAN’T qUITE PUT INTO WORDS THE FEELING

I GET WHEN A PRODIGY SONG STARTS BLASTING

THROUGH ME.”

The Prodigy ‘The Fat of the Land’ (1997)

This was one of the first albums I ever fell in love with. It’s a musical roller-coaster; every single tune on it is incredible. For me, it’s the record that defines the quintessential Prodigy sound and has certainly made its mark in musical history.

Listen to...

But in my humble opinion, it just shows off another side of Liam Howlett’s musicality.

From what I can gather, Liam was well into his hip hop first, before meet-ing Keith Flint and Leeroy Thornhill, who were firmly wedged into the rave scene at the time. I think both these styles are apparent all the way through Howlett’s song-writing; giving a cheeky nod to his own musical roots, whilst always maintaining the quintessential Prodigy sound.

What I love most about The Prod-igy is how many different musical influences you can hear in their music. Hip hop, techno, break-beat, punk... When I first began listening to their music, I’d never heard anything like that being done before. It was mind-blowing. I’d sit and listen to their tunes and think, “I wish I could make

music like that...” But as it hap-pens, I’ve never been any good with technology. So, when The Banana Sessions got totally steam boats one night and had a wasted jam of ‘Breathe’ on the couch, we woke up the next morning and laughed about it. Then, once

we’d sobered up, we decided to arrange a full blown Prodi-

gy Medley. And before I knew it, we’d recorded it, made a music video and sent it to The Prodigy, to which Liam Howlett

replied, “I dig it. It’s really cool.” Obviously, this was

the happiest day of my life. They ended up posting it

on their own website, along-side a bunch of other videos that they liked, which is when I came across Bernard Purdie - Liam Howlett’s favourite drum-mer. After hearing this guy on the drums, I discovered where all of Liam’s tasteful yet filthy drum beats stemmed from.

I think it’s safe to say that I’m obsessed with The Prodigy. So much so that I learnt how to two-step like Leeroy (if you don’t know how to two-step, I’ll teach you some time). The thing about them that I dig the most is that there are so many little intricacies in their music that you only notice when you really listen. Yeah, the tunes are totally and utterly banging but there are so many little jerks and jolts in the beats; vocal hooks that usually would exist only in my dreams; and no mat-ter how hard they try, nobody does it like The Prodigy. And as if that wasn’t enough, they can rile up a crowd like nobody else with their epic live shows.

It’s probably worth nothing that after every Prodigy show I’ve ever been to, John Paul Young’s ‘Love is in the Air’ has been blasted over the speakers to a very sweaty, very under-the-influence and completely discombobulated crowd. As we stumble away from the stage, we think: “How appropriate...” but the only words we can muster are, “TUNE!” Liam Howlett, I salute you.

“I’D SIT AND LISTEN TO THEIR TUNES AND THINk,

‘I WISH I COULD MAkE MUSIC LIkE THAT...’”



DOGTHE

PRESENTSREDDOGMUSIC TOP10BITSofKITDOG

THEPRESENTSREDDOGMUSIC TOP

10BITSofKIT BoSS looP STaTionThis innocuous looking little red Boss pedal is surprisingly nifty for inventing new tunes and for looping/jamming along with yourself. Alex has built up & saved most of our favourite grooves/beats, and even some of - what we consider - our best songs (in many instances almost by accident) solely on this wee baby.

aKg C4000This versatile multi-pattern

condenser is the most extensively used mic in our arsenal. Holds up well in most applications: From the quietest sounds to Dom pounding on the drums! We prefer this mic to other similarly priced alternatives

– it’s a very reasonable solution for those seeking studio-quality condensers on a not-too-ridicu-lous budget (i.e. us).

FreShman aCouSTiC guiTar These locally manufactured guitars are brilliant considering the price & the professional sound quality. We’ve recently been achieving very desirable results in the studio with one of these bad-boys.

Affordable, sexy, made of wood, sounds ace; that’s pretty much all we can ask for.

eleCTro harmonix Big muFF BaSSRob’s bass distortion/fuzz “here comes the heavy bit” solution. Combined with his 6-string bass and an Ampeg SVT Classic, resulting in a MONSTROUS sound - pretty much guaranteed to destroy ANY building or otherwise make you defecate your pants.

roland Juno diThis is a classic, lightweight & versatile stage keyboard and a staple choice for any band (and rightfully so). The instrument / piano sounds are fantastic and the envelope/attack controls can allow for some of the nicest pads ever. Mike used the Juno pretty much exclusively for all the “synthy” stuff on our album and it’s a reliable work-horse onstage as well as off.

KrK roKiT Power 8 g2’S /BeYerdYnamiC dT-150’SWe record, mix & master our stuff using these as our default set of monitoring devices. Using good quality speakers / headphones not only provides a flatter frequency response but also allows us to hear all sorts of intricacies in our mixes that are much harder to hear on most crummier consumer-level speakers.

Edinburgh based alternative-rock-pop band, MIASMA, tell us what TEn bits of kit they can’t do without...

Name: Miasma

About:An Edinburgh based alternative-rock-pop band, consisting of young but experienced musicians & songwrit-ers. Miasma formed in 2009, with the current line-up com-pleted in late 2010. Over a few sessions late 2010 & early 2011, they’ve man-aged to entirely self-produce a unique & professional sounding record, utilising only our own “low-budg-et” resources. Listen for yourself at...www.miasma.tv

aKai aPC40 The newest addition to our backline; it’s almost an entirely new instrument unto itself, allowing Mike to incorpo-rate more “electronic/production” elements into our live set with greater fluidity & musicality than simply playing to a pre-programmed backing track. Most importantly however, it looks damn cool.

Korg KaoSS Pad Allows Alex to alter his vocals with an insane variety of effects, using an intuitive two-axis touch pad (assigning different effect parameters to each axis for interesting combinations) -

great for making himself sound like

a seagull and generally

creating audible

chaos.

ProToolS 10 & maCKie 1640i Our entire album was made from scratch using pretty much this exact setup. Combined with a decent PC

to run it all, there’s pretty much nothing we can’t do with this

setup (within reason, of course). As for audio effects for mixing, we would personally recommend the Waves plugins,

Avid’s own RTAS range and Izotope’s Ozone 5 is fantastic for mastering.

mxr SuPer ComP Guitar compressor pedals may seem somewhat analogous to a bike helmet; seemingly ‘inert’ & ‘mundane’, but also a technical necessity with critical benefits. The compressor helps keep all your notes at roughly the same volume level, which results in a more even/consistent amp tone & has generally improved the quality of all our guitar sounds to an insane degree.

“iMpRovES ThE qUAliTy of oUR

GUiTAR SoUNdS To AN iNSANE dEGREE.”

MIASMA on the MxR SUpER coMp

“AffoRdAblE, SExy, MAdE of wood”

MIASMA on the fREShMAN AcoUSTic GUiTAR

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What is your kit list, gentlemen?Eugine: I play a Fender Telecaster and Yamaha Sax. Ferg: Fender Strat and a custom built Matamp amp with Ibanez tube screamer. Donal: I use a Fender Jazz Bass and an Ampeg bass amp. Eoin: Pearl Export Series drum kit with Sabian AAX symbals.

Euge, your dancing at gigs is quite hard to not notice. Whenever you play I think you’ll trip over the wires. Has that actually ever happened?Euge: Yea, but probably because I would always get too drunk before the gig but now I’ve stopped being pissed for gigs because it’s easier to play. Oein: One time at Hendry’s Cellar you fell into my drum kit. Ferg: Got to stay out of the way of Eugine when he goes mental on the stage to protect my instruments! Euge: No, you have to embrace it! Eoin: Does that mean catch you?

Being brothers, does that make things easier or harder?Eoin: It makes it easier to connect on stage. It’s also easy to fight with each other.

Euge: You know what to expect from one another. Donal: That’s why we get on so well because it’s easy just to tell some-one to f**k off. If it was a random, they’d get offended so it’s easier to say what you really think of others and what they’re playing. Euge: In the long run, depends on how big our egos get. Donal: No, we’re brothers so it’s not like we’ll ever fall out. We fall out every day but it’s as if nothing ever happened after five minutes.

One of your songs, Milkshake, is dedicated to a homeless guy?Euge: It’s for the man who sleeps on Bruntsfield Links. People call him Beaver Man but I think it’s nasty giv-ing him names. I don’t think he knows he has a song, don’t know if I would want him to know. I’m just interested because we don’t know anything about him – where he’s from, why he’s there. He doesn’t seem unhappy about sleeping in pissing rain so I’m just wondering about that.

Quite random but do you make New Year’s resolutions and are you still sticking to them?Eoin: My resolution was to stop smoking but I still smoke so that didn’t work. Ferg: Mine was to stop being so fucked all the time. That was two years ago and I’ve done it. Euge: I thought I’d try to be a bit less lazy. I’m still pretty lazy... just a bit less. Donal: Mine was not to be so for-getful, but I forgot to do it.

Name: Ded Rabbit

About:An Edinburgh-based band consisting of four brothers – Eugine on vocals and sax, Fergus on lead guitar, Donal on bass and Eoin keeping it all together on the drums. Originally from Yorkshire, they started playing together about six years ago and haven’t been quiet ever since. First influenced to pick up the instruments by their dad and two older brothers, they play contagious indie pop with some funky sax thrown in. These fine fellas have gigged all around Edinburgh and across Scotland, were featured on Jim Gellatly’s unsigned pod-cast and are about to release their second EP this summer.

First of all, why Ded Rabbit?Eoin: Dead Rabbit was in the film Gangs of New York. It was a gang of Irish immigrants. Fergus: And because we’re all Irish. We have Irish, Ukranian, Polish and whatnot roots. Basically a mish-mash from all over the Europe. Eoin: And then we noticed that it would be cool to take out the e. You know, like Led Zeppelin.

How did you first get into playing music?Euge: Our dad used to jam with our two older brothers and that kind of got us into it. We were brought up listening to loads of music, too. Eoin: Tom, one of the older broth-ers, used to be into 80s heavy metal so he used to play me Guns’n’Roses and Van Halen and stuff and made me sing them in front of his girl-friends. That’s one way of getting into music, though!

Who are?


DOGTHE

PRESENTSREDDOGMUSIC

GUest interview

oh, haven’t you heard of it? no, it’s not roadkill. Even if it was, though, it wouldn’t be your average unlucky creature smeared over pavement - it would be one with enough energy in its soul to stir up the afterlife (if rodents get an afterlife, that is) into one hell of a good time. That’s what this Edinburgh-based band of brothers is all about – indie pop with a kick of funk that will liven up even the grumpiest of souls. Interview by Signe Akmenkalne

“i’vE SToppEd bEiNG piSSEd foR GiGS bEcAUSE iT’S EASiER To plAy.”

DOGTHE

PRESENTSREDDOGMUSIC

GUest interview

DeD Rabbit

Find Ded Rabbit online at:

iamdedrabbit.tumblr.com

• • • WED 27TH JUNE (7PM-10PM / £5) • • •

FEATURED

THE DOG’S

NeWs&eVeNtsDOGPRESENTS

THEREDDOGMUSIC

Red Dog Music launches new website with £1,000 YouTube competition

REDDOGMUSIC

EVENTSU P C O M I N G


T

o celebrate, we’ve announced our biggest competition to

date – the Red Dog Music YouTube Competition. The competition asks customers to film themselves using ANY product out of the 1,000s featured on the new website; the customer whose demo has received the most views by Tuesday

31st July will win up to £1,000 of music equipment of their choice from the website. If customers don’t yet own any of the products on the website, they’re invit-ed to come into the shop to film themselves in-store. Full details and terms and conditions can be found at: www.reddogmusic.co.uk/youtubecompetition

reddogmusic.co.uk

featuring live music from RAGE (The Gospel Accord-ing to Rage Against The Machine) and tune spins

from DJ STEVE BROWN@ SNEAkY PETE’S

IN-STORE

A BUnCH of loCAl BAnDS/ARTISTS AUDITIon foR THIS YEAR’S YoUTH MUSIC InITIATIVE PRoJECT@ RED DOG MUSIC

• • • • • • SAT 14TH JULY (4-6PM) • • • • • •

TRakToR F1 TouR Edinburgh EditionATTEnTIon All DIGITAl DJS – THIS EVEnT IS foR YoU

@ RED DOG MUSIC • • • • • • SUN 15TH JULY (12-5PM) • • • • • •

Verden demo ProjectRoadshow 2012

1 Grassmarket , Ed inburgh EH1 2HY | 013 1-229-821 1 | in fo@reddogmusic .co .uk

www.reddogmusIC.co.uk

Use code ‘dog2’ at the

checkout to get 5% offANY purchase!

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The Dog - Summer 2012