Vol. 77 S October/November 2007 Issue weetNotes · PDF fileAs I’m writing this, guitar phenomenon Johnny Hiland is soundchecking in the room next door with his band. Tonight Hiland

weetNotes®

Apogee Duet ............................. 1Dave Smith Prophet ‘08 ..............1,5Summer NAMM ................2, 12, 15Apple Logic Studio ...................... 3Sibelius 5 ................................ 3Make Music Finale ‘08 ................ 4Hands On: BOSS RE-20 Space Echo ... 4PreSonus HP60 .......................... 5Synth Tricks .............................. 6Roland HD-1 ............................. 6Hands On: AmpliTube Jimi Hendrix ... 7Customer Studio ........................ 7Inside Sweetwater ........................ 8Chandler Germanium Compressor ..... 8Hands On: TC Nova Delay & Reverb ... 9Expert Center ............................ 9Hands On: Universal Audio DCS .......10Line 6 Toneport GX ....................10Yamaha n8 & n12 ......................11Heil PR 20, PR 30, & PR 40 ..........11Inside the Sweetwater Difference ...12Native Instruments Komplete 5.. ....13Hands On: Røde M3 .....................13Guitar 101.. .............................14Korg Zero8 & Zero4.. ..................14Studio Notebook.. .....................15

INSIDE THIS ISSUE:

Making music happen for over 28 years!(800) 222-4700 • www.sweetwater.com

October/November 2007 Issue | Vol. 77

S

Next-generation Analog SynthesisIn 1978, the world of electronic music changed forever with the release of the Prophet-5, the world’s fi rst completely programmable polyphonic synthesizer. Much like the Moog a decade earlier, the Prophet-5 was greeted with great enthusiasm by synth afi cionados thanks to its great analog basses and strings, as well as cool effects sounds. The Prophet-5 was also the fi rst musical instrument to incorporate a microprocessor.

A quick cruise through virtually any record collection will turn up hundreds if not thousands of Prophet sightings, as it was a favored instrument by many keyboard players of the day — and is still widely used nearly three decades later. Many non-keyboardists also tapped into the sonic chemistry provided by the Prophet-5.

— continued on page 5

A Duet For Your MacWhat do you do when you want to take pro-quality interfacing on the road

with your MacBook or MacBook Pro? What if you only need two channels of input and output for your rig, but you want excellent sound quality?

Apogee has the answer to these questions: Duet!

Duet is a compact FireWire audio interface for Macintosh com-puters that offers two channels of analog input and output at up to 24-bit/96kHz resolution. You can take charge of Duet using the built-in, integrated controls within Apple Logic Pro,

Soundtrack Pro, and Garageband software, or you can use the included Maestro application to control Duet when you’re using

any other Core Audio-compliant Mac software. It’s a great companion to the brand-new Apple Logic Studio and Logic Pro 8 (see page 3)!

Duet provides everything you need for getting two channels in and out of your Mac with true Apogee sound quality. A breakout cable provides two XLR mic inputs, two 1/4-inch instrument inputs, and two 1/4-inch monitor outputs. The microphone inputs feed through a pair of Apogee’s acclaimed mic preamps, with up to 75dB of gain and even 48-volt phan-tom power. There’s also a headphone jack on the front of the unit.

The large front-panel knob selects the input and output source, sets volume levels, and controls MIDI devices. Two LED ladder meters display the input or output levels, there are LEDs to indicate when inputs or outputs are selected, as well as phantom-power status LEDs. Duet is powered by the FireWire bus, so no external power supply or wall-wart is required. Duet requires a G4/1MHz Mac or faster (including Intel Macs), 1GB of RAM (two gigs are recommended), and OS 10.4.10 or newer, and, of course, a FireWire 400 port.

Duet is compact and light enough to throw in your laptop bag and take on the road. Connect the FireWire and breakout cables, and you’ve got a wonderful portable recording rig that sounds stellar, and offers everything you need for composing or stereo tracking. It’s an amazingly full-featured interface with a low-profi le form factor and, hey, it comes from Apogee so you know it’s going to sound stellar!

Call your Sales Engineer now for complete information! > >> > Apogee Duet • Sweetwater price $495.00 • www.sweetwater.com/duet

Prophet ‘08 Special Edition

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Mitch Gallagher

Editorial Director

[email protected]

SWEETNOTES | OCTOBER/NOVEMBER 2007 | PAGE 2

As I’m writing this, guitar phenomenon Johnny Hiland is soundchecking in the room next door with his band. Tonight Hiland will be giving a free concert and clinic for Sweetwater customers, sponsored by Paul Reed Smith guitars. The man is simply an amazing guitar player; his ability to cross genres and perform masterfully in all of them is truly inspiring. His new PRS Johnny Hiland signature model guitar is a gorgeous piece of work as well (we covered it in the last issue of SweetNotes; you can download the issue at www.sweetwater.com/publications). It’s the fi rst PRS I can recall with a maple fi ngerboard — and a great-feeling slim neck to match.

I had a chance to talk with Johnny this afternoon, and he’s every bit as friendly as he is talented. I’ve met a number of “name” artists over the years, and I have to say, the number that are truly nice people seems to far out out-weigh those that aren’t.

To get to the point, after tonight’s event I’m headed straight home to work on my guitar chops. Some people get depressed when they hear a great player (“I’ll never be that good…what’s the point?”) but that’s never been me. Instead, I fi nd it incredibly motivating to encounter someone who is highly accomplished on their instrument. It makes me want to be that good, whether I’m playing, singing, recording, or producing.

These days, it’s easy to isolate yourself in your studio and to forget there’s a big world out there. Seeing Mr. Hiland tearing up his guitar reminds me of how important it is to make plenty of time to get out and experience live music — both as a player and as a listener. I guarantee you’ll learn something every time. Plus, it will make you excited about making more music of your own!

Music is meant to be shared. Get out and play, get out and listen, and put your own tunes out there on CD and over the web. I, for one, would love to hear what you’re doing.

Moving? Moved? Want more than one copy? Call, fax, or email us your new address and don’t miss an issue of SweetNotes!

from the editor

PeaveyOrange County Choppers Custom Guitar

If you thought about it long enough, you might come to the conclusion that it makes a perverse sort of sense to head for the heat of Texas at the hottest point in the year — but it would take a lot of thinking, and a good reason! Like, for example, the Summer NAMM show in Austin, where the weather was (as expected) hot and heavy. The Summer tradeshow is the smaller of the two events that the NAMM (National Association of Music Merchants) organization puts on each year, but there was still plenty to see in the aisles of the Austin Convention Center.

Hundreds of manufacturers gathered to show their latest wares to the nation’s retailers. This wasn’t a technology-heavy show, but there were guitar toys a-plenty to keep us occupied. Fender was showing an array of exciting new Custom Shop and Limited Edition offerings. Telecasters, in particular, were hot this year, with Joe Strummer (the Clash) and Jim Root (Slipknot) leading the signature models charge. Squier was also showing their new Avril Levigne Tele.

Gretsch, a part of the extended Fender family, was showing the new Synchro-matic model, which is a hollowbody with a fl oating pickup that harkens back to vintage Gretsch models. This guitar looked ideal for jazz gigs.

Ibanez rolled out several new models, including a limited edition of the AF105 in beautiful spalted maple. Gorgeous! Peavey also rolled out (literally) the amazing custom Orange County Choppers motorcycle, as well as a limited

edition of the Orange County Choppers Custom Guitar. Beyond the chopper theme, Peavey showed the Generation

Chambered guitar, which has a chambered body for extra resonance and tone.

FenderJoe StrummerSignature Tele

FenderJim RootSignature Tele


By Mitch Gallagher

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> >> > Sibelius Sibelius 5 • Sweetwater price $499.97 • www.sweetwater.com/sibelius5

Sibelius 5: The Next GenerationSibelius has become the “go-to” notation and composition tool for thousands of composers, educators, performers, and students all over the globe — and for good reason. It’s not only well-designed with ease of use in mind, it’s also amazingly versatile. The latest version, Sibelius 5, gives you even more options to make writing, playing, printing, and publishing music an intuitive, enjoyable experience.

One of the most impressive new features Sibelius 5 offers is the Ideas Hub. Now you can capture ideas almost instantly, using the Ideas Hub’s quick storage and recall capability. A simple tap of the key lets you store whatever bits of melody, rhythms, or progressions inspire you, plus, you can easily edit and label ideas for easy access. Sibelius will even put the ideas into the correct key when you put them into an arrangement! Notation marks are automatically incorporated during playback, so you truly get instant results. It’s an amazing time-saver.

Sibelius 5’s new Panorama view gives you a convenient, seamless way to compose and navigate. Instead of dealing with individual pages onscreen, you can enjoy an unbroken stream of notation with the Panorama view. A Magic Margin function constantly updates to the stave you’re on, so you’ll always stay on top of the arrangement. Once

you’re ready to print, Sibelius automatically reverts to conventional pages. In addition to this great feature, the page layout on Sibelius 5 is incredible, with color graphics for easy-to-see corrections and notes, as well as easy creation of cues and instrument

changes. No more laborious written changes — they’re as easy as the touch of a button with this software!

When you play back your handiwork on Sibelius 5, be prepared for an amazing experience. A huge 3GB collection of instrument sounds is onboard that allows you to hear compositions with realism and accuracy. Whether it’s classical, big band, jazz, marching band, or even rock or pop,

Sibelius 5’s built-in sound library has the sounds. You can also use virtual instruments in AudioUnits (Mac) or VST (PC) formats, which means you can use outside sound libraries to get even more amazing playback results! Plus, you can instantly transfer parts to Pro Tools for even more fl exibility.

Sibelius 5 gives you powerful capabilities combined with easy-to-use tools, all wrapped into a comprehensive application that’s as intuitive as it is versatile. Call your Sales Engineer now!

Logic Studio Arrives!Logic Studio Arrives!Logic Studio Arrives!The online forums have been blazing recently with rumors about the arrival of the new version of Apple Logic Pro! Now Apple has put those rumors to rest and surprised everyone with the release of Logic Studio, which not only features the powerful new Logic Pro 8, but also includes a suite of supporting software and plug-ins that takes audio production to an entirely new level. Best of all, the new package comes in at $499 — half of what Logic Pro previously cost all by itself!

The Logic Studio suite includes Logic Pro 8, the all-new Mainstage (which allows you to effectively use your soft synths and plug-ins live onstage), Soundtrack Pro 2, 40 software instruments (including a redesigned EXS24), 80 plug-ins (including the new Delay Designer), Waveburner CD-burning software, and Compressor for encoding audio in the standard Dolby AC-3 format. In addition, the suite includes 18,000 Apple Loops, 1,300 EXS instruments, 2,400 channel strip settings, and fi ve Jam Pack collections — all told the Logic Studio suite weighs in at more than 45 gigabytes of music production power! There are even utilities for creating your own convolution reverb impulse responses and Apple Loops.

The star of the show, of course, is Logic Pro 8. There have been big changes and enhancements to the program’s user interface. The biggest improvement is the new Arrange window, which can incorporate all the editor windows, the Mixer, and new Media/List elements such as the Audio Bin, Loop Browser, Library, and more. A customizable toolbar spans the top of the Arrange window, and can contain buttons to open and close Arrange window areas and perform other functions. Likewise, a customizable Transport bar runs along the bottom of the Arrange window.

The list of other enhancements is long. For example, there’s a new Inspector that replaces the old Parameter area and adds a great deal of new functionality. A second channel strip has been added to the Inspector that allows you to display and control the settings for the destination channel strip for the currently selected track. This means when you select a track in the Arrange window, you’ll see its channel strip, plus the bus, output, or master channel strip that it’s feeding.

Other new standout features include easy track creation and confi guration functions — the Environment is still there, but you may never need to use it! Plus there are incredible take, multitrack take, and track comping tools that will make tracking and editing a breeze.

There’s more information on Logic Studio than we could possible fi t in this entire issue of SweetNotes — call your Sales Engineer now to learn more about this outstanding suite of audio production tools!

> >> > Apple Logic Studio • Sweetwater price $499.00 • www.sweetwater.com/logicstudio

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Grand Finale!Make Music Finale has found favor with composers and arrangers for its straightforward approach to notation and stunningly realistic playback, freeing users to concentrate on composing music and not learning software. Every incarnation of Finale has bolstered its feature set, and Finale 2008 might be the most signifi cant update yet.

In Finale 2008, all the tools needed to quickly and easily notate your music are right at your fi ngertips, and you can instantly hear amazingly realistic playback thanks to the built-in Kontakt Player and instruments from the Garritan collection. New this time around is the ability to record audio straight into Finale, a fi rst for notation software. This is great for adding vocal passages to classical pieces or jazz numbers, or even importing a rock tune to add horns using the built-in compositional and playback tools. It also makes transcription a breeze, as you can reference the music you’re notating right in Finale.

Note entry can be handled in a variety of ways, from using a MIDI controller to the innovative MicNotator to scanning the score into the computer. Other new operational features offered in the latest version of Finale include the ability to export compositions as MP3, WAV, or AIFF fi les for burning to CD and the ability to import and export Music XML fi les.

Finale makes managing a score effortless. Features like Intelligent Linking ensure your score is always up to date. Change an individual part and Finale will automatically update the score. Additional compositional and arranging features in Finale include Band-in-a-Box Auto-Harmonize, which generates 6-part harmonies from your melodies with dozens of styles and voices to choose from. From a performance standpoint, you can have Finale create Smart Cues so performers never miss an entrance after a long multi-bar break.

Among composers, Finale is a crowd favorite. The ability to easily manipulate a score — not to mention the ease and multiple means with which notes can be entered — sets Finale apart from the pack. Plus, the ability to record audio straight into Finale is a huge step forward for notation software. These new features take Finale to an entirely new level! Contact your Sales Engineer now for more information.

> >> > MakeMusic Finale 2008 • Sweetwater price $499.97 • www.sweetwater.com/fi nale08

Hands On: BOSS RE-20 Space EchoBy Mitch Gallagher

Roland/BOSS COSM (Composite Object Sound Modeling) technology has been put to many uses — in digital recorders, guitar modelers, drum kits, synths, effects, and more. Now (in my opinion at least) COSM has been put to really cool use: BOSS has used COSM to faithfully recreate the venerable RE-201 Space Echo, and released it as the RE-20 Space Echo stomp box. What’s a Space Echo? It was a delay processor that hit the market in 1974 — back when manufacturers had to use analog tape to create delays instead of analog or digital circuits. The Space Echo became famous for its pleasing sound quality, including a slightly chorused repeat sound (due to variations in the tape movement) and characteristic tape compression and saturation. The original Space Echo also had built-in spring reverb that could be used simultaneously with the tape delay.

The RE-20 stomp box recreates all this and more, in a convenient dual-footswitch stomp box package with the benefi ts brought by modern digital technology. These advantages include clean, noise-free operation, and tap tempo, as well as expressive control using an optional footpedal.

The front panel has Treble and Bass knobs for setting the tone of the delay repeats, a Reverb Volume control, and Repeat Rate, Intensity (feedback), and Echo Volume controls. A Mode Selector knob chooses among twelve combinations of echo and reverb. The various modes duplicate the combinations of tape playback heads available on the original.

Around back, there are mono/stereo inputs and outputs, and a jack for connecting an expression pedal. The pedal can be assigned to control repeat rate, intensity, echo level, or “Twist” (more on this below).

The RE-20 can be set for “Normal mode,” where it has up to three seconds of delay, or “Long mode,” where it offers up to six seconds of delay time. If you hold down the Tap footswitch, the unit will go into self-oscillation (called the “Twist Effect”), yet the volume is controlled so nothing inadvertently explodes.

I used the RE-20 at rehearsals and live gigs as well as in my studio. In a word, it sounds authentic — there’s nothing “digital” or “sterile” about the sound of this stomp box. To get the most from it, and to really bring your rig to life, I highly recommend pairing it with a Roland EV-5 pedal, which is how I used it. I set the pedal to control the echo level so I could “work” the effect as I was playing, bringing in more delay for certain passages, and backing it off for other phrases. The RE-20 Space Echo is so much more expressive than a straight delay that sounds the same on every note! > >> > BOSS Space Echo RE-20 • Sweetwater price $249.97 • www.sweetwater.com/re20pedal

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> >> > Dave Smith Instruments Prophet ‘08 Special Edition • Sweetwater price $2499.97 • www.sweetwater.com/prophet08SE> >> > Dave Smith Instruments Prophet ‘08 • Sweetwater price $1999.97 • www.sweetwater.com/prophet08

PreSonus HP60

> > > > PreSonus HP60 • Sweetwater price $299.97 • www.sweetwater.com/hp60

— continued from page 1

A glance at the compiled list of Prophet users will reveal a wide range of artists ranging from former Beatles to Steely Dan to Peter Gabriel to Carly Simon — the list literally goes on and on. If they’ve been musically relevant in the last 30 years, they’ve used a Prophet-5.

Over 7,000 Prophet-5s were made — a decent number, considering they retailed for nearly $5000 in 1978 — and the Prophet-5 is still heavily used today. It took synth pio-neer Dave Smith nine months to bring the Prophet-5 to the masses, including designing the electronics, generating fi rmware for the microprocessor, laying out the circuit boards, and developing the unique wood and metal enclosure. It was time well-spent for sure, as the Prophet-5 forever changed the landscape of modern music.

Now, some 30 years after he set the music world on its ear, Dave Smith is primed to do it again with the Prophet ‘08. Quite simply, the Prophet ‘08 continues the evolution of a classic analog synth. It brings you all that tasty, rich analog tone with some new wrinkles thrown in for even more functionality and creative sound-shaping capabilities. Sporting a 5-octave keyboard, it has killer looks, with a black chassis, wood end caps, white graphics, and slim black knobs with silver caps. The pitch and mod wheels are black, and are mounted on the panel.

This analog wonder boasts eight voices of polyphony and a 100% analog signal path. Users of the original Prophet will certainly be in familiar sonic territory, but that’s no reason to think of the Prophet ‘08 as a revamped reissue. Important features like velocity and aftertouch are now in the arsenal, as well as an arpeggiator, split and layer capabilities, and a gated step sequencer. Classic Curtis analog low-pass fi lters are incorporated per voice, and analog VCAs and two digitally controlled analog oscillators (DCOs) per voice with selectable sawtooth, triangle, saw/triangle mix, and pulse waves (with pulse-width modulation), four LFOs, and hard sync let you take synthesis further than the original Prophet could foresee. Even though there are very defi nite undercurrents of the original Prophet running through the ‘08, this new Prophet is, as Dave Smith says, a product of evolution not nostalgia, .

The Prophet ‘08 is available in two forms, the Prophet ‘08 and the ‘08 Special Edition. Both are functionally identical, with the Special Edition adding red backlit wheels, ex-otic leopardwood side panels, and a Special Edition-designated overlay individually signed by Dave Smith. The SE also comes with the Dave Smith Instrumental Innovator DVD, and a free copy of the Prophet ‘08 editor for Mac and PC.

Needless to say analog enthusiasts will be chomping at the bit to get their hands on these new analog treasures. With the legacy of the original Prophet plus the latest in-novations, the Prophet ‘08 is a sure-fi re hit.

PreSonus excels at creating devices that solve problems. Whether it’s an affordable and expandable audio interface or a utilitarian device like the new HP60 headphone amp, they consistently make you say, “Why didn’t anyone think of that before?” We’re going to run through the fi ner points of the HP60, a device that’s sure to fi nd its way into countless studio and live situations.

The HP60 6-channel headphone amplifi er is designed to solve the age-old problem that plagues nearly every recording studio — getting everyone a headphone mix that works for them without a ton of complex submixing and routing. Each channel allows mixing between three stereo signals, mix A, mix B, and the external input. A stereo output on each channel facilitates busing headphone mixes to additional headphone amps or monitoring systems. An XLR input allows for talkback capabilities, and in live sound situations, the HP60 performs double-duty as an in-ear monitoring hub.

Setting up the HP60 is quick and easy, and typically involves sending the main control room mix to input A, then sending the click track to input B. Individual band member’s have direct control over how much of themselves they hear by feeding the mixer or recording interface’s direct output to each channel’s external input, allowing the individual to create their ideal mix, balancing between the main mix, the click track, and their own instrument or voice. This solves the “more me” scenario that’s driven engineers crazy since the dawn of personal monitoring in the studio. In a live sound setting, setup is even simpler, as the main mix can be sent to mix A, and the direct out to mix B. Blend the two and voila, instant perfect monitor mixes!

The HP60 is affordable, fl exible, and best of all, it’s a perfect fi t for virtually any professional or project studio. Live sound guys will fi nd it handy, too. The guys at PreSonus were way ahead of the curve on this one, and the HP60 is a home run.

Prophet ‘08 Special EditionProphet ‘08

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(800) 222-4700 | www.sweetwater.com

> >> > Roland HD-1 • Sweetwater price $799.97 • www.sweetwater.com/hd1> >> > Roland PM-01 • Sweetwater price $129.97 • www.sweetwater.com/pm01> >> > Roland DAP-1 • Sweetwater price $99.97 • www.sweetwater.com/DAP1Roland

V-Drums Lite!Electronic drum kits are becoming more and more popular as their sound capabilities and “feel” continue to improve, but space considerations — not to mention prices — make some of these quality kits hard for many folks to justify. Fortunately, Roland has addressed both problems with the great-sounding, compact HD-1 V-Drums Lite kit.

This streamlined, incredibly easy-to-use kit is designed from the ground up to provide a natural, ergonomically friendly playing experience without taking up a lot of real estate. All of the HD-1’s components, from its two pedals up to the pads, cymbals, and control unit, are mounted on one stand for easy setup and a cool modern look. Roland has been making and improving V-Drums for years, and their experience shows in this kit.

The HD-1 kit includes a kick pedal, hi-hat pedal, snare pad, hi-hat pad, three tom pads, a crash cymbal pad, and a ride cymbal pad. This arrangement is ideal for everyone from beginners to accomplished players, and even professionals fi nd its compact design and ease of use great for practice situations. The intuitive control box lets you choose between 10 drum kits and 10 patterns, and it features a metronome, variations, a volume knob, and a tempo knob for easy adjustments. It’s even equipped with an external input, allowing you to plug in an MP3 or CD player and play along with your favorite songs!

Playing the HD-1 is an incredibly realistic, fun experience. The pads give you natural, expressive feel, while remaining quiet to the outside world. If you choose to take off the headphones and amplify your HD-1 kit, Roland offers the PM-01 amp (sold separately), which matches perfectly and ergonomically with the kit — the sound comes up to you from the bottom, letting you feel the thump of the kick and hear the snap of the snare come from where you would expect to hear the sound on an acoustic kit! Other great options include the DAP-1 accessory package, which includes a sturdy throne with a soft padded seat, stereo mini cable, ear buds, and drum sticks, and the TDM-1 V-Drums Mat, which is specially designed for V-Drums kits and provides skid-free, vibration-damping performance.

For coffeehouse gigs, studios, or practice, the HD-1 kit is a perfect fi t for any space. Call your Sales Engineer now!

Those of you who read my articles know I love it when synthesizers have more of everything to choose from. (I do not fear complexity!) But recently I was pleasantly surprised by the Roland SH-201 Analog Modeling Synthesizer. I was teaching a synthesis class at Sweetwater and needed to grab a keyboard out of the showroom to use as a MIDI controller, and I knew the SH-201 was extremely lightweight.

After loading the USB driver on my laptop I decided to try its editor/librarian software as well. Before class I did a quick soundcheck, hitting keys and turning knobs and, much to my surprise, I found myself having fun making patches the old-fashioned way: tweaking knobs until it sounded cool and hitting the store button.

I ended up using the SH-201 for the whole class and projected the software editor on to the wall for my examples. It was so easy to reach out and tweak the parameters while I was talking about them.

Afterward I spent some quality time with the SH-201 and ended up getting one for myself. Even though it’s a digital synthesizer I found myself transported back to the days when I played with knobs instead of numbers. And at the Sweetwater price of $595.95, I even felt comfortable letting my three pre-teen boys play with it. That’s when the fun really started. Although I’ve always been pretty cool about letting kids try my latest software instruments and keyboards, I always had to hang around to help them when they got stuck. But with the SH-201 I’d walk away and they’d excitedly bring me back after a few minutes to show me what they’d created. And the sounds were spectacular. So much so that I started doing some serious late-night programming myself. It seemed like every time I’d wonder, “Sure, but can it do…”, the answer would be “Yes, it can.”

So who might be interested in the Roland SH-201 Analog Modeling Synthesizer? DJs for sure! Its ability to process sounds via its live stereo inputs makes it a gas for adding your own personal spin to the mix. It’s the perfect synth for adding your own lead lines and sound effects to any song. It’s also ideal for performing keyboardists who want to add something exciting to their rig without much added expense or weight. It works as well for classic rock as it does for dance music, and even for experimental music.

The built-in arpeggiator, delay and reverb effects, plus dozens of real-time knobs make this a great performance tool that lets you have fun with synthesis. There’s even a D-Beam controller that sweeps almost any parameter simply by waving your hands in the air (like you just don’t care). Since the USB connection delivers both audio and MIDI to and from the SH-201, you can use it with your DAW software without any additional connections.

Isn’t it about time that you started having fun with synthesizers again?

SYNTHBy Daniel Fisher

TRICKS


SH-201

HD-1

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Customer Studio: Aspen Leaf Recording

Want to see your studio in SweetNotes? Email photos to Mitch Gallagher now! ([email protected])

If you’re roaming the high country and breathtaking mesas of western Colorado looking for a place to lay down quality tracks, a good bet is Aspen Leaf Recording studio in Grand Junction. Ken Dravis built this great facility from the ground up with tender loving care, and it shows.

Based around a Mac computer running MOTU Digital Performer 5, Aspen Leaf’s tracking room is the kind of digital and analog blend that makes engineers drool. Dravis points to his Midas Verona console. “I grew up working in analog,” he says, “and though I use digital, I still love the tactile feel of analog equipment.”

Two years ago, Dravis (who’s also a corporate pilot) drew up plans for his current facility. Sixteen months later, the labors of Dravis and good friends resulted in a professional facility, complete with high ceilings and fl oating fl oors and walls. But what motivated him to make such an effort? “My original goal was to have a comfortable place for myself and friends to work, with great sound,” he points out. Ken says the western Colorado area is full of talent, and there’s no shortage of business in the Grand Junction area, especially with the dearth of recording facilities in the region. “There’s a real variety of music here, and a lot of talent. There’s just no way of capturing it well without doing a lot of driving.” One huge highlight for the studio was a 4-day visit from Mac Audio Lab’s Michael Neal. “He was really an incredible help,” says Dravis.

Some of Dravis’ favorite studio tools include his Manley Variable-Mu (“Hands down my favorite piece of gear”), Universal Audio 6176 mic pre, and a mic locker full of premium goodies, including a Neumann TLM 103, Royer 121, and “my high-end vocal mic,” a Soundelux E251C. Dravis purchased these items, plus the majority of Aspen Leaf’s gear, from Sweetwater. He credits his Sales Engineer, David Hess, with helping him make good decisions. “I’ve been working with him since we were building the studio. David has a wealth of knowledge; he’s always willing to answer my questions. Once I called David

about a mic, and he didn’t simply try to sell it to me,” remembers Dravis. “We went over all the details, how it works with different preamps and so on.” The studio owner is also impressed with other Sweetwater departments: “Sweetwater does a great job with shipping, and when I have any service questions, I’m always able to get through and talk to someone who can help. It’s been a really positive experience.”

> >> > IK Multimedia AmpliTube Jimi Hendrix • Sweetwater price $199.97 • www.sweetwater.com/AmplitubeJH

Hands On: IK Multimedia AmpliTube Jimi HendrixBy Mitch Gallagher

Back in my college days, I did a project that straddled both my recording class and my electric guitar studies. The idea was to create a medley of Jimi Hendrix songs, and to record it complete with all instrumental parts. I programmed all the drum and bass parts on my Atari 1040ST, then learned the guitar rhythms and leads, and attempted to match the guitar tones as closely as I could using the gear I had available — a combo amp and various pedals — though the only thing I had that was actually used by Hendrix was a Fender Strat. The songs included “Purple Haze,” “All Along the Watchtower,” “Hey Joe,” “Little Wing,” “Foxey Lady,” and the “Star-Spangled Banner.” It was an incredible — and time-consuming — learning experience, both musically and technically, to attempt to duplicate the varied and complex sounds Jimi used to craft his music.

How much easier it would be to accomplish this today! Especially with the arrival of IK Multimedia’s AmpliTube Jimi Hendrix software. This new stand-alone and plug-in package uses modeling technology to re-create the gear — the stomp boxes, amplifi ers, and studio processors — Jimi used to make his amazing array of guitar tones. All you need to add is a guitar (preferably a ‘60s vintage-style Strat) and a bit of playing ability. You’ll be amazed at how close you can get to Jimi’s sounds, and by the attention to detail IK lavished on this product. AmpliTube Jimi Hendrix was actually a collaborative effort between IK and Authentic Hendrix (founded by Jimi’s father and sister).

More than 100 presets are arranged by album (Are You Experienced, Axis: Bold As Love, etc.), then by song (“Purple Haze,” “Crosstown Traffi c,” “Castles Made Of Sand,” and so on), then by part (various rhythm, fi ll, and solo tones). Using proprietary AmpliTube 2 DSM (Dynamic Saturation Modeling) technology, IK has modeled stomp boxes such as the Vox Wah, Univox Uni-Vibe, Arbiter Fuzz Face, Mosrite Fuzzrite, Roger Mayer Octavia, Maestro Fuzztone, and more. Other gear includes amps such as the Marshall 1959 JTM100, vintage Fender Bassman, Twin Reverb, and Dual-Showman, and a Silvertone combo, as well as seven different speaker cabinets from Marshall, Fender, and Silvertone. Five studio mics used by Hendrix were also modeled, including the Neumann U 87 and U 67, AKG C12, Shure SM57, and Beyer M160 ribbon, and studio effects processors including a rotary speaker, stereo reverb, tube compressor, and parametric EQ.

If you’re a Hendrix fan, just plug in and start playing through his riffs — IK has done a great job of nailing the sounds. But AmpliTube Jimi Hendrix is also great for creating your own sounds. There’s a ton of possibilities here, and models of an array of expensive and rare gear available for crafting unique and expressive tones. IK Multimedia’s AmpliTube Jimi Hendrix will run under Mac OS 10.4 or later and under Windows XP/Vista or later, and can operate stand-alone or as an Audio Units, VST, or RTAS plug-in.

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> > > > Chandler Limited Germanium Compressor • Sweetwater price $1450.00 • www.sweetwater.com/germaniumcomp

The August 2007 issue of The Music Trades magazine showed up on my desk the other day. (The Music Trades is a specialty “trade” magazine aimed at music retailers.) This particular issue is “The Top 200 Issue,” where they go through and rank music retailers by sales, employee productivity, location productivity, and more. They also look at industry growth for the nation and regionally, rank the states by music sales, and so on. It’s very informative, if you’re into trade data like that.

But what piqued my interest most were the charts, graphs, and data regarding industry growth — or in this year’s case, the lack thereof! If you randomly picked up this issue, you’d probably walk away feeling depressed. Headlines scream “Sluggish sales growth…” “The Rate Of Sales Growth Has Slowed…” “The pace of new store openings slows to a crawl…” and more. A sidebar lists the major stores that have closed, been acquired, or gone under in the last year.

More troubling for the industry are the individual stats for the last few quarters. Fretted instrument sales down 3.75%. Instrument amp sales down 4.4%. Recording equipment down 2.4%. Of course, some areas are up (such as school music sales, printed music, and accessories), and, of course, we are looking at a fairly short time frame.

But here’s the interesting part: Sweetwater isn’t suffering from any of those problems or concerns. Our company’s growth remains almost meteoric, year after year. Our fretted instrument and amplifi er sales — let alone our “specialty,” recording equipment sales — are rapidly rising. Our staff continues to grow, in a year when many industry companies have cut back on employees — by the end of this year, we’ll have passed the 300-employee mark!

When we go to trade shows, the manufacturers always ask, “What do you attribute your growth to?” My answer is simple: “Making our customers happy is our number one goal. Everything else is in service of that goal.” It’s not rocket science; it’s treating our customers the way we want to be treated. It’s making sure we have the right products, and that we can get them out the door quickly and effi ciently. It’s providing tech support and service better than that provided by the manufacturers themselves. It’s having knowledgeable and experienced staff that’s thoroughly trained, then

providing them constant on-going education.

There’s so much that goes on here behind the scenes to achieve that goal. For example, when we moved to our new warehouse a year ago, we managed to do it over a weekend — we didn’t miss a single day of shipping. This took a mammoth effort, and lots of extra work from the entire company. But we did it — the alternative would have been to disappoint customers, and that’s just something we won’t allow.

In the end, we know we owe our growth and success to you, our customers and supporters. I can’t express how grateful we are, and how important that fact is to us. Ensuring your satisfaction is the motivation behind everything we do. If you’re not satisfi ed, we’re not in business — it’s as simple as that! Thank you very much for your business and support.

Inside

Chuck Surack

Germanium CompressorChandler Limited has carved out a niche for themselves by revitalizing studio technologies of a bygone era, many of which are based on componenets made from germanium. These components can introduce a “dirty” musicality to signals passing through them, which is a large part of the success of Chandler’s Germanium line of pro audio tools. The latest addition of germanium-driven goodness is the Germanium Compressor — or Germ Comp, for short.

Before we get technical, let’s talk about what makes the Germ Comp so cool. The Germ Comp is virtually devoid of the “traditional” controls that have been used on compressors for decades. Sure, there’s a ratio knob, but it’s not a 2:1-3:1 kind of situation — it’s completely set by ear. You just turn the knob until it sounds right. The Comp Curve setting is handled the same way, using a series of germanium or silicon diodes, resistors, or diode combinations to control the compression curve. Certain settings have a subtle effect, while others yield a more aggressive sound.

Attack and release times are also meant to be dialed in by ear. There are labels dictating “Fast” and “Slow,” but Chandler intends these to be set by ear rather than by using exact attack and release values. This “by-ear” approach lets you set times from fast to very slow, allowing heavy compression without softening attack or losing punch. This is great for any type of program material from drums and bass to mix buses (with two Germ Comps linked together).

Like other Chandler Germanium boxes, the Germ Comp incorporates Germanium Drive and Feedback controls. These knobs interact to shape the gain structure and tone of the program material. Drive controls the input gain, while the Feedback control controls the harmonic content of the signal. Increasing the amount of Feedback instigates a rise in low frequencies and distortion, decreasing the amount of Feedback cleans up the sound and increases high-frequencies.

Other tone-shaping tools include a Mix knob that tailors the amount of compressed signal that gets blended with the dry signal. Sidechain controls the amount of low end that enters the compressor, useful on sources like kick and bass, but also works wonders on electric and acoustic guitars or entire mixes.

The variety of tonal possibilities available with the Germ Comp is quite impressive, and the return to the “turn it ‘til it sounds good” approach is refreshing in this age of presets. The Germanium Compressor is modestly priced considering it’s handwired right here in the U.S. It’s sure to be a welcome addition to any professional or project studio.

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Expert C E N T E R

> > > > TC Electronic Nova Delay • Sweetwater price $249.97 • www.sweetwater.com/nd1> > > > TC Electronic Nova Reverb • Sweetwater price $249.97 • www.sweetwater.com/nr1


The Sweetwater Difference — Experience it for yourself! Call, fax, or email us today!

The highly anticipated Zoom H2 compact digital recorder is now in stock and ready to ship, so we thought we’d go over a few of the most common technical questions new users have asked us.

Q: What kind of memory cards does the H2 use?

A: The Zoom H2 can use SD memory cards with capacities up to 2GB, and it can also use 4GB SDHC (high-capacity) memory cards.

Q: What types of audio fi le formats can the H2 record/create?

A: In stereo mode, the Zoom H2 records and plays 16- or 24-bit WAV fi les at sample rates up to 96kHz. In 4-channel mode, only 44.1kHz or 48kHz sample rates are supported. MP3 fi les can be used in stereo mode, recorded at 44.1kHz, played back at 44.1 or 48kHz, and can be used at the following bit rates: 48, 56, 64, 80, 96, 112, 128, 160, 192, 224, 256, and 320kbps.

Q: What are the power requirements for the H2?

A: The H2 can be powered with two AA batteries and has a menu specifi cation for use of alkaline or nickel-hydride batteries (see page 83 of the H2 user guide for more information on this). The H2 can also be powered by a 9-volt DC 300mA AC power adapter or via USB bus power when connected to a compatible computer.

Q: Do I need to do anything with a new SD card before I use it in a H2?

A: Yes. Before using an “off-the-shelf” SD (or SDHC) card, you must format the card inside the H2.

For more H2 questions and answers, check out the entire Sweetwater-exclusive H2 FAQ at www.sweetwater.com/h2tips/.

Hands On: TC Electronic Nova Pedals

By Mitch Gallagher

Remember the TC Electronic 2290 effects processor? The 2290 was a high-end rackmount digital delay with a variety of cool features that made it extremely attractive to tech-savvy (and well-heeled) guitarists. The 2290 was discontinued, but you still see it in the rigs of discerning players such as Robben Ford. Now the power of the 2290 returns! The new Nova series pedals, which include the NR-1 Nova Reverb and ND-1 Nova Delay, provide stellar audio quality in a convenient, easy-to-use stomp box format.

The two boxes are similar, with mono or stereo inputs and out-puts, two footswitches, fi ve buttons, and fi ve knobs. But appear-

ance aside, the two are quite different functionally, with the NR-1 covering the reverb portion of the 2290, and the ND-1 focusing on the delay side.

The NR-1 provides fi ve types of reverbs, each with several varia-tions: room (small, medium, large, tiled), spring (plain, classic, vintage), hall (small, medium, church, classic, concert), plate (tin, silver, gold), and “specials” (stomp, ambience, modulated). This array covers reverb sounds, from rich and dense to clear and bright. You can shape the ‘verb with decay, pre-delay, color, and mix controls. There’s also a “Dynamix” control that uses your playing dynamics to control the reverb level. You can set it so the reverb is attenuated when you play and comes up between

phrases. This keeps the reverb from “washing out” your playing, yet adds richness and ambience to the overall sound. Turning the knob to the left does the opposite; there’s more reverb while you’re playing, and less when you stop playing. You can operate in manual mode or you can store a setting as a preset and instantly recall it. In either mode, the reverb “spills over” and isn’t cut off when you hit bypass.

The ND-1 offers up to 2,290 milliseconds of delay (over two seconds) and has controls for delay, feedback, “color,” mod level, and mix level. The Color control ranges from “digital” to “analog” to “tape,” giving you a nice range of tonalities for the repeats. Since I’m a fan of analog delays, I found this control useful for dialing in a sound that sat comfortably behind the dry signal. The Mod control adds pitch modulation to the repeats. It’s not really “chorusing,” but instead adds nice variation to the delays.

There are six delay types: delay line (straight echo), dynamic (this works like the “Dynamix” control described above; the delays “duck” when the dry signal is playing, and come up between phrases), reverse (backward tape effect), ping-pong (alternating delays in stereo), pan (stereo panned delays), and slapback (short delays).

You can dial in the delay time using the Delay knob, tap it in using the footswitch, or use “Audio Tapping,” which reads the delay time from the audio input (a very cool feature). The delays can be subdivided by quarter notes, dotted eighth notes, eighth-note triplets, and dual delays (quarter + dotted eighth, quarter + eighth triplet, sixteenth + dotted eighth). Like the NR-1, the ND-1 can be set to “spill-over” so the repeats continue when changing modes or bypassing. Speaking of modes, the ND-1 can operate in manual mode, or you can store and recall up to nine presets. If you only use a few presets, you can limit the unit to three presets instead of nine.

Both of the Nova pedals sound fantastic — clean, clear, noise-free, and transparent, yet lush, warm, and rich. The utility of the Dynamix and dynamic delay features can’t be over-stated, and both units offer plenty of fl exibility for any style of music. I love TC’s Stereo Chorus Flanger pedal, and I foresee both of the Nova pedals joining the SCF on my pedalboard. Highly recommended!

H2

NR-1 Nova Reverb

ND-1 Nova Delay

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Hands On: Universal Audio DCS

> >> > Universal Audio DCS Remote Preamp • Sweetwater price $999.97 • www.sweetwater.com/dcsremotepre

By Mitch Gallagher

Computer-based digital audio workstations (DAWs) are good at a lot of things. But one area many can use help with is interacting with the real world. Some audio interfaces have headphone connects, mic preamps, and so on, but if your interface is limited, you may fi nd yourself wanting more.

“More” is exactly what the Universal Audio DCS (Desktop Console System) Remote Preamp provides. In fact, UA refers to the DCS line (which will include other models in the future) as “DAW ‘expansion and enhancement’” products. The DCS series was created by UA in partnership with original Euphonix founders, and is designed to provide much of the functionality of a high-end console to DAW users. Before we begin, note that the Remote Preamp isn’t an audio interface for your computer. You’ll still need your DAW software and some way to get audio in and out of your computer.

The Remote Preamp has you covered on the front end for tracking. It has two “transimpedance” mic preamps/DIs for mono, stereo, or mid/side recording, fl exible cue monitoring with reverb and EQ, and mechanical backlit VU meters and peak LEDs. The unit feels solidly built in its metal chassis, and all the knobs and switches have a fi rm, reassuring feel.

The Remote Preamp has a 2-piece remote design that allows the control surface and electronics to be up to 300 feet apart, connected by a thin Ethernet cable. This means you can place the preamp unit by the mics and keep the remote surface in the control room, or, if you’re working alone, keep the remote right beside you. No audio runs through the Ethernet cable; all the preamp and audio circuitry is in the preamp unit.

The preamps specs are exemplary: bandwidth from 4Hz to 150kHz, -130dB noise, etc. — and happily the sound refl ects those specs. Preamp features include phase reverse, gain, 48v phantom power, and 30, 70, or 100Hz low cut. There’s also a Gain Trim control that matches the preamps output to the input of your DAW’s audio interface.

On the cue side, the Remote Preamp can mix four stereo inputs (preamp channel A, preamp channel B, “C” cue input, and a Cue In connection. There are level knobs for the A, B, and C signals, as well as a Cue Volume control that affects both the headphones out and a separate stereo Speaker Out. The cue mix has separately selectable low (85Hz) and high (14kHz) EQ with boost/cut for each band, and there’s built-in reverb that can be applied to the preamp channel A and B channels. There are nine reverb types: three studio rooms, two concert halls, three plates, and a studio room with chorus.

This setup allows you to track two mono sources or in stereo through the Remote Preamp while listening on headphones; you can adjust the balance of your DAW backing tracks and the two preamp channels, and add reverb independently to the two preamp channels. It’s all easy to use, and having the compact remote unit allows you to have all your cue mixing right by your side, whether you’re recording yourself or other musicians — you can even give the remote to the musician and allow him or her to set their own monitor mix up.

The sound of the Remote Preamp is clean and round. The DI inputs sound warm, not thin and sterile. I particularly liked it on my Les Paul Standard, where it was beefy and full, with nice top end. The mic preamps are transparent, again without being thin and sterile. There’s life to the preamp tone, but not a lot of coloration. The low-cut fi lter works well for controlling the bottom end, and the option to record M/S stereo adds fl exibility.

Overall, the DCS Remote Preamp is well thought-out and well implemented. Given all that it can do, it’s remarkably easy to use, and the advantages of the separate remote control surface and preamp unit are huge. Whether you work alone or with other musicians, the Remote Preamp contains everything you need for fast and easy tracking sessions. Defi nitely a winner!

Amplifi er and effects modeling has become a great option for guitarists looking to expand their tonal palette — without draining their resources on a room full of amps and stompboxes. Line 6 has been at the forefront of guitar and effects modeling for years now, and they continue to set the pace with great products such as the compact, affordable, and incredible-sounding TonePort GX interface.

Packed full of amp, cabinet, and effect models from Line 6’s hugely successful POD line, the TonePort GX offers guitarists and bass players a great recording interface that avoids a big problem common to computer-based recording: latency. TonePort GX solves the problem using ToneDirect Monitoring. This technology lets you hear exactly what you’re playing, while you play it. This interface gives you great sound, too, with 24-bit/96kHz resolution and an over 100dB signal-to-noise ratio. The included GearBox software gives you 23 guitar and bass amp models, 29 guitar and bass cabinet models, plus six great vocal mic preamp sounds. Want effects? How about 30 different models, including distortion, reverb, modulation, wah, delay, and more? It’s all possible from this low-profi le unit, which costs about the same as one stompbox! You can play along with CDs and MP3s, and there’s even half-speed playback for learning licks without changing the pitch.

The TonePort GX is much more than just an interface — it’s an incredible recording, playing, and training tool.

Huge Guitar from a Small Footprint!

> > > > Line 6 TonePort GX • Sweetwater price $69.99 • www.sweetwater.com/toneportgx

TonePort GX

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> >> > Yamaha n12 • Sweetwater price $1499.99 • www.sweetwater.com/n12> >> > Yamaha n8 • Sweetwater price $999.99 • www.sweetwater.com/n8

Yamaha’s Incredible New Digital Mixers/InterfacesAre they digital mixers? Yes! Are they fully featured DAW interfaces? Yes! Yamaha’s n12 and n8 give you the best of both worlds with an incredible range of mixer functions, effects, and features. Both are also fully integrated with included Steinberg Cubase AI4 (Advanced Integration 4) software to give you the feel of analog consoles with the control and fl exibility of a complete digital audio workstation.

At fi rst glance, the n12 looks like a compact, feature-packed mixer, complete with 11 smooth 100mm faders, eight great-sounding Class A mic pres with phantom power, a 12-channel, 2-bus layout, and eight XLR/TRS jacks with inserts. Channel 8 is also switchable to accommodate a high-Z input. Being a digital mixer, the n12 offers a high-resolution digital reverb, Sweet Spot morphing compression on every XLR input, and a very effective EQ section. Upon closer inspection, however, you fi nd that this is no one-trick pony. You get a full transport layout that lets you operate the Cubase AI4 software console-style, plus full control room functionality: you can route independent headphone mixes, take advantage of talkback capability (with a built-in microphone), and select monitor speaker destinations and control for up to complete 5.1 surround! Functionality like this usually comes with a much taller price tag — the n12 is an incredible value. An even more affordable option, the n8, gives you the 24-bit/96kHz digital clarity and features of the n12 in a more compact 8-channel confi guration.

The included Cubase AI4 production software is based on Steinberg’s hugely popular Cubase 4. This version is designed to integrate completely with the n12 and n8 units, so you get complete control over the application without having to resort to the keyboard/mouse routine to manipulate your tracks and mixes. FireWire connectivity brings the software and hardware together seamlessly and reliably, giving you up to 48 simultaneous audio tracks and 64 MIDI tracks to work with. Plus, Cubase AI4 includes VST effects and soft synth plug-ins for great tracks, right out of the box!

Even the biggest studios have “gone digital,” and they’re taking advantage of the newest and most effective interfaces to bring the tactile, intuitive “feel” of analog back to their tracks. No matter what your setup, the Yamaha n12 and n8 offer a great way to put incredible high-resolution tracks at your fi ngertips!

n12

Nearly everyone who works at Sweetwater has some sort of professional engineering experience, be it live or studio. We understand the needs of working engineers, and are constantly on the lookout for pieces of gear that fi ll many needs and are cost-effective. With that in mind, we’re pleased to announce we’re now carrying Heil dynamic mics for those very reasons — they’re affordable and man, are they versatile.

First up in the Heil line are the PR 30 and PR 40, a pair of large-diaphragm mics that draw immediate parallels to other broadcast standard mics that have found happy homes in studios. Both mics are end-address supercardioids and boast some of the largest diaphragms you’re likely to fi nd in a dynamic mic at 1.5" and 1.125" respectively. Next up, we’ve got the PR 20, a handheld dynamic mic aimed at live vocals and snare drums, that also sports a 1.125" diaphragm. We could go in-depth with the specs of these three dynamic mics, but since Heil was nice enough to send us loaners while we waited for our fi rst shipment, we thought we’d tell you how they sounded instead.

Heil says the PR 30 has a “ribbon-like response,” which is a tall claim for a dynamic mic — but it’s a claim that the PR 30 faithfully supports. In trials on everything from acoustic guitars to vocals to electric guitar to drum overheads, the PR 30 shined. Even a bass guitar fed through a Big Muff was easily handled, with the resulting sound being thick and articulate. The PR 30 truly did live up to the claims, providing very natural response for every sound source we put in front of it. The PR 40 performed equally well, making light work of kick and bass tracks, as well as acting as a top-notch vocal mic.

The PR 20 — while we didn’t get a chance to try it on live vocals — was quite good on snare drum, offering a full-bodied sound with plenty of snap. In preparation for a recent Classic Rock guitar tone video we did for Sweetwater’s website, we used the PR 20 on a Vox AC 30. The PR 20 performed every bit as well as the “traditional” guitar cabinet dynamic mic, with a great blend of clarity and warmth.

The Heil mics exceeded our expectations in virtually every task put before them, and when you consider the price of the trio, you can’t go wrong with any of them. Welcome, Heil, we’re happy to have you as part of the family! > > > > Heil PR 40 • Sweetwater price $325.00 • www.sweetwater.com/pr40mic

> > > > Heil PR 30 • Sweetwater price $250.00 • www.sweetwater.com/pr30> > > > Heil PR 20 • Sweetwater price $150.00 • www.sweetwater.com/pr20

Sweetwater Welcomes Heil Mics

n8

PR 30

PR 40

PR 20

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Inside the

Jeff Radke


David Stewart

years ago. He has BS in Biology from Cornell University but quickly found his real passion was in music. David worked at a major retailer in New York and ran his own studio as well. He’s still involved in playing and writing music and engineers album projects for a select group of clients and friends. David has a ridiculous collection of vintage gear (he teaches the vintage class at Sweetwater University). David is a consummate musician as well — a guitarist who also plays Chapman Stick, bouzouki, banduria, mandolin, charango, sheng, ti, xaphoon, and even bamboo fl ute.

Since we’re focusing on Sales Management I should add a few words about my background. I have a dual Bachelor’s degree in Recording Technology (when I was going to school we were using a 1" Ampex AG-440 8-track recorder) and Music Business. Following a studio

internship, I worked at one of the largest retailers in Los Angles, where I managed the pro audio department. I then spent nearly 10 years with AKG Acoustics, Inc. (It was in this capacity I fi rst called on Sweetwater back in the late ‘80s when Chuck was still running the business out of his home) where I eventually served as the Director of Sales for the United States and Mexico before moving my family to Fort Wayne and signing on with Sweetwater 11 years ago. Being from Wisconsin, I’m a heavy-duty Packer fan. These days I’m using my home studio to write music for my oldest daughter’s gymnastics fl oor routine and making music with my family.

I hope these small insights into the Sales Management team will give you even further confi dence that you are in good hands with Sweetwater. Troy and the two Davids are quality people who truly care

about the folks they work with and our customers. They’re long-term industry pros who have spent the majority of their lives playing, recording, and helping others to enjoy making music…and that’s what it’s all about here at Sweetwater.

Rock and Roll!

In recent articles, I’ve interviewed the key managers here at Sweetwater, including Service, Shipping, Marketing, Purchasing, and Studio. In this issue I’d like introduce our Sales Management team.

Our Sales Managers are actively involved in music and have played or play professionally, and all of them have pretty serious home studios. While they certainly have excellent management skills, they’re much more than business school hotshots. These guys understand the products we carry, have a genuine passion for our industry and the process of making music, and extremely high standards of customer service. They walk the walk and are all highly experienced industry professionals.

I’ll start with the guy who’s been here the longest at 15 years, David Stewart. David has a degree in Electronics from the University of Louisville and has owned a 2-room professional studio in Louisville since 1987. He started his tenure at Sweetwater as a Sales Engineer, and has also served as our Service Manager and Director of Marketing before moving back into the Sales Department. An extremely technical guy, David was one of the driving forces behind inSync and has written hundreds of the articles (see www.sweetwater.com/insync/). He has extensive experience in live sound both on-stage (he plays bass) and behind the console.

Troy Hartman has been at Sweetwater for over 13 years and has a BS in Business Administration and an Electronics Certifi cate (equivalent to an Associate’s Degree). He started out heading up Tech Support in our Service Department. From there, he became our Director of Purchasing and helped us take big steps in growth as a company. Troy moved into his current role as Sales Manager over six years ago. He’s a keyboard player and picked up bass guitar a few years ago. Troy plays in his church’s worship band and is active in the Big Brothers Big Sisters of America.

David Klausner is the latest addition to our management team and came to Sweetwater as a Sales Engineer over nine


Troy Hartman

David Klausner

In acoustic guitar news, Taylor was showing their new T5-LTD and GS4E-LTD limited edition models, as well as a new koa series of acoustics. Martin had a long list of new models for us to check out, such as the new Stephen Stills model. Brazilian rosewood has become extremely scarce, so the company is also making a new model from “reclaimed” Brazilian rosewood. It’s an eco-friendly way to get a top-quality instrument using this very rare wood.

Tech-savvy guitarists were blown away in the Roland booth, fi rst by the introduction of the BOSS RE-20 Space Echo pedal, which uses COSM modeling technology to recreate the vintage tape-based RE-201 Space Echo. (Check

out my Hands On profi le of the RE-20 on page 4.) But the real “wows” came from the Roland/BOSS display of the VG-99 system. This modeling system has to be

seen (and heard) to be believed. It’s capable of generating nearly any tone you can imagine. Bit of trivia: Did you know the VG-99 has roughly 4,000

parameters? That should keep programmers busy for quite some time!

Roland also showed the Cube Street, an amazingly loud little

RolandVG-99



TaylorGS4E-LTD

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Hands On: Røde M3By Mitch Gallagher

For many years, the rule of thumb many engineers lived by was to use mainly dynamic mics onstage and condensers and ribbons in the studio. Today, mic manufacturers have succeeded in blurring the lines. It’s not unusual to see a “studio” condenser being used onstage and, of course, dynamics are common in the studio. There has also been the appearance of mics that are aimed at both applications. The latest of these is the RØde M3, an amazingly affordable electret condenser microphone with a cardioid polar pattern. The M3 is designed to be equally happy in front of a vocalist or guitar amp onstage or performing similar duties in the recording studio. I received a pair of M3 mics for this Hands On profi le.

The M3 comes packed in a carry case with a foam windscreen and a mic mount. The microphone can operate off of a single 9-volt battery or via phantom power. It’s rated for greater than 200 hours of battery life — that’s over 50 four-hour gigs, assuming you never switch it off on breaks! (RØde says they have used the M3 in excess of 300 hours with a high-quality alkaline battery.) The M3 carries a full 10-year guarantee — so you can bet RØde built it to last. The mic is constructed of heavy metal, and has a rugged metal grille over the end-address capsule. There is a battery status LED indicator, and a single 3-position switch. With the switch all the way down, the mic is muted and the battery is off. The second position turns the mic on with the high-pass fi lter disengaged (fl at). All the way up activates the 80Hz high-pass fi lter for removing rumble and thumps that might affect the signal. There’s also a second switch located inside the body of the mic that turns on a 10 or 20dB pad.

The M3 is a full, beefy sounding mic that added body to vocals and electric guitars. It has strong proximity effect, which can be used to your advantage for further fattening the miked signal. With its 121dB dynamic range and 142dB maximum SPL (sound pressure level) handling, it has no trouble remaining distortion-free, even with loud, intense sources.

At its list price of $299 (Sweetwater price under $200), the M3 is an outstanding value. It offers good performance in a wide variety of applications, from stage to studio. I had good results using one for vocals, and a pair to record instruments in stereo. This is a versatile mic that will fi ll many roles for live and recording applications.

> >> > Røde M3 • Sweetwater price $199.97 • www.sweetwater.com/m3rode

> >> > Native Instruments Komplete 5 • Sweetwater price $999.97 • www.sweetwater.com/komplete5> >> > Native Instruments Kontakt 3 • Sweetwater price $399.97 • www.sweetwater.com/kontakt3> >> > Native Instruments Guitar Rig 3 • Sweetwater price $499.97 • www.sweetwater.com/GuitarRig3

Komplete Your Studio!Native Instruments Komplete is one of the most powerful collections of software instruments available today. Whether you need vintage keyboard and synth sounds, acoustic pianos, Hammond organs, drums, outrageous electronic sounds, or samples and loops, there’s a virtual instrument in Komplete that will cover you.

Now Native Instruments has updated the package to Komplete 5 — and at the same time brought out the Kontakt 3 sampler and Guitar Rig 3 amp/effects modeling processor. Komplete 5 includes 11 powerful virtual instruments:

Kontakt 3 The latest version of NI’s fl agship sampler adds many new features.Reaktor 5 Powerful virtual instrument that allows you to design your own synths and instruments.Massive Aptly named synth that creates huge tones.Guitar Rig 3 The new version of the cutting-edge guitar amp/cabinet/effects processor.Battery 3 Super-fl exible and highly programmable virtual drum module.

Absynth 4 Out-of-this-world synthetic textures, leads, basses, and effects.FM8 Next-generation FM synthesis taken to a new level.Akoustik Piano Hyper-realistic acoustic piano sounds for any style of music.B4 II Vintage Hammond B3 organ for your DAW.Elektrik Piano Completely authentic-sounding vintage electric pianos.Pro-53 Legendary analog synthesis from a digital virtual synth.

But Native Instruments doesn’t stop there. Komplete 5 also includes more than 7,500 sounds and has a 60GB sample library. We’re not exaggerating when we say that there are almost no limits to the sounds you can create using Komplete 5. Whether you want traditional acoustic sounds or are looking for something never before heard by human ears, this suite of virtual instruments can do it for you. Plus, Komplete 5 is almost universally compatible with Mac and PC audio/MIDI software.

Two other bundles have also been announced by Native Instruments: Komplete Synths (Absynth 4, Massive, FM8, and Pro-53) and Komplete Classics (Akoustik Piano, Elektrik Piano, B4 II, and Pro-53).

In addition, Kontakt 3 and Guitar Rig 3 are also available separately. Kontakt 3 sports a new library and 1,000 instrument presets, interface improvements and simplifi cations, new effects, a new wave/sample editor, an expanded Mapping Editor, expanded modulation possibilities, and much more.

Guitar Rig 3 is available both with and without the hardware foot controller. (By the way, the Rig Kontrol 3 hardware controller/interface has also been improved and updated!) New features include four new amp models, cabinets that match the original amps, six new effects (Tape Echo, Delay Man, Sledge Hammer, Real Wah, Custom EQ, and Ring Modulator). A simpler layout and optimized toolbar, as well as easier controller assignment, allow you to get around in Guitar Rig 3 much quicker, meaning you can spend more time actually making music and less time programming.

There’s so much more to tell you about Komplete 5, Guitar Rig 3, Kontakt 3, and other new products from Native Instruments. Call us now for komplete information!

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Create Live with Korg’s Great new Mixers!Now more than ever, creative DJs, live performance artists, and remixers take advantage of technology to bring analog and digital audio sources together.

The results can be truly breathtaking, a cutting-edge feast of sounds and effects pushing boundaries to actually make the future of sound instead of simply being swept into it. Korg’s incredible new Zero Live Control Mixers let you realize your potential by combining the functionality of a live digital mixer with a FireWire audio interface, effects processor, and MIDI controller — all in incredibly practical and compact units made for performance and on-the-fl y control.

The Zero8 gives you eight fl exible inputs, capable of accepting everything from microphones and instruments to CD players, turntables,

and MIDI instruments. This fl exible setup gives you a massive amount of control over several sources for amazing live options. As you’d expect from a mixer, the Zero8 sports an EQ section. However, the 11 different simulation types built into this unit take you far beyond mere knob-twiddling. You can veer from corrective EQ to radical sound-shaping, and the settings are even independently switchable for each channel. A host of high-quality effects is also onboard, both as insert effects for each individual channel and a master effect connected to the sampler/effect bus. A loop sampler is included, allowing you to synchronize to the BPM and perform in time with whatever tempo you’re using; it’s a handy tool for sampling and playing back loops, and the real-time control is critical for performances. The Zero4 is a more compact version of the Zero8, with four input channels — ideal for cramped booths and highly mobile setups.

Dedicated Zero Edit software included with the Zero8 and Zero 4 mixers lets you easily apply MIDI parameters to all the control surfaces — the knobs, toggles, buttons, and faders can be assigned for maximum control of instruments and applications. What’s more, since each channel is individually assignable, you can actually use your Zero unit as a control surface while simultaneously mixing audio from your computer!

Korg also made sure the Zero mixers could stand up to the kind of live environments they thrive in; sturdy aluminum and steel chassis construction and high-quality knobs and sliders give you service for the long haul, so you can perform with confi dence night after night. Zero mixers give you an all-in-one practical and creative tool to take your performances to a whole new level!

> > > > Korg Zero8 • Sweetwater price $1899.97 • www.sweetwater.com/zero8> > > > Korg Zero4 • Sweetwater price $1299.97 • www.sweetwater.com/zero4

By Jim Miller

This issue we’re going to look at a piece of equipment that plays an important role in creating your guitar tone: the amplifi er!

As you might imagine there’s an amp in every price range, and even modestly priced units sound surprisingly good. The heftiest price tags are generally reserved for vintage reissues and so-called “boutique” amps. Narrowing down the selection to the right amp for your personal needs usually begins with two questions: What’s your budget and how do you want to sound? The fi rst question needs no explanation and the second can be equally obvious — many people choose their amp like they choose their guitar: They buy the same one their hero plays. Others have a specifi c sound in mind, and look for an amp that will create that sound in conjunction with their particular guitar. One other consideration is how you plan to use the amp — on stage or in the recording studio? If you’re going to play live, you don’t want to fi nd yourself with an underpowered amp when appearing in larger venues.

When the fi rst solid-state amplifi ers appeared, they were plenty loud, but sounded terrible if you pushed them too hard. The distortion they produced was nothing like what

you got from a tube amp. But over the decades, many improvements have been made and today a solid-state amplifi er is capable of a wide range of great sounds, particularly when combined with the latest in digital modeling technology. These amps will be lighter on a per-watt basis, not to mention far more economical. Tubes, of course, are traditional in guitar amps, and remain a great choice for just about any style or sound.

Combos (amps with the electronics in the same cabinet as the speaker) with open backs tend to have a bit less focus to them, but that’s not necessarily a bad thing. A closed cabinet offers tighter bass response, plus the sound is all projected from the front. This might not seem like a big deal, but when you suddenly fi nd yourself in a larger space, you don’t want to lose part of your sound out the back. Then again, if an open-back combo delivers the sound you want, you can always choose to put a

mic in front to send to the PA system.

Sweetwater carries guitar amps from over 20 of the best names in the industry. You might want to check out our online Guitar Amp Buyers Guide at http://www.sweetwater.com/shop/guitars/guitar-amps/buying-guide.php or talk to your friendly, knowledgeable Sales Engineer about all the models we stock.

GUITAR 101: Choosing an Amp

Combo amps from companies including Peavey, Randall, and VOX are small and portable.

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If you’re like me, you have limited time in your home studio. After all, my studio isn’t a full-time gig — I have a great job here at Sweetwater! Plus I write books and magazine articles, play guitar, have a wife I want to spend time with, and sometimes even like to kick back and watch a movie or read a book. Somewhere in all that I get into the studio to work on music as much as I can.

Sound familiar? If your studio time is as precious as mine, then it’s worth it to take some steps to make sure the time you do have is as well-spent as possible. The biggest thing you can do to make every studio minute count is to be prepared — if you have limited time, spend as much of it making music as possible and as little as you can getting things ready to make music.

Here’s the strategy I took for improving how effective my studio minutes are. The last time I had a session (vocal and guitar overdubs for a track by Sweetwater Marketing Director Mike Ross), I took note of when the fl ow was interrupted during the session, and what things allowed us to move quickly from task to task. I have my DAW set up for pretty quick operation and I know my way around it well. So aside from occasionally having to briefl y stop to create another track, things were pretty smooth there.

Instead the interruptions were “mechanical” in nature. Digging out a mic stand to put the mic on — then digging out the mics I wanted to try. Finding mic cables. Rumaging around behind the rack to plug the mics into various preamps. Setting up a headphone amp. Digging out a set of headphones. Finding a short mic stand to

place in front of the amp and a second mic cable for a direct feed from the amp.

As you can see, these are all pretty common tasks for any tracking session. By addressing them, I can save a bunch of time, and, more importantly, save the fl ow of the session. Here are some of the ideas I came up for streamlining things:

• An XLR patch panel with feeds to the mic preamps, so the mics can be plugged into the front of the rack, rather than fi ghting to get at them from behind.

• Storing the mic stands in a more convenient place.

• Making sure the cables I need are right at hand. I have boxes of cables, but regularly use a couple of mic cables, a couple of quarter-inch cables, and a headphone extension cable. By placing these conveniently — and making sure they’re stored so they unroll cleanly — I’ve saved a lot of digging around.

• Keeping the headphone amp wired up and ready to go.

• Likewise, keeping the tracking ‘phones ready and waiting.

None of these are “brilliant” ideas. But as much time as I’ve spent working in studios, I still hadn’t gotten around to doing them in my home room. With these silly little changes, I’ve saved a surprising amount of time, and more important, I’ve made life in the studio much easier and more productive. Now I make music instead of spending time fi nding and setting up the gear I want to use.

By Mitch Gallagher

Studio Notebook: Take It Easy


DigitechVL-4

5-watt amp that can get 20 hours of run-time out of AA batteries. The HD-1 compact V-Drums kit was also on display (see page 6). I predict that tons of these are going to end up in space-challenged studios, and in the rigs of drummers who want a compact solution for small stages and fast set-up/tear-down.

Speaking of technology, TC Electronic defi nitely won the coveted “Company With The Most New Tech Toys” award at Summer NAMM. Not only were they displaying the new Nova reverb and delay pedals (see my Hands On profi le on page 9), but they were showing the new VoiceTone pedals, which are aimed at vocalists. The VoiceTone Correct is a pitch-correction pedal, while the VoiceTone Create pedal is aimed at “vocal production.” In the demo I saw, the vocalist used the two pedals to create studio-quality vocal sounds right on stage. Impressive!

Notion’s new Progression software is a tablature and music notation software program specifi cally designed to be easy to use for guitar players. It can host VST plug-ins, which makes it very easy to mock up a score using virtual instruments to hear what it will sound like.

On the processor front, Digitech was showing the new VL-2 and VL-4 vocal harmony processors, as well as the amazing GSP1101, a powerful rackmount modeling guitar processor that offers authentic tones in a dead-simple-to-operate package. It even includes a “wizard” feature for fast and easy integration into any size rig.

The offi cial announcement was made recently that this was the fi nal year for the Summer NAMM show in Austin. Next year the show returns to its long-time home in Nashville, Tennessee. While we’re happy to head back to Music City, we’ll defi nitely miss the hospitality of Austin — and the outstanding food and music we enjoyed there!

Be sure to watch the next issue of SweetNotes for our annual AES (Audio Engineering Society) tradeshow and convention report. In the meantime, visit www.sweetwater.com/publications to see the complete Sweetwater Summer NAMM 2007 Report.

RolandHD-1

TC ElectronicVoiceTone

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®

Change Service Requested

All contents © 2004 Sweetwater, Inc.Apogee Duet ............................. 1Dave Smith Prophet ‘08 ..............1,5Summer NAMM ................2, 12, 15Apple Logic Studio ...................... 3Sibelius 5 ................................ 3Make Music Finale ‘08 ................ 4Hands On: BOSS RE-20 Space Echo ... 4PreSonus HP60 .......................... 5Synth Tricks .............................. 6Roland HD-1 ............................. 6Hands On: AmpliTube Jimi Hendrix ... 7Customer Studio ........................ 7Inside Sweetwater ........................ 8Chandler Germanium Compressor ..... 8

Hands On: TC Nova Delay & Reverb ... 9Expert Center ............................ 9Hands On: Universal Audio DCS .......10Line 6 Toneport GX ....................10Yamaha n8 & n12 ......................11Heil PR 20, PR 30, & PR 40 ..........11Inside the Sweetwater Difference ...12Native Instruments Komplete 5.. ....13Hands On: Røde M3 .....................13Guitar 101.. .............................14Korg Zero8 & Zero4.. ..................14Studio Notebook.. .....................15

INSIDE THIS ISSUE

MeetGregBaitzDescribe your job: My job is multifaceted, but most of it centers around administrating our training program here at Sweetwater. This involves scheduling classes, teaching some classes, creating and grading quizzes and exams, and generally making sure everything runs smoothly. Outside of our initial 13-week training program known as Sweetwater University, I also interface with manufacturers for continuing education, which can include morning meetings, day training sessions, and possibly evening or weekend training events for the entire sales staff.Favorite hobby: I enjoy woodworking and fi shing when I get the chance.Motto: “Success is what you make it.”What makes working at Sweetwater fun for you? The constant challenge and the people that work here.Favorite movie you’ve seen recently: Casino Royale with Daniel Craig as James Bond.Guilty pleasure of choice: I like White Castle cheeseburgers.Place you’d most like to visit on your next vacation: I’d like to visit Germany since my ancestors are from there.What is the most important thing you’ve learned at Sweetwater? That you never stop learning.Favorite magazine: Popular Mechanics

Real-life Hero: My dad.How would your boss describe you? Hopefully as someone who is a hard worker, responsible, organized, reliable, self-motivated, and detail-oriented.

Name: Greg BaitzTitle: Technical Training CoordinatorYears at Sweetwater: 12 years. I started on May 10, 1995.Instruments I play: Trombone and a little piano/keyboards.What were you doing before you joined the

Sweetwater Team? I was a student at Ball State University prior to working at Sweetwater. While attending college, I also worked at the university in an administrative role.What in your life best prepared you for the work you do at Sweetwater and why? Growing up and working on the family farm taught me to be hard working, self-motivated, and reliable. I’ve learned something from each job and educational experience I’ve had that has guided me to where I am today.What did you dream about doing for a living when you were growing up? When I was younger, I wanted to farm like my dad, but when I learned about the different aspects of farming that he had to deal with beyond the manual labor, I realized I needed to do something else. I mainly wanted to fi nd a career that I enjoyed and I was hoping that it would involve math, music, and science. Luckily, I was able to do just that.

©2007 Sweetwater Sound, Inc. All rights reserved. All trademarks are property of their respective owners.

5501 US Hwy 30 W, Fort Wayne, IN 46818 (800) 222-4700 • sweetwater.com

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Documents

Vol. 77 S October/November 2007 Issue weetNotes · PDF fileAs I’m writing this, guitar phenomenon Johnny Hiland is soundchecking in the room next door with his band. Tonight Hiland