Music Tech Focus - Ableton Live - 2016-2017 PDF

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The Lazy Guide to Live! Short cuts to instant creativity

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Compiled by the Ableton Live experts from MusicTech

Welcome MTF
Welcome to Ableton Live 2016/17! This is a special issue of

MusicTech where we assemble features specically
tailored to Abletons music production DAW. This time
weve really pulled out the stops with some of the nest
studio articles ever: from 6 Ways To Make Your Studio
Look Cool to the Ultimate Guide To Remixing. In between
its everything Ableton with ve more in-depth Live
tutorials from
Live guru
Martin However you use
Delaney, plus a special Lazy Guide to creativity in Live,
including some fantastic tips on creating variation in a loopy Live there is plenty
environment. With our Produce A Track From Start To Finish
features (starting on p16) theres very much a Live focus and here to help you get
our special Show Off Your Studio articles (p70 and p88) all
feature Live at their software hearts and in one its running more from it
in sync with a mountain of hardware. It all goes to show the
diversity of music-making environments that Live is now central to. Perhaps the software used to be seen
as a laptop-only DAW but with Push 2 and Link it is spreading into more hardware and mobile studios.
Wherever and however you use Live, we hope youll nd tons here to help you. Happy music making!
Andy Jones Senior Editor, MusicTech & MusicTech.net
Email: andy.jones@anthem-publishing.com
(And contact me to Show Off Your Live Studios!)
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MTF Contents
Issue 44 Ableton Live 2016/17
EVERYTHING
ABLETON LIVE!
MAKE MUSIC NOW!
Everything you need to produce a track in Ableton Live from start
to nish! We have six brand new series of in-depth Live workshops
plus features on remixing, creating an incredible studio space, the
best 12 soft synths, your Live studios on show and the best
hardware and software for your Live studio on test
MTF Live Workshops

Add hardware to
your Live rig
By adding ins and outs p34
6 incredible
workshops Whats new in Live 9.7
Find out here p58
From p6
All new Live workshops
for every level of user
Follow Actions
The expert guide p38
4 | Ableton Live 2016/17 FOCUS
Contents MTF
MTF44 Live 2016/17 Full listings

MTF Feature
WORKSHOPS
006 | The lazy persons guide to
Live Get creative fast!
Ultimate Guide 034 | Adding hardware to your Live

rig with increased ins and outs
038 | Follow Actions and how you
To Remixing can make them work for you

042 | Creative clip management
using Push 2
Everything you need to know ! p22

p20 058 | Whats new in Live 9.7
The latest features explained
062 | Create custom Drum Racks
Flex those nger drumming ngers
TUTORIALS
016 to 126 | Produce A Track From
MTF Feature Start To Finish Starting a track;
arranging, mixing, nishing and
Produce a track nally: mastering

022 | The Ultimate Guide To
Remixing Everything you need
from start to finish! 032 | 6 Ways To Make Your Studio

Look Cool! The best ways to make
Starts on p16 then features your environment more creative

082 | 20 tips to improve your
continue on p17, 19, 46, 68 & 126 computers performance
Beef up your mac or PC now!
OTHER FEATURES
049 | Interview: Oliver Nelson
054 | 6 Of The Best: mega
expensive studio items
070 & 086 | Show Off Your
Ableton Live Studio
072 | Ultimate music gadget guide
092 | 12 Of The Best: soft synths
096 | SUBSCRIBE!
MTF REVIEWS
MTF The 12 Best! How to
098 | Gothic Instruments Dronar
The 12 best soft make your 100 | Teenage Engineering PO-20

104 | NI Komplete Kontrol S88
synths money studio look

107 | Zivix Jamstik+ controller
108 | Fabfilter Pro C2 EQ
can buy! 109 | Sonic Academy Kick 2 inst.
p92
cool! 110 | Zero-G Epica Bass inst.
112 | Sonimus EQ range effects
p32 114 | Splice subscription samples
116 | NI Una Corda piano plug-in
117 | Blocs Wave app
118 | Spitre Hans Zimmer 2&3
120-125 | Mini Reviews
130 | On your MTF DVD
FOCUS Ableton Live 2016/17 |5

MTF Technique The lazy persons guide to creativity
Ableton Live A lazy persons guide! Level Beginner
The lazy persons

guide to easy clip
creativity
Live is obviously excellent at looping clips thats what its built on, after all but its all too
easy to get bogged down in rigid looping hell. Fortunately its almost as easy not to!
MusicTech Focus has an easy guide to creative clip use and how to get creative fast!
W
e did argue over whether to call this The themselves intermediate and expert users who choose not
Lazy Persons Guide To Live as we thought to use some of these short cuts as they might not be
it could be a little too demeaning. But, considered clever or they dont know about them. Either
lets face it, using a DAW is basically using way we feel that all users should give this workshop a spin
technology as a short cut, so all of us who and were sure that everyone will discover, or rediscover, at
use DAWs are either lazy or and we certainly prefer this least one choice short cut
option using technology to realize our creative dreams
more quickly. Yes, thats good well stick to that! 1. The template factor
So the crux of this tutorial is that the main problem with The rst feature well cover is less about creative looping
technology and DAWs is that its very easy to fall in to some and arranging but more about making sure you have a good
bad habits. You might, for example, just use the features base to start with and covers how to set up a Default Set or
available in a non-creative way and end up with something Template. We cant recommend having one enough. When
quite tedious. Live suffers especially from this largely down we started experimenting with loading in a standard Set
to its central selling point of being able to play loops in when starting a new project, we were a little sceptical. Ten
time, so that everything sounds pretty good, very quickly. tracks later ten times more than wed have previously
This is both its main draw but also a feature which might produced in the same time period we were hooked.
make you think: Sounds ok, lets just run with that The idea is that you start with a favourite set of
We want more than OK! The beauty of Live is the instruments, effects and even audio, each time you start to
not-so-hidden depths that you can explore to take these compose. Youll end up moving between clips and scenes
looped ideas onwards and upwards. A few tweaks here and faster and putting tunes together faster. You might think
there and you suddenly introduce a dynamic to your tune that having the same set of sounds to
that gives it life. Add a bit of variation to your clips, either start
by changing the notes within them, the sounds they trigger,
or their start and end points and you suddenly have a lot
more variation and creativity going on.
And you know what the best bit of all of this is? Its
pretty easy to accomplish! Its why weve labelled this
with a Beginner tag although if we were betting people,
wed guess that there are people who consider
FOCUS ON SESSION VIEW

For this tutorial were focussing completely on working with clips
within Lives Session View. You could say that is the ultimate in
laziness hey, you dont even have to switch views but the truth is
that there is so much to expand upon and create within this part of the
software that we dont need to go into the Arrangement window. There
are so many extras packed into Live and within these clips that well
keep the focus here this time and save all of the Arrangement View fun
for another time

The lazy persons guide to creativity Technique MTF
MTF Step-by-Step 1. The template factor
Whenever you start a new Set in Live you could, of course, hit Instead load up a project that you have been working on and are
01 Cmnd>N and start from scratch. Its a nice empty project that you
02 happy with the range of sounds and effects already loaded in.
have to start from scratch with, yet looks like a lot of effort to ll With tweaking you could make this the new Default new le that loads.
If you havent got one that you are happy with simply load in one You could even load in a selection of beats, maybe some 4/4
03 04 beats if you are a house musician, so you know youve always got
and build it up from scratch. Put your favourite instruments on
different channels, line up effects, even load in some clip melodies if something reliable to underpin your new project.
you like
When youre happy that you have all of your favourite Make sure to Save Your Live Set As something new at this point
05 instruments, effects and audio clips loaded in, click Lives
06 otherwise your Default File may be altered as you explore new
Preferences/File Folder tab and the Save Current Set As Default. It will tangents and ideas with this notepad way of working.
now load in whenever you start a new project.
with is limiting, but actually setting constraints sometimes youll probably be using Live with an external keyboard.
enhances creativity. We can certainly tell you that our ten Well, as good as they are, at a very early stage of your
tracks dont sound anywhere near as similar to each other notepad composition process we reckon that Lives
as you might think. Another way to look at it is that your Computer MIDI Keyboard option takes some beating it
Default Set is your scratch pad for melodies. You can does the job of auditioning and recording and again lets
return to the ingredients later once you have some basic you jump from clip to clip quicker. It also takes Live use
ideas; change sounds, change percussion loops, change back to its early days of laptop-only composition. As good
everything just use the Default Set to capture the vibe! as Live is at breaking out of a software-only environment
with Push (and our tutorials in this issue) which seems to
2. The virtual keyboard be something of a theme these days what it was really
Unless you own Push or Push 2 in which case lucky you good at offering in those early days was a laptop only way

MTF Step-by-Step 2. The virtual keyboard
Lives Computer MIDI Keyboard makes both auditioning and It turns the Q and A rows of your computers keyboard into a
01 recording a lot more mobile and faster. Engage it with the icon
02 virtual piano keyboard with the A row taking the white notes; Q
shown top right or the drop down menu of Shft>Cmnd>K. the black; Z and X octave down and up respectively.
Load up any instrument and youll miraculously be playing its And recording is also something that it can take care of, but you
03 keys, that is if you have the right track armed, of course. It makes
04 may have to select a couple of quick edits. On the MIDI IN drop
auditioning sounds on clips a dream. down menu select Computer Keyboard.
Make sure you Arm Record (top) before playing. Now you can We found that playing in notes like this and just jamming ideas
05 record ideas over your existing loops allowing for solos and non
06 gave us more of a freedom, to the point where we left bum notes
looping parts to be played making your overall song structure less in or at least those slightly played out of time for a more natural feel.
loop heavy.
of putting ideas together which gave it a huge amount of Enable clicked at the top of the track. Youll also need to
appeal. You engage the computer keyboard either by select the Computer Keyboard as a MIDI IN. When you
clicking the keyboard icon top right or hitting Shft>Cmnd>K. record your notes youll nd that its a fabulous and mobile
Play notes using your computers A and Q rows and use Z way of breaking quickly out of rigid loops the clips grow
and X to shift octaves up and down. as you record and you can easily jam ideas over existing
In order to record these, make sure you have Record clips. And talking of clips

MTF Step-by-Step 3. Creative clips
Live is all about simple clip editing for variation. It is so easy to do Copying it to another track is particularly good if you have a
01 this on a very basic level. Select a clip, hold down Alt>drag and
02 template arrangement set up (from two pages back) as you can
copy it either to another track or another clip within the same track. then trigger more of your favourite sounds with the same MIDI clip.
Here were fattening up our original bass sound from one synth Here weve done the same thing three times. Weve copied the
03 (FM8) with bass sounds from another (Carbon Electra) just by
04 same pad clip (FM8) to three string sounds from three instances
copying an obvious ploy but Live makes it so easy to do, why not?! of the same synth (Oddity) to create an instant string section!
Want to create an instant drum groove that is a little but different

05 from the norm? Grab yourself an original bass line clip and copy
06 Load in one of Lives many drum kits and drop a melody clip onto
it. Some simple note transposition might be needed but it will
it, but instead of copying it to a melody track copy it to a beats track. result in beats that work. Try it the other way (from beats to bass) too!
3. Creative clips have a templated set up as we suggested in the rst

On a very basic way you can get creative with clips very tutorial, you will quickly be triggering other sounds from
quickly and very easily. Firstly theres the obvious: copying! your favourite synths using your initial melody clip. Then, of
Copying one clip to another track and listening to it trigger course, its very easy to move a few notes around within a
different sounds is one way to fatten up a bass sound or clip and either keep the clip on the same track to provide
add extra padding in your upper mids. You are already in some melodic variation over the original track do this as
the same key as the original notes are the same and if you we will return to it later or move it onto another track.

MTF Step-by-Step 3. Creative clips (contd)
Its also very easy to change a few notes around within a clip and Selecting a couple of different notes to change will be enough. A
07 use this as a variation. First copy the original clip to the same
08 couple of notes on each clip within a track will make a difference
track (Alt drag) as shown. Double click it to edit the notes again its very basic but worth doing for variation.
Make a group of ve such varied clips on a track which well Well now look at clip lengths. Live makes it very easy to keep
09 return to for several steps in this tutorial (and the one opposite).
10 everything rigid and perhaps set to 4- or 8-bar lengths. Everything
Make sure they each have slightly different notes. locks in nicely but can sound dull if youre not doing dance.
For eachof our ve clips we can set the start and end points Try this on larger tracks too. Here we have two identical string
11 differently to shake things up a bit which breaks out of the rigid
12 tracks placed on massively different clip lengths and with
dance music box. Here weve set the fourth clip to start and nish on different start and end points. They both cycle very differently resulting
the second beat. in a more ambient feel even though the notes are lazily the same!
Another lazy trick is to move a melody clip onto a other way around too often with bass sounds. Try placing a
rhythm track to quickly get some beats going. These programmed beat on a bass track. It might just work!
probably wont be very typical beats as they will come So far so simple. Copying clips and throwing different
from a melody MIDI clip but will be something unusual to ideas at clips is what Live is all about. But now well try a
start with and perhaps not something youd have come up couple of other simple clip ideas out to get things moving
with just programming straight beats. This also works the by using odd numbered clip lengths and different start and

MTF Step-by-Step 4. Follow Actions for easy beat creativity
We have a more in-depth tutorial on Follow Actions later in this Well now bring together everything weve done in this tutorial up
01 issue. For now were going to use them just on beats, specically
02 until now to bring some variation in on the beats. So rst copy the
a loop to create easy variation within it. Load in any loop! clip ve times onto the same track as shown using Alt>drag.
Now were going to adjust the start and end points of each of the On the second repeated clip (third clip overall) well home in on
03 new audio clips weve just created to home in on specic areas of
04 the snare sound plus a little bit of the percussion action. As youll
the drum loop. Here well start with the rst kick drum. see this is a start point of 1.2 for a duration of 0.2.
Keep going until you have dissected the audio clip into four You can also do shorter sections but weve kept ours fairly long,
05 different sections to make up the ve clips overall. You can do
06 each over half a bar in length (wed even recommend going to one
more clips, of course, but well stick to this number. bar). Now go to the Follow Actions by hitting the L in the Clip area.
end points. What Live is really good at doing is playing try experimenting with clips that stop and start at different
four- or eight-bar clips together in a standard dance way, timings or have very different lengths. They might even
but if you break out of the mould even a little and have clips have the same note content but they are playing at
cycling around on odd bar lengths, they start to drift away different times and with different sounds
from each other creating a more random song. Obviously
this might not be too good for the tightness of dance music 4. Follow Action for easy beat creativity
but if you want something a bit more ambient or random, Next for clip variation its time for Follow Actions. These
FOCUS Ableton Live 2016/17 | 11

MTF Step-by-Step 4. Follow Actions for easy beat creativity (contd)
The Follow Action section will now determine how the clips you Click on the drop down menu and you will see a list of Follow
07 have just set play and interact with each other. Click on each and
08 Actions that determine what happens after the selected clip
you can determine how long each plays with bars, beats and ticks. plays: from nothing to playing another selected clip at random.
Now you simply need to go through the ve clips you have on the And on the nal clip we have selected Any as the Follow Action
09 track and determine what you want to happen after they play by
10 so any of the selected audio clips will play at random afterwards.
selecting one of these options from the drop down menu. Here we have This is obviously great for adding a completely off-the-wall variation to
the third clip selected and have selected to simply play the next clip. proceedings, but doesnt have to be completely random!
A really good option within the Follow Actions section is the Another cool thing is to use a second drop down menu to
11 probability number. Set it to 1, as shown, and the probability of
12 determine what happens the rest of the time so you could, for
the next clip doing the selected Follow Action will be 100%. Set it example, have a random other clip triggering for half the time and the
higher and that probability drops proportionally. rst clip in the track triggering for the other half of the time.
might seem fairly complex at rst but, believe us, they are We go into more general detail on Follow Actions and
a lazy persons dream feature! They essentially allow you to clips in a tutorial later in this issue so for this tutorial well
trigger clips in a more random way to bring lots of variation use them on an audio clip to create a variation in beats.
to a tune. In our example were going to have variations of a Youll see that you never need to think of Live as a straight
clip all within the same track and well use Follow Actions looping tool ever again as your loops are suddenly
to determine how they are played. creatively transformed into very varied beats!

MTF Step-by-Step 4. Follow Actions for easy beat creativity (contd)
Now to hear all of your Follow Actions in, well, action! Select all of And its a bit wild to start with, almost as if someone has taken
13 your clips as shown and press one of them to start playing. We
14 control of your Live session and is triggering clips for you. The
have all of ours set to play another clip at random after each result is a bit too DJ Shadow-like on ours to start with
Experimenting with the original clip length that you create (from Essentially the more stuttery beats you want, the shorter you
15 step 3) is key here. You can either go back and adjust them from
16 make the clips. You can go completely wild here by slicing into
scratch or adjust the clip length in the Follow Action area for each. beats for some old skool mid 90s Aphex beats.
We did nd on our particular loop, that increasing the clip length As if thats not enough, you can of course go into editing each of
17 to a bar for all clips gave the best results and took it far away
18 your new clips to make the variation on the original loop even
from the original loop, but this will vary depending on your loop. greater. Here were transposing the audio from one clip.
First we need to follow some of the clip edits we have the same initial audio clip and all on the same track.
already covered i.e. repeating and copying clips into the Now select Follow Actions in the clip area. You then go
same track and changing the start and end points so that through all ve of your clips and select an Action for each
we home in on certain parts of the percussion loop. We are i.e. what happens after it plays. You can play another at
essentially cutting out half-bar chunks of the loop to play random, or the next or previous clip you have a choice of
individually and using Follow Actions will determine just nine. This creates a completely new playback version of
how. So we get four additional but different clips all from your original loop but importantly doesnt sound looped!

MTF Step-by-Step 5. Clip automation
One nal element in clip management that enables more The yellow icon (with two arrows in the transport bar) shows that
01 creativity is clip automation. This means that you can record
02 automation is enabled (if not click on it) but you will also need to
several parameters over a recorded clip to give it life and movement. arm each track
All sorts of automation parameters can be recorded here The automation will be shown by way of a red line along the clip
03 including panning and volume. As you pan from left to right, for
04 as you record. Here the panning goes from left to right and back
example, your movements will be recorded into the clip. again as the clip cycles around.
If you want to switch to another parameter, like volume, simply If ever the automated data is greyed out by clicking off a clip, for
05 move a fader and its automation will be recorded over the top. If
06 example you might need to click on the orange back arrow
you want to go back to the panning, simply click the pan control. Heres which should be illuminated, to re-highlight the clip automation back
our volume coming in and going out over a clip. to its red editable status.
5. Clip automation and record some movement and everything you record will
So to our nal way of easily getting variation from your be kept within your clip in Session View. Edit it later to
clips, and its time for some automation. Again this is a make it perfect!
subject that we could go into some depth with, but as this Simply arm the track and enable the automation. We
is The lazy persons guide lets not go too deep. All you start by showing you how simple panning and volume
need to do to get things moving is to hit a couple of keys changes can be recorded per clip. Then we detail how you

MTF Step-by-Step 5. Clip automation (contd)
You can edit any automation by selecting a point with the cursor Better still, select the Pencil tool (top right) and draw the
07 and dragging it as shown (in blue) as you would in the
08 automation in yourself. Here weve adjust the panning position
Arrangement view. ourselves and completely redrawn it. Looks a bit chunky though
Thats because the automation draws to the snap value so use You might want to start from scratch we certainly always get
09 the dropdown menu to turn the snap off and you can draw your
10 over excited by automation and end up doing too much so
automation in as a ner resolution (shown on the left here). simply select all and delete and start again. Easy.
So thats panning and volume, hows about we dig deeper and And now as it appears as one of the envelopes of automation
11 record some synth parameters changing into a clip? No problem!
12 being recorded. Simply select from the drop down menu and you
Heres the frequency opening being recorded on a synth. can edit it. So clip automation really can take your clips to new levels
can edit the results or draw in completely new versions of well beyond what is possible in some other DAWS and
the automation. Finally you can even record the changes makes it a completely creative and immersive experience.
you make to MIDI instruments on the track in question So we hope that this tutorial has enabled you to get
we show you how to record a synth frequency fader being more creative with your clips in Live and, importantly, to do
opened and then how to select that recorded automation that without spending too much time or effort getting
(from a drop down menu) to then edit it. Automation is a there. Using technology to make music should make it
key feature in any DAW and Lives clip automation takes it easier after all! Happy creative clipping! MTF

MTF Feature Produce a track from start to nish
PRODUCE A TRACK
FROM START TO FINISH
Its time for the ultimate advice on music production: how to produce a
track, from start to nish! In features spread through the issue see the
full contents below we have top tips from the pros and advice to get you
inspired, composing, mixing, arranging and mastering your music
T
he art of music production can, like adjusting EQ not only to enhance certain
MTF Features
most processes, be broken down frequency ranges, but also to prevent elements
into several stages some creative, clashing the art of mix breathing, and PRODUCE A TRACK
some perhaps more scientific than adding space to enable your main song FROM START TO FINISH
others. For this special feature on elements to shine. Top producers offer advice in all
producing a complete track, weve explored In our penultimate feature, we bring you aspects of track building
the best advice ever assembled on the art of essential advice on making the ultimate move
017 | 7 ways to start a track
music production and broken it down into five in composition: finishing! Here, we also team
Lets start with a look at ways
main areas: starting a track, arranging it, up with Novation to bring you insight into the
to capture ideas, sources of
mixing it, finishing it and mastering it. ways certain top-name producers complete
Well start with the best ways and their songwriting process. inspiration and how to prepare
practices to help you to get moving, to get Finally, its time to tackle the mastering 019 | 8 ways to arrange a track
creative and to make the most of inspirational process, with top advice on how add a Going beyond the loop and turning
thoughts when they strike; to capture the professional sheen. Well suggest ways to add your ideas into songs is a stumbling
moment fast! Well tell you how to avoid that elusive sprinkling of sophistication and block, but heres how to overcome it
using other peoples ideas, and also magic dust to your tunes, to make them sound
(confusingly) when to use other peoples ideas! as good as your reference material the track 046 | 10 way
ways s to
to mix
mix a track
track
track
Then theres the all-important stage of that you initially admired, which inspired you The mixing process is where your
turning those ideas or simple loops into to go full circle, back to the start of your music track comes to life. Here are our
complete works. This is often the stage you making in the first place. Without dwelling on top tips for perfecting the art
get caught up in. Like us, your hard drive the clichd journey analogy, its true that 068 | 7 ways to nish a track
might be full of great ideas which will become music production is a process that can be
Here are some effective
incredible killer tunes one day. But for now, massively enjoyable, but also have the odd
strategies to make sure you
they are one, two, five or six sounds and stumbling block or creative frustration along
actually nish your tunes
melodies that might work together, but the way. With our feature, were hoping to
nothing more. This part of our feature will make your process smoother and your 126 | 8 ways to master a track
help you turn them into complete tunes. songwriting experience more fulfilling. Mastering dos and donts to add a
Then we move onto the art of mixing: As ever, send us links to your resulting pro sheen to your productions
checking levels, checking pan positions, tunes at editorial@anthem-publishing.com.

Produce a track from start to nish Feature MTF
7 WAYS
TO START A TRACK
Part Its the rst step: how to get those ideas you have in
your head onto your virtual notepad and also how
1 to get more ideas into your head in the rst place!
the best starting points for your music bass, lead,

pad, guitar, vocals, or whatever in whatever style
of music you make. Remember that most successful
artists will only use a small set of tools to create
their work its their signature set of sounds. They
wont surround themselves with endless options,
or they might not get anything done. Instead, theyll
work within their own restrictions, so theres a
compelling argument to do the same with your
instruments. And as well as choosing your favourite
synths for your template project, you can even home
in on your favourite sounds within each one. And
now go one step further and clear out that sample
folder. Go on, spend an hour clearing out samples
1. Turn the internet off? Really?
and audio that youll never use and youll have saved
01 Yes! Get rid of those distractions
that time tenfold when it comes to choosing
2. In Live, you can create an samples later. Too many options slow your workflow
inspirational template, then
save it as your default project to a crawl
01 Clear your head
Its important to get into the right mindset when
starting music. Getting into the mood helps with
anything creative if it feels like hard work, itll end
up being hard work. You have to have no distractions
so switch off your internet, your doorbell, your phone
anything that could interrupt your flow.
02 Start from scratch

Youve been there. Youve opened up your DAW and 02
its loaded up an old song or some looped ideas
youve been working on. Perhaps if you just spend
a few minutes with it But its another distraction.
If youre starting from scratch, start from scratch.
Produce an inspirational template that your DAW
loads each time you boot it up (instead of those old
ideas) and make it full of your favourite synths and
virtual instruments, all ready to play.
03 Favourites, favourites
And while were at it, keep on choosing your
favourite sounds and presets. Home in on a set of

they are great for identifying an artist who suddenly

inspires you. Give them a go anyway there are free
03 versions of both.
06 Borrow the earworm

Having said avoid other peoples music, now were
spinning that on its head by saying Dont be afraid
to borrow ideas! Whether it be the odd sampled riff
(with lots of post editing, naturally, and one that
04
Get a style and a plan you would clear on release), or melodic progressions,
One massive hurdle for composition is sitting with you can and should use other peoples music as
a blank sheet of paper and expecting to fill it. You inspiration. But lets clarify that and stress the word
can zero in on sounds and instruments as weve inspiration. The Blurred Lines/Robin Thicke case
suggested, but you should also have an idea of your has, well, blurred things in music copyright and
own style from the off. You might think that this is what you can and cant do. But dont be frightened to
something you have already mapped out in your analyse that earworm to find out what makes it so
music life the kind of music that you will be wormy. Is there anything you can use or learn from
making but its not quite as easy as that. Youll very it to make your own creations as memorable?
probably like more than one kind of genre yourself, Examine some of the key themes and trends from
so its all too simple to be easily led by that floozy memorable songs (so long as its not Agadoo
of a breakbeat over there, or that dirty dubstep of
06 in your head in the first place). Many people have
a modulation over there. Musical temptation is borrowed ideas; you could take that argument
everywhere and it is evil! The danger is you will end further and say that every musician has borrowed
up with a hotchpotch of styles that can only lead to from every other one at some point. Some, though,
disaster (or, worse still, Bro Country!). So think very are more obvious than others: the odd riff here, the
carefully about what you are setting out to do have odd chord progression there. Again, use ideas
a tempo, a plan and a reference point in mind, carefully and edit, edit and edit some more MTF
because if youre up against a deadline, you will
3. Home in on your favourite
need a tight target and to go for it. If not, give synths and sounds 07 The best start
yourself a fake deadline and go for it anyway! And the best tip for starting a piece of music is
4. There are a lot of genres to be
tempted by try to settle on one! To listen. Absorb. Learn. Be inspired. All of the
above! Yes, you could say that the best advice we
5. Use Shazam or SoundHound
to help you nail a specific style, have for starting your own music is, well, not to.
or identify an intriguing tune you Listen to as much other music as possible: all
cant place
genres, all tastes. Learn from it and really want to
6. Borrow from the earworm do it. This is probably the top tip above everything
thats currently in your head. else for every step of the music-making process,
Even Agadoo (if you feel you
absolutely have to) including mixing and mastering (which we will
also cover later). You need to have the desire to
05
produce and this will come from being inspired by
someone else and led in the direction in which you
want to produce. This will only come from
listening, listening and more listening, and not
only to music that you like, but also to new genres
and styles, stuff that you might not necessarily
appreciate. Classical music will help you arrange
strings, for example; other styles might inspire
05
you not to go down certain routes. Its all about
Embrace inspiration finding your way, and youll need to be as open as
Always carry some kind of recorder with you (or possible to follow your own choices.
download an app such as RecorderPro), as you never
know when ideas will come to mind. Some people
swear by keeping one by their beds, as ideas can
come while waking or drifting off to sleep. Carry a
recorder with you and speak (or sing!) those ideas
into it wherever you are. You can also use one to
capture unusual sounds and atmospheres for use
later in your music sometimes found sounds can
be the difference between your tunes and everyone
elses. Take note, however! Very often, any tune that
comes to you might well be someone elses. A quick
way to identify a tune is to try apps like Shazam and
SoundHound. These are primarily used to identify
commercial music played around you in bars, but
might just do the trick for new tunes. If nothing else,

Produce a track Part 2 Feature MTF
8 WAYS
TO COMPOSE AND
ARRANGE A TRACK
Youve got your ideas down into Live. They might be
Part loops or simple scratchpad ideas. How do you esh
them out into full arrangements? Read on
2 main arrangement process starts. All good so far, but

wed also add the caveat that people are getting a
little too reliant on loops and looping does lead you
down certain paths and towards certain genres. So,
our current thinking is that looping is great at the
start of your arrangement process, and wed even
encourage people who dont do it to try it.
Like we say, every DAW is a click away from a
loop. Ableton dominates its part of the DAW world
because of the loop, so use it, but be clever. Have
them running at different lengths from each other
(again, Live is great for this), have them jumping
around, be less rigid with quantisation within them.
01 Think free, be free. Dont let the loop rule you, you
rule the loop. And once you have them in line, then
1. In Live, looping is what its
all about and its done for you,
but dont let the loop rule you. 02 Dont be afraid to stop looping
After decades of making music, we think we know
the Big Secret, the doorway to a finished track, and
this it. This is the point, the one tip that will make
your purchase of this magazine, or your investment
of time in reading this article on MusicTech.net,
worth it. This is the Holy Grail, The Area 51, the
Crystal Skull (okay, not the Crystal Skull) of music
01 Use looping creatively making: the one thing that people need to know
You will probably find that whatever DAW you use, about DAW use and making music with technology.
you will be positively encouraged to use loops at So When you have a bunch of loops that work well
some point in the production process usually at the together here goes Stop. Looping. Them. And
start. And this, by and large, is a good thing. It gets Arrange. Them. Quick, while you have the motivation,
to the heart of why you are using technology in the while you have the time. Arrange them now!
first place, as looping enables you to try musical Okay, its obvious, right, and you might feel
ideas together very easily and very quickly. You can slightly disappointed after our big build up, but this
build all the elements of your song together using really is important. Technology an increasing
loops bass, drums, leads, guitars and then the number of grid controllers, hardware sequencers,

MTF Feature Produce a track Part 2
02
04
plus every software DAW will encourage you to 2. The trick is to get to the point Thats not such a bad comment, actually, because
loop, and you will sound excellent by doing so. But when you are happy with your dance music does demand a certain amount of
loops, and then switch looping
the next step is the crucial one, the one that takes off. Look at all that space to fill formula in the arrangement. Well gloss over the
you away from every other bloody looper on the arguments that say that its the blander and
3. Duplicating parts in Live is
planet. You are the girl or the guy that stops looping formulaic styles of dance music that are killing it
also easy within an arrangement,
and starts arranging. And you know what? Its but is arguably less used than in people have been saying that for three decades now
other DAWs and point you in the direction of some of the more
03 Easier than you think obvious rules instead Open with your beats.
4. Starting off any dance
In certain DAWs like Live, arranging can simply be a arrangement with beats is Obvious, yes, but DJs will want to mix your beats,
matter of recording whatever clips you launch and one of the golden rules to not your notes. Technology such as NIs Stems is
help the DJ
stop all movements get recorded, and you can making this one a little more redundant, as DJs are
tweak them afterwards if you make any mistakes. 5. Use the arranging features in getting more and more access to your song parts, but
your DAW to move big chunks
Lo and behold, you have an arrangement! In other its still safe to open on a bunch of tuneless beats
around in one go, like the chorus
and verse than it is your breakdown. There are other
arrangement tips, which will be specific to your
genre of music, so a really useful and more general
03 tip to follow here is
05 Reference, reference, reference

As with mixing and mastering, learn from the pros
with arranging. And the best way here is obviously
to listen to other artists arrangements. Consider
even loading an entire song into your DAW by
someone else, but one similar to the style you are
producing, and noting its intro length, verse lengths,
breakdowns, choruses, everything Map out your
production in the same way using your DAWs
arranging tools. Many have built-in arranging
features that allow you to title parts of your
production as intro, or verse etc, and then move
DAWs, arranging is perhaps less obvious, but one

sure-fire easy fix for any DAW is to copy the loops 05
you are so happy with and repeat them for the
duration of a song. Then its simply a case of deleting
certain parts of your new arrangement as the song
progresses. More experienced DAW users might see
this as a cop-out or a cheat way to arrange, but
its what DAWs were built to do: easily repeat stuff
so you dont have to play it again. So make use of it,
but, like everything in the world of music production
(and indeed life), use it in moderation
04 Follow the formula

Do dance music? Been told your music is formulaic?

yet another DAW feature that saves you time and

enables one person to do what, at one time in our
music-making history, was a job for a few people.
This can be as simple as fading tracks in and out,
but go a few steps further and you can automate
instrument parameters so that a synth, for example,
will change in sound while its being played, or
effects could be added during a chorus, or even the
tempo could be slowed down or speeded up. Almost
anything can be automated, so while DAWs
encourage looping, they also encourage the variation
of these loops with automation.
06 08 Consider the remix

The real beauty of the DAW and we really are
finding many things to thank our software friends
6. When you want to stand
out, dont follow the formula. for here is that once you have a good-ish idea, you
Sometimes a simple addition, can tweak and refine it (pretty much forever if youre
such as an extra kick in an
them around in big chunks to various marker points. not careful, so read our tips on finishing!), or you can
arrangement, can create a
In this way, youll quickly produce an arrangement whole new genre just leave it or come back to it. Consider a third
and wonder why you were ever stuck with just a few option, though, one that is perhaps an extension of
7. Automation can help vary your
bars of loops in the first place! loops, from simply increasing the Dont follow the formula rule: the remix!
the volume (as shown), to Its likely that up to this point, youve been
06 Dont follow the formula changing sounds working on a particular tune in a particular style. We
Important one this almost as important as the 8. Live is a great DAWs for previously told you to tweak it and break the mould,
break out of the loops one. You could argue that by remixing. Simply load up a bunch but at this point in your arrangement, it could also
of different beats to trial styles
us saying use loops and be formulaic with your be time to twist it and smash the mould by remixing.
and genres. If it sounds good, you
arrangements, we are contributing to the death of might have just created a remix You can try a couple of very quick tips here to
music. And youd be right! Kind of. Actually, were of your own tune! change your tune very quickly, before we step into an
only advocating using these two methods up to a entirely new tutorial on remixing (check MusicTech.
certain point in your productions, or during your net for plenty of guides and p20 of this very issue!).
music-making careers. Sooner or later, you will have First, change your beats, or lose them altogether.
to break the mould of whatever genre you are Stick something else other beat loops beneath
producing and try and make your own mark on it. your song and see what happens. Blend generic
There is so much music these days, in so many elements dark trap with hip-hop, techno with
different areas, that in order to stand out, you have country, and so on. Sounds crazy, but a thousand
to do something a little different, and sometimes this sub-genres were born this way. Also consider
may just be something a little different in your radically changing your tempo, or simply shifting
arrangement. So look at what everyone is doing and your MIDI tracks up and down to hear how notes
tweak it. An extra kick here? A few extra bars on a played on one instrument play on another. Beautiful
breakdown? More percussive elements to add swing? accidents can happen this way, and the charts are
All these and more can be scattered across an full of them MTF
arrangement to help take it up a level.
07 Use automation
To our minds, automation is one of the great music
technology advances. Its up there with MIDI, virtual
instruments, audio recording and Bro Country. Its
08
07

MTF Feature The Ultimate Guide To Remixing
MTF Feature
THE ULTIMATE GUIDE TO
REMIXING Fancy remixing other peoples music, or having your

own tunes reworked? Heres everything you need to
know in the ultimate MusicTech guide
S
itting down with a guitar or a computer 1970s blended a lot of instrumentals with new
and trying to create something from vocals, but that wasnt quite the same thing. Official
scratch can be one of the hardest things remixes really started to appear in the 1980s along
for a musician to do. Everyone has good with the rise of MIDI-capable equipment, early
days, of course, when the music flows sequencers and 4/4 dance beats. These factors made
easily. Other times though, the pressure we put on syncing elements of different tracks together much
ourselves to write music can make things tougher. simpler, and so remixing grew in popularity.
This isnt as often the case with remixing, that As the 90s gave way to the 2000s, computers
long-established technique of re-interpreting and and DAWs were becoming more powerful than
reworking music made by others to create anyone could have imagined in the 1980s. As it
something new and sometimes even radically turns out, these are the perfect tools for remixing.
different. When you remix, the building blocks are Theres no loss of quality when swapping digital
handed to you and its up to you to turn them into files, everything can be synced precisely, and
something. In a way, much of the legwork has virtual instruments mean a much wider sonic
already been done and all thats left to you is to palette than had ever been possible before. With the
interpret it in your own style. rise of the internet, remixing was no longer even
This is why remixing is so popular and why some constrained by where you lived. It became big
people even prefer it to writing original music business, not just in the dance world but in pop too.
although some remixes depart from their source Getting remixes of a track can be a great way not
material so radically that they could arguably be just to pad out a single release but also to broaden
described as new compositions. As well as being the appeal of your music, to take a great acoustic
great fun, some remixes even end up being more song and translate it to the dancefloor, for example.
commercially successful than the original song. If you are a remixer, re-imagining the tracks of
other artists gives you great creative freedom and
Starting the remix also the possibility of a payday if things go well.
You might tentatively suggest that bands playing Remember, remixing doesnt necessarily just mean
covers of other bands songs were the original sticking a 4/4 dance thud under something, even if
remixers, but it wasnt until the advent of electronic thats still common. With the tools available to you
music that the concept of the remix properly entered in almost any DAW, the sky is the limit when it
popular consciousness. True, early hip hop sampled comes to reworking tracks for a remix. Well show
a lot of funk and disco records, and dub music in the you how it all works over the following pages

The Ultimate Guide To Remixing Feature MTF
PREPARING FOR A REMIX

Whether youre handing over your stems or receiving
material for a remix, heres what youll need to do.
T
he ground rules for sending or receiving
material for a remix are really two sides of the
same coin, and rooted in basic good practice
for producing music in general. They begin with the
really core stuff like setting a project folder for your
material, knowing what sample and bit rate your
project is going to be at, recording to a click track,
and setting markers correctly when exporting.
Computer-based recording and DAWs make both
ends of the remix process considerably easier than
it would once have been, but you can help yourself
by following the correct procedures.
Getting started essential both to editing inside your DAW since they
Lets begin with a look at how you ought to be all work on a grid system, and to someone else
working if you are planning on having a track adapting your project to their setup.
remixed after you have finished it. Actually, you Below: A beat calculator Your tempo doesnt even have to be sensible, it
can help you sync up stems
should always work to these rules because you never when you dont have tempo just has to be consistent. Most DAWs will allow a
know if you might need something reworking or information decimal point in the BPM, like 117.6BPM, for
changing down the line. While its possible to remix example. And while theres no real reason not to go
Right: Setting the left
or overdub a track thats not been recorded to a and right markers with
for whole number values most of the time, you can
click, for example, its far easier if it has been in the snapping active is essential use any tempo as long as you stick to it, make a note
first place. This is really the key: make sure youre when exporting stems and of it and tell the remixer so they can set their DAW
importing at the other end
locked to a click. Having a solid time base is to the same tempo. The same goes for formats. Pick a
setup like 32-bit, 48kHz WAV files for example, and
convey this to the remixer. Files can be converted on
ould always work to
You sho o these import but its better not to have to. In the event that
your track contains tempo changes, youll want to
rules yo
ou ne
eve
er kn
now
w iff you mig
ght be using a DAW that can export a tempo track or
map if the change is gradual, or simply make a note
need something reworking laterr of the tempo changes and where they occur so they
can be recreated at the other end.
This assumes that you are both using different
DAWs, though you may not be. Indeed if you are
both using the latest version of Logic, just as an
example, you can send a project folder with a raw
project file and audio files. Youll still need to
account for any difference in plug-in collections of
course, as the likelihood of your having absolutely
identical systems is small. In most cases you will be
using different DAWs and have different plug-in
collections, so its better to take the all in approach
of providing properly formatted material.
Rules for exporting

As the person providing the material for the remix,
you have certain responsibilities to make your
remixers life easier. The major one is to export
stems in the correct format. Begin by setting the left
and right locators precisely over bar markers, either
starting at zero bars, 1 bar, 5 bars or wherever as
long as its snapped. If your stems begin at 3.75 bars
into a project its going to take the other guy ages to
get everything lined up, and its an easy mistake to
avoid making. If they have project BPM and stems
that start on a bar marker, your remixer should be
able to import everything easily and have it
immediately in sync.

special file formats originally developed for moving

between audio and video post production facilities,
to cope with the different software in use. They hold
certain information about a project like the
positions of audio events and clip names, though
theyre far from comprehensive. These can save you
rendering everything out, but are better suited to
audio-only projects without tons of special
timestretching or automation involved.
A more recent solution is to use a cloud service
like www.splice.com to upload and collaborate on
raw project data, removing the need to render out.
At present this supports FL Studio, Logic Pro X,
Ableton Live and GarageBand and its limited, but
definitely one to consider when it comes to sharing
your raw material with others for them to work on.
There are other online services that let people remix
your music with your consent, though they tend not
to support really heavyweight project data at the
moment, usually just stereo mixes or loops. As
things stand youre still as likely to get a DVD or a
link to a cloud service to download a few gigabytes
of WAV files, hopefully with some tempo
information to help you set up correctly.
The easiest approach to exporting stems for Above: Embrace the new!
remix is to just export every track as a separate, Use a service like Splice to
upload, collaborate and
continuous stem. Yes, you might have a horn part remix tracks.
that only comes in on the chorus, but trying to cut
the stem up can just create confusion. The remixer
will be quite capable of chopping that horn part out
to move it around if they wish. Working with simple
stems, one for each track, is the most
straightforward approach.
Of course you can export loops and individual
MIDI files if you prefer, itll just take longer than
batch exporting. Or, export a bunch of stems and
also provide MIDI files, which gives them extra
flexibility to rework your parts in MIDI. For the
The eas siest approa ach to

exporrtiing emixx is to expo
g for a re ort
each track as a contin nuous stem
maximum number of options, your DAW might let THE OMF STANDARD
you export both dry and wet versions of stems, pre The OMF 1.0 format could cope with audio clip position, project tempo and some other
and post-fader. Removing your effects processing basic concepts, and OMF 2.0 added volume settings and fades for events as well as
from one version gives the remixer the choice to use clip names. OMF doesnt support MIDI files (though these can be exported separately)
dry or wet stems. or plug-ins, because DAWs work so differently. As such, OMF is fine for exchanging
audio-based projects but certainly has its limits. Most full DAWs support OMF export
and import though things like advanced mixer settings, scores, surround and so forth
Alternative formats are well beyond the scope of these kinds of file formats. OMF has been succeeded by
If you choose to send project data instead of stems, the AAF format which is more advanced and can include more information but this
be sure to include all the samples and source audio is currently not as widely supported, though Logic Pro X and Pro Tools among others
files. If plug-ins arent identical between systems, do support it. Theres also the Mxf format for audio and video interchange, though
suggest an alternative to re-link to the MIDI tracks this hasnt made much headway in the audio world yet. Different software supports
different formats so its worth investigating this before you start, as it will save you
or mixer channels. Some DAWs also allow the use of
messing about later.
OMF or AAF files for export and import. These are

HOW TO APPROACH A REMIX

Remixing is all about creative decision-
making. But how should you go about it?
W
hen you remix music you may be given a
brief or you may be left entirely to your
own devices. This depends on who you are
remixing for and what the goal of the remix is
supposed to be. A club remix of a pop song, for
example, is likely to need to be heavy on the beats
and bass. If youve been commissioned to do one of
these, you will have parameters inside which you
will be required to work. For a B-side however (more An Arranger Track is
invaluable for trying
likely to be billed as a bonus track in todays digital
different arrangements
world) you may have much more freedom. A remix as simple as keeping a vocal hook but you then
can be literally anything, but it will usually need to discard everything else. Alternatively, keep most of
retain at least a small amount of the material from it but speed it up and add more drums. There are
the original track in order to be recognizable as a lots of examples of remixes that take wildly
remix and not a completely new track. This could be differing approaches and still succeed.
Break it down
A re
emixx can be any ything but will A good starting point once you have established any
requirements for a remix (like it needing to be a
need to retaiin at lea
ast a smalll dancefloor filler for example) is to break a track
down into its constituent parts. This is why its so
amount of the orriginal materrial important to provide the component parts of the
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AN ELECTRONIC REMIX up or its pitch changed a little? Remember that

How to turn guitar music into EDM tempo changes dont automatically also mean pitch
When taking any kind of music and creating a dance version (using the term loosely changes any more, the two are exclusive. Its often
to mean anything electronic thats destined for a dancefloor) your first port of call better to make these kinds of choices at the start
is usually replacing or at the very least augmenting the beats with something heavy because it cuts down on the amount of stretching of
containing a 4/4 kick. That might sound clichd but just tune into any commercial individual clips and parts that you have to do. So if
radio station and youll hear that stuff played all day long. Heavy beats are almost
youve whittled it back to the drums, bass, vocal and
a prerequisite, and these can come from a virtual instrument, a loop collection or
a hardware drum machine. The importance of having original recordings properly one guitar line, perform your stretching on these
recorded to a click becomes apparent here as you add MIDI parts to real recordings, early on then build the new elements around them.
quantize and program them to fit. From there, youll probably dial down the guitars and
maybe even replace the bassline with something electronic, or dirty up the existing Creative decisions
bass parts. Whether or not you lose the guitars depends on you, but its usually nice to Just because you can chuck everything out doesnt
keep a few in there. EDM prioritises beats, vocals and melodic hooks so these are the
mean you necessarily should. Every project is about
things you will probably need to keep in the forefront. A load of mushy guitars in the
mid range wont be too helpful so strip it back to the hooks and then embellish with judgement. Keep what works and replace or remove
electronic elements. It doesnt hurt to juice it up too, maybe adding delays and reverbs what doesnt in the context of your interpretation. It
and master pretty hot, as is the style in much electronic music. might be that a rock track has some synths added to
it, perhaps some extra electronic beats and sounds
track as stems or otherwise as separate tracks, great. Remixing can work the other way as well.
because a remixer needs access to everything, not Some artists prefer to take away, to strip
just a stereo mixdown. Different people take productions back to their essence and uncover the
different approaches to this. Some artists will beauty of a song or the raw power of a groove. It all
concentrate on a vocal as the key element of a track depends on the ingredients youre working with.
and build a new track around the vocal
performance. In the case of instrumental music it
might be a bassline, a riff or hook or a drum loop
that particularly stands out and forms the Its usually prettty obvious wha at
cornerstone of the re-imagining. Its usually pretty
obvious what the heart of any piece of music is, be it the heeartt of a tra
ack is, be itt vocal
hook, guiitar lick, bass slin
ne or loopp
As well as instrumentation the other main
consideration is arrangement. Again this can vary
from subtle modification to wholesale change. If
youre treating a vocal performance as the heart of a
track then its likely that the structure isnt going to
change too radically since the vocal has a set length.
Of course you can mess with it a little, but it might
not be dramatically different in structure. If you
disregard the structure of a song or youre making it
instrument-led, the rule book goes out of the
window. Here, you have carte blanche to start
lifting, moving, duplicating and deleting any part of
a track.
Many DAWs have tools to help you with this,
such as Cubases Arranger track or Reasons Blocks
mode. Others have their own methods for creating
multiple arrangements within a project. You dont
have to pay attention to traditional song structure,
though bear in mind that most people prefer their
music to have at least a passing acquaintance with
Extracting audio to MIDI structure so anything too chaotic is going to have a
data is a great way of
limited audience. Still, you can get away with a lot.
deconstructing material
for a remix and recreating Many electronic remixes really push the envelope
a vocal hook, a guitar lick or new parts when it comes to frenetic, cut-up structures.
something else. In some cases, a remixer will Plug-ins like Stutter Edit or Turnado also mean that
actually add a completely new hook of their own and really quite complicated mashup effects are easy to
its in situations like this that a remix can become achieve without hours of programming.
more famous than the original. You have a lot of choices when it comes to
Modern DAWs let you manipulate time and pitch arrangement thanks to the flexibility of DAWs. You
in incredible ways and these are two important can reduce a sprawling track down to its core
things to think about before you start a remix. elements and create a tighter, more focused version
Would the track sound better, or at least by trimming the fat. Or, take a simple idea and
substantially different, if it were slowed down, sped explode it out into an epic piece of music, adding

AN EXPERIMENTAL REMIX
When the going gets weird do a remix.
Putting a thudding 4/4 beat behind a track is the
stereotypical way to remix, and it is indeed still popular.
You can go the other way though, taking a song or a
track in a completely new and unexpected direction.
Some artists specialize in this and while these projects
might not get the dancefloor moving, they are often held
to have greater artistic merit. Youll start as before by
splitting a track into its constituent stems or parts, but
this time instead of adding drums you might take them
away, or add ominous electronic percussion where
before there was a drum kit. Adding textures is a good
way to create an atmosphere, and synths and guitars
are really great for this. If theres a vocal, consider
changing it in some way. Perhaps tempo or pitch stretch
it, add vocoding or layer multiple versions of it on itself
or add extra harmonies or backing of your own. Ghost a
and embellishing to create something altogether Fatboy Slim: artist, DJ, and vocal with a distorted guitar or piano part.
more majestic. Truthfully, the proliferation of prolific remixer While youre being more experimental you can mess
methods by which people consume music these days with structure more as well. Reverse things, take
means that you have more freedom. A 12-minute choruses out and add new sections that werent
noise epic isnt likely to make it onto the FM radio, present in the original. If youre remixing into a different
but more conventional style, give it the full treatment.
but it could find an audience on Soundcloud or one
Add a dubstep underpinning to an acoustic track, or an
of the many online radio stations dedicated to niche orchestral backing to a piece of dark electronica. Some
genres. A club version of an indie song is more likely of the most interesting re-versions of tracks occur when
to find an audience now than when you had to fight an artist goes in a completely unexpected direction.
for attention on national radio. The possibilities are There are limits of course, so make sure it works!
not quite endless, but theyre many.
REMIXING IN PRACTICE
Heres how to remix in your DAW
W
hen it comes to remixing, your DAW told what tempo the stems are at, a beat calculator
already offers most of the tools you will will usually let you tap the tempo to work it out,
need. Naturally they all take a slightly though again youll have to spend time realigning
different approach but the basics are the same. Set and stretching parts. If things get really fiddly, one
up the project based on the format of the material trick is to cut parts up and stretch sections
you have received for example 120BPM, 48kHz, individually then reassemble them in the correct
24-bit files and then set the left marker to a tempo, but its a hassle. Like we say, dont be afraid
definite bar marker, ensuring that snap to bar is to ask for what you need
switched on. Then import the audio stems all at How you proceed depends on what your aims are
once, making sure they start at the left marker. If for the remix. You may want to, for example, mute
the person supplying the material has done their job everything but the vocal and then bring in
you should find that the audio tracks are all in time completely new beats underneath it to start with. If
youre planning to time- or pitch-stretch the vocal
track, now is the time to do it to cut down on work
Iff the person supplying the later. If you pull a vocal up by 10BPM or a couple of
semitones, it will be easier to start building the new
materiial has done th heir job then track around it from this base rather than changing
lots of tempos later.
you sho ould nd that the
d fin e audioo Some DAWs will make life a lot easier even if you
do change your mind later. Some, for example,
tracks are alll in time and perrfectly render all audio elastic, so tempo changes en masse
arent too arduous.
synchronized. Thats iif Much of the time you may want to keep hold of the
basic character of the track by keeping certain
elements in place such as a bassline, synth or guitar
and perfectly synchronized. Thats if they have hook if they are particularly good. But you can mess
done their job with them for example by adding effects like delay or
If this doesnt happen you might be better off distortion to alter the feel of the track while
asking for properly exported files. If thats not maintaining its basic melody. A common technique
possible you can expect to have to spend some time when producing electronic remixes of rock or indie
looking at waveforms and trying to work out why tracks is to identify the hook and then repeat it
the timing drifts off as the stems play back. You can creatively. Drums might be replaced or supplemented
use your own click track to work out how badly off to beef them up, and arrangements altered to change
the timing is if this happens. the structure of the track. Of course you could take
Most DAWs are pretty good with time stretching the opposite approach and substitute new melodies,
though it can still be a pain to align entire tracks to beats and basslines and simply keep a few key
your musical grid. In the event that you havent been elements of the original the choice is yours.
MTF Step-by-Step Remixing in Live
Ableton Live takes a slightly different Add a new bass instrument and either use Use Lives great MIDI effects like
01 approach and one thats useful for
02 the extracted MIDI information from the
03 arpeggiators and randomizers to help you
remixers. Here, some stems have been bass clip imported previously or program a new compose new clips and parts underneath the
imported and then a loop identied. Right part. Use Clip view to work with audio and MIDI bones of the project you have kept from the
clicking, we are able to slice it to a new MIDI clips for a more DJ-style approach to remixing. original, to make something new and unique.
track and then trigger it as a new instrument.

MASHUP TOOLS
Modern tools can take a lot of the
legwork out of the remix process
W
hen remixes first became a popular thing
to do in music, the tools on offer were
significantly less advanced than they are
today. The process would involve editing tape,
sampling into hardware samplers and
manipulating the results, and recording overdubs
largely using real or hardware electronic
instruments. Even when more outlandish stuff
became popular in the electronic world, a lot of it
was down to many hours spent programming and
automating MIDI to get the desired effects.
These days, a relatively small outlay will get
you access to some mind blowing software tools for
reinterpreting digital audio in ways which didnt
really used to be possible. Plug-ins can now take a
real-time audio signal and mangle it in amazing
ways without you ever having to worry about
tedious stuff like staying in sync. Most of this even
remains virtual if you so choose, meaning you
dont even have to render effects down if you dont
want to. Sugar Bytes Turnado is a
of any music project. Izotopes Breaktweaker was
powerful mashup multi- designed in collaboration with electronic producer
Mash it up effect BT and is technically a virtual instrument into
Lets look at a few of the best plug-ins for remixing, which you can load any samples and completely
beyond the kinds of mix tools you would use as part re-sequence them based on its advanced onboard
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sequencer. Although billed as a beat making tool, in of complex effects on that audio. The result is that
practice it can be used on anything you like. It has a you can create incredible stutters, runs, sweeps,
MicroEdit Engine that lets you repeat or chop up repeats and much more by assigning notes to
any audio slice at an incredibly fine resolution so effects and then tweaking the behaviour of those
you can turn beats into melodic notes, texturize effects. There are a stack of available effects and
melodic sounds with rhythms or use beats as a even though youll want to invest a little time in
synthesis tool by locking drum hits to individual setting it up to your liking, its like a remix in a box.
pitches. Different internal sequencer tracks can use Not dissimilar is Sugar Bytes Turnado, a multi
different tempo and step lengths so its almost like a effect thats a little more approachable and has a
mashup studio inside a single instrument. ton of multi fx to route your sounds through. It can
Manipulating samples becomes far more flexible do everything from slicing to distortion and
than anything you can achieve with regular audio filtering at the same time. To add a new dimension
edits. to your remixes it never hurts to have a good pool of
Also from Izotope is Stutter Edit, an audio effect samples and loops to work with such as those from
that lets you play effects like an instrument. It Loopmasters. As well as being used straight out of
continuously samples live audio input into a buffer the box these can be mashed up in effects like the
and then you use MIDI notes to trigger multiple sets ones mentioned above for cool results.
MTF Step-by-Step Creating new beats with Izotope Breaktweaker
Load an instance of Breaktweaker and Select any of the note events in the Use the Pattern section at the bottom
01 load a preset. Each of the lanes
02 sequencer or add your own using the
03 right to build up a series of different
represents a different sound and these can be mouse, and change its position and duration. patterns. These can be sequenced in the main
swapped for different samples or some of your Click in the MicroEdit window and drag the DAW sequencer or exported or bounced down
own sounds. Press a MIDI note to trigger the mouse up or down to change the tension and to audio in order to play with them in the
sequence. behaviour of the step for cool sounding results. context of the main remix project.
RELEASING AND HOSTING YOUR REMIXES

Now its time to get your remixes heard
T
he days of sending material to the CD association is. If the track contains any third party
pressing plant are more or less gone. samples you need to know that the artist has
Nowadays youre much more likely to simply cleared those too, since that adds another layer of
send someone a WAV of a mixed and mastered complexity. What you shouldnt do is just start
remix once its done, and they will deal with selling something yourself, unless you have
releasing it if thats the arrangement you have
made. If you are releasing or hosting stuff yourself
you have several options, but there are some things The person whose track you
to be aware of first. If yours is an official remix, the
person whose track you have remixed will own the remix
xed will proobabbly own the
e
copyright in at least part, if not all, of the recording.
They will probably have written the track and will copyrig
ghtt of the recorrdin
ng
have the rights to the name, melody and any
recorded material they supplied to you. So its vital explicitly agreed this first.
to be clear (preferably before you even start any
work) about what the deal will be for the finished Look to the cloud
track. Maybe you will receive a fixed fee to sign over Hosting music nowadays is easier than ever, and
the rights to the remix entirely, or perhaps there Soundcloud is still the go-to destination for
will be a cut of sales that can be attributed to you uploading your own music and embedding it on
via your membership of a collection agency like the other sites. Mixcloud is great too, especially for
PRS, MCPS, ASCAP or whatever your national remixes. Bandcamp is still one of the best ways to

The Ultimate Guide To Remixing <[Wjkh[MTF
TECH TERMS
IJ;CI
Individually exported audio files that collectively
contain all the material in a project. Batch export is the
quickest way of creating all of these in one go.
J;CFEC7F
A special file or MIDI data you can export to tell the
remixer about any speed changes that happen through
the course of a track.
8EKD9?D=
Rendering MIDI or audio down to audio files, often with
effects. This provides the remixer with all relevant
material even if they are running a different system.
;NJH79JJEC?:?
Many DAWs let you analyse audio clips and convert
their note and pitch info to MIDI which is great for
capturing melodies or beats and reprogramming them.
H;N<?B;I
Combinations of MIDI data and sliced audio files that
can be re-sequenced and generally manipulated.
Some DAWs have dedicated REX player modules.
8WdZYWcf_iij_bbW]h[Wj
mWojei[bbcki_Yedoekh EC<7D:77<<?B;I
emdj[hci
Special files that contain some but not all content
and info about a project. Useful for sending a remixer a
8[bem0C_nYbekZ_if[h\[Yj
\ehêij_d]oekhc_n[iWdZ
project without having to export everything first.
h[c_n[i
J?C;IJH;J9>?D=
Altering the speed of an audio part without changing its
pitch. Pitch stretching is also commonly available.
Ulttimattelyhh[c__n_d]
]Y
YWdX
X[W
W C7I>KF
Taking two or more tracks or parts of tracks and
]eeZm mWo
o tof
fhe ecejj[X
Xejôeeka
and blending them together to make something new.
J>;9BEK:
the Whj_ijo
oek^ ^Wl
l[h[[c_n[Z Online, server-based methods for either swapping
large amounts of raw project data or in some cases for
collaborating on projects using web-based tools.
C?:?IOD9
Synchronizing tracks or equipment or both so that
the original material and the new stuff you add all stays
in the correct time.
sell your own music and set your own price, with all
levels of quality options including lossless. Most of
these sites have decent free plans that give most
people what they want though theres also usually
an option to upgrade for extra features like sales
stats. Beatport now only deals with labels but has
an associated site called Baseware that still allows
independent artists to sell music through online
stores. Services like iTunes, Amazon and Spotify
can also be used though you will have to go through
an intermediary service such as Mondotunes since
they rarely deal with people on an individual basis.
Radio and blogs are still a great avenue for
promotion and all the usual rules of tenacity and
casting your net wide apply here just as with
promoting any music.
Of course if you have remixed an established
artist or even someone who is doing their own
promotion it should be easier to get them to promote
your remix under the banner of the work they are
already doing. Ultimately, remixing can be a good
way to promote both yourself and the artist whose
material you have remixed, so its in everyones
interests to see it succeed. MTF

MTF Feature 6 Ways to make your studio look cool
02
MTF Feature 6 Ways
6 WAYS TO MAKE YOUR

STUDIO LOOK COOL
Okay, you might not think that this is the most important aspect of studio
life, but having a great creative environment will help your music
production no end, especially when it is easy on the eye
S
o should you really be concerned about tidying] There, thats better. Spend 10 minutes
how cool your studio looks? Were clearing your work space and your next session is
certainly not saying that it is as guaranteed to be more productive.
important as how it sounds in fact, we
always say that the sound is the most 02 Less is more (and, okay, more is more)
important aspect, right from getting the perfect For a magazine that shows you a ton of gear pictures
recording through to listening to the end results on every month, it pains us to say: if you are working
the most accurate monitors. BUT, lets not forget that towards specific musical goals, then very often the
music production is a creative process, so once you fewer distractions you have in terms of gear, the
have your preamps, your monitors, your mixer, your better. And as is shown by (some of) the pictures on
mics and your computer sorted and even your these pages, having a very stripped back setup can
chair, for that matter why not consider the
environment around you? No, not that environment
[actually, yes, that environment, too Ed], but the
room in which you sit, the room in which you create?
For a mag that shows you a ton
Make it look great and you will make it a welcoming
and creative place to be. So in order to do that
of gear, it pains us to say that less
01 Tidy, tidy, tidy
is more. Sometimes, that is
Got kids? You will understand this. Stuff on the floor,
stuff on the desk, stuff everywhere, more stuff. mean a very cool one. Having said that, and this is
LEGO. Bloody LEGO, everywhere! The easy route to a where we justify having a ton of gear, having a huge
creative environment is a clean environment. Yes, its bank of outboard lights come on when you flick that
obvious, too obvious, so obvious that you might not master switch, can be just as inspiring. Its about a
notice untidy creep, i.e. as you work within your work/gear balance
creative space you will make it more untidy. In fact,
as were writing this feature within our studio setup, 03 Surround sound
weve just noticed: its untidy. Hang on [noise of Theres no doubting that there is some kind of

6 Ways to make your studio look cool Feature MTF
primal urge that kicks in when you sit down at your

01 mixing desk or at a bank of keyboards, and surround
yourself with buttons, dials, sliders and keys. It is a
very controlling feeling or is that just us? so give
in to it and make sure you immerse yourself. Have
everything within reach and angled towards you;
invest in proper studio furniture (or simply cheaper
Ikea-style desks that have compartments and
shelves) and a floor that enables you to roll across
from one bank of loveliness to the next. It looks great
and works great
04 Personalise
It it your studio? Then, in the words of the best
03 captain on the bridge: make it so. You can have a
mountain of gear, the coolest of sofas, the best of
lights, but if its not yours, then you might as well be
anywhere. To make it personal, make sure you have a
couple of reminders about whose space this is,
Is it your studio? Then, in

the words of the best captain
on the bridge: make it so
04
maybe who inspired you, where you came from and
where you are going, the important words in that
sentence all being you. A stormtrooper on a monitor,
a Kraftwerk traffic cone on a synth Personalise it
however you want, not just with gear but with you.
05 Lights, action
We know that this has become an important one to
so many of you. Good studio lighting not only looks
cool, but can also be very inspiring. Theres nothing
worse than having the most incredible gear setup, a
great-sounding acoustic room, only to turn on an
05 artificial industrial office light to see what is going
on. Invest in up lighting, strip lighting, even fairy
lights if you must. Make it warm and welcoming, not
cold and frightening. Green is good. As is blue. And
lava lamps. Ooh, lava lamps
06 Go wireless
As the world goes wireless, we in studio land should
be rejoicing. Unfortunately, latency and other issues
mean that a completely wireless recording
environment is probably a few years away yet, so
while you have to plug one thing into another and
lets face it, modular fans, that is still an attractive
06 pastime in its own right at least keep those wires
out of sight as much as you can (unless you are the
aforementioned modular fan, naturally). Invest in
cable tidies, cable extensions and simply getting
down on your hands and knees to push power leads,
audio cables and computer connectors out of site
but, importantly, still within reach. A good old
fashioned patch-bay might be in order here.
And while were on the subject of modular synths,
yes we all know that they look cool, but the cables
can look a mess. Try colour coding or even LED
cables to blend points 1 and 5. Very cool MTF

MTF Technique Aggregate audio devices
Ableton Live Live In Depth Aggregate audio devices

Accompanying
project file included
on the DVD
Beef up your
Ableton Live audio
ins and outs
Do you need more audio inputs and outputs for your Live rig? Before rushing out to buy
another interface, make sure youre fully exploiting what you already have
S
ooner or later, we all have a moment when Ableton Live-specic topic here, but its incredibly
something changes unexpectedly in our relevant, because Live is at the centre of so many stage
studio or live setup; maybe we borrow a drum and jam rigs. The understanding of aggregate audio
machine or synth from a friend, or somebody devices ts very neatly into that world, just as you ought
comes over for a jam, and suddenly the to know how to ReWire different DAWs, how to use MIDI
well-organised rig doesnt quite have enough audio Sync, and so on.
inputs or outputs to go round. In the longer term, you Typically these days, wed be using USB audio
can plan to buy another soundcard, or you can use interfaces for this. Its the most common form of
external audio inputs on your hardware instruments, if connection for audio and MIDI peripherals, although
they have any, and bodge something together that way. FireWire is still around, and there are a few Thunderbolt
Either way, right there on the spot, you need something
to make it work, and this is where aggregate audio
devices come in, if you have an unused sound card Combine multiple devices
lying around.
Under Mac OSX, we can combine two or more audio to create the monster aggregate
interfaces, including the one built into the computer, so
that our favourite music software sees all of the device of your dreams
connected physical inputs and outputs as one virtual
device. This device will be available system-wide for any interfaces available, like the Apogee Ensemble, and
software, including Ableton live and other DAWs. In FireWire interfaces are still around and FireWire is
some ways, you might think were not talking about an compatible with Thunderbolt if you have an adaptor.
Just to be clear, when I talk about an audio interface, or
Workaround or long-term plan? a sound card, Im referring to the same thing.
Is it worth buying another soundcard just so you can do this? Truthfully, Id say no! I view aggregate You can combine multiple devices to create the
audio devices strictly as a workaround for those situations where youre caught short on the input monster aggregate device of your dreams, although
front, like when theres a gear failure in the studio, or youre having a jam with a group of players and
there simply arent enough physical inputs to do it properly. If youre looking to expand on your after a certain point, Im not sure whatd happen
available inputs long-term, a better option would be to add something that connects to your regarding computer performance and latency I dont
existing interface via an optical cable, like Focusrites OctoPre or RMEs OctaMic. think Ive ever gone further than two interfaces plus
built-in audio. I always make a point of using the mains

Aggregate audio devices Technique MTF
MTF Step-by-Step Aggregate audio devices
An aggregate audio device is a name for the connecting and Youll need a Mac running Live, and one or more audio interfaces,
01 conguring multiple hardware audio interfaces, so that they
02 to follow our steps. Any relatively recent version of Mac OS X
appear as one continuous set of inputs and outputs in software. should do, and Im afraid that, yes, this is Mac-only.
This can scale up from small to very big rigs. For starters, lets say You can combine your Macs headphone output with soundcard
03 you want a simple DJ cueing setup, which requires two separate
04 output to make a virtual interface with two stereo outputs, and
stereo outputs, but you only have a basic stereo soundcard. set them up so one outputs to PA/mixer, the other to your headphones.
Make sure your soundcard is connected as usual probably via From the Audio Devices window, youll see a panel that lists all
05 USB. You dont want Live open yet. Go the OS X Utilities folder,
06 recognised interfaces and any existing aggregate audio devices.
which is inside the Applications folder, and open Audio MIDI Setup. Click + to add a new one, and rename it something sensible.
power adaptors for any interfaces in these setups as interfaces like the Alesis Core 1, right up to, for example,
well. The ability to create aggregate audio devices is the RME Fireface UFX. Live wont recognise a new
built into Mac OS X, which is why this entire tutorial is aggregate audio device until its relaunched, so bear
Mac-only. OS X is very convenient for handling these that in mind if you dont see it listed in Audio
audio tasks, as well as having deep MIDI routing Preferences. Talking of which, youll also have to visit
capabilities also built in like the ability to congure Audio/Input Devices/Congure and Audio/Output
wireless MIDI networks. You can use little audio Devices/Congure and enable every input and output

MTF Technique Aggregate audio devices
MTF Step-by-Step Aggregate audio devices (contd)
In the panel at the right of that, you should see a list of all Tick all of them you might as well include the inputs as youre
07 available audio inputs and outputs, including Built-in Microphone
08 not adding many, anyway. Quit Audio MIDI Setup. You can return
and Built-in Output which are the Macs own hardware connections. here whenever you need to manage your aggregate audio devices.
Now when you open Live, go to the Audio tab in Preferences. Click the Input and Output Cong buttons and you can enable all
09 Where you choose Audio Input Device and Audio Output Device,
10 of the inputs and outputs in the device. From now on, Live will
you can view and select your new Aggregate Audio Device. treat this as one device, just like any other. Close Preferences.
Open a Live set. Anything with some clips in Session or Under the Master Track, you can dene the Master Out and Cue
11 12 Out destinations the one that will go to your headphones. By
Arrangement View will do, though its easier to view routings in
Session. Open the In/Out View to see all four outputs available. default, all tracks will go to the Master Output.
that you want to use which is probably all of them! outputsthatll plunder your cable stash in double-
After that, of course, theyll all be available in in Lives quick time. Same with audio effects you can wire up a
In/Out View. How you use all those spare connections is hardware reverb, or compressor, and create a
up to you; one thing that comes to mind is routing out convenient recall by using Lives External Audio
and back to external hardware synths and drum Instrument and Effect devices, effectively letting you
machines, especially if youve got something like a include your hardware in chains of presets. By the way,
Machinedrum, which has six separate physical the OS X Audio MIDI Setup utility is the most important

Aggregate audio devices Technique MTF
MTF Step-by-Step Aggregate audio devices (contd)
Click the solo/cue switch in the Master track, and the solo button You may need to experiment with the In/Out View settings to nd
13 in every track becomes a headphone-cue icon. Now you can use
14 the right stereo output, and dont forget theres a cue volume
these to direct a tracks audio to the cue output. control below the switch, which you could assign to a MIDI controller.
Useful, right? Saved yourself from buying a new interface, maybe.

15 As I said, this scales up, so lets try with two audio interfaces. Im
using the Native Instruments Komplete Audio 6 and Alesis Core 1.
The procedure is similar, its just a matter of more connections.

16 Connect the interfaces, and use Audio MIDI Setup to congure
those inputs and outputs, adding NI to the existing aggregate device.
View it in Lives Preferences whoo, thats a lot of connections! If you own an interface with ADAT connections, you may not need
17 Enable them all. In theory, having more enabled ins and outs here
18 an aggregate interface. Ive got a Ferrosh A16 adding 16 inputs
can increase CPU usage, but Ive never had an issue with it. to an RME Fireface UFX it simply appears as one unit.
place to view and troubleshoot your audio and MIDI well, so the two units dont have to be physically
routings, especially as Live users are so fond of using together. In my studio, I have a ve-metre optical cable
the IAC Driver to create weird audio setups, like sending connecting a Ferrosh A16, positioned near the
MIDI out of Live and back in again. hardware synths, to the UFX which is positioned near
A better long-term solution for this is to buy a the computer.
soundcard with more inputs, and if thats still not Aggregate devices arent always the most elegant
enough, combine it with a mic pre that connects via long-term solutions. But if you have a spare interface
optical cables. Naturally, youll also have to make sure lying around and suddenly you need more, it gets the job
your main interface has optical connections, too. If you done. Under Mac OS X, creating and managing
take a Focusrite 18i20 for example, and you want to add aggregate devices is about as easy as it gets, and Live
eight more inputs to it, get a Focusrite OctoPre and has no problem identifying and using them. Whether
connect them via optical. The 18i20 will appear to Live youre going to use this on a day-to-day basis or not, its
as usual, without any special conguration; itll just something to get familiar with in advance of the day
have more inputs. You can buy long optical cables as when you might need it to get you out of a hole! MTF

MTF Technique Live In Depth Follow Actions
Ableton Live Live In Depth Follow Actions

Accompanying
on the DVD
Follow actions
and what they
can do for you
Its so easy to let software lock everything down nice and tight and be
predictable but, says Martin Delaney, it doesnt have to be like that
F
ollow Actions are settings we can make in different Chance values, and combining two different
Ableton Lives Session View clips, that determine behaviours, selecting from Stop, Play Again, Previous, Next,
how and when one playing clip will automatically First, Last, Any, and Other. I guess those names are mostly
move on to another, and what will happen when it self-explanatory, although the difference between Any and
gets there. We can use Follow Actions for creative Other is that with an Any Follow Action theres a chance it
purposes, such as in evolving sound art installations, or to will play the current one again immediately, whereas with
create unpredictable sequences of instrument parts, but Other itll never repeat the current one straight after
we can also use them as purely practical tools, for example playing it once. Personally I lean towards Other and the
creating timed intervals in a live performance theyre very more random selections in general, as thats what I like
exible. Follow Actions can be thought of as Abletons take about them in the rst place!
on generative music music which composes or arranges Just like (nearly) everything in Live, Follow Actions can
itself in a semi-automatic way. Brian Eno fans will know be recorded, in this case, into the Arrangement View
what Im talking about. Go back to his Discreet Music timeline. One of my favourite Follow Action moments is to
album from 1975, which wouldve been made with trigger and record a group of clips which have short Follow
hardware devices and tape in those days, to the Generative Actions of 1 or 2 beats, then go to the Arrangement View,
Music 1 album from 1996, which he made using Sseyos select the captured clips, and consolidate them, creating
Koan software. If you want to get some of that old-school one new clip which contains all of those little parts this
Eno action, Koan evolved into Noatikl 3, and its still works equally well with MIDI or audio clips. If you prefer to
available from www.intermorphic.com. do it all inside Session View, like maybe during a live
Follow Actions only work in Session View, and only performance, you could create a new audio track, and use
vertically with adjoining clips in the same track. If or when the resampling option to capture either the entire mix back
the follow action clips arrive at an empty clip slot, they
stop, so thats worth remembering when youre trying to
prevent Follow Actions from running on into the wrong
areas of your set.
Follow Actions let your clips behave in a genuinely
random way, or you can limit their freedom by applying two
GOING OUT OF THE BOX

Follow Actions get even better when you integrate them into a larger setup. Why not
send notes from those randomly-launching MIDI clips out to connected hardware
synths and drum machines? You can randomise your hardware too just use Lives
External Instrument device in each of your Follow Action tracks. Use Program
Changes in the clips to load specic hardware presets on-demand, and of course Clip
Envelopes to send automated parameter changes. This is all pretty easy to organise,
though you might have to check your hardware manuals to get the correct information
about MIDI channels, program changes, and control messages.

Live In Depth Follow Actions Technique MTF
MTF Step-by-Step Follow Actions
Well be using Follow Actions in Session View to create random Lets use the three adjoining white clips in track 1. Click to select
01 and not-so-random behaviour between adjoining clips in the
02 the top clip, then hold down Shift and click on the bottom one,
same track. You should use the example Live set provided! this will highlight all of the clips in that block.
If youre not seeing the Clip View, click the Clip View Selector near You can see a section of Follow Action controls in the Launch Box.
03 the bottom right. Also make sure you can see the Launch Box
04 The top three relate to timing how long will the clip play before
you might need to click the small L button at bottom left. Follow Action occurs, in bars/beats/sixteenths. Leave that for now.
The middle boxes let you choose what the Follow Action will be. Launch one of those clips and Follow Actions begin theyll play
05 For now choose Other from the rst box and leave the second
06 in a random order, and keep going forever unless you stop them!
one. Finally, choose a Chance value set it to max out at 999! You could hit record and capture them into the Arrangement View.
into the new track, or else just select the source track with its as we can use an arpeggiator on Live clips. It can get
Follow Actions, and record it as incoming live audio. These even more hypnotic, though, if we use more than one track
are great techniques if youre stuck on a project and you of them at the same time. Of course, two (or more) tracks of
need a new sound, a new perspective, or just a bit of randomly launching clips have far more potential for
spontaneous reorganisation. Plus, of course (unless you non-repeating patterns. As stated in the tutorial, though,
choose not to let them), Follow Actions are always synced there is also more risk of sounds clashing then, so you cant
to the rest of your project. always just dump two lots of sounds into parallel tracks
Follow Actions are really hypnotic and totally addictive and expect them to play nicely together you might have

MTF Technique Live In Depth Follow Actions
For bonus coolness, consolidate clips in the Arrangement View More? Lets use the clips in track 2. Make sure all clips in track 1
07 with Cmd>J, creating a new clip you can paste back into Session
08 are off. Select all the clips again, as we did before, and this time
View. Follow Actions and Consolidate work with MIDI and audio clips. choose a time value of 0/2/0.
Choose the Next action, and set the Chance to 999. Select the To make things sound more interesting, send Sends A and B to
09 last clip alone, and choose the Stop action. Launch the top clip,
10 the 12 oclock position those are going to Delay and Reverb. I
and theyll play in sequence, until they reach the last one and stop. love adding Ping Pong Delay, especially, to these kinds of sounds.
Stop all those clips. In fact, you can use the Stop All Clips button Set the timing value to 0/2/0. Youll see this affects clips across
11 12 all three tracks. Choose the Any action in the left hand box, and
under the master track. Now go to tracks 3, 4, and 5. Select all of
those clips and go to the Launch Box. set Chance to 999 again.
to tinker with the timings, and adjust parameters and EQ to regular, predictable, outcomes, so you can have a set of
get a nice t basic mixing in other words. instrument parts that play and move on of their accord
You can blur the lines between organisation and chaos while you sing or play along, like a little interactive backing
by adjusting the chance settings for each action - an action track. You want a clip to stop playing after 8 bars? Easy. You
assigned to a value of 0 will never happen, while identical can always add empty MIDI clips, or silenced audio clips, to
chance values will give an equal likelihood of occurrence. insert timed pauses or breaks into the ow as well. Taken
But going further, you can dictate specic steps and create to extremes, you could have just one track that plays

Live In Depth Follow Actions Technique MTF
Instead of launching each track individually, use a scene from the Sounds good, but track 4 is clashing with the others in the low
13 Master track to re the top clip in each track. Clip playback
14 end. So add an EQ Three to track 4 and roll off the low end a bit.
diverges, building a more interesting and unpredictable sequence. That thins it out some more.
Having xed that EQ issue, now you once again add delay and Go to the bottom clip in track 4 and set one Follow Action to Stop,
15 reverb sends to give more depth and even more rhythmic variety
16 and the other to Any and their Chances to 50 each. Now, when the
to the parts. Experiment with different project tempos as well. Follow Action reaches that one, the track 4 clips sometimes stop.
Follow Actions only apply to blocks of adjoining clips in the same As weve already seen, Follow Actions are recorded just like
17 track. They stop when they arrive at an empty clip slot. If you need
18 everything else that happens in Live, so its easy to use them as a
a silence section, add a silent audio or MIDI clip! way of semi-randomly generating new parts and even mixes.
through an entire song structure following just one click to going, it comes truly alive.
launch the rst scene especially if you combine with You might have noticed that Im quite partial to Follow
instruments racks, Simpler and the Chain Select Envelope Actions. Its true, Im Fanboy, and not ashamed to admit it.
so you can have different clips loading different Follow Actions are built into every version of Live, and you
instruments, audio loops (thats why I mentioned Simpler), dont need any extra hardware or plug-ins, just some audio
and audio effects! Its as always with Live: the individual or MIDI clips to play with. No matter how you use Live,
features are really cool, but once you get the combinations theres room for Follow Actions in your work ow. MTF

MTF Technique Creative clip management with Push 2
Ableton Live In depth

Accompanying
on the DVD or at
www.musictech.net
Creative clip
management
with Push 2
Abletons Push hardware controllers especially Push 2 interact
with Lives Session View clips in ways that no other controller can
achieve. Martin Delaney explains how to get creative
I
ts not often we run a tutorial thats dedicated to one Our example Live set contains a selection of audio and
controller but, of course, Push isnt just any piece of MIDI clips for you to tinker with. Youll need Live 9.6 or later
hardware its built by Ableton itself to complement its to open this set as we need to be right up to date to make
Live software, which it does, with unmatched depth. This the most of Push. Any necessary Push rmware updates
means that there are enough Push users and Push- are included within Live software updates the Push
curious Live users out there to justify this kind of workshop display will let you know whats going on!
coverage. Push is primarily focused on Session View which In Session Mode, Push does a good job of reecting the
is, of course, all about clips and were focusing on those contents of your Live sets Session View and youll get clip
here. But lets not claim that this is everything you wanted positions and colours clearly laid out, ready to launch with
to know about Push and clips that would be kind of a single tap. The colours should be reasonably close to
dangerous, especially given Abletons ongoing habit of what you see on the computer screen. Get familiar with
adding new features. whats in the example set by tapping any of the clips to
As Ableton itself stated in the past: once you create start them playing. If Live isnt already running, launching a
your clips with Push, and browse and load instrument and clip will start the transport. If Live is already running, the
effect devices, then record a little jam or performance, pad will ash and wait until the start of the next bar before
maybe youll be better off putting Push to one side and playback begins. (If you ever want to play loops in Live
working more directly with your computer. What Push does without starting the transport, you can do it from the
is provide a more dynamic, hands-on, instrument vibe for Looper and Simpler devices.)
that brainstorming creative process; that physical part of it In the walkthrough we see how launching clips from the
is based around the controls the encoders, buttons, and Push pads will reect launch mode settings youve made.
the control strip and maybe most importantly, the Lives default launch mode is Trigger mode, which is ne
dynamics and excitement that come from the way Push
lets us get hands-on with audio and MIDI clips.
It used to be that audio clips were kind of a poor relation
on Push in some ways, but not any more, as with Push 2 we
can view waveforms for samples contained within Simpler
and also for regular audio clips. This is a major advance in
terms of getting a full DAW experience from the hardware.
GOING OUT OF THE BOX

Push isnt the only hardware solution for Live. You can use MIDI keyboards, apps, or other
pad-based controllers from people like Akai and Novation. Push is the ideal all-rounder, though,
and many Live newbies buy it on day one as its the obvious choice, and theres nothing wrong with
that. However you might prefer another controller because of price, portability, or some unique
feature that it has. I reckon the biggest competition is Touchable on an iPad Pro the iPad is the only
Live controller where you can see the clip names and colours on the control surface.

Creative clip management with Push 2 Technique MTF
MTF Step-by-Step Using Push for clip management
This is one of our rare Push-only tutorials, so youll need a Push to Tap the Session button, so the Push pads are ready to launch the
01 make the most of it (ideally Push 2). Load our example Live set,
02 clips contained within the focus box displayed on your computer
which has some clips ready for you. screen. Youll see the clip colours are the same as on-screen.
Launch some of the clips in the set it doesnt matter which for Thats because theyre following Lives global quantise settings,
03 now. They are exhibiting the default Live/Push launch behaviour.
04 which youll have to change from the software as Push cant do it
Theyll ash before playback starts and ash while theyre playing. not yet anyway (you can change record quantisation from Push).
To stop a clip, press a pad to activate an empty clip slot in the Live clips can be assigned different launch modes behaviours
05 same track or use the Clip Stop button. You could also use Stop
06 such as Toggle and Repeat and Push recognises these. Toggles
transport or (on Push) Stop All Clips with Shift then Stop. very useful because a second tap of the same pad will stop the clip.
most of the time, but it does require you to tap theres no way for Pushs pads to send velocity, so you
elsewhere or use the Stop button when you want the cant use them to change how loud or quiet a clip plays
clip to stop but Lives transport to continue. If the clip is upon launch. There are two ways to deal with this: one is
set to Toggle, itll simply stop when you tap it again, to use another controller instead anything with a MIDI
which is generally a much smoother behaviour when keyboard or drum pads will work, although of course
youre using hardware with Live clips. You can even there are signicant trade-offs in other areas. The other
change a clips launch mode from Push, which is great is to use Simpler, which has become arguably the most
for mid-gig changes of direction. In Session Mode, important device in Live. Not only is it a great tool for

MTF Technique Creative clip management with Push 2
MTF Step-by-Step Using Push for clip management (contd)
Although audio and MIDI clips are different to work with in some Push doesnt offer a relationship between pad velocity and clip
07 ways, when it comes to launching them from Push, theyre the
08 volume, something that some hardware can do. The work around
same. But thats just like with Live itself, so you knew that already! is to load samples into Simpler; then you can apply velocity to it.
You can select a clip without launching it by holding down Select When youre viewing the clip details, including waveform for audio
09 as you tap on it. This also works with other things such as tracks
10 clips, you can change the clips loop length, start position, gain,
and pads in drum racks, very useful, and no noise! and Warp modes (thatll be audio only, of course).
With Live 9.7 in public beta as Im writing this you can change When youre recording MIDI notes via Push, you can leave your
11 12 clip lengths open ended, so they just keep on going as you play, or
clip colours from Push. Hold Select and press the clip, then press
and hold Shift and select a colour from the grid. use the Fixed Length button to set a bar value.
hosting one-shot samples or building sample-based Live sets where all of the audio material is contained
instrument patches, its a fantastic loop host as well. within Simpler working like this opens up a lot of
Drop an audio clip in there and you can immediately potential for building instrument racks containing audio
trigger that loop from the pads on Push and dial in as loops, and building your tunes in a whole new way.
much velocity response as you desire. Simpler works Personally I nd Im doing this more often. And while Im
brilliantly well with Push 2, especially as you can view on it,dont forget to click on Simplers little expand
the waveforms, and it could well be that you build entire button when you want to get a really large scale view of

Creative clip management with Push 2 Technique MTF
MTF Step-by-Step Using Push for clip management (contd)
Once the recording reaches the limit of that bar value, the clip Its possible to copy and paste clips from Push. All you have to do
13 goes straight into playback, without interruption. This works with
14 is press and hold Duplicate and tap the pad you want to copy,
audio clips as well, which is great for live loopers and beatboxers. then tap where you want it to go.
Likewise you can delete clips by pressing the Delete button, and Were allowed to mention scenes, because theyre rows of clips!
15 then the clip you want to dump. Use Undo to bring it back if
16 Launch them by tapping the Note Value buttons at the right of the
necessary! Delete also works with tracks, scenes, and devices. pad grid. Press the New button to create a new scene.
As with individual clips, we can select and view some scene info As I mentioned earlier: for velocity sensitive loop launching, put
17 without launching it. Press Select and then the Note Value button
18 your sample into Simpler and trigger it from the Notes Mode. You
corresponding to the desired scene, youll see the scene name. could build a set using Simpler for content instead of audio clips!
whats going on. that task done.

Simpler fans will love the Convert button on Push 2. Theres no such thing as the perfect Live controller
This has different functions depending on what mode as we all use Live in different ways, but what were
Simpler is in, but it is all about creating new MIDI enjoying here are the things that Push does better than
tracks based on the currently selected clip. If you other hardware controllers (if they do them at all) the
have an audio clip selected, it will build a new Simpler features that best make use of Abletons ability to
track containing that clip, which is a nice fast way to get develop hardware and software side-by-side. MTF

10 WAYS
Part
TO MIX A TRACK
Its our produce a track special and its time to mix
01
3
Keep it simple
your tune. Here are some pro ideas to take your mix up
a level and let your musical ideas shine through
With technology comes options many, many

options. You can layer many audio tracks together,
plus a whole bunch of soft synths and instruments. 02
But do you really want to do that? Wouldnt your
tune work better with one great sound, rather than
10 mediocre ones? Do classic pieces of popular
music all rely on massive mixes? Okay, some do,
but more memorable songs rely on a great hook or a
well-produced individual sound, rather than walls
of many sounds. With dance music, especially, if you
get a great kick or bass sound, you are 90-per-cent 1. Keep it simple, with just one or
two great sounds which could
there, and the rest is all about the arrangement.
make your track
Spend time on getting your core sounds right and
the rest will follow But not too much time, mind 2. Yes, we are recommending
playing video games. Only maybe
not Fallout 4, as you might be
playing for a while
02 Take a break
As cool as spending the whole night mixing sounds
or how good a days eight-hour session at the
monitors feels, the truth is that the longer you spend
listening to one mix, the more negatives will come
from the experience than positives. Firstly, your ears
will get tired and then so will your brain. Youll start
01 edging volume levels up across the board until you
are mixing at excessive levels and your ears will
soon start ringing. Your brain will start to turn to
glue and your decision making will suffer; youll
soon go from making vital and essential tweaks to
undoing all the good work you put in at the start of
your sessions. So, stop! Hold on a minute! While
distractions can be regarded as your enemy at the
start of the production and compositional process,
they might well be your friends here. A good video
game or pool table might be just the accessory your
studio needs. Just make sure you return to your mix
at some point, though

03
06
05Breathe
03 Loud. Loud. Loud more easily
While were talking volume, you might find that Use your mixing
you end up with the kind of mix creep mentioned skills to allow the
earlier, especially over longer sessions; but you most important
should always try and reduce volume levels, no 3. Dont let those levels get too parts of your mix
matter how long your sessions are. You can give your loud. Here they are in Live going to breathe. If you happen to have Adele in your
into the red
mix the odd big blast just to make sure it kicks at studio, the last thing you want to do is mask her
high levels, but always bring it back down for the 4. One simple way to mix is to voice with a bunch of things that sit in the EQ range
consider your mix in the
main mixing session. Remember that a really or pan position of her vocal part. Move everything
positions that a band
well-engineered mix will sound good at any level. traditionally takes on stage, and away from the most important part of your mix and
pan the instruments accordingly give it room. If necessary, dont shy away from using
04 Fill it up, but not right to the top EQ reduction to help take other mix elements away
5. If you have a vocalist like Adele
One of our favourite mix analogies is to consider in your song, then the last thing from the most outstanding part of your tune.
your mix not only as a stereo left-to-right picture, you want to do is crowd her out of
the track 06
but also as one going up and down. By this, we mean Compress and limit
that when panning, think about filling the space left 6. Use a compressor in your DAW Getting your levels right is not just about adjusting
mix for extra clout and power
to right, and if its a band youre mixing, consider faders per channel. More subtle adjustments can be
using the positions of the band members as they made with compression, while less subtle ones can
would play on a stage as references for your main be made with limiting. In general, the entire mix is
positions within the mix. And when EQ-ing, you compressed and limited at the mastering stage, so
could do worse than thinking top to bottom. Your dont use this method so much in mixing. However,
low-end frequencies are at ground level, and your do consider applying compression to individual
highs are, well, at the top. In this way, you can use parts, so that your bass can pump and your snares
judicious panning and EQ to fill up the entire 05 can have more bite. Limiting helps cut out stray
picture. But having said that, dont fill your picture levels across the board, too.
up completely
07 Use references
As well as using several different reference monitors
04 to check your mix see the boxout you should
remember to use musical reference material to check
your mix against, too. This could be as simple as
loading in a similar type of music to the one youre
mixing as a reference point. You arent so much
checking the volume here, as this will be done in the
mastering process; its more the style and the mix.
You can get a great idea on EQ types and levels here,
too. How does their bass cut through the mix
compared to yours? Does your kick have as much
clout? Its a great way to learn from the pros, by just
hearing their efforts side-by-side with yours.
Beware, this can be a little depressing at first, but do
bear in mind much of the extra shine comes from
mastering, so dont get too down.
08 Effects
With effects, as with virtual instruments and synths,
technology is spoiling us rotten. Back in the day (oh,

07
09
9. Grouping tracks together can

dont you just hate it when old timers say that?), you save time, and allow changes
to be made quicker. Its also a
might only have had a couple of effects to use, so you quick, non-destructive way to
had to make do with just those and nothing more apply experimental changes
and this was not necessarily a bad thing. Today, its to whole portions of a mix
tempting to smear effects across everything simply 10. You need to make your
because you can, but the technology message is, once mixes sound good on any
device, including mp3
again, that its great to have it on tap, but use it
players.
sparingly. So dont, for example, slather reverb on
everything, or your mix will sound like its recorded
in a cathedral, which could be a bad thing.*
* Unless you want it to sound like its recorded in a cathedral, in
which case this could be a good thing.
09 Groups
Grouping is a powerful feature. Your DAW should
allow you to do this, so learn how to do it now!
Grouping can save a lot of time and a lot of effort as,
essentially, groups allow you to process several 7. (Above) Juxtapose some
(usually similar) mix elements at the same time. Your reference material with your mix
vocal harmonies, for example, might all use similar so you can compare your efforts
with the best music out there
effects, so group them as might your percussive
elements. Then you can automate, mix, and process 8. Just because effects are
available, it doesnt mean you
multiple tracks to your hearts content MTF should automatically use them
10Best mixing
tip ever?
And the most popular mixing tip award goes to
Listen to your mix on as many different systems
as possible. And this top tip still holds true, today
more than ever. People consume music on a vast
08 array of different devices: from minute players
and phones right up to high-quality recording
studios, so you have to make sure your mixes
sound as good as they can on as many of these as
possible. This means that as well as sounding
great within the confines of your own studio and
on your expensive monitors, they should also
sound good through the headphones of your
phone, compressed down to mp3; they should also
sound great on the CD player in your car; and they
should also sound great on your mates hi-fi. In
the olden days, people even made them sound
great in mono for radio play its not so vital now,
but if you can, then why not?

Oliver Nelson Interview MTF
MTF Interview Oliver Nelson
Oliver Nelson
With a studio setup just like yours and ours, Oliver Nelson can not only offer production
advice on his successful nu disco productions, but also has a lesson for all of us on how
to make it in music production in the 21st century. MusicTech sits down with the man
who has mastered the media
he phrase up and coming is often thrown on SoundCloud and YouTube: his remix of Justin
lazily at any artist releasing their first Timberlakes Suit & Tie garnered 16 million alone.
recording on a major label. But while So how has this young producer already made a
Oliver Nelson is most definitely doing the name for himself before his first release? Well, lets
latter his first release on Polydor, Found start at the beginning
Your Love, should be out as you read this he is not
exactly new to music production, having amassed a Mus sic
icTech
ch: How did you get into music production?
huge social-media following with a stream of Oliiver Ne
elso
son
n: My brother started playing drums
remixes and productions, way before the single when I was a kid. He was both my role model and
came out. inspiration, so I jumped on the drums myself and
Indeed, the 25-year-old Swedish producer is found my love for creating beats and rhythms. My
giving us all a lesson in how to carve a career in parents were heavily interested in music, so in turn
music making today. Before the single came out, you could say my whole family were, and are, a huge
Nelson had notched up millions of plays across influence. My first major step I took myself was
various platforms. Found Your Love had scored over deciding to attended a music high-school and that
1.5 million plays on SoundCloud, while his led me to start making my own music.
reworkings of tracks by Janet Jackson, The Knife,
Marina And The Diamonds and Whitney Houston MT: From there, then, how did you break through
among others have scored nearly 100 million plays to become successful?

ON: I met my manager and we formed a great desk and analogue recorders, even though that
personal and professional relationship. He helped equipment has its own charm.
me find remixes and I worked tirelessly to make
them as perfect as I could, and then they kept MT:
T: How does it feel to have this much power
coming and raised my profile. He worked for Sony inside a computer?
for 12 years, so its a perfect combination of our very ON: When you think about it, it feels quite
contrasting talents. He provided the advice I needed strange, actually. I think its amazing what you
to help me make the transition from amateur to can do on a computer nowadays. The fact that you
professional. Hard work, determination and passion can do what you love and make a living out of it is
are my personal key drivers. really cool, especially when you dont need that
much. A computer, a MIDI keyboard and you can
MT: Tell us about your first production setup be set for life. Thats the modern age, but you
ON: My good friend Jakob introduced me to my first need passion.
music-software program when I was 17. It was fresh
and fun; we just played around and my interest
grew from there. I was amazed by the fact that
making music digitally has infinite possibilities.
m a mass
II am sive fan
n off Abletoon
I know electronic music production has been around
for a while, but Ive embraced modern techniques
Liv
ve andd I th
hin
nk we cou
uld we ell be
that come with improvements in technology and
software. You have to move fast in this dynamic,
pals foor a lo
ong time
competitive and rapidly paced environment.
The Oliver Nelson Studio
MT: So it was really the possibilities that MT: So which software did you use back then
technology offered that drew you into production? compared to now?
ON: Yes, absolutely! I couldnt do what I do without O I used Reason in the beginning, but then went
ON:
todays technology. I dont see any problem with it, over to Ableton and became a massive fan. I think
Im just happy theres an easier way today for a that as they are so dynamic and always updating,
creative mind to do what he or she wants to do in we could be pals for a long time.
terms of music.
Computers have really revolutionised modern MT: What else do you have in your setup?
M
music making. I do everything in front of my ON: Im working on my PC desktop in my home
computer with some outboard analogue gear, but studio. My main synth is my Prophet 12 that goes
even so, I control those with plug-ins. Ive always along my other ones like the Moog Sub 37, Roland
been interested in computers, so it suits me D-50, Yamaha Reface CP, Korg MS2000, Roland
perfectly. Its also much more effective and more JV-1080, Elektron Analog Rytm, Nord Lead 2X and
advanced than working with, lets say, a mixing more, all going through my RME Fireface 802.

OLIVERS PLUG-INS
Oliver details his favourite software instruments and effects
PLUG-IN SYNTHS PLUG-IN EFFECTS
I have four favourite go to plug-in synths: My absolute
B;DD7H:?=?J7BIOB;DJ>'0The first software synth I favourites are the
used and I was totally blown Soundtoys
away by how amazing it plug-ins. They are
sounded. The fact is that I have just all-around
never really found any other one amazing-sounding
that could match that sound effects. The
quality; maybe DIVA, but for me, Decapitator is the
Sylenth1 takes the money. It best saturation plug-in out
also has a sentimental value for there in my opinion, along with PrimalTap,
me, as its one of my first and which I use a lot on leads
I use it in almost every to make them more
production. interesting. MicroShift
is also a plug-in that I
J7BK#DE#BN0?cW^k][
always use on vocals.
fan of the Roland Juno 60
and TAL Uno does a great I also use FabFilters
job simulating its sound Pro-Q 2, a really good EQ
I dont need to say any plug-in that has a really simple interface.
more than that. For reverb, I always use Valhallas plug-ins, especially its
VintageVerb, which sounds incredible. I use it on everything
from synths to percussion. It has a very warm, round sound
that makes every difference.
Then theres D16

AAS
Groups Decimort.
CHROMAPHONE: I love my
Best bitcrusher out
marimba and this is an
there! I use it to
absolutely amazing plug-in to
make things sound
go to for those kind of sounds.
more analogue,
Anything plucky, realistic
and theres a ton of
sounding, its your best friend.
ways you can use
Probably my number-one favourite.
it. It works very
U-HE DIVA: This is the well with vocal
best soft synth for an leads and guitars.
analogue sound. It has a
very rich character and
amazing presets and
expansion packs. It
always works in any kind
of production, whatever
genre it might be.
MT: Thats a great list of hardware both old and SELECTED KIT LIST
SE T Im working
new but you also use a lot of software [see Ampsandsound SE-84 on my bad-boy desktop,
boxout]. What do you like about each method? Audeze EL-8 but now when Im touring all the time and
ON: Its the simplicity with software! To be able to Audeze LCD XC meeting other artists and vocalists for
start your DAW and start using your favourite synth Audio Technica ATH-50x collaborations, my desktop is useless. I do have a
in seconds is a dream theres always some hassle and M70x good laptop, but I dont find it as powerful as I need
with using analogue synths, but it goes both ways, DSI Prophet 12 it to be. So I guess one of the things on my wishlist
I guess. You also get the unreliability with software, Elektron Analog Rytm is the new MacBook Pro. Must work harder (laughs)!
not knowing when things are going to crash, and Korg MS2000R
even if you save every five minutes, you never know Moog Sub 37 MT:: What would you like to see developed in
if every little tweak is going to be the same as where Nord Lead 2x production technology?
you left it last time after a restart. Its happened a RME Fireface 802 ONN: My top wish right now is a good software I can
lot that one soft synth has a totally different preset Roland D-550 use for my Analog Rytm to drag-and-drop drum
after a restart, and hours of work is lost. That never Roland JV-1080 and 880 samples to it and use directly within Ableton. At the
happens when I use my external synths. Yamaha Reface CP moment, its just possible to transfer samples to it
plus girlfriend, to make outside of the DAW, but the problem is that I have so
MT: Is there anything on your studio shopping list? me have breaks many samples I want to use, and different samples
ON: On top of the wishlist right now is a new laptop. in different projects.

MT: What about playing live? Do you take any of ON: I started out with using Traktor, but to be
this tech out on the road? honest, I had too many problems using it. It can be a
ONN: Ive always admired people using computers pain with an external soundcard, all the cables etc.
live, like Madeon, playing his live sets with a Especially if you are going up directly after another
controller. Ive not come to that point yet and I dont DJ and want to make a smooth transition between
know if I ever will, but I do respect people doing it. the sets. I now DJ with USB sticks; it seems to be the
safest and handiest way of doing it. It is easy to
MT: But you have dabbled in DJing travel with and using it with rekordbox is just really
easy and fun.
OLIVER NELSON ADVICE
Oliver Nelson Productions
MusicTech: What advice do you have happen, sooner or later. That way of
MTT: What would you say inspires a typical Oliver
for people wanting to get into thinking can be applied to all kinds
Nelson track?
remixing/production? of creative work
ONN: Everything Im into at the moment, usually the
Oliver Nelson: Just find software
tracks that stick with me scrolling through Spotify.
you feel comfortable with. Most MT: What about using social media
Also, everyday things that happen and feelings
programs do the same things, just in to help your profile any tips?
affect the outcome of the music Im making.
different ways and with varied ON: I have been a user of SoundCloud
designs. A very important thing is to for a long time and it got me where I
MTT: How does a track usually come together?
learn stuff by yourself, and be very am today. I think its in anyones
ONN: I usually start with chords, with a simple piano
patient. It takes many years to learn right to upload and market their
or synth around a vocal, and lay down some simple
and perfect the craft. Im still own music, if its not bootlegs. Im
drums so you get the hang of the composition. Its
learning new things every time I fascinated by the way the industry
like a basic skeleton that you then add things to and
work on a new track. That is also has changed from consumers buying
build, from the foundation up. The most important
why I love to work with electronic CDs and downloads to streaming
basic thing with a track is the chords but with
music, theres always something new music online.
dance music, the drums obviously play an essential
to learn and the techniques are
part as well.
always improving and going MT: Finally, with such success in
MT: What do you think makes your sound and
forward. You need to move at the the area, what advice would you
what production tricks do you use to get it?
same pace and roll with it. give to use social media to get a
ON: I think what has made my sound is the drums,
following and raise your profile?
in combination with a certain type of vibe in the
MT: What about advice for making a ON: The foundation of any success in
chords. I tend to spend a lot of time on said drums
living in music production? this industry at its core is the music,
ON: The music industry has changed so initially, I didnt take social media
massively the last 10 years. Artists into consideration as much as I do
have gone from making money from now. The plays I have gathered
selling records to earning money online have played a very big part in
from streaming and having big my career. Justin Timberlakes Suit
followings on social media, etc. & Tie and Ella Hendersons Ghost
I believe that music should be gave me a lot of exposure via social
accessible to all people, despite what media and YouTube, and have
their income allows them to do, but opened many doors. As Ive grown in
the royalties need to be fair. A lot of popularity, its become really
people all over the world might not important to engage with my fans
be able to afford to subscribe to and to keep them up to date.
Spotify or Apple Music. Theres loads Above all else, it has to be about
of ways of making money as a the music! Focus hard on producing
musician; it might be harder making your best work with every track. If
the big bucks today, as the main your music is good, then it makes
income will be selling out arenas. creating and growing a social-media
Although, as a smaller artist like me presence much easier. People will
I can still make a living out of what naturally want to share things with
I do, even though Im mostly getting others that make them feel good, or
traction on SoundCloud, which that they genuinely enjoy. Its also
doesnt give me any direct income, important to have a solid identity
but rumour has it, thats about and to reflect this in your brand,
to change think about what defines you as an
So just keep doing it because you artist and what makes you different
love it, work hard and it will come. I and promote that. Last but not least,
didnt start producing music because its crucial that you try your best to
I planned on making a living out of stay connected to your fans, the
it, I just made it because it was a big people that support you. Keep them
passion for me. The rest is just a updated, share pictures and updates
bonus. It takes time and you have to with them, reply to comments and be
believe in your own talent and it will yourself, be relatable.

(being an old drummer myself), and can sometimes

find myself sitting for hours working on small
details like drum fills etc, (laughs). Im also a big fan
of a nice rhythmic groove in the chords, thats just
what I like and its always in the back of my head
when I write something. I also am a perfectionist
when it comes to every sound, my manager loves
this about me, but also thinks I can keep going on
some things just that little bit longer, when I dont
need to.
MT:
T: Tell us about the new single
ONN: Found Your Love features vocals from Heir aka
Skogsr. It wasnt really meant to be my first single
initially, it was just some chords that I made
jamming on my piano, but everyone seemed to love
the chords, so I just kept working on it. The track is
a funky nu disco tune with a fat beat!
My next project is a single with my good friend,
and Perfect Havoc management colleague, Tobtok
which Im working on as we speak. Its a solid mix
between our unique styles and has a great pop/
dance sensibility. Its a more uptempo track than my
usual stuff, and Its going to rock. This year, you
guys are gonna see a new side of me, with more
experimental and varied productions.
MT: Is there anyone else youd like to work with?

ONN: Ive been a big fan of Gallants Weight In Gold
which, in my opinion, was one of 2015s best tunes.
I also love Honne and am a big fan of Dusky &
Rfs latest material.
It ta
akes tim
me and d you
u haave to
o
beliiev ve in
n you
ur own taalen
nt and
itt will happe en, soon
ner or la
ater
MT: Finally, then, what musical plans do you have
for the future?
ONN: Im really excited about touring regularly, but
its basically a balance between that and recording.
My plan is just to keep making as much music as
possible and do what I love. Im focusing on original
music right now, more than remixes, and cant wait
to show you what I have been doing.
Oliver Nelson Ft. Heirs Found Your Love is out

now on Polydor Records. Visit Olivers SoundCloud
page at: soundcloud.com/olivernelson MTF

MTF Feature Blow a years salary on gear!
MTF Feature Spend, spend, spend! 03
6 PIECES OF
EQUIPMENT TO
BLOW A YEARS SALARY ON
What if money was no object and we could indulge our
wildest gear-hoarding fantasies and buy whatever we
wanted? Rob Boffard has the answer
W
hen it comes to buying gear, money
isnt actually the primary
consideration or it shouldnt be,
The Slam! is terrific. It offers
anyway. Buying studio kit is all
about your needs, what it can offer
superb dynamics, lightning-fast
you and how it can affect your mixes. Not that that
stops us from jumping on kit websites and filtering
FET and pin-point control
by price, seeing just what the top end really looks
like. What would we do, if money was absolutely no amount of money (heads up: weve largely steered
object? Which pieces of gear would we splurge on? clear of vintage equipment here, as prices can often
Fortunately, weve saved you the trouble. Here are six fluctuate and we could spend a long, long time
pieces of hardware to spend a years salary on and rounding up the best and most expensive vintage
by a years salary, we mean a truly staggering gear out there).
01 Avalon AD2077 Stereo Mastering EQ

01 Amusingly, Avalon includes a testimonial for the
AD2077 on its website from a person named Emily
L, NY, who raves about the EQs incredible depth
and elegance, the integrity of the stereo image and
the fact that the high-end air seems to go on
forever! We dont know whether Emily L exists, but
unless shes got the dollar equivalent of 10,000 in
the bank, were betting she doesnt own one of these.
The AD2077 is a truly marvellous bit of kit, with
fantastically-made Class A amplifiers that deliver all
02
the sound quality youd expect. Emily L may or may
not be real, but you can definitely believe her hype.
02 Manley Slam!
Its worth gracing our list with this outstanding

Blow a years salary on gear! Feature MTF
piece of outboard: a mic preamp/limiter combo.

A very expensive one, built by a legendary The AMS Neve Genesys G128
manufacturer and guaranteed to give both your
recordings and your studio a sheen that only lots by definition is an amazing
and lots of money can buy. And, to be fair, the Slam!
is terrific. It offers superb dynamics, lightning-fast console it is a Neve, after all
FET, and pin-point control and despite the fact that
it can get bloody loud, bloody fast, the results are
always butter-smooth (as youd expect from 05
something with a price tag of 5,000).
03 Shadow Hills Mastering Compressor

Compressor shopping is the dark underworld of
studio kit. Its a realm filled with rumours, strange
characters and mythical creations. The Shadow Hills
Mastering Compressor is and we use this term very
deliberately the holy grail. Even finding it on the
Shadow Hills website takes time and effort, and
well, just look at the thing. Big, foreboding and very,
very black, with a set of components that deliver
truly breathtaking compression. No wonder its
sought-after. Its separated into discrete and optical
sections, includes full sidechain filtering and is
generally considered to impart shine to mixes just by
being in the same studio. It also costs around 7,000
assuming you can find one to buy in the first place. 06
04 Adam S6X Active Studio Monitor
When it comes to monitors, you want monsters.
So why not put down 10,000 for the Adam S6X? Its
a four-way monitor with front-mounted controls that
is ridiculously, sublimely accurate, even at very high
sound pressure levels. Each of the drivers has
separate controls, allowing you to perform minute
adjustments. These are the monitors you buy if
neither space nor money are a problem, although
youre not going to get by with just one. Nope, that
10K will get you only a single speaker, so crack open
the savings account and buy two. Its the sensible
thing to do.
05 Minimoog Voyager 10th Anniversary

Synths are another area where you could spend piece of studio equipment that not only screams the
hundreds of thousands of pounds buying vintage fact that your studio is probably installed above a
equipment, but if we stick to new stuff, a few things Scrooge McDuck-like money pool, but also sounds
become apparent. It has to be a Moog, and it has to absolutely astonishing? Well take three, please.
be hand-made also covered in gold, inlaid with At 10,000 a pop, of course. Hopefully, Moog will
awabi pearl from Japan and finished with throw in a complementary pair of white gloves.
transparent knobs. Because who wouldnt want a
06 AMS Neve Genesys G128
Do you work in the City of London? Take home
a six-figure bonus? Splendid! Heres the mixing
console you need. The AMS Neve Genesys G128 is an
amazing console by definition it is a Neve, after all
but this is one that really pushes the needle into
04 the red. Never mind the 64 channels of mic/line and
64 channels of DAW/tape monitoring, the real draw
here is that this desk is modular, allowing you to mix
and match, and even expand, your desk if for some
ungodly reason you need more than 128 channels.
Oh, and it comes with fader and button recall. You
need never use the tape and sharpie again. Although
if you let sticky tape come anywhere near your
104,000 beauty, you need your head examined. MTF

MTF Technique Whats new in Ableton Live 9.7?

Accompanying
on the DVD or at
www.musictech.net
Whats new
in Ableton Live 9.7?
Ableton isnt rushing to release Live 10, but we can forgive the
company as its been feeding us new features for Push and Live in
various 9.x updates. Martin Delaney details the newness in 9.7
B
y the time you read this, Ableton Live 9.7 will regions. For the Manual mode, you can tap a pad to specify
either still be in public beta and about to get a the slices, and also tap the Delete button, then the pad to
full release, or it will already be fully released. I erase those slices. Genius! This is a great way to put those
should mention that given this status, things pads to work. The ability to access the In/Out View controls
may change before our publication date, so from Push is a major workow bump as well this goes
check the Ableton website for the very latest release notes. with the existing mixer controls to make Push a more
Live 9.7 will be (or is sorry!) a free update for anybody credible front end for your Live based mixing rig. The
using Live 9 so download it as soon as you can. menus are divided into very logical columns and fast to
Youll see that alongside the typical xes and tweaks, navigate. This is denitely a Push function that will be
there are some major new features in 9.7, especially quicker than using the mouse!
relating to Lives interaction with Push, as that increasingly For real-time drum pad players I hate to say nger
becomes the de facto control surface for our favourite drummers, but there you go, Ive said it the additional
DAW. In ongoing efforts to keep as up-to-date as possible, drum rack layout is a real gift. Playing beats becomes a
Im using Push 2 for all of these tutorials it probably wont totally different experience and gets great results. You can
make any difference in most cases, but its something to create really dynamic lls and breaks its one of those
bear in mind. things I couldnt see the point of until I tried it! Make sure
In recent times, Simplers been getting a lot of love from you edit your drum racks Simpler instruments to be
Ableton, as it should, and the new slicing modes are responsive to incoming velocity changes (if theyre not
interesting: Beat, Region, and Manual. Theyre really just already) using the Vel>Vol setting in Simplers Controls tab;
simple variations on whats already possible but theyll it makes a big difference when it
speed up a lot of common slicing and sampling tasks and,
like many features in Simpler, seem optimised to help
make Push 2 more of a serious sampling platform/
interface. That integration is working, as full control over
these new features is available from Push. You can choose
Mode, Slice By and then the relevant value such as
Transient/Sensitivity, Beat/Note division, or Region/No of
FOCUS ON VERSIONS
You can safely install Ableton Live betas alongside your regular version.
Make sure youre always saving work on a full version though theres no
guarantee a project created and saved in a beta version will open in the
future. When you install the nal full release of the new version and replace
the old one, your Live library should remain intact but here Ill add the
usual comments about the value of backups! And I leave Get Automatic
Updates in Preferences/Licences Maintenance turned off; I dont want
updates occurring the week before an important project or event!

Whats new in Ableton Live 9.7? Technique MTF
MTF Step-by-Step Whats new in Live 9.7?
As usual weve provided an example Live set. This one was Ableton have stated that because of the changes in 9.7s Simpler
01 created with Live 9.6.2, and youll be able to open it in any
02 modes, projects created in 9.7 will not be backwards compatible
versions from that update. Its unlikely to be backwards compatible. with previous versions of Live. Consider yourself warned!
Simpler has more features and its relationship with Drum Racks Slice By Beat lets you divide your sample with specic note
03 and Push is more intimate. Expanding on Transient Slicing the
04 selections rather than following the transients in the waveform,
Slice By mode has three new options: Beat, Region and Manual. using values from as little as 1/16ths up to 4 bars.
With Slice By Region you can slice your sample into anything Finally, Slice By Manual gives you a clean slate, where no dividers
05 between 2 and 64 segments. These are only slight variations on
06 are inserted automatically and youre free to add your own by
the Slice By command but in different situations could be very useful. double-clicking on the Simpler sample display.
comes to personalising your racks. you employ, the faster youre likely to work. They are
There are a number of visual feedback even more important in live performance situations
improvements relating to Push 2, and if youre new to where its so easy to be distracted and lose focus. In my
Live or DAWs in general, you might not appreciate how live sets Im using renaming, colour coding, display
important colour coding and visual information are. zoom, different skins, whatever it takes! Push now
They quickly become habits you depend on in the studio provides a visual count-in a little segmented bar
especially when youre working with more complex across the display so you can refer to that in
projects, where the more labelling and identication situations where you dont want to hear, or cant hear,

MTF Technique Whats new in Ableton Live 9.7?
MTF Step-by-Step Whats new in Live 9.7? (Contd)
We can change track routings from Push. Select a track, press Next, select whether to manage inputs or outputs, then choose
07 Mix, then the I/O button above the display. With audio tracks, the
08 Sources or Destinations. For MIDI tracks choose MIDI inputs and
left column lets you select monitoring options: In/Auto/Off. audio outputs, or MIDI destinations if there are no audio signals.
In an effort to keep the lists shorter and cut down on scrolling Drum Racks now have a third layout available. The currently
09 time sensible routings for Pre FX, Post FX, and Post Mixer
10 selected pad can be triggered with one of 16 pre-dened
appear in a separate list. velocities; a rst tap of the Layout button goes into this mode.
The 16 pads on the right, traditionally used for loop length, are Select a kit sound from the 4 x 4 grid on the lower left, then use
11 12 the lower right 4 x 4 grid to play it with different velocities. You
now used to activate different velocities. Theyre shaded in
intensity from more-or-less black to bright white. can create great-sounding dynamic drum lls!
the usual metronome count; very useful! option to start Live playing when loops are triggered.)
Live 9.7 also includes a small but important Link Although Push has functioned as usual with mixing
tweak Ableton Link, of course, being the means by and device controls, when Lives been in Arrangement
which Live and various iOS music apps can sync over View it hasnt had much else to offer for when we must
WiFi. The timing of connected iOS apps will line up work in a timeline. So not only is it good to see the
correctly when Lives transport is started with either tap changes to enable either Global or Session recording
tempo or the Looper audio effect device. (Looper has an when working in either view with Push, its now also

Whats new in Ableton Live 9.7? Technique MTF
MTF Step-by-Step Whats new in Live 9.7? (Contd)
You want pretty colours? We can change the colours of clips, There are further visual feedback improvements, as youll see if
13 tracks and drum rack pads from Push. Select the item rst, then
14 you look at the Push display when you begin recording. If youve
hold Shift and choose a colour from the coloured pads on the grid. enabled count-in, youll see a broken bar count from left to right.
Similarly, any time you have clips running in your set, in any Push has always been about the Session View, and really not so
15 display view that includes track names, the Push display will
16 exciting when it comes to the Arrangement View. Ableton has
show a small playback progress bar for each track. addressed this as the Push Record button is now view-dependent.
So when youre in Arrangement View, the Push Record button In Session View this works the other way round, so the Record
17 starts global recording (into the Arrangement View timeline),
18 button starts Session recording while pressing Shft>Record will
which pressing Shft>Record can still initiate Session recording. stat global recording very logical and youll get the hang of it quickly.
possible to delete Arrangement View clips from Push resources to concentrate on making Push integrate as
its a small step in the right direction! tightly as possible, if it doesnt affect Lives usability for
As I said, most of the Live 9.7 update is concerned other people and of course everybody gets to use the
with Push which I think is perfectly reasonable at the new features like Simplers enhanced slice modes.
moment, especially given that its a free update its not Theres no sign of Live ten/10/X, whatever it will be
like, if you dont use Push youre being asked to pay for called, so lets enjoy the little and not-so-little additions
features that you wont use. It seems like a good use of that Ableton is including along the way. MTF

MTF Technique Create custom Drum Racks

Accompanying
on the DVD or at
www.musictech.net
Create custom
Drum Racks with
Ableton Live
Drum Racks are one of Lives most powerful features, whether youre
using them for just for drums or far more. Martin Delaney exes
those nger drumming ngers
D
rum Racks are the main building blocks for at the left to fold and unfold elements on demand, or else
programming or re-sampling beats in Live. double click on the Rack name and fold it right up, in the
Whether youre entering notes with a mouse or usual Ableton style. As Ive said, there are many ways to
trackpad, or recording in real time from pads, trigger the sounds in a Drum Rack, but I nd that it usually
Push or a MIDI keyboard, Drum Racks are comes down to the computer keyboard if Im travelling, or
Abletons most important beat making tools, as well as Push if Im at home one extreme to the other.
being useful hosts for other types of sounds and effects. I love to add synth tones to Drum Racks, whether its to
A Drum Rack is a group of Live devices which contains add simple synth-based drum sounds or squelches, or to
up to 128 drum pads, and uses Lives Simpler instrument to incorporate some full-on instrument sounds and patterns
host the sample content for each of those pads. Alongside within the Rack. Operator is my go-to synth for this I like
Simpler, you can also expect to see MIDI and audio effect how it sounds and how the interface works, and Ive been
devices, as well as third-party instrument or effect using for a while so I have a good idea of where Im going
plug-ins. This is backed up with the potential for very when I start it up. Youll have your favourites but if you
sophisticated MIDI and audio routing, as well as macro havent tried Operator, Id recommend giving it a go.
controls for more accessible hardware controller Another angle on this would be to add the external
assignments and, vitally, the ability to save the entire thing instrument device so you can incorporate your pet
as a single preset. Did I mention that each pad can also hardware drum machines and synths into your Rack of
contain another Rack? That means you get Racks within course that means you always need them connected and
Racks within Racks. This is powerful stuff, but luckily its powered up when you use that Rack. When you start using
also easy to get started with. software instruments inside Drum Racks, its a
Our focus heres on customising existing Drum Racks, good moment to
but theres an empty Drum Rack provided in the Live
Library, so if you want to start from scratch, use that, and
drag in your samples, letting Live put them into instances
of Simpler automatically you can also browse and load
samples from Push. Drum Racks are visually complicated
things at times, so its a good idea to use the small buttons
FOCUS ON IMPULSE
Live did drums before it had Racks, you know. Originally Live used the
Impulse instrument to contain sample-based drum kits. Impulse is a very
basic-looking device, but it has its fair share of sound shaping tools, and of
course you could always put it in a Drum Rack. Impulse is still included with
Live mainly, I guess, for legacy purposes like opening old projects. I could
imagine Ableton dumping it altogether and creating a Drum Rack Impulse
legacy mode where it automatically creates a Rack with eight chains when
you open a project with Impulse in it.

Create custom Drum Racks Technique MTF
MTF Step-by-Step Create custom Drum Racks
The Drum Racks youll have available in your sets will vary Keep clicking on the black buttons at the left of the Rack until
01 depending on which Live Packs youve got installed, so weve
02 youve unfolded everything. Going from left to right, youll see
provided a Live set with a custom Rack with a mixture of samples. Macros, pads, the chain list, an instrument and audio effects (if any).
The effect situation is complicated by the fact that Racks can Trigger the sounds in the Drum Rack in several ways. Use Lives
03 include effects that apply to individual chains or the entire Rack,
04 virtual MIDI keyboard aka computer keyboard or any MIDI
and also it can include other Racks! Its deep get used to it! keyboard or a pad-device like Novations Launchpad or Abletons Push.
Drum Racks usually default to note C1 triggering the bottom left The very lowest black button is Auto Select a very useful
05 pad, which is typically a kick drum. If youre using the computer
06 navigational aid. When enabled and a pad triggered, the relevant
keyboard (Shft>Cmd>k), use z and x to transpose octaves. chain is highlighted. This saves a lot of scrolling in complicated Racks!
consider using MIDI effect devices as well; other than could be launching loops from inside Simpler
Velocity, the most obvious candidate is probably instruments in the Rack at the same time, and theyll
Arpeggiator, which means that when you play a pad, run and loop even if Lives transport isnt running, which
youll get a pattern playing, even without a clip in the I think is pretty damn cool. You can have a whole bunch
track. By combining Arpeggiator with time-based audio of looping tracks as a single recallable preset. This
effects like Beat Repeat, Simple Delay, and Ping Pong instant recall of complex Racks goes on with audio
Delay, you can get a lot of activity out of one note. On the effects as well. Not only can you add audio effects to
same topic sounding busy without doing much you the entire Rack or individual chains, you can use the

MTF Step-by-Step Create custom Drum Racks (contd)
Now, lets suppose we want to begin customising the kit, by We have more sounds in Drum Samples; try dragging those into
07 replacing the kick. Drag the clip 909 kick from the Drum Samples
08 the Rack. Empty pads show their note number, occupied pads
track onto the existing kick drum pad to replace it. reveal their note number in the Status Bar at the bottom of the screen.
Our Drum Rack has 13 samples to begin, so theres room to add Once you exceed 16 pads, you can navigate around them in
09 three more samples to the 16-pad layout. If you keep adding
10 blocks of 16. Use your mouse to click/drag in the left grid, or the
beyond that, no problem as Drums Racks have 128 pad slots. control strip or octave up/down buttons on Push.
Push users, take note if youre in Note mode and youre seeing Velocity response is a huge part of Drum Rack design, so dont
11 12 forget you can go into the Simpler instruments that are hosting
the contents of a Drum Rack, press Layout twice to enter 64-pad
mode, so you can access and trigger more pads at once. your samples, and edit the Vel>Vol value in the Controls tab.
Racks built in send effects slots, then mix each chain to is unfold the tracks containing Drum Racks, and view
them just as you would with Lives return tracks. The each chain in a more typical Session View type layout.
advantage of this is that once again its recallable one You can access this view from Push, as well. Those
Drum Rack preset with your sounds, MIDI effect chains can be rearranged by dragging them around to
patterns, Simpler loops, and effect sends and returns. I reorder them and naturally you can also duplicate or
wish there was a way to expand the chain list upwards, delete them, as well as rename and colour code them.
so I could see more chains at once, but what you can do You can also drag chains out of the Rack to create new

MTF Step-by-Step Create custom Drum Racks (contd)
You could also add the Velocity MIDI effect device in front of the Using instrument devices and plug-ins other than Simpler is a
13 entire Rack if you needed to smooth out incoming velocities for
14 great way to expand the sonic range of Drum Racks. Abletons
some reason, or even go the other way, and randomise them! Operator synthesizer, for example, is perfect for this.
Audio effects can be placed at the end of a Rack so they affect We also have the in-Rack effect sends put a Ping Pong Delay in
15 the entire kit, or on individual chains; try some different
16 there and send some of the percussion sounds to it. Effects in
compressor settings on the kick in our example Rack. here are also saved with your Rack presets.
MIDI effects other than velocity can also be used inside Racks. You can reorganise the chain list at any time by dragging them up
17 Drag the Arpeggiator to the kick chain in our Rack and set the
18 and down to reorder them. You can also duplicate or delete, as
rate to 1/4 when you trigger the kick pad you get patterns! well as rename and colour code them.
tracks, and drag the contents of pads to other pads. Rack into a new project.
As of Live 9.7, Drum Rack pads can be coloured Theres more we could mention, like choke groups or
individually, directly from Push. Its great if you need to MIDI note ltering, but that just gives us something to
highlight certain pads, or you dream of creating an 8 x 8 look forward to! The best way to get a handle on Drum
pixel image for your Rack. These colours are Racks is to explore Lives factory Racks and then start
remembered by Push whenever you load the set or building your own and a hardware controller with
select the individual Rack, or reload the saved preset pads will make all the difference. MTF

7 WAYS
Part
TO FINISH A TRACK Were nearly at the end of our produce a track special
01
4 Learn to delete
and now its time for some advice on that hardest
of tasks: nishing a track
One of the things that gets in the way of finishing a

track can be having too many ideas kicking around
on your hard drive. Opening up a folder crammed
full of half-finished songs can be depressing and fill
you with dread when will you ever get around to
completing some of those tracks that youve had for
so long? One of the key secrets to composition, then, 02
is actually learning when to discard old ideas. What
is good? What is worth keeping? More importantly:
what can you delete? Getting rid of old ideas can be
nerve-racking at first, but actually binning rubbish
can be surprisingly rewarding. Have a clearout once
in a while and you will be surprised at just how
1. Got a load of old song
focused you become on finishing what you have left. ideas? Maybe just get
shot of them
02 Bounce, bounce and bounce again
2. Bounce, bounce and
No matter how far you are into making a track, its bounce again!
01
always a good idea to bounce your work down to a

stereo file so you can listen to it away from the
studio. Load it on to your phone, play it in the car
youll be inspired on where to take it and how to
finish it. This is also a good exercise to do to keep
focus. If you keep all the versions you have made of
a song and then go back to an earlier one every so
often, you might rediscover the original direction
and point of the tune, which might have got lost
along the way. Making music with technology can
take you in all sorts of directions, very often far
away from where you originally wanted to go, so
using this technique can help you stay on your
original path.

03
05
03 Work to a deadline
If you have someone waiting in the wings demanding
you finish something, theres a much better chance
that youll actually finish it! Were not advocating
employing someone to stand next to you looking at
their watch and shaking their head every few
minutes, but having a deadline is a good way to get
focus and, as you might be realising by now, focus is
the key! Set your own deadline, if you must, but try
getting a track done within a certain time period and
you are almost certain to get more done (whether you less focus. Did we mention the focus word again?
finish it or not). 3. Set your own deadline if you
have to and try and stick to it 06 Limit your options
04 Accept that it wont be perfect This one could be applied to the whole process, not
4. Accept that no track is going to
Dont take this the wrong way, as its always good to be perfect and you might finish it. just finishing a track. If you limit your options, you
aim for perfection the higher you set your sights, You could even consider can get things moving and get to an end point
deliberate imperfection!
the better your results. But and its a big but if quicker. So you might want to consider keeping your
your level of perfection is too high, theres a very 5. Astronautica offers advice at track-count down why not go old-school with eight
www.novationmusic.com
good chance you wont hit it. If you accept your work tracks? or keep the number of instruments and
will never be perfect, you will finish it. Why not 6. Novation has created a video effects you use to a minimum. With far fewer options
deliberately add subtle mistakes, so you know asking artists such as Floating youll not only start your productions more quickly,
Points how they finish their
perfection will never be achieved? Flaunt that music, at uk.novationmusic.com but youll also finish them sooner, too.
imperfection at least your music will be out there. /finish-something
07 Know when something is nished
05 Get more ears but not too many Its the ultimate question: how do you know when a
Getting bogged down? Been working on the same track is finished? When its ready to be shared? When
loop for hours? Losing focus? Perspective gone? Get youve played it to death and not criticised it? When
someone else in! Having a fresh set of ears to you play it back after a week of not hearing it and it
comment on what you are doing or even makes the hairs on your arm stand up? The answer is
help it along is always a good idea but as with all of these and more, but dont let it fester on your
everything to do with music production dont hard drive for too long. Finish something today!
overdo it. More ears can mean more ideas and even
We nicked some of these from a rather good video
that the folks at Novation have put together
on finishing music. You can see more here
uk.novationmusic.com/finish-something. MTF
04
06

MTF Show Off Your Live Studio: Part 1
You cant beat a bit of

modular. Quite
a bit of modular
Show off
your Live studio
Welcome to part 1 of MusicTechs Show Off
Your Studio, where we highlight our
readers studios. Send us a picture of your
studio via the MusicTech Facebook page
and well get in touch
Omniscient Records
Interviewee: Josh Tonnissen (Praxis, Wave Mechanix, Konjecture)
Contact: omniscientrecords@gmail.com
MT: What are the key components I run a large hardware-based studio,
of your studio? Ableton offers a lot of different ways
Large Eurorack modular system with to interface all of my gear in an
12 rows at 104hp each; Koma efficient and well-designed manner.
Elektronik Komplex Sequencer; DSI From external MIDI sequencers,
Prophet 12, DSI Tempest; Moog DinSync gear, voltage-controlled
Voyager; Access Virus C; Roland analogue synths and analogue clock
TR-909, TR-808, TB-303, SH-101, for the modular, Ableton never skips
SH-1; Sequential Circuits Pro-One; a beat.
Korg Mono/Poly; Midas Venice F32.
What is your favourite piece of
Which DAW do you use and why? gear and why?
Ableton Live. Coming from a That would have to be my modular
hardware-only setup from the late system. Since the rebirth of modular
nineties and into Y2K, most software (Eurorack), synth designers started
applications were geared around building their gear around the way
recording guitar dude music. electronic musicians work. Most of
Because I used lots of different the keyboard synth companies build
outboard units, my brain was wired great gear, but the Eurorack guys
for multiple sequencers running really focus on innovative designs
various blocks of sequences. When and push the boundaries of
I discovered Ableton at, like, version synthesis. I use the modular for
4 or so, I was totally blown away. everything, not just synth voicing.
Their DAW was designed almost I will run all my various other gear
completely around the way a through the modular for filter and
hardware configuration runs. effect processing. Think of it as the
Session mode is totally brilliant, and ultimate time-synced FX unit ever
allows for endless jamming without made. There are also several
ever stopping the sequencer. Since complete voice drum modules in the

Show Off Your Live Studio: Part 1 MTF
system, making for a standalone me absolutely crazy, but thankfully it

techno tool. doesnt happen too often. I must say,
though, nothing is worse than when
How often do you use the studio on things go wrong with my custom-
average? Not nearly enough time of built PC. Thats why it has never even
course! Right now about 10-16 hours been on the internet!
per week, but I have been in there up
to 35 hours a week when work Next on your shopping list?
doesnt get in the way. Probably more modular gear but
ideally a nice new set of studio
How do you use your studio? monitors and acoustic treatment
My studio is set up as a dance music panels. Not sure what to get yet for
production lab, and while I monitors, but it would be ideal to
occasionally collaborate with other have a higher-end setup to
artists, I generally work by myself. At complement my production tools.
the end of the day, I just make music
for fun; however, I do release music Dream piece of gear? Thats a tough
professionally and do various remix one. I am always lusting over various
projects for other artists and labels. processing gear, but never pony up to
buy it. I would love a Culture Vulture,
Does anything annoy you about and a few Distressors and valve
your studio set-up? I have a love preamps, but I will honestly
and hate relationship with my probably spend the money on more
hardware overload. Since I have all modular gear
of my inputs and outputs (including
CV/gate) ran into five 48pt What advice do you have on studio
patchbays, every time I have a cable creation? Build a powerful desktop
failure it is a nightmare to chase it PC with a killer soundcard first.
down. There can also be the Then research your favorite artists Theres a pretty good set
occasional sync issue, which drives and see what sort of gear they are of keyboards and classic
Roland gear too
Get a good PC (as well

as a fantastic using in their studios. Every synth
Eurorack system)
had a different sweet spot, so see
what your favourite artists are doing
with their gear and take their results
as recommendations. Buy one piece
at a time and learn it front and back.
Everyone says this, but its totally
true. Ditch Facebook and start
reading technical documentation for
your gear; youll thank me later.
Any other studio-based anecdotes?

While anyone can learn the technical
side of studio production, the real
magic is in the moments of
uninhibited inspiration, those
moments in between the tech that all
of your ideas hatch from. While you
cannot always summon the essence
of inspiration, you should always be
ready for when it comes on. When
I do break through the concealed
barrier into full flow, I find my ideas
coming at me like a kaleidoscope of
butterflies, and I am poised with
a net attempting to catch as many
as I can. Its important to do the
mundane technical studio work
(running cables, testing connections,
etc) when you have no flow, so that
when the butterflies are upon you,
you are ready to bathe in their
radiance. MTF

MTF Feature Ultimate Music Gadgets
MTF Feature Ultimate gadgets
Music Gadgets We all love a good gadget here at MusicTech, so how about treating yourself
to some new hardware for your studio? We round up some of the best
technology out there within a variety of categories to help you liven up
both your production setup and your sound
mputerless music production

Co
Theres a move away from relying on computers for the launch, but the TB-3 and TR-8 are both innovative
and important. They undeniably look extremely cool
music making and these self-contained gadgets will and they sound just, well, damn close to the original.
have you making tunes with a box (or two) no But are they as good as the originals? They do loads
more and they cost far less, we said, so the answer is:
glaring computer monitor required you betcha. But their importance is that they are
priced in exactly the right way to get the next
ROLAND AIRA TB-3 AND TR-8 Rolands TR-8 (below) and TR-3 generation of producers off their sorry sofas and
The AIRA range was announced a couple of years ago (bottom) come close to the actually performing again. So will they, as their
classic sounds of the TR-808
to silly levels of hype, as it promised to be the closest and 909 drum machines and forefathers did, kick-start another dance revolution?
range of new Roland gear to emulating classic old the TB-303 bassline Well, we are due another Summer of Love
stuff, in this case THE Roland classics: the TR-808 and Price TB-3 245, TR-8 399
909 drum machines and TB-303 bassline. The AIRA Contact Roland on 01792 702701
TB-3 is based on the classic 303 and provides all Web www.roland.co.uk
of the acid house squelch you could wish for
and the TR-8 has all of the beats. Both look KORGS VOLCA RANGE
amazing, with great, well-lit appeal and They might be (mostly) a few years old now, but Korgs
more importantly both also sound as close Volca range is still a great set of sound makers, and
to the real thing as anything digital can. And available at silly prices. In many ways, they kick-
with that sound as well used as ever, our thoughts are started the current shift to hardware music production
very relevant A mere 219 for the TB-3 and the TR-8 and also set the form, with Beats, Bass and Keys
is just 365 (both street), seriously, if you just used models being responsible for all of those sounds (plus
them as Christmas lights that would be worth it. a newer sample-based one offering a little more
Nothing could have matched the hype that surrounded flexibility and your own creative recording, and the
even newer FM offering DX type sounds). Sound-wise,
they are all great with stacks of hands-on control, and
when we reviewed the original three, Alex Holmes said:
If you are looking for deep sound design you probably
need to look elsewhere. However, to get a true
analogue synth with built-in sequencer for this price is
a great deal. Korg has listened to its customers and
struck the perfect balance of price and features.
Price 119 (99 street)
Contact Korg on 01908 304600
Web www.korg.com/uk

Ultimate Music Gadgets Feature MTF
Novations Circuit (left) wowed (all use an app to do this otherwise). The CS has no
us when it was released last presets, but sounds glorious. Reviewer Andy Jones
summer, while Teenage
Engineerings PO Series (below said: I find the range charming carry them, play
right) caused a stir at NAMM them and hear them without connecting to the mains
or dragging in your entire studio. They are sufficiently
different to appeal to both specialist studio-heads
who are after some light relief and instant hands-on
NOVATION inspiration and to a mass market. Im pretty sure
CIRCUIT that at least one of the range will appeal, and Id urge
Novations Circuit came out of you to check them out.
nowhere just las t year and updates the Price Street 289
Groovebox philosophy for the 21st century, Contact Yamaha UK on 0844 811 1116
making computerless music production a trend set Web yamahaproaudio.com
with the Volcas and Airas an easy and fast reality.
Indeed, its this speed that puts Circuit in a class of its TEENAGE ENGINEERING PO SERIES
own. You can simply do everything you want it to do The new PO series from Teenage Engineering was the
very quickly. Circuits combination of great onboard buzz of this years NAMM show, and they certainly
sounds and pseudo keyboard playing can take what is didnt disappoint when we reviewed them a few
in your head to a tune fast something which, as we
said earlier, you dont always get with many grid-based
controllers and push-button sequencers. This is a
truly self-contained musical marvel, we said. It
excels so well at what it sets out to do and the price
of 250 is just ridiculous that you can forget any
Circu
uits
s gre
eat onb
boarrd sou
unds
s
an
nd psseud do keybo oard
d tak
ke whats
s
in yourr hea
ad to
o a tun
ne fas
st months back. There are now six in the range and they
are all incredible (especially given their stupidly small
shortcomings. Its the most musical fun you can have size) and are, without a shadow of a doubt, aimed at
with one box and no computer, and we havent made cooler music creators, which didnt stop our editor
music so quickly in 20 years of reviewing gear. Great from piling on the superlatives. The range comprises
real-time sound mangling and creation, great fun and the PO-16 factory melody micro synthesiser, the
you will be making music in less than three minutes. If PO-12 rhythm synthesiser for beats; the PO-14 sub
you dont, well come round and do it for you bassline micro synth; PO-20 Arcade; PO-24 Office and
Price 249.99 PO-28 Robot. Each has a 16-step sequencer, of which
Contact Novation on +44 1494 462246 you can select 16 sounds to program up to 16 patterns,
Web uk.novationmusic.com of which 16 can be chained. Theres plenty you can do
sound-wise and effects-wise to each and if you chain
YAMAHA REFACE all six together you have your entire tune covered.
Yamahas idea with the reface range of keyboards is to These units sound fantastic, theyre incredibly fun
include one classic keyboard in each of four mini and are as cheap as silicon chips, we said. We then
keyboards. You get the DX (based on the classic FM bestowed just about every award we can muster upon
synth); the CS (based on the classic analogue); the CP the range.
(on the electric piano); and the YC (based on the 60s Price 49 each
and 70s organ). The latter two are superb, while the DX Contact via website
is more fully-featured with presets and onboard saving Web www.teenage engineering.com

ntrol keyboards and more

Cool co
There was a time when MIDI controllers comprised
just a few rotaries to control a couple of key features.
Now, controllers are used for everything from grid
composition to production, mixing and performance.
Here are some very different, cool models
BEST ADDED DIMENSIONS
KEITH MCMILLEN INSTRUMENTS QUNEO

Its been around a while, MIDI controllers such as the
Keith McMillen Instruments
computer, it has quite a few potential users in its
but if you want to QuNeo (left), M-Audio Trigger sights. Like all good controllers of this ilk, it makes
stand out we Finger (above right), Arturia beat making a breeze but also doubles, actually
reckon the Beatstep Pro (below) and
Ableton Push 2 (bottom) now trebles, its control into other areas. It includes a step
QuNeo is the offer a wealth of functions sequencer to put together both beats and melodies
one to beat in and it can control your DAW with sliders for mixing and
terms of control. rotaries to take care of plug-in duties. One of its best
Pads, sliders, buttons and features is the software that is included with it 5,000
rotary encoders can all output note, velocity and samples, instruments including VST and Arsenal,
pressure sensitivity, earning it its name as a 3D which enables you to host VSTs with no DAW running.
Multi-Touch Pad Controller. The best part is each We said: A powerful and playable controller
control can manipulate so many parameters, which with some great bundled content
might take you a while to comprehend. But once you that is equally at home on
do and the QuNeo editor makes customising the stage or in the studio.
device very easy youll discover a level of control that Lightweight, but well built,
is unlike most other devices. As we said when we very playable and great
awarded it a mighty 10/10: Its nice to find something hands-on control.
thats so revolutionary, powerful and unique at an Price 299.99
affordable price. We can heartily recommend it. Contact InMusic via website
Price 200 Web www.m-audio.com
Contact MSL Pro: 0207 118 0133
Web www.keithmcmillen.com BEST ANALOGUE AND DIGITAL
BEST FOR LIVE ARTURIA BEATSTEP PRO

One of the best compact controllers out there, its
ABLETON PUSH 2
not immediately obvious what BeatStep Pro is for
Ableton Live is the music production
because, in fact, its for pretty much everything: a
software phenomenon of the last 10 or so years
controller, performance sequencer and composing tool
and Abletons Push is its hardware master. If Live is
in a single box. You get control over your instruments,
Darth Vader, Push is Darth Sidious. But rather than just
be they hardware or software, and it has a more
being a controller over the software which it
expansive selection of outputs than you might expect,
obviously can and does do, better than most Push
with all-important CV outs to let it get to the midst of
becomes an instrument in its own right by taking some
that cool modular analogue synth set-up you either
of the hidden features of Live and bringing them to the
have or want. The original Beatstep was good, but
(control) surface, so realising its creative potential on
BeatStep Pro is a great step up from the smaller model
stage and in the studio. Push 2
for people who want to control different types of kit
was released last year.
simultaneously, especially those who have at least a
Price 499
couple of the aforementioned CV-capable modules.
Contact Ableton via website
Even if you dont and youre more reliant on software-
Web www.ableton.com
triggered or MIDI hardware-triggered sounds, theres
much to like. Workflow feels natural, and transport
BEST PAD CONTROL
and remote control are possible. Arturia has struck the
M-AUDIO TRIGGER FINGER PRO right balance of features, build and price, and proves
The original Trigger Finger was one of controllers can be fun and modular synths neednt be
the first controllers that dared to be a the preserve of hardcore synthesis nuts. A fun
little different. Before it arrived, multi-talented controller and sequencer that will tie
controllers were usually a bank of together the old and new parts of your studio nicely.
rotaries or simply keyboards. Trigger Finger Pro, a Price 179
much-expanded and upgraded device thats a bit of Contact Source Distribution on 020 8962 5080
a quantum leap from its predecessor. Designed to be Web www.arturia.com
used both in the studio and on stage, or even without a

Price 229
Contact Novation (via web)
Web www.novationmusic.com
BEST COOL AESTHETIC
MONOME
Next to the other controllers in this round-up, Monome
stands out rather like a geek on a catwalk. Its been
around for the better part of a decade and now comes
in Grid or sequencer forms. The former is a 16x8 grid
BEST FOR GRIDS

Novations Launchpad Pro
expanded on the functionality
NOVATION LAUNCHPAD PRO of the regular Launchpad with
The Launchpad range takes grid-based control, made velocity-sensitive full-colour
so popular with Ableton Live, into new dimensions. The RGP pads, hardware MIDI and
a range of edit buttons and is the most recognisable, kind of like the Yamaha
Pro is a tad larger than the regular Launchpad, and as
Tenori-on in terms of its lights, but minus the (not so
Martin Delaney said: Theres plenty of newness to be
great) FM sounds. Its a USB box and you pretty much
explored, with velocity-sensitive full-colour RGB pads,
define its purpose anything from step sequencer, to
hardware MIDI, mains power and an array of edit
DAW controller and way beyond. We love the thinking
buttons; thats at least two items ticked off my
and the open-ended nature. $700 doesnt seem too
personal wish list. He was also very positive about the
much to be part of the coolest bunch of geeks on the
music tech planet. Isnt is just a bunch of buttons with
The Lauunch hpad raange

e tak
kes lights? asks a question on the website. Yes, isnt it
wonderful? is the response. Youve gotta love that.
grrid-baaseed coontro
ol, made
e popula
ar Price $700
Contact Monome via website
wiith Liive, into new dimensionns Web http://monome.org
BEST KEYBOARD
new full-colour feedback from the RGB-illuminated NATIVE INSTRUMENTS
pads, not to mention the great ease of use including KOMPLETE KONTROL
fast access to commonly used controls. The unit Alongside the Akai Advance series, Komplete Kontrol
features brilliant velocity-sensitive faders, the is just about the best keyboard controller out there in
hardware MIDI out for synth control is dead easy to set terms of total software integration. The idea of a great
up, and its fun to use, what more could you ask for? hardware controller is you can turn away from your
In the studio, its not as powerful as Abletons Push in computer and do a lot of your noodling actions without
the beat and device control departments, but for other it. Komplete Kontrol enables this more than other
situations, the Pro is a flexible, expressive, interface, options by not only having classy displays, but
for your clips, instruments, and just about everything multi-coloured, lit-up keys that replicate the coloured
else. This is a great update all-round, and takes the key zones when using NI software. The Komplete
Launchpad to a new level of Ableton Live control and Kontrol software has also recently been updated to
performance. If you already have a Launchpad, youll v1.5 and you get a bunch of free Komplete Select NI
be itching to update. If you dont have one, the Pro is plug-ins, plus the fact theres a brand new 88-note
the perfect excuse to get on board. version. Thats 88 lit-up multi-coloured keys. Swoon.
Price 369-729
Contact Native Instruments on +44 207 9207500
WHATEVER HAPPENED TO Web www.native-instruments.com
Jazzmutant Lemur
and Dexter
French company Jazzmutant released the first
multi-touch controllers especially for music
producers in the forms of the Lemur and Dexter. The
Lemur could control pretty much anything you defined,
while Dexter was aimed at specific DAWs (Logic, Cubase, SONAR and Nuendo).
These sleek, black units still look as if they are from the future, and were always a
wormhole ahead of their time, not to mention expensive. Perhaps unsurprisingly,
the iPad offered a similar experience for far less cash and the Dexter continues
within that format. The Jazzmutant website highlights v2 software for the
hardware, although we assume that hardware is no longer made. The app is well
worth checking out and if you can track down the units second-hand they are still
damn cool. www.jazzmutant.com

Mobile music making WHATEVER HAPPENED TO...

Yamaha Tenori-on
The story of the Tenori-on follows a similar path to
There are hundreds of apps to help you make music, Jazzmutants. Both were released to critical
acclaim, both tried to do something a bit different
but what about the gadgets you need to help you get and both were adopted by cool musicians. Both
the best from them? Here are the finest keyboards, have also ended up as iOS apps with the original
hardware only available second-hand. But the
controllers, interfaces, mics and speakers original Tenori-on is worth tracking down for its light
show sequencing and
the fact that you could
quite easily put
together a multi-track
tune albeit a very FM
sounding one in no
time at all. Itll probably
be worth a few quid
too http://uk.
yamaha.com
KEITH MCMILLEN INSTRUMENTS K-BOARD The Keith McMillen
Keith McMillen Instruments makes some of the Instruments K-Board (above),
Alesis I/O dock (below) and
coolest gadgets for music making on the planet and Novation iTrack Dock (bottom) iPad a little more awkwardly, but can certainly
the K-Board is consequently not the only piece of the integrate easily into your setup however you wish to
companys tech to appear in this feature. If you are use it. Both are genuinely good solutions to taking your
prone to getting inspiration for music on the move, or iPad noodlings into your studio environment and
simply dont have a lot of space for music production getting audio or instruments from the outside world
then look no further than this. It has touch-sensitive into your iOS device.
keys and is a plug-and-play USB MIDI keyboard that is ALESIS I/O DOCK
affordable, durable and even available in different Price 119
colours. It slots very nicely at the front of your laptop Contact InMusic or Alesis via website
and the lead is long enough to play it (slightly more) Web www.alesis.com
remotely. We tested it with a laptop running Logic and NOVATION ITRACK DOCK
the iPad and it rose to the occasion each time. Once Price 169
in a while, a product comes along where you think, why Contact +44 1494 462246
hasnt anyone else executed this in such a successful Web uk.focusrite.com
way before? And the K-Board is one of them. Its a
must-have for any mobile musician and FENDER FOCAL PASSPORT
anyone wanting to get ideas down fast. STUDIO MONITORS
Flashing lights and playing keys have How many portable monitors can you get with the
never been so much fun. quality monitor name that is Focal written on them,
Price $99 not to mention the quality, er, guitar name that is
Contact MSL Pro: 0207 118 0133 Fender. OK, these arent quite battery-mobile, nor as
Web www.keithmcmillen.com take anywhere as the Bluetooth offerings we have
here, but the Passports are portable in the sense that
ALESIS I/O DOCK if you do a lot of mixing in a lot of places if you are a
NOVATION ITRACK DOCK flash Harry with lots of studio spaces or work on lots
We love the iPad but, to be
honest, Apple didnt really design it
completely with music production in mind, so
producers need a clever way to expand their iPad into Thee K--Boaard is a must-h
have for
a more rounded audio and MIDI recording
environment. Enter the Alesis I/O Dock and Novation any mob bile mussicia
an an
nd anyon ne
iTrack Dock. Both allow you to plug iPads in to expand
on their connectivity, and both therefore turn them wantting
g to get ideaas do
own fastt
into more usable interfaces. The Alesis is a good-all-
in-one solution with great-
sounding recordings and of other peoples music, that is then these offer the
the ability to same listening experience wherever you are (bar,
charge your iPad naturally, studio acoustics that is). Reviewer Huw Price
as you work with noted: Judged purely as studio monitors, the level of
it. Its also the detail and solidity of the imaging is certainly
most commensurate with the price point. But the defining
competitively feature is that the Passport Studio system can be
priced. The locked together and transported without the need to
Novation is preserve the packaging or buy a flightcase. Then you
similar but fits simply split them, set them up and theyre good to go.
around the This is a cleverly designed, carefully thought out and

Pro, to these iRig

Pads, one of the most
portable units out there. It is
affordable product that fills a niche in the market. brilliant for beat creation on an Apple
An interesting concept thats well executed and priced device, and likewise with the bundled
and they sound pretty good too. SampleTank 3SE for your Mac or PC, which offers
Price 490 (pair) 6.5GB (for an additional 80) to take your creativity
Contact Fender GBI 01342 331700 beyond the beats. With everything programmable, itll
Web www.fender.com work with APCs, Live, Native Instruments Maschine,
GarageBand and so on, and will save up to 16 scenes
BLUETOOTH SPEAKERS to work with such software (it ships with six presets).
While the Focal speakers give you the studio quality It is hugely flexible and highly portable (its depth is
you need, theyre not quite as convenient as a good set particularly thin). The emphasis is definitely on
of Bluetooth speakers, that are all the rage at the grooves and dance, but if you want extra i-Control and
moment. Were including two sets both good in their are perhaps tiring of touch, this is a worthy option.
own right. The iLoud is the Bluetooth speaker of choice A compact, sturdy and portable unit that makes a
for the MusicTech office and has been providing useful, tactile addition to your i-based studio.
sterling service for listening and the odd small office Price 119.99
test for a year now. Its easy to set up, sounds great Contact IK Multimedia via website
and is certainly good enough to mix on while youre Web www.ikmultimedia.com
away from your studio with the view to returning to
your proper setup to do the main mix/master. Creative APOGEE ONE FOR IPAD
Muvo Mini, on the other hand, is smaller, cooler and Apogee describes One as the first studio quality
redder. When we reviewed it we said: Its portable, microphone and USB audio interface for iPad and Mac.
sounds louder than it should, and lasts for 10 hours in Thats a little bold, but this is certainly one of the first
the rain. What more do you bloody want? The iLoud (below) has been proper interfaces that you can get for your iOS device,
ILOUD keeping the MusicTech team tailored for the discerning studio recordist looking for
happy in the office with its
Price 199.99 high-quality sound, decent pristine audio quality. Apogee One will charge your
Contact IK Multimedia via website volume and portability device, connects to Mac and iPad, and has instrument
Web www.ikmultimedia.com and mic inputs. The Maestro software works with Mac
CREATIVE MUVO MINI and iOS and as we noted in our review: the sound
Price 49.99 quality of the mic is surprisingly high and the software
Contact Creative on makes the interface very versatile. Overall, One is a
020 8208 9930 very useful high-quality mobile tool. It excels at being
Web www.uk.creative.com a great travelling companion, especially with
its high-quality onboard condenser
IKM IRIG PADS microphone.
With grid-based controllers Price 289.00
more popular than ever, theres Contact Sound Technology
a lot of choice for the musician: on 01462 480000
from large-scale control and Web www.soundtech.
instrumentation with Abletons co.uk
Push 2 and Novations LaunchPad

Out there
Speakers that light up, guitars with touchscreens,
and beat-making clip machines it can only be the
gear that defies categorisation. Here, we round up
some of the coolest, best looking and sometimes
strangest gadgets out
there
NUMARK LIGHTWAVE
Before you say well include anything with
decent lights, no we wont. But when you EDITORS KEYS BACKLIT KEYBOARD
attach them to a pair of ruddy great big Well its just a standard keyboard, right? OK, it has
speakers that sound good and rock along some labels on for your DAW shortcuts, but whats the
with whatever you are listening to and big deal? Back-lit? Ah, now youre talking. Yes, when it
mixing, then whats not to like? Numarks comes to gadgets, manufacturers know that by adding
Lightwave speakers have literally lit up our lights to something it makes that something about
studio this year, packing a volume easily 1,000 per cent better! So the Editors Keys Backlit
good enough for a house party at half level Keyboard might not be the most essential gadget
and more than capable of holding their own youll ever need, but it could be the most essential
outside on a medium scale. The sound is gadget youll ever need. Martin Delaney said in his
clear, too, with little distortion at high levels. review of the Live version: Theres a lot of visual
We tried plugging in everything from phones feedback each key has an icon and a text label on a
and laptops to keyboards, and were pretty coloured background the colours are grouped
impressed with the results. And the lights according to the type of function they represent, which
even more so, as you get several patterns is a good idea. During the review period, I discovered
and can choose the colours and brightness that this keyboard divides Live users into two camps:
of each or have rotating ones. The Meter namely, I dont need this!, and Wow, this is awesome!,
option is the best, exhibiting the meters of a so I understand theres an audience for this. Theres a
mixer, bouncing along with your music but big cool factor thatll sway a lot of people; having a
that might be the inner music production backlit-dedicated Ableton Live keyboard will impress
geek in us trying to get out. OK, these arent your Live-lovin friends. If youre one of the many Live
mixing monitors really (although do play users excited by this idea, you wont be disappointed!
your mixes on them for comparison), and There are now versions for Logic and Cubase too.
theyre not to be taken too seriously, but Price 99.99
theyre solid, sound good and will add a bit Contact via website
of colour to your (probably already colourful) Web www.editorskeys.com
setup.
Price 219.99 (per speaker, street) KORG CLIPHIT
Contact Numark via website It looks like a large egg, but you take the three clips
Web www.numark.com that attach to this Korg percussion gadget plus a
footswitch and attach them to any beatable surface
(think table top, item of clothing and so on). Striking
that surface then triggers one of the onboard sounds
for instant beats and jamming mayhem. The speaker
Mannufa acturrers know thatt by and resulting sound isnt going to win too many
pro-quality awards, but the Cliphit is easy to use, great
ad
dding
g lighhts to so
omeethin
ng it to practise or busk with and tremendous fun. The kits
are good enough, ranging from standard, through rock
maakes
s it 1,0000 per ce
ent bette
er and pop, we said. Its another great curveball from
Korg. We love the idea, and we love Korg for coming up
with this leftfield gear. Its the ideal device to unleash
your finger and toe beats.
Price 99
Contact Korg on 01908 304600
Web www.korg.com/uk
KORG MINI KAOSS PAD 2S

The number of Korgs Kaoss gadgets is becoming a tad
confusing to us, we must admit, but the KP2S
represents a refinement in a technology that has been

Ultimate Music Gadgets Feature MTf
WHATEVER HAPPENED TO
Misa Digital Kitara
The shape was most definitely guitar-based,
although the Kitara also had a touchscreen slap
bang in the middle of it and used an open source
software platform to make sound. This included
onboard synth tones and could be played by way of
144 buttons along its neck. Youll notice that we are
using the past tense as, according to Misa Digital:
The Misa digital guitar was an experimental
instrument, similar to an electric guitar in shape, but
with an interface designed to easily and intuitively
control digital audio. It is now discontinued.
However, the replacement Tri-Bass, which is more of
a MIDI controller with touchscreen is still available,
although its sold out at the time of writing.
www.misidigital.com
JAMHUB GREENROOM
In a band? Make a racket when you rehearse? You
could probably do with one of these. Essentially, its a
box that each band member plugs their instrument
into, plus a set of headphones out so they can hear
their playing together with the band, but the
neighbours cant. A simple idea, and genius in
execution. Obviously, it doesnt work so well if your
around for more than 15 years now. It is described as a The JamHub GrenRoom may drummer insists on using an acoustic kit and your
look a little like the Millennium
powered-up Mini Kaoss Pad 2, the Mini Kaoss Pad 2S singers wailings will still get heard, but its one of a
Falcon from Star Wars, but its
is a powerful DJ effect unit that fits in the palm of your actually a highly useful kind, and we said: The GreenRoom excels at providing
hand. It includes a touchpad in the centre, and retains rehearsal tool for bands an attractive, compact and convenient way to rehearse
the large number of effects of its predecessor (100 in
total), but adds sampling (explaining the S) to the mix,
so you can use the device as anything from simple
recorder to mobile vocoder. When we reviewed it we
So trraummatiised were we by the e
said: Using the device is tremendous fun, of course,
and it is perhaps more a mobile gadget for the
inc
cidennt, this is th
he firs
st time thatt
performer than producer. But the recording option
adds to the studio experience, and the more you work
weeve been n ab
ble to write e abou
ut it
with it (and the smaller your fingers) the more you will
sonically reap. Its an evolution of an ageing concept, silently at home or on the move. It combines all the
but the KP2S essential bits of kit necessary to enable virtually silent
is small and perfect in ensemble rehearsals in one well-designed, compact
many ways. and lightweight package.
Price 119 Price 420
Contact Korg on Contact SCV Distribution on 03301 222500
01908 304600 Web www.scvdistribution.co.uk
Web www.
korg.com/ NUMARK ORBIT
uk The Numark Orbit has been around for a couple of
years, but came to our attention only when we were
chased around the NAMM show by a Numark
representative demoing it live on stage earlier this
year. So traumatised were we by the incident that this
is the first time weve been able to write about it Its
a live performance DJ controller with several modes of
operation, but think of it in terms of coloured buttons/
pads and banks of operation plus motion control,
which allows you to assign parameters via the units
shoulder buttons. So, moving it here there and
everywhere rather like the scary Numark rep will
yield some interesting performance results. OK, its not
for music production, but it looks cool and could add a
flourish to your live show.
See, were over the incident already

Out there (contd) WHATEVER HAPPENED TO

airpiano
Not unlike a theremin in its touch-free action, the
airpiano is played by way of a user gesturing above it,
with keys and faders represented according to
position above a wooden plank-like instrument
complete with red LEDs. We strongly believe that
the airpiano introduces a new user experience,
a magical and cool performance tool and an
experimental instrument to explore, so says the
website, but adds airpiano was developed in Berlin,
Germany by Omer Yosha. Unfortunately, the airpiano
is now sold out and is no longer in production.
airpiano.de
The Eige
enha arp rannge is pro obabbly
he mo
th ost intrig
guinng off all the gear
wee hav
ve in
n this
s roundd-up p it that) here that we havent tested, so well make
amends and get one in ASAP.
Price 459 to 4590
Price 79 The Eigenharp (above) has 133 Contact Eigenlabs on +44(0)1392 823000
Contact InMusic via website keys and two ribbon strips and Web www.eigenlabs.com
is a totally new concept that we
Web www.numark.com/product/orbit cant wait to test out
MOOG THEREMINI
THE EIGENHARP Its a theremin, and a cool-looking 1950s-a-like one
The Eigenharp range of that is affordable and, as these things go, pretty
instruments is probably the most versatile too. The unit is a little plasticky, but is a
intriguing of all the gear we have in dream to use. For example, when changing scales you
this round-up, arguably the most learn more about the subject in two minutes using
serious in terms of its musical the Theremini simply playing it up and down
aims and certainly the most within the categories than in a previous lifetime
expensive and expressive. of listening to music theory. All manner of
Eigenlabs formed 15 years ago, an parameters some obvious, such as pitch and
English company with enough note range are adjustable, and theres a good
investment to have produced delay effect to add some variation. The 32 presets
three instruments since 2009, the take it away, but not too far away, from that eerie
top-end version being the whistle; in truth, most are of that ilk, and we could
Eigenharp Alpha at 4,950. The have done with some more varied tones to really
instrument uses 133 keys and two experiment with. For those after an easy intro to the
ribbon strips to play notes and world of the theremin and the other-worldly nature
samples and can play and record of its sound (its also worth delving deeper into the
loops, change scale and key, fascinating life of its inventor if you have time),
transpose, alter tempo, program theres no easier way. An easy theremin to get into,
beats, create arrangements, both practically and financially. Its a little
switch and layer multiple sounds, lightweight, but bang for buck this thing whistles
all while the musician is like no other.
performing live on stage. Were Price 259
talking about a completely new Contact Source Distribution on 020 8962 5080
concept here, but several players Web www.moogmusic.com
have adopted the instrument,
including Scanner (we saw one when
we interviewed him). The
less expensive
Pico, at just 459,
and the latest
model Tau (2,395)
expand the concept. Its the only gadget
(and we feel as if were demeaning it a little by calling

OW
GADGETS HEAR AND N
And so, finally, to the very latest gadgets. Here are
just some of the ones weve looked at most recently
in MusicTech
Price 599
ROLI SEABOARD RISE
We didnt expect to be quite as impressed with Rise
Contact ROLI on +44
as we are. Its a genuinely new piece of hardware that
(0)20 7254 2155
will expand your performance and recording
Web www.roli.com
creativity. It looks stunning and, with the Equator
synth thrown in, can sound that way too. We neednt
say any more about ROLIs new keyboard here you
can probably gather that we think that this is a
gadget well worth trying
AKAI MPC TOUCH

Akai is on a bit of a roll at the moment. For years, this complete with a 7 colour multi-touch display is
company was on the cutting edge of both sampling another blinding piece of kit. It features 16 velocity-
and, with the MPC range, beat creation and sensitive pads with RGB backlighting, a step
performance. Then it went through a rather fallow sequencer with the touch interface, a phrase looper,
Price 499
period as sampling disappeared into the computer, but XYFX real-time dynamic control, four other real-time
Contact InMusic via
InMusics acquisition of the brand has given it a new controls and more than 20GB of content. It also acts
website
lease of life and were now forever banging on about its as a 2-in/2-out interface, should you require it to. We
Web www.akaipro.com
Advance range of keyboards. So this new MPC are particularly excited about the Touch side of things,
with the unit offering a new level of control over your
waveforms. Akai says: Literally grab and pinch
waveforms, draw MIDI events, adjust envelopes, chop
samples, add effects and precisely set your controls
using your fingertips. Even more exciting is the fact
that Akai could then bring this type of screen to the
Advance range. Take note NI and Ableton. Something
for the next version of Maschine and Push? MTF

MTF 20 Pro Tips Computer performance
Computer
performance tips
If your trusty computer-based recording setup is struggling to process your tracks,
dont despair, as there are lots of ways to help with frustrating glitches,
latency, frozen screens or even crashes without breaking the bank
This is especially true if you use sample-based instruments,

which generally have to be loaded into RAM to one extent or
another. Buy a computer thats got plenty of RAM, or upgrade
and expand what you already have, if possible 4GB is an
absolute minimum and 8GB or even 16GB is preferable.
Theres even an argument to be made for prioritising more
RAM over spending money on a fractionally faster CPU, since
this will offer you better performance in real world situations.
Laptops, especially Apple models, have limited expansion
capability and some are even non-user upgradeable so be
aware of this if youre buying one to make music with.
01 Buy a computer thats

got plenty of RAM or
upgrade and expand
KNOW THE LIMITATIONS OF WI-FI
02 Although you can use wireless hard drives for storage,
they dont offer quick enough performance to handle things like
streaming Kontakt libraries efciently. So as tempting as it is to
ofoad your libraries onto a Network Attached Storage (NAS)
drive, its better to use a USB or other wired hard drive as itll
UNDERSTAND ABOUT RAM mean far less waiting when you want to call up an instrument.
01 Modern audio software can be very memory-hungry
and although the newer versions of Windows and Mac OSX Plenty of RAM will USE SSD DRIVES WHERE POSSIBLE
have got much better at managing RAM, its still one of the
03 Solid state hard drives (SSDs) have come down greatly
aid your computers
main performance bottlenecks on many peoples setups. overall performance in price, to the point where theyre now feasible alternatives

Computer performance 20 Pro Tips MTF
you a list of what mode your apps are running in. The
reason you should run in 64-bit mode is that it enables
your apps and system to address large amounts of
RAM which, in turn, improves performance and also
lets apps execute certain processes more quickly.
Most apps are 32-bit compatible so even where, for
example, a plug-in is a little older, it should run ne but
wont be able to take advantage of as much memory.
03
KEEP AN EYE ON WHAT YOU INSTALL
07 A lot of system slowdowns result from rogue or
outdated drivers, and applications or plug-ins which are
using resources, loading when theyre not needed or just
generally taking up space. That plug-in demo you installed
which has since expired but ashes an error every time you
launch Logic? Thats costing you time. The control panel for a
MIDI keyboard youve since sold which loads whenever you
boot up your system? The same. Be ruthless, purge your
Its hard to overstate how system of stuff you dont need. Use uninstallers where
available. On Windows use the Add/Remove software panel.
On the Mac, if no uninstaller is provided, utilise something
big a difference an SSD can like Appzapper (www.appzapper.com) to get rid of junk. You
want to streamline the startup of your computer and DAW, so
make to your life prioritize deleting unwanted plug-ins, drivers and controller
software. Of course, be careful to not delete things if you dont
know what they are, as they might be important.
to the trad spinning versions. Its true that SSDs still offer a
less spectacular price-to-gigabyte ratio than conventional
hard drives, but their performance is miles better and thats
08
reason enough to use one as your boot drive. Store sizeable
sample libraries on a conventional secondary drive, if
possible a terabyte-sized one will cost you very little.
However, for your system drive, a 256 or 512GB SSD can be
fairly affordable and youll be astonished by the extent to
which it speeds up your computer. Such system operations
as app launching and memory access get much quicker with
an SSD, meaning less waiting and more working. Its hard to
overstate how big a difference an SSD can make to your life.
ONLY RUN WHAT YOU NEED

04 Any running application uses system resources,
meaning anything thats open but not in use is taking power
away from your DAW. Dont have Photoshop or Excel open in
the background if they arent being used just run the bare
minimum you need, which will help with system performance.
PRACTICE GOOD HOUSEKEEPING

05 Being sensible about where you store your stuff will
make the likelihood of confusion and data loss decrease.
Dont keep a million les on your desktop. Set up custom
folders and subfolders for DAW projects and back up
regularly. This should also mean that you spend less
time trying to locate missing audio les. FAMILIARISE YOURSELF WITH THE PLUG-IN MANAGER
08 Most DAWs have a system for the activation of plug-ins
RUN IN 64-BIT and its important to keep an eye on these if you experience
06 MODE any issues with your projects. In many cases its no longer
Windows and OS X have necessary to actually uninstall a plug-in, should you decide
been 64-bit native for that you dont need it to be active, you can just tell your DAW
some time now, and not to load it on initial startup via the manager window.
all modern desktop However, if you have some plug-ins that you dont want to
processors are as well. delete but also wont need to use for a while, consider
By now, the majority of deactivating them. This should speed up the startup of
DAWs are capable of your DAW, simplify the plug-in chooser menu and generally
running in 64-bit mode make life simpler. Some software now also allows you to
and some do so by Top: The performance create custom lists of plug-ins, which is another great
default. You can of SSDs is miles timesaver since it stops you having to plough through
better than that of
check this on a Mac by endless lists of modules to nd the one that you want.
spinning drives
06 performing Get Info on
an app and looking at its Above: Good plug-in STAY UP TO DATE
General tab, or in the management will
09 This one is as old as the hills but its still relevant.
Activity Monitor. On reduce your DAWs Generally speaking, updates to operating systems, DAWs,
Windows you can open startup time drivers and plug-ins make things better, faster and more
the Task Manager > Left: Improve app
stable. If someone never updates anything, or some things but
Details tab and choose to performance not others, they dont get the benet of everything working
display the Platforms by running in optimally. However, there are caveats. You should always read
column, which will show 64-bit mode the system requirements of an update or a new version of

MTF 20 Pro Tips Computer performance
USE LIGHT VERSIONS OF PATCHES

11 Some sample-based instruments have light versions
of patches that use less RAM to load. They may have fewer
velocity layers, for example, but sound very similar to the
full fat versions. Similarly, some synths and effects have
different quality settings, numbers of voices and so on,
and these can be switched in order to save power.
BE REALISTIC ABOUT WHEN TO UPGRADE

12 Every computer will eventually become obsolete. At
some point youll have to face the fact that your ten-year-old
machine isnt going to be able to run big DAW projects any
more. If component upgrades arent a sensible option, bite
the bullet and go for a new system, if you can afford it.
CONSIDER DSP HARDWARE

13 Although modern computers are very powerful, our
10 expectations of what we should be able to achieve with
them also rise constantly. Companies such as Universal
Audio (www.uaudio.com) specialize in making specialized
Digital Signal Processing (DSP) hardware add-ons for your
computer which run high-end instruments and effect
plug-ins independently of your CPU. These enable you to run
very high numbers of these specic plug-ins without placing
any strain on your host system, which remains free to deal
software. If your hardware is at the lower end of what itll run with running your system and DAW. DSP solutions arent
on, make a decision about whether you may actually lose usually cheap, but if youre serious about audio production
performance by pushing it to do newer things. In the past, they can improve the headroom on your setup massively. As a
Microsoft has been guilty of releasing new versions of Windows nice bonus, the plug-ins also tend to be extremely high
which, for many users, made things worse Windows Vista quality and have found many high-prole fans around the
was the main culprit but this seems to be less of an issue world. There are fewer DSP companies around than there
nowadays. Apple tends to be kinder to its older hardware and, used to be but its still an interesting arena.
periodically, will ofcially retire certain models from support.
CLEAR THE CLUTTER
14 Some people have a somewhat lax approach to
Some people have a lax housekeeping but it can be a real barrier to performance.
Understand that a hard drive which is rammed to bursting
approach to housekeeping with movies or an iTunes library means, when youre tracking
audio or loading instruments, your computers having to
search for free space much more intensively than it would if
but it can be a real barrier you had, say, 40% of the drive space free. This is much more
of an issue with conventional spinning drives than with SSDs,
to performance which have a far faster seek time. A cluttered hard drive can
also make simple tasks like browsing for les take much
longer, and searches can be tedious, too, as lots of les
MONITOR SYSTEM RESOURCES appear which arent actually relevant. It isnt that you
10 To understand whats going on inside your computer, Above: System
necessarily have to throw stuff away, but do ofoad things
monitoring tools
use a system monitoring tool to look at CPU and RAM use, keep tabs on your like movie collections, which use tons of space, onto an
hard drive capacities and network performance. OS X has computers external USB or even wireless hard drive. Space on your
Activity Monitor and there are free apps like MenuMeters performance boot drive is precious and you should treat it as such.
(www.ragingmenace.com). Windows has the Task Manager
and many free apps, such as Rainmeter (www.rainmeter.net). Below: A drive thats TRACK RATHER THAN SYNTHESIZE
free of clutter means 15 This one only really works if you have access to hardware
smoother running
but its worth mentioning nonetheless. Recording sounds as
14

Computer performance 20 Pro Tips MTF
Mac OS X and Windows have options

to help prioritise performance over, say,
battery life, and these can be useful when
you need all the grunt you can get
audio to your computer and playing them back uses far fewer
system resources than generating them in realtime from a
plug-in. For example, recording a line from a hardware synth
as audio places much less strain on a CPU than generating it
live. Similarly, passing audio through hardware effects uses
virtually no power, but processing a track using the equivalent
plug-in certainly does. A system thats dealing with 24 tracks
of audio is under much less stress than one that has 24 synth
and delay plug-ins loaded. Realistically, you might end up
mixing live tracks with processed ones, based on what youve
got access to. Remember that freezing or bouncing down
18
tracks also frees up system resources, by creating audio
versions of virtual tracks.
DISCONNECT PERIPHERALS
19 Having 20 things connected to your computer actually
uses power, since each one has to talk to the system using a
driver. Some peripherals also draw power from your machine.
Cut it back to the bare minimum an audio interface, MIDI
device and maybe a dongle. Disconnect printers, scanners,
15 webcams and the like.
Above: Optimising
your PC frees up more
USE FEWER SYNTH VOICES
processing headroom 20 Software synths often have congurable voicing
Left:Schedule options. More voices means a richer sound but also
SCHEDULE BACKUPS backups so they increased CPU usage. If your machine is struggling, consider
16 Backing up your system is essential but it shouldnt be take place outside using fewer voices as a way to save resources. Alternatively,
working hours
kicking in when youre in the middle of tracking drums. Tweak you can always freeze or render down a virtual part. MTF
your backup schedule to only start outside of working hours, Below:Use fewer
or set it to manual rather than automatic. This should stop synth voices to gain
system slowdowns occurring when you least need them. more CPU power
20
17 OVERCLOCK YOUR PC
Only do this if youre condent youre comfortable with
it, but some PC systems can be overclocked while remaining
stable using freely available software hacks to increase the
clock speed of the CPU. It can cause stability issues in some
cases, though, so it may be one for the more techy user.
OPTIMISE THE SYSTEM FOR PERFORMANCE

18 Mac OS X and Windows actually have options to help you
prioritise performance over, say, battery life or energy saving,
and these can be useful when you need all the grunt you can
get for running plug-ins or ensuring low latency during
tracking. In OS X, look in System Preferences > Energy Saver
and turn off the Put hard disks to sleep when possible
option. Otherwise, OS X does most of its optimization
automatically. Windows has more options and these are too
numerous to list in detail here. Sufce to say, there are many
online guides to optimizing Windows for performance, which
include things like disabling animations and unwanted
Windows Services, graphical ourishes and folder actions.
There are several places to look and nd options for freeing
up more of your PCs resources for audio processing.

MTF Show Off Your Live Studio: Part 2
Show off
your Live
studio Pt 2
Were now seriously impressed by
your studios and your pictures of
them. Show Off Your Studio via the
MusicTech Facebook page and you
could take the top slot here (pets in
shot certainly help, too!)
Now that is
what we call
komplete kontrol
Driftmoon
Contact: driftmoonmusic@gmail.com
MusicTech: Tell us about mastering for my clients. I didnt Ive totally refurbished and
your studio expect the studio to actually be so reconstructed my home to be a
Technically, my company is called time-demanding, but its proving to full-on studio. I know many people
Driftmoon Audio Suite, but the be an amazing experience. Working prefer to have a studio somewhere
studio is called Double Helix with so many different clients and else, but I love the fact that when I
Mastering. I use the studio 50 per musical genres has opened up a have an idea for new track or melody,
cent for my own music composition world of new possibilities to me. I can write it down immediately.
under the Driftmoon alias and 50 per Also, its good to be available if
cent for mixing, producing and MT: Where, when and how?! clients need something to be done as

soon as humanly possible. The music MT: Kit list? 2x Event Opal; 2x Avantone
scene is a rapid changing world, Mac Pro with 12-Core Xeon, 1TB SSD Mixcubes; Roland JU-06 and JP-08;
so its good to stay ahead of any and 128GB RAM; Universal Audio Dave Smith Instruments Sequential
potential problems. Also, considering Apollo Quad and UAD-2 Satellite Prophet-6; Native Instruments
that I live in the heart of Prague Quad; Waves MaxxBCL; API 5500; Komplete Kontrol S88; software from
right next to the most visited tourist Kush Clariphonic; SSL G Compresor; Waves, UA.
locations, finding some place just SPL M/S Master and MasterBay;
for a studio setup would be Focusrite ISA One; Mutec MC-3+ MT: Which DAW?
extremely difficult. Smart Clock; RTW TM3-Primus; For composing and production, I

FIRST WITH REVIEWS
FIRST WITH NEWS
HAVE YOU CLICKED?
Powered by Magazine
www.musictech.net
Driftmoon (contd)
use Ableton Live. I somehow love the UNESCO protection, I cant have an MT: Do you have any advice for MT
workflow and even for orchestral AC unit here. readers about setting up a studio?
composition, its absolutely To try and remember that we all
amazing. Granted, it doesnt have as MT: Any dream gear? started with something little.
many features as, for example, Barefoot monitors, I really hope one Whether or not you will make
Cubase when it comes to composing, day I will be able to get a proper something great out of it depends
but you can work around them and space which will be treated so I only on you. Listen to as much music
find your own way of doing things. could buy and use these. So far, (in different genres) as possible and
For mixing, I use Pro Tools and for they are huge for my current space also to be kind and respectful to
mastering, Sequoia. but it never hurts to dream, right? other musicians.
MT: What is your favourite gear?

I recently purchased a Dave Smith
Prophet-6 and, oh my, its absolutely
phenomenal! Ive spent days playing
with the sounds and writing them
down in an Excel sheet to categorise
them and then I immediately started
reworking my album tracks, because
the sound of the Prophet is amazing.
It just stands out.
MT: How often are you in your

studio? I am here daily for 10 to 16
hours it depends on how much
work there is to be done. I stopped
having weekends years ago, now
every day is a work day, but every day
is amazing and different. I somehow
got used to non-linearity and its
making every day interesting.
MT: How do you use it? Driftmoons

My studio space consists of only outboard gear is
impressive,
one room, so there isnt enough particularly the
space to record a whole band: SPL gear
nevertheless I can record singers
and instrumentalists with ease. I
mostly use the studio for producing,
composing, mixing and mastering.
MT: Next on your shopping list?

Right until now, Ive had no need to
go into the 500 Series world. But
after loads of positive reviews about
Meris Mercury7 Reverb, I think Ill
start collecting different 500 Series
modules. Ive also tested the Moog
Ladder Filter module, its incredible.
MT: Does anything annoy you

about your studio setup?
Loads of time and effort (not to
mention money) went into this space.
Ive had room to work with and I
made it work. The room itself is
treated to industry standards. If I
could change one thing, it would be
A different
the air conditioning. However, perspective we
because the studio is located in a still love the dog
very old building which is under

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Francesco Mulassano
Email: francesco.mulassano@gmail.com
Got enough
MT: Tell us the key components of to go from Cubase (Win) to Ableton keyboards
your studio? because the way of working is there, son?
I have collected instruments for completely different, but I wouldnt
at least 25 years. I started with go back. You can do everything with
guitars and had a rock and metal the tools offered by Ableton its
influence. As a synth addict, I have very complete and then with the
more synthesisers than outboard. arrival of Push and Push 2, it has
At this time, I have all the Elektron become more useful and cooler.
gear (minus the Octatrack), a Moog
SUB 37, Access Virus TI2, Korg What is your favourite gear and
MS-20 (the original), a monophonic why? For me, it is the Access Virus
JEN SX1000 from the golden Italian TI2. I owned a Polar TI and a Polar
synth era, one Nord Modular G2, TI2 at the same time a very crazy
the first Novation Bass Station Key, time. Then I changed my TI for the
a beloved Roland JP-8000, Teenage G2. Access is one of the few brands
Engineering OP-1 (the first one in that remains an investment, year
Italy), a pair of Axoloti, Waldorf after year.
Streichfett, some custom and DIY
machines, a pair of controllers Whats next on your gear wish
(Push 2 and BeatStep Pro), a lot of list? A Waldorf Q is one of the first
software plug-ins (all original, of on the list, but I think the next one
course). I think thats all! From the will be the new Korg Minilogue.
metal period, only the hair and
some guitars have remained. How do you use your setup? My
studio is located inside my house,
Which DAW do you use and why? here where I work on my solo project
When I switched from Windows to Urbanspaceman, and on the
Mac, eight years ago, I chose preproduction for other two projects:
Ableton Live and thats now the Space Aliens From Outer Space (a
only DAW I use. It took a long time synth trio with alien costumes
inspired by 50/60s science fiction),

and Giants (a trip-hop duo with an
incredible female singer).
What is your dream piece of gear?

There is no dream synth, but if I have
to choose, the Hartmann Neuron is
one of the pieces of gear Ive always
looked at with some admiration.
Do you have any advice for

MusicTech readers about setting
up a studio? If youre starting
from scratch, look at YouTube,
talk with other musicians and focus
on what you want to produce. Then
read the manuals/reviews, and
choose one machine only and spend
all your available time on it.
Any studio anecdotes? I could tell

you about when the tenant upstairs
broke a water pipe and it flooded.
Thats a lot of hardware Fortunately, though, the synths
(and a big chair)
stayed dry MTF

MTF Buyers Guide The 12 Best Soft Synths Money Can Buy
The 12 Best Soft Synths

Money Can Buy
Fancy some synth heavy action in your Live sets? Well heres our very own rundown
of the best 12 soft synths available to buy right now
Rules
Details
1. Only one synth per company 4. Available to run in 64-bit
2. Has to (still be) available to buy 5. Why 12? Why not? Price
separately from any DAW or bundle 6. Vote to change this chart at $129 to $379
3. Not freeware (thats a separate list) www.musictech.net Contact
+90 312 265 0558
Web
www.synthmaster.
Lennar
com
Digital Sylenth1
S
ylenth1 has been around
for longer than pretty much
every other synth in our
Top 12 and has become a
KV331
legendary synth in the world of
plug-ins. Its developer is fairly quiet
and updates are rare, with the 64-bit
version only arriving last September,
but it was well worth the wait.
Sylenth1 might be old, but this
four-oscillator, two-lter analogue-
Synth
Details
Price 139 plus tax
Developer
Lennar Digital
style synth has launched more dance
tracks than most and has a sound
that can be the backbone to any
Master
S
Contact
track in many styles. Thanks to ynthMaster just updated to
via website easy-to-use effects, massive v2.8 makes our dozen simply
Web www. polyphony and an easy ability to as it claims to be something
lennardigital.com
tweak and rene the onboard for everyone and is one of the
sounds of which there are over few synths around (next to Blue II) that
U-He Diva 1,300 this synth was, as they say,

designed to perform. And it certainly
still does just that
actually delivers. At its heart is a synth
engine (or engines) capable of a huge
variety of synthesis types including
I
t was a close call between Hive additive, wavetable and vector and a
another great U-He synth ideal Details huge number of modulation options.
for more cutting-edge electronic Price 109 But its real beauty lies in the fact that
(upgrade from
music productions and Diva, a these are all very easy to utilise.
Blue 35)
more analogue-based synth. But this Contact Routing is graphical and
synth gets it, especially as it has a Time+Space straightforward; there are more than
vintage synth and modular philosophy 01837 55200 enough presets (we recommend going
Web www.
of course, so much in vogue at the timespace.com for the Everything Bundle for around
moment. You can mix and match 3,000 sounds) and you can really use
analogue modules for some great the synth on whatever level you feel
combinations and choose from well comfortable with. It really does an
over 1,200 presets. When we reviewed incredible amount in a no-nonsense,
the software, we said: Diva represents almost calm way. So sit back, dont
the current pinnacle of analogue- panic and enjoy the ride. It does what it
modelled sound. An essential synth. says. It truly is a master of synths.

The 12 Best Soft Synths Money Can Buy Buyers Guide MTF
Rob Papen Blue II

I
f there was an award for throwing types; a huge set of effects processors
synthesis engines, power and (each offering 35 FX types); and over
presets into one plug-in, Rob 2,000 presets. So, quite a bit then
Details Papen could well walk away with it. We said: the synth moves from the
Price 109 (upgrade Blue II is an update to Blue, released late-80s through the 90s, noughties
from Blue 35) back in 2005 but what an update. Its and very much more up-to-date, with
Contact still a Cross Fusion synth, but boasts some absolutely huge presets that
Time+Space
01837 55200
subtractive, FM, phase distortion and would easily carry a tune from any era.
Web wave-shaping synthesis; six oscillators; Blue II is any synth you want it to be
www.timespace.com a couple of lters with 27 different lter and a lot more.
Featuring 20GB of extra content plus 400DSP

waveforms and no less than 12,000 sounds, this
could well be the only synth youll ever need
Spectrasonics
Omnisphere 2
S
pectrasonics certainly didnt could be the only synth youll ever need
rush version 2 of this youll certainly spend a large chunk of
multi-award winning synth, your life exploring just the sounds, let
and while the update very alone what you can do with them. We
much keeps the best of what was good said: While some have got close to Details
about the original, it also most Spectrasonics greatness, theres little Price 285
Contact
denitely updates the concept. doubt that Omnisphere 2 will set a new Spectrasonics
Featuring an extra 20GB download plus gold standard for the next few years. It Web
400DSP waveforms and no less that oozes class and sophistication and is www.
spectrasonics.net
12,000 sounds to choose from, this an essential purchase for all.
Details
Price 169
Contact
NI, via website
NI FM8 Web
www.native-
instruments.com
I
ts fair to say that we could have sounds) and well beyond the
included many NI synths in this top percussive, metallic and shimmering
12, but our own rules state that its pad sounds that FM synthesis was
one synth per company, so FM8 just famous for, to result in a synth that
about snatches it from Massive. The simply shines. Programming FM is now
reason? Well its another synth that, relatively easy (well, compared to the
like Oddity 2, was originally based on a original synth, what isnt?) and sound
classic hardware synth (Yamahas DX7 selection is very simple. The resulting
in this case) but through the magic (aka synth is big, evolving, and hugely
no limits) of software, has taken on a atmospheric. FM8 is not Massive and
life of its own. FM8 moves on from the is quite old, but its still a stunning
original FM7 (but still includes its synth and one we use more than most.

MTF Buyers Guide The 12 Best Soft Synths Money Can Buy
Linplug Spectral Why didnt you include

1. Reaktor? Yes, it could have been in the Top
12, but its more of a development platform
than standalone synth (as good as it is)
2. Crystal its free! Because its free and well
P
arts of Linplugs Spectral do a freeware list separately
3. Pow3r 3Z by Anonymous Software Ltd, or
will make you think its an Details some such other title? Because this is a list
out-and-out dance synth; Price $149/119 of titles we have reviewed. By all means vote
some of the presets without a Developer Linplug for your favourites at www.musictech.net
Contact or via our Facebook page
doubt do lend themselves to many
via website
dance genres. But theres both a Web
simplicity and depth to it that allows www.linplug.com
you to take this synth pretty much
anywhere you want to. We particularly
love the movement you can get with
sounds and how easy it is to program
this via the onboard arpeggiator, but
there are other highlights, too. The
waveform Spectral editor is obviously
intended to be one of these, as it lends Details
its name to the synth, and here you can Price 209, 89.95
get to the heart of the sound to shape (upgrade)
Contact
the harmonics. So its as simple as you Time+Space
like on one level and as complex as you 01837 55200
like on another. Dance synth? Maybe, Web www.
timespace.com
but also far more than that. We
concluded: Spectral offers
inspiration, loops aplenty, core wave
editing and a great atmosphere
The true joy of Iris lies in transforming

your own sounds into playable
music, melodies and textures iZotope
Iris
Fabfilter
C
ertainly one of the more
unusual synths in this
Details
Twin 2
roundup, as it is more of a
Price 99
sampling resynthesiser, using
Contact
Fabfilter, audio samples as waveforms. It works
via website by selecting parts of a sound from
Web www.
F
fabfilter.com
ablter makes some very either a wave or spectrum, utilising
special outboard and effect iZotopes groundbreaking technology
plug-ins indeed, weve in this area essentially the same type
scored pretty much all of of code used in the high-end RX
them a 9 or 10/10 over recent years software so you can home in on a
but before the company made any of particular part of a sound. The bottom
these, it made this spectacular synth line is not complicated at all, though:
plug-in which still stands up very well you can get some breathtaking sounds,
today. Featuring some amazing (and complex as you like and also sounds
very electronic and dance-based) you wont get anywhere else. When we
presets, this is a virtual analogue that reviewed version 2 recently, we said:
still cuts through any mix and still slots The true joy is in capturing your own
into many genres. Easy tweaking, sounds and transforming them into
routing and editing on the front panel playable music, melodies and textures;
and a sound that really works on many a task now made even more exible
levels: one that will probably never go with the new modulation system. Still a
out of fashion. An amazing synth fun and incredibly creative tool to use.

The 12 Best Soft Synths Money Can Buy Buyers Guide MTF
GForce We want more emulations!

Weve deliberately stayed away from soft
synths that specically model hardware
synths. We (mostly) favour software being
Oddity 2
used to stretch what can be done with sound
rather than emulating existing hardware. The
ones we have included namely Oddity and
I
it was originally one of the best FM8 have, for example, extended what was
emulations of an ARP Odyssey you done by the original hardware so much that
could buy in software, but Oddity 2 they have become synths in their own right,
but dont worry, classic-synth fans well be
is now so extra-featured and doing a proper emulation chart full of Arturia,
powerful that it has taken on life Roland et al very soon!
after emulation status and become
an incredible-sounding synth in its
own right. This is not least thanks to
its ability to play in a Polyphonic Mode, Details
meaning you have the exceptional Price 199
sound of the original Odyssey Contact
MeldaProduction,
multiplied into huge walls of spikey,
via website
aggressive and lush tones. Theres Web
unpredictability and a vast range of www.
meldaproduction.
Details timbres across 1,000-plus presets and com
Price 139.99 its easy to understand why the original
(currently 58.33 was so beloved by so many synth icons.
in a sale)
We said in our original review: Oddity 2
Developer GForce
is a triumph. We love the extra mod
Contact
via website options and using it as an effect, but
Web www. best of all is Polyphonic Mode, a feature
gforcesoftware. that takes Oddity to new heights. If ARP
com
had carried on as a company, this is
the synth it would have made now.
Oddity 2 has the exceptional sound of Melda

the Odyssey multiplied into huge walls of
spikey, aggressive and lush tones MPower
Synth
Zero-G
M
eldaProduction might be
known to you by its range
Epica of plug-ins, for which it

has a great reputation
among producers. MPower is its rst
O
kay, strictly speaking, its a synth and the company seems to have
library of sounds and not concentrated on the power part of the
technically a soft synth like name. MPower has spades of creative
the others in our dirty dozen, options and you can create sounds or
but it makes synth noises and has take the existing presets on all sorts of
synth controls so were including it, journeys with them. There are 1,500
dammit! And, boy, what synth noises it presets but, as we said in our review,
makes. Epica runs as a Kontakt it might be best to create your own to
instrument with all of the library really get the best from them, as
management that that entails. Once theres so much power under the hood,
loaded in, though, you wont regret the it would be a shame not to use it. We
hard drive space outlay because this said: Spend some time digging around
thing sounds, well, epic. Huge sounds Details and you will nd that there is much to
and enough control over them for it not Price 113 like. Its a serious synth that rewards
Contact
to get unwieldy (and to label it a synth!). Time+Space
some investment of effort, but,
We said: If you love synths, this could 01837 55200 crucially, it sounds great. An
be the best 113 you will spend. As epic Web www. extraordinarily powerful synth, with
timespace.com
as epic can be literally endless programmability.

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MTF Reviews Gothic Instruments Dronar Hybrid Module
MTF Lead Review

Hardware Software Mobile tech Accessories
9/10
GOTHIC INSTRUMENTS
Dronar Hybrid Module
With Gothic Instruments new title, we may well have a build-your-own
software not hardware instrument. Andy Jones drones on. And on
Details Modular software
E
very aspect of music While all very different, these
Product production is being made more collections do have one thing in The rst reason for this is its modular
Dronar Hybrid Module
accessible with technology: common: atmosphere. They will help approach. The instrument is being
Price 59.95
Contact via website
from creating the perfect transport your music making to another released in blocks of downloads, hence
Web danceoor beats to easy pro mastering. place or time, so are ideal tools for the low price, which is an interesting
www.timespace.com However, in more recent times, the the soundtrack composer. With the approach (we love modular synths, so
target audience for software developers blockbuster soundtrack being so maybe were seeing the start of DIY
seems to have shifted to the high-prole, and pop careers being so software see the box below for info).
Secondly, Dronar is setting its sights on
Features
O Atmospheric
Kontakt
instrument
Everyone wants to be the The first of many?
next Hans Zimmer rather than

The reason were going to town on Dronar is
O Multi-timbral
terms of a lengthier review is that it purports
synth/sampler
to be the rst of several modules under the
with multiple
arpeggiators
O 6 main controls
the next Eurovision entry Dronar moniker. This collection/instrument is
called The Hybrid Module and if you buy into it
for the not unreasonable sum of 59.95, youll
O 300 presets get further downloads and additions cheaper.
O 16GB of data The idea is that these are released every
compressed to soundtrack composer or wannabe low-cash, everybody wants to be the couple of months, as Gothic Instruments head
8GB soundtrack composer so weve had next Hans Zimmer rather than the next honcho Dan Graham explains: We realised
O Produced by that it would take two years to create all the
many libraries and instruments aimed Eurovision entry, so collections like audio content we wanted, so we thought
Hollywood trailer
sound designer specically at them. these are becoming almost as why not release the project in modules? This
Alessandro Ive looked at a stack of these over ubiquitous as analogue synths. means getting a new module out every two
Camnasio months until nally we can bundle it all
the last couple of years, including Dronar Hybrid Module is the rst together into a giant Master Dronar in a year or
O Live strings by
players from the fantasy favourites from Eduardo release from the superbly named so. Until then, this approach means users dont
have to wait until 2017, and also each module
Royal Liverpool Tarilonte (Shevannai and Era) and sci- Gothic Instruments. Its an instrument
is quite attractively priced, making it a good
Philharmonic
blockbusters from Heavyocity (Gravity) aimed at the soundtrack artist but also chance to try it without breaking the bank.
Orchestra
and Wide Blue Sound (Orbit). one designed to stand out from the rest.

Gothic Instruments Dronar Hybrid Module Reviews MTF
The Expert tab The Arp tab Master FX

On a basic level, Dronar is very, well, basic, Like the Expert tab, the Arp tab allows you Here, edit your effects on a deeper level with
with six controls for big dramatic changes. access to more parameters from the top-level distortion and chorus (shown in this picture).
Hit the Expert tab, though, and you get access controls. And like the Expert tab, you dont With reverb, you get a drop-down menu, too.
to around 30 extra parameters as drop-down really need to be an expert! Here, you can
menus for the main controls, plus other adjust the Intensity, lter and arpeggiator
controls like attack and decay. steps and rate.
Interstellar than Going For Gold [clever

Zimmer reference there for UK readers
of a certain age Ed].
specic soundtracks, not more general these controls will easily take your
scores. Clearly all about dark, twisted sound away from what you start with, Conclusion
atmosphere (the companys called and very quickly, too. So if you do think The Hybrid Module the rst Dronar
Gothic Instruments, after all) and its theyre a bit, well, droney, then get release didnt surprise me in what it
pretty obvious what youre getting. If hands-on its easy. could do in terms of atmosphere and
youre doing the soundtrack to Dumb You can dig deeper, of course, but tension, and it very much delivers its
And Dumber 3 or Meet The Fockers 17, youll get a good idea of the scope of menace in spades. As an opening
you might want to turn the page now. Dronar with just the top level. Step module of possibly many, it is very good
The library installs pretty much like down into the Expert page and you can indeed. Initially, you might think its a bit
any other Kontakt library, although its dene which of 30-plus parameters of a one-trick pony, but there are
enough strings and melodic folders to
take it on more musical journeys, and it
If youre doing the soundtrack also features so many parameters just
under the skin that you can easily move
to Dumb & Dumber 3, you might onto newer things.
The Movement and Intensity dials
want to turn the page now alone will have you off exploring new
sonic paths and there is more than
enough content to experiment with
the type where you dont get the fancy can be affected by the main controls And that may well prove to be the
NI graphics you load instruments and (you dont really need to be an expert to downfall for Gothic Instruments
presets via the more standard Kontakt be here to be fair), and you can also modular plans there might just be
nder interface. The 20 categories have delve deeper into the arpgeggiation and enough in this pack to sufce! Either
self-explanatory names like Alien, Low LFO features with their own dedicated way, with just 60 needed to start your
End, Pads and Chaos, plus 300 preset pages, too. dark and atmospheric journey, I think
sounds spread between them. The later sound categories are much its one well worth taking. MTF
Auditioning is as easy as youd expect more musical than earlier ones, which
with it being Kontakt-based, although perhaps emphasise the drone part of
MTF Verdict
load times are occasionally a little long. Dronar. The strings are superb, the
The rst few categories of Alien, organs suitably dramatic and the pads + Huge amount of atmosphere for
Atmospheres and Dark are exactly that. as creepy and menacing as youd the money
+ Modular upgrade path could be
You may feel slightly underwhelmed by expect. In fact, Ill leave it to three more
interesting
otherworldliness its a tad samey. But category names to sum up the rest: + Lovely big and easy controls
the strength is the simplicity and how a Fear, Tension and Dark. So, if you want make dramatic changes easy
few controls on Dronar can do so much. to give it some kind of Hans Zimmer + Lots to explore and very easy to
The producers of Dronar deliberately rating, Dronar is denitely more do it (and you will!)
held back on the number of controls - Its perhaps a little samey in
just to see how much control they could Alternatives places, but what did you expect?
get from a simple set-up, and I think its Ive already hinted at the collections and - Some hanging issues in Logic
one of Dronars main strengths. You get instruments Ive used which are similar to
Dronar, including Wide Blue Sounds Orbit The Hybrid Module is a great
a couple of effects (which can be varied) ($150 www.widebluesound.com) and opening chapter in the Dronar
plus controls for Hi, Mid and Low, which Heavyocitys Gravity ($449, www.heavyocity. series. Beautifully put together and
vary actual sounds within those EQ com), both big, evolving sound makers and exes within its own constraints
manglers, perhaps without the total darkness well, with very easy controls and
ranges rather than just the frequencies. that this has. Elsewhere in MusicTech, weve
more available if you want them.
Then theres an Intensity dial linked to also looked at Outputs Signal (150, www.
your mod wheel and a Movement dial,
and that is pretty much it. One or two of
outputsounds.com) which is an incredible
instrument for drones and other atmospheres. 9/10
MTF Reviews Teenage Engineering Pocket Operator 20 Series
Choice
Details
Price
75 each (inc postage)
9/10
Contact
via website
Web
www.
teenageengineering.
com
Key features
TEENAGE ENGINEERING
Shared
O 16-part step
sequencer with
16 patterns
Pocket Operator 20 Series
O Parameter locks
on sequencer
Three new Pocket Operators from Teenage Engineering. Can they
O Built-in speaker possibly be as good as last years hat-trick? Andy Jones goes 8-bit
O 3.5mm audio
out/in sync
O Jam sync
L
ast years NAMM show that is The names give a little away about around the back actually a couple of
O Folding stand
to say NAMM 2015 was stolen where each of the new series is heading hard wires, and I had to push the
O Step Multiplier
by Teenage Engineering, with its sonically, but its all perhaps a little less connectors to make sure they
Pocket Operator Series. Three obvious than the PO-10 Series, each of connected with the batteries on the
PO-20 Arcade
O Beat making and
calculator-style sound modules for which effectively offered beats, bass, rst unit I tested is hit the Play button
chiptune improv beats, sub bass and leads had everyone and lead sounds (actually, it was a little to hear the onboard patterns. Press the
O 16 synthesised crowding around the TE stand and more complex than that, but that will Pattern key and you will be able to
arcade sounds
while the big companies made big do for now). So here, the Arcade focuses choose your pattern from the 16
O 128-chord and
pattern chaining announcements, three sub-70 Euro on beats and chip tunes; the Ofce on number keys. Hit the Sound button
O 16 punch-in gadgets walked away with the honours. percussion and sequencing and the and, similarly, you can play one of the
effects A couple of months later, they walked
off with just about every MusicTech
PO-24 Office
O Noise percussion
award I could bestow on them, too
Yes, the original Pocket Operators
For TE, this years NAMM
drum machine
and sequencer
O Sampled vintage
PO-12 Rhythm, PO-14 Sub and PO-16
Factory were (and indeed still are)
was always going to be a case
h/ware and real
synth engines
O 16 sounds
incredibly fun and big-sounding melody
and beat makers. Sync them together
of how do we follow that?
O Solo control for complete tunes, admire the fancy
O 128-pattern and fantastical LCD screens, marvel at Robot on synth and sequencer. onboard sounds, again by hitting a
chaining
how such a small device can deliver Three new strands of PO, then, and number key. The two dials here typically
O 16 punch-in
effects such a big sound They were great. each promising a tantalising tangent alter volume and an effect, like lter,
So for Teenage Engineering, this years away from the original three, already per sound. So you can adjust the pitch
PO-28 Robot NAMM was always going to be a case innovative, devices. of the sound you want to record at this
O Live synth and of, Well, how do we follow that? stage and then you can record it, either
sequencer, Shared features by step sequencer or by playing live over
O 8-bit synth So how do they follow that? Time for a quick overview of the main a pattern as it plays.
engine
O 15 sounds and
The answer, of course, is with ways of using the POs before I get The former recording method is
micro drum something as cool, something as geeky specic. With all three, its a similar done by holding the Write button down
O 128-pattern and something as futuristic as the rst scenario and less than a year after (along with Chord) and then inputting
chaining
three POs a new trio of POs known as reviewing the 10s, I am on familiar notes of the sound you chose above on
O Live play and
sequencer the PO-20 Series, comprising the PO-20 ground. So the rst thing youll do after the 16-part grid. You can also play them
Arcade, PO-24 Ofce and PO-28 Robot. slotting in the batteries in the case in live by holding the Write button and

Teenage Engineering Pocket Operator 20 Series Reviews MTF
rotaries can be recorded). Then theres a

Chord button that lets you choose chord
changes over following patterns by
selecting them in number order again,
a nice way of bringing in some variation.
Other features common to the range
include tempo selection either home
in by holding the BPM button and use
the dials to choose a value, or select
from Hip Hop (80BPM), Disco (120) and
Techno (140) at the touch of the button.
The volume of each PO is set here, too:
hold the BPM button and set a level,
A teenager highlighted by the number of the
number keys lit. And just like last time,
playing them (again, you choose the Im pleasantly surprised by just how
pitch before hand). loud these things go, and also by the
Initially, this is a bit hit and miss, quality of the sounds on each.
but better if you make use of the Additionally, you can chain the
screen to make sure the Record icon is patterns together by holding the The publicity shot from the TE website implies the Arcade model might
highlighted, and then you choose either Pattern button down again and then bring you games, but sadly, it doesnt
method. Just make sure your pitch is hitting the pattern-number buttons in
dened before you record so a little the order in which you want them to school calculator. Id have also wanted
reverse thinking is in order. play to create complete songs. All the games especially on the Arcade one
but thats probably just me. (Maybe
well see some chip tuners hack these
Theres something of a sonic to play games as some kind of weird

reverse-parallel universe stuff.)
curry fest here: a few core Specics

ingredients but lots of results So that is the overview. Ill now deal with
each unit in number order, so its PO-20
Arcade rst. Arcade sound effects have
If youve used any of the 10s, though, units can also be syncd together, so you been used in music since Space
youll be at home here, as you will with might use the beats from one and play Invaders, from the Yellow Magic
other functions like adding effects live live with another and as well see, Orchestra onwards via novelty hits
hold the FX button and choose your some do excel in certain areas for this. through the 80s, where the scene
effect, as you would a pattern or sound. The manual (aka piece of paper) that ourished via Tracker software. Of
There are lots of ltery, trigger and comes with each unit lists some course, now theres a whole community
glitch-type of effects to choose from, scenarios here, including syncing a PO of chip tuners who have taken the guts
which really do bring an extra edge to all with a phone and Volca, something that of old gear and made new sounds from
pattern performances. These can also has achingly cool written all over it. it. Arcade (and in some respects the
be recorded in real time as the pattern Finally, theres a clock on each unit, other two new POs) is a reverential nod
cycles (any changes using the two very much reminding me of my old to that scene. Ironically, though, having
a machine with the 8-bit sounds laid
out so accessibly might not actually
appeal to many within that scene, but
for the rest of us, Arcade brings a taste
of it to our ngertips.
Youll recognise the sounds in PO-20
from a hundred trips to those exciting
and slightly sinister amusement
arcades that still litter the coastal
resorts in this country (that is if you had
my kind of childhood and havent
completely had the 70s tragically
erased from your mind by now).
If you read our review The key sounds are there: drones,
of the rst three
POs from Teenage lasers, beeps and basses. And while the
Engineering, you sounds might be based in the 70s and
might think we have
put exactly the same
early 80s, like the chip-tune scene, the
pictures, albeit with patterns that they produce are vibrant
different colours, in and fresh and surprisingly varied. This
exactly the same
positions. Would we has much to do with the PO ethos,
really be that lazy? which is to shove as many features in

MTF Reviews Teenage Engineering Pocket Operator 20 Series
Theres no getting
away from it, they are
imsy and open to
the elements. Heres
what you get around
the back of each PO
Ofce. You see?
there to vary, lets face it, not that many I didnt expect to be blown away by
core ingredients and patterns. So the Arcade Margate was always a lot
pitch dial will radically alter your core more exciting to drive to on the school
sounds and the effects and tempos will bus trip than actually getting there that the PO effects really do come
radically alter your patterns. Throw in but I found myself charmed by it. into full force and youll nd yourself
some chord changes and real-time Whether the unit has the longevity performing full live sets without
effects and you will be altering these is another matter, though. realising it, with a few button pushes
and casual glances over to your
imaginary crowd (of co-workers).
If you made beats from what So, yeah, Ofce is surprisingly cool,
and out of the three units, Id probably
you hear in our office, it would pick this one to use in my studio and to
extract beats and ideas from and into
be the stuff of nightmares my main DAW set-up. I just love the
overall level of control that enables you
to stamp your own authority onto the
ingredients a lot more than you think. On to Ofce; and while I was excited existing sounds and patterns, and
Teenage Engineering has pulled off by Arcade but not expecting big things, again, you are amazed what PO has
something of a sonic curry-fest here: I did struggle with the idea of this one: done with so few initial sounds.
a few core ingredients, yes, but a huge ofce noises to make beats, right? Its Finally, its time for the robots. Being
variety of results. hardly the stuff of dream rhythms, is it? a certain age, I must make the link
And if you worked in our ofce and between robots, operators, and
made beats out of the noises you hear calculators and mention Kraftwerk (yes,
here, it would result in the stuff of I didnt just hang about in amusement
nightmares, let me tell you. arcades in the 70s), and perhaps here
Fortunately, the Teenage we have the whole Teenage Engineering
Engineering ofce seems to be a little philosophy wrapped up in one unit.
more musical and alongside what could Robot is solidly electro, comes
be photocopy, typing and general shelf/ packed with a bunch of synth sounds
door/ling cabinet hit sounds, there are (not so much in the way of robot voices,
half-a-dozen decent beats and basses though) and the ability to actually play
to bolster things up almost like Richie and synthesise notes (to some extent
Hawtin is sat your ofce, maybe just
like your new intern, and making beats In use tips
out of your hole punch and stapler. When using the new PO series (as with the
current PO-10s) its all about what you can do
Alright Richie, yeah two sugars in my
with them in real time/live. The Robot might
coffee please, mate. be more about playing along with patterns
The resulting Ofce beats and and Ofce might be more about the beats, but
each one allows chaining of patterns to make
patterns are surprisingly punchy and songs; the addition of live effects (which can
aggressive and very edgy. Its here be recorded); chord changes (again which can
be chained) and a Step Multiplier that allows
retriggering of steps. You can even fade your
performances out with a couple of key presses
Robot is the best for synthesis (FX and Play) and on the Arcade, add a Drone
(of sorts) and melody version of the current chord. These real-time
playing perhaps additions are the POs core strength.
not beats

Teenage Engineering Pocket Operator 20 Series Reviews MTF
Alternatives
Korgs Volca range is still the closest thing out
there to the original PO-10 series, but theres
little out there that touches the new PO-20
series, not in standard hardware, anyway. I say
standard because, of course, there is a world
of chip-tuning, DIY electronic customisation
out there where people are taking everyday
gadgets and making them make notes. Expect
a feature on that soon. Until then, grab a Speak
& Spell and a screwdriver and experiment.
(Actually, thinking about it dont.)
If you dont want all six, then

youre stronger willed than us
MTF Verdict PO-20 Arcade

anyway). In this way, it seems more their patterns sound a little more
+ Surprisingly varied Patterns
open than the other units, as you can varied. But fun-wise and ideas-wise, + Good sound
make more in the way of melodies and and particularly just for playing tunes + Easy to use
have some control over the lter and with beats and there are additional + Great hands-on tweaking
envelope of the sound (via the rotaries). options for vibrato and expression for + Few core sounds = many results
The sequencer is a little more limited in playing Robot is where its at for me.
- Might not last creatively over the
the sense that the sounds you play live long term and have narrow appeal
are not necessarily recorded when you Conclusion - We wanted games!
hit Write theyre more designed to be Ill leave aside any debates over
Surprisingly exible beats and
played live but the overall feel is more chip-tune purity whereby the ethos
melodies take this away from just
play me than program me, which is a is to mod old gear to make sound rather chip tune. Longevity may suffer.
nice variation.
Back to the sounds and you get good
than have it done for you and attempt
to sum these up as music-making 8/10
leads, whistles, the odd arcade bleep devices. And its a little harder this time
and some fantastic delayed synth notes around, compared to the 10s. Inevitably,
(very Kraftwerk), although Id have this set of Operators is a little more
MTF Verdict PO-24 Office
wanted some vocoder action maybe niche the bass, leads and beats have + Best for beats
thats an idea for the PO-30 range been done, after all. This means that + A good range of Pattern styles
Patterns are chugging electro, some will love them even more than the + Extra sounds on top of beats add
weight to the vibe
some interesting more glitchy, off-beat rst set, but they will probably appeal + Effects really do help the
breaks and again, some arcade-type to fewer people overall. variation on this one
movement. Because the source sounds I have to say, though, that Ofce
are more synth than beat, the was the biggest revelation to me, while - Much less melodic possibility
than the other two on test
underlying rhythm sounds (from a Robot was the most amount of fun.
- As with all, the unit is flimsy
micro drum kit selected as sound Like the reface keyboards from Yamaha
number 16) are a bit less varied here, so four devices for very specic and A lot better than we thought it
I wasnt perhaps as blown away by the different tasks these are very would be, Ofce is the one well be
using with our DAW productions.
patterns, I have to say. This is probably personal, so my opinions are, as always,
Inspiring beats, and it begs you to
down to the fact that each sequencer just a guide. But I doubt there are any perform it live (which you will do!)
makes use of one of the lead sounds
and beats. The other units have more If you want to nish
the job off, silicone
other products anywhere on the planet
with which you can have so much 9/10
varied sounds across their key ranges cases are available musical fun and creativity, and that
(rather than just different pitches), so at 39 a go cost so little cash. MTF MTF Verdict PO-28 Robot
+ Great for hands-on melodies
+ Nice and simple synth action
+ Great for recording melodic ideas
+ Good and varied synth sounds
+ Impressive delayed sounds
- One lead and beats make the

Patterns less varied
- Could have done with robot voices
The best for getting ideas down

quickly and playing live. 35 years
on, Kraftwerk could use it live!
9/10
MTF Reviews NI Komplete Kontrol S88 keyboard & v1.5 software
NATIVE INSTRUMENTS
Komplete
Kontrol S88
& v1.5 software
Komplete Kontrol, the software, has been updated and the hardware gets an addition, too, in
the form of an 88-note keyboard. The ultimate integration? Andy Jones finds out
T
Details here are some products that ago Komplete Kontrol promised the become Kontakts trademarks, is now
Kit Komplete Kontrol follow trends and some that same for the keyboard player and replicated on the actual hardware keys
S88 keyboard and v1.5 create them. Komplete Kontrol thus the broader playing world at large. of the keyboards by way of the S-Series
software
Manufacturer denitely sits in the latter Komplete Kontrol marries a great piece Light Guides.
Native Instruments camp, and since its release in both of hardware to possibly the nest music Its hardware that does software, its
Price 729 (S88).
Other keyboards in
software form and the S-Series production bundle out there: NIs multi-coloured and striking, and it
the range are now at keyboard range, it has set the bar, not Komplete collection (now at v10). The keeps your head focused on what you
a lower price: S25 is just for controller keyboards but for the Komplete Kontrol software offers a are playing rather than what your
299; S49 369;
S61 429 very way that music production shell-like interface, while the Fatar- mouse is clicking. Its so 2016!
Contact software integrates with hardware. And
T: +44 207 9207500 its also helped the computer to be
W: www.native-
instruments.com
relegated to less than the main player
in the recording studio.
Push and Maschine pulled
Tech Req
PC: Windows 7 later;
Intel Core 2 Duo or
OK, you might think thats over-
stating the impact of this range, so
people away from computers.
AMD Athlon 64 X2
Mac: OS X 10.9 later
Intel Core 2 Duo
a quick recap might be in order
Until a few years ago, the computer
Komplete Kontrol does the same
4 GB RAM (6 GB
recommended)
was the dominant force in music
making. Native Instruments itself was
for keyboard players
one of many companies producing made keyboards replicate the software Its also brilliant and Komplete
Key Features
music software that could do in hardware form. Kontrol began, or at least helped chivvy
O 88-note
keyboard
everything, and I mean everything. I say again: replicate the software in along, a revolution in hardware and
O Features However, a combination of software hardware form. 15 years ago, Id have software integration that Akai has
Komplete Select piracy, amazing new and colourful gear, been happily telling you the opposite followed with its Advance range, Push 2
bundle of 10
plug-in titles
a shift back to analogue, and the sorry was true in the studio world. Crazy! looks like maintaining for Live and
worth 850 fact that people were starting to mix So anyway, with KK software you can Arturia, Novation and many others also
O NKS standard with their eyes rather than their ears dial up anything in Komplete and have a hand in.
opens KK up to
has meant that hardware has made Kontakt, all from your S-Series
other developers
O Features Light a glorious return. keyboard via preset type or list. You can Which brings us nicely to
Guides, Native Abletons Push and NIs Maschine step through the presets and control With everyone jumping on the
Map, Smart Play
have married the old software to this the most important parameters via the bandwagon, though, NI has not rested
O Size (mm):
349x126x1389 new world and simultaneously helped rather great Clear View screens. The on its laurels and has made several
O Weight: 14.4kg pull peoples faces away from their best bit is that everything, right down to important updates to the Komplete
computer screens. And just over a year the mult-coloured key ranges that have Kontrol philosophy over the last year.

NI Komplete Kontrol S88 keyboard & v1.5 software Reviews MTF
MAIN BROWSE SCREEN KOMPLETE INSTRUMENT OTHER PEOPLES PLUG-INS

1 Press Browse in the hardware and youll be
2 Load in your Komplete Select instrument in this
3 Load in other plug-ins via the drop-down menu, but
presented with all of the plug-ins you have (and case Massive and show the Plug-in panel to reveal the dont expect them all to be NKS-ready just yet. They will
annoyingly some that you dont). Select here control assigned to the Clear View rotaries play, but you wont be able to control all of them via KK.
This includes third-party support, with bit (actually quite a lot) of everything to Kontrol S-Series, you will be at home
the all-new Native Kontrol Standard show off what the Komplete Kontrol 1.5 here. If not, heres a quick recap of my
(NKS) essentially meaning that the KK software can do. previous review to explain that all
software and keyboards can be opened important integration.
up to the VST community, so were not The hardware
talking about hardware integrated with So thats the software, but were not Perfect integration
just Komplete but potentially a lot more nished. Testing the new 1.5 update Within Komplete Kontrol you get access
developers. So far, Heavyocity, required a Komplete Kontrol S-Series to all of your Komplete instruments
ProjectSAM, Arturia, Spitre Audio and keyboard, so we took delivery of the (and now other plug-ins) and you can
Sonokinetic are just some of the big brand new S88 keyboard and are select sounds via the instrument title
and then focus on preset type and
To use the S88 with Komplete select that way. The beauty is that all of
this can be done via the hardware
Ultimate 10 is one of the best controls, so you can be away from the
computer screen and more focused on
experiences in music production your playing and recording.

You can load up the Komplete
Kontrol software standalone or as a
guns who have signed up. Well be including that in this test, too to be plug-in. The integration then
looking at how Komplete Kontrol works rated separately. dramatically swings into action as the
on third-party software as we review it Hardware-wise, the all-new most/important parameters of
(look out for the Arturia V collection keyboard is the biggie: 88 notes of whatever sound you have dialled up are
update soon). For now, well cover what fully-weighted, hammer action keys mapped (via Native Map) to the Clear
else you get with the software and the and touted as the ultimate keyboard for View screens. I cant stress how cool
more immediate bonus: 850 of the ultimate controller range. The this is. They are designed in such a way
instruments within the all-new keyboard is identical in format to the that the hardware/software combo
Komplete Select bundle. others in the S- range in that all the almost mimics a hardware experience,
Needless to say, this takes action takes place in the centre bar so suddenly that FM7 preset you have
advantage of all of the S-Series the two multipurpose touch strips on always loved becomes an FM7 preset,
hardwares integration features while the left. There are Browse and Cursor which is easily and dramatically
also offering a great selection of Native buttons on the right to navigate through tweaked. The software instruments,
Instruments own software line-up. the KK software and eight Clear View therefore, come alive as not only preset
It includes personal favourites Retro screens and rotaries in the centre. selection is made easier but also
Machines, Monark and Massive, but There are performance keys, editing, mapping, tuning and
there are some other choice titles here, arpeggiator controls and the transpose performance, all done via hardware, so
including The Gentleman (piano), keys to the left of these, and that is it. If negating a lot of but not all of your
Drumlab and Vintage Organs a little you have any of the existing Komplete mouse clicks.
On that score, dont think that this by
any means frees you of your computer
completely you will still need to load
up the instruments in whatever DAW
you use and, of course, work in that
software, but the hardware is more than
capable of handling your Komplete
duties and can also load in other
Look closely and you
can see which plug-ins. We had G-Forces excellent
companies have Oddity 2 loaded up, and while not all of
already signed up to
use the new NI Native the KK controls are mapped to certain
Komplete Standard plug-ins, more will doubtless sign up to

MTF Reviews NI Komplete Kontrol S88 keyboard & v1.5 software
the NKS standard. Back to the it, as you get hundreds of GB of the best We used the S88 as MTF Verdict KK S25-61
hardware, and the new S88 certainly instruments and content around the centre-piece of
the MusicTech + Great new prices
feels its cost. It is pricey a full 300 literally everything you should ever need Christmas party + Komplete Select is amazing and
more than the 61 but the keys will be for music production. Komplete decorations a real bonus and advert for the
attractive to proper players. They are Ultimate is also what the S-Series is rest of the Native range
fully-weighted, slightly heavy compared designed to work with, so as good as + NKS could become the new
standard in integration
to the action on the Nord Stage 2 I also Komplete Select is, this is what NIs
+ The Komplete Kontrol software
have in the studio for testing, but far designers had in mind with the S-Series opens up your instruments in a
more respondent than the 61-note keyboards and to use the S88, hardware-like way
S-Series I also have. Whether its 300 Komplete Kontrol and Komplete + The scale and arpeggiator
extra worth paying is, Im afraid, a Ultimate 10 is undeniably one of the sections are both excellent
+ Light Guide keys. Come on, whats
decision you will have to make, as this best experiences in music production not to like?!
depends completely on your playing (I upgraded to v10 for this review and + Used with Komplete Ultimate,
ability and needs. have to say it is staggering and very this really is the ultimate
easy to install Ultimate has never hardware software bundle
Konclusion been so appropriate a name).
- but it will cost you 579
Weve reviewed the new Komplete However, were also going to mark - You cant do everything in
Kontrol software and S88 keyboard the all-new S88 in its own right, as it hardware (just yet)
together, as they are obviously designed comes with one or two caveats which
The new prices, addition of NKS
to go together, but you can, of course, weve already touched upon. It now
and Komplete Select make the
choose any of the four keyboards now in costs a whopping 300 more than the S Series even better buys.
the range, and anyone who has already 61-note, which puts the 88-note out on
invested in Komplete Kontrol can a limb a little price-wise. 9/10
download Komplete Select for free, so So, while I love it and I absolutely
get to it! do you may nd those 61 notes
The new software is really all about enough, especially for 300 less. MTF Verdict KK S88
NKS integration and the instruments Personally, I think its a bit steep a gap,
+ Proper player keyboard makes
you get from the off with Komplete or that perhaps the 61-note now looks this the ultimate Komplete
Select. With both additions, you will be even more attractive. Having said that, Kontrol keyboard of the range
enjoying a much more integrated these 88 notes are weighted and seeing + Just how cool are 88 Light Guide
package and one of the best hardware Light Guide across them in action in keys? Very!
+ Wider keyboard range opens up
and software set-ups out there. I say your studio is something else to behold.
Kontakt instruments further
one of because, of course, NIs own So if you are a player, and have a few + Again, used with Komplete 10
Komplete 10 software bundle is even quid, this is the one to get. Ultimate and you have, well, the
better, and should you want the Either way, one of the range should ultimate combo
absolute ultimate in that arena the be an even more attractive option,
- Keyboard may be a little heavy for
appropriately named Ultimate it will especially with the world and his wife lighter acoustic players
cost you 579 over and above now invited to the Komplete Kontrol - Price is 300 more than an S61, so
whichever S-Series keyboard you opt party and 850 of software to tuck into quite a bit more for the extra
for. I have to say, though, that it is worth when you arrive. MTF playing action
Its the ultimate keyboard in the

Alternatives Komplete Kontrol S-Series range,
Where do you start? In terms of controller keyboards, there are stacks to go for. Ive had some great yes, but it will cost you. Get it with
experience with the Alesis V and VR ranges and Korgs Taktile models, but for more integration the the optional Komplete Ultimate 10
Arturia KeyLab range has been updated and includes a whole range of that companys classic synth and you really do have the best.
heritage. The closest to the KK experience, though, is the Akai Advance range, which includes VIP
software that really gives you the hardware and software integrative experience. 8/10
Zivix Jamstik+ Reviews MTF
Alternatives
Game controllers! The good old Wii Remote
still works great with MIDI, thanks to
translator applications like OSCulator.
ZIVIX Livid Instruments Guitar Wing adds a MIDI

controller with buttons and motion detection
to your real guitar. MIDI guitar pickups
Jamstik+ are the more high-end, expensive way. See

Roland and Fishman as examples
audio clips, and the d-pad buttons to

Zivixs Jamstik is billed as a guitar learning aid, activate effects, and it was as fun as it
could be which is a lot. I then routed
but Martin Delaney has other ideas it could notes and CCs from the Jamstik+, via
just be a great MIDI controller too Live, out to a Bass Station 2, using the
semi-guitar vibe to play bass and lead
tones; and remember, this is wireless
U
Details s music tech types have an and MIDI channels (each string can be with Bluetooth, so you can walk and
Price $299 insatiable curiosity about assigned to a different channel, which play. On iOS, the Jamstik+ experience is
Contact alternative MIDI controllers, opens things up for software control). more or less the same, using the app for
www.jamstik.com
whether its to replace or Ableton Live is a natural partner for conguration and then playing various
complement our existing setup. Theres the device its rewarding to trigger soft soft synth apps the guitar tutorial
always room for one more, right? Enter synths like Operator from this petite content is also available across all
the Jamstik+, a guitar tuition tool which stringed instrument, which feels more platforms if you want it. Lefties can
might seem kind of toy-like, with its like a MIDI ukulele than a guitar once enjoy the Jamstik too change the
little plastic body (just over 16 long) its strapped on. Of course you can use orientation in the app, and ip the
and stubby ve-fret neck, but has huge any type of sound, so if you like the idea Jamstik+ over.
potential for MIDI control, putting it of programming beats from a guitar I wouldnt use the Jamstik+in any
squarely in the sights of any free- interface, youll be in heaven. There kind of guitar role I have guitars for
thinking controller geek. (Yes, the + in were no issues using Logic instruments that. It is, however, an awesome MIDI
the name is important it is an update and third party plug-ins at the most input device and is a surprisingly
to the original Jamstik, which relied on basic level its just like conguring a expressive little instrument. If you like
WiFi to connect to a computer, while the MIDI keyboard. It doesnt feel remotely custom control setups and game
Jamstik+ uses Bluetooth or USB.) like playing a guitar with a MIDI pickup; controllers, this is one you should try. MTF
Infrared sensors in the ngerboard although the Jamstik+ uses real
combine with a hexaphonic pickup to strings, theyre very short, and theres no
MTF Verdict
send note and string information to acoustic resonance at all, like youd get
your Mac, Android, or iOS device, with when you play an unplugged electric + Excellent MIDI guitar controller
further control messages being sent via guitar. No physical tuning is needed, + Easy Bluetooth or USB
connection
an accelerometer. Theres also an either its handled by the app, where + Accelerometer is great for effect
inordinately large mute button located you can specify any custom tuning you controls
where the bridge is on a normal guitar, like, per string. By default the d-pad + Portable little package
and a d-pad type arrangement of buttons provide octave +/- and capo + Works with iOS or OS X
+ Great for Ableton Live users
buttons on the top edge of the body. The functions. You can use a pick, or play
Features package contains the Jamstik+, a micro nger-style, and theres a tap mode - Neck dives a bit
O Guitar tuition
USB cable, guitar strap, picks, and optimised for one/two handed tapping. - Price will deter the merely curious
tool/MIDI
controller printed setup information. The The accelerometer reinforces the game - Not necessarily a first-choice
O 5-fret neck, 16 Jamstik+ charges from the computer or controller angle, and this can send any guitar learning tool
long
any standard USB charger, and should MIDI control message, so you could be The Jamstik is quirky, its not cheap,
O Works with Mac,
Android, OSX provide around 8 hours of use per playing notes on the Jamstik+ and then and Im not convinced of its value
O Mute button and charge (courtesy of a replaceable give it a wiggle to change your lter as a guitar learning tool. But on the
d-pad control phone-style battery). Its frequency, for example. Setting changes major however front, its a
O Charges via fascinating and fun MIDI device for
straightforward to set up - theres a are stored dynamically in the Jamstik+, anybody who loves new ways of
computer USB
O 8 hours per
dedicated free app available on all but Id like to be able to save a library of communicating with their software,
charge platforms which handles the Bluetooth presets for different situations. and particularly recommended if
O Particularly connection, string behaviours, velocity I built an Ableton set to make use of you like game controllers.
good with
Ableton Live
response, trigger sensitivity, general
MIDI functions, button assignments,
the 6 strings and 5 frets and separate
MIDI channels to launch a 6x5 block of
9/10
MTF Reviews Fablter Pro-C 2
The best is yet to come

While the ve new compressor models
are the easiest new features to get your
head around, the real strength of Pro-C
2 comes from the subtle touches that
FabFilter has added. It might not seem
like much at rst, but the Hold feature
added to the Attack and Release
characteristics something more
Excellence commonly seen on gates than
compressors has made its way onto
more tracks. In fact, weve been using it
on all our recent video tutorials as a
means of consistently ducking the
audio track under the voiceover. We also
FABFILTER recently used it on the hi-hat channel in

a mix to both tighten the hat choke in
Pro-C 2
response to the kick and to control
bleed, with the end result being more
controlled and groove-based than
anything we could have got with a gate.
Another of the improved features is
FabFilter has updated its Pro-Series compressor. the sidechain, which previously had
Mike Hillier finds out if it really is fabulous high- and low-pass lters. It now has
a mid-band with selectable shapes,
based on Pro-Q. You can, like before,
F
Details abFilter Pro-C is now the knowing you can get 99% of the way add high- and low-pass lters, but you
Price 114 second plug-in in the there visually is a great help in getting can also shape the lters as you see t,
Contact info@ companys Pro range to get a to the settings you want quickly. and use the mid-band to add a bell
fabfilter.com
major update, following on from Pro-C 2 has eight different curve, notch, shelf, or even a tilt EQ. We
Web
www.fabfilter.com the incredible update to Pro-Q last year. compressor models, of which ve are described the advantages of using
Minimum System The new version of the FabFilters completely new in Pro-C 2. The fully-featured EQs in the sidechain in
Requirements compressor adds a considerable Mastering compressor works very a previous workshop, Digging Deep Into
PC Windows XP or
later, AAX, RTAS or number of features to the already quickly, while producing very little The Sidechain, but its great to see one
VST host popular plug-in, including ve new harmonic, making it very useful as a so prominent in a compressor like this.
Mac Intel Processor, compression styles, a vastly improved clean, clear vocal compressor when The actual response of the compressor
Mac OS X 10.5 or later,
AU, AAX, RTAS or VST side-chain EQ, and a new Retina- artefacts have to be avoided, as well as once youve changed the sidechain EQ
host display optimised interface, which can on percussion. On the opposing front, is sometimes hard to work out, but as
be scaled from small to full-screen. the Pumping model has been designed a rule of thumb any frequency you
with subtlety thrown out of the window. boost in the sidechain will be reduced
Eight in one This model is great when fed a more by the compressor.
Probably the biggest single side-chain kick for those over-the-top As always, FabFilter has managed to
improvement in Pro-C 2 is the new user pumping sounds most commonly wrap an incredibly powerful tool into an
interface; even in its default setting it is associated with EDM. Perhaps two of easy-to-use and intuitive user
larger and easier to navigate. FabFilter the most useful new models, though, interface, which makes getting great
has embraced user interface design are the Bus and Punch models. Punch sounds simple. The original Pro-C got
like no other developer, making the has a rich tonality, which lends weight a lot of day-to-day use on our sessions,
most use of what is possible with to anything fed through it, while Bus but it was always the compressor to
plug-ins instead of sticking to applies that nal gloss to a mix. The reach for when you just needed a job
emulating old designs. There are no Vocal compressor has been designed doing. Pro-C 2 can handle anything you
skeuomorphisms here, no rack screws, with automatic knee and ratio, but is throw at it, and is already pushing far
paint scratches or needle-based VU the only one of the new models we more expensive compressors aside. MTF
meters. Instead, the meter shows a havent taken to immediately, perhaps
moving waveform as it passes through because we got great results out of the
MTF Verdict
Key Features the compressor up against a graph of Punch, Mastering and the three old
O Eight the gain reduction, letting you see at a models on vocals. + Flexible compressor
compression glance what your attack and release + Easy to use
styles + Great user interface
settings are doing to the gain reduction. Alternatively
O Sidechain EQ
Against this, another graph shows the Compressors are a dime a dozen, but Pro-C 2 is set to become a staple of
O Smooth
lookahead mode compressor ratio and knee, again something with this kind of exibility, many professionals toolkits.
O Intelligent enabling you to quickly set these capable of anything from transparent Everyone needs a good compressor,
detailed control, through to characterful glue, and there are few as good as this.
auto-gain visually against the waveform. There is rare. Sonnox Oxford Dynamics is probably A future classic.
O Up to 500ms the closest competition, with three different
will be those who say visual mixing is
Hold
O Custom knee disabling, and that you should use your compression types and some powerful
additional features.
10/10
ears, which is of course true, but

Sonic Academy Kick 2 Reviews MTF
SONIC ACADEMY
Kick 2
Sonic Academys kick-drum instrument gets a
2016 makeover, but is it a stairway to drum heaven,
or a one-way ticket to drum hell? Alex Holmes finds out
I
Details ts fair to say that the kick drum is respond to the keyboard, so you could with your tweaking. Last but not least,
Price 49.95 (24.95 king in most modern dance music. have a pitched bass kick, with static (as it was high on our wish list for Kick
upgrade from Kick 1) As genres come and go, it tussles transient click. 1), the instrument is now monophonic
Contact via website
with the bassline for superiority, but with a new dial for Portamento. This
Web www.
sonicacademy.com in most club music, getting the right Sub focus makes it easier to have long tails
Minimum system kick sound is so fundamental, it can The main part of the plug-in is still the without the worry of them overlapping
requirements make or break a track. Weve been big Sub oscillator, with a large window for and muddying up your low end. That
VST, AU, AAX 32-/64-
bit host
fans of Sonic Academys Kick plug-in drawing break points and bezier curves said, without wanting to sound fussy, it
Windows 10, 8, 7, Vista over the last couple of years, and its for the pitch and amplitude. This has would have been nice to be able to
(32 Bit), Intel Core Duo punchy sounds have been used on a been enhanced with an excellent switch between voice modes.
or AMD Athlon 64 X2,
multitude of tracks as both kick drums harmonics section, that lets you add
512 MB Ram
Mac OS X 10.7 or later and basslines. We knew Kick 2 was in character to the waveform by dragging New and improved
(32/64 Bit), Intel Core development, but were excited to nally up eight sliders to bring out different Kick 2 is a serious upgrade on the
Duo, 512 MB RAM get our hands on this new and improved parts of the spectrum. Other original plug-in, and is now more
(no PPC)
drum synth/sampler instrument. improvements include the addition exible than ever. This can be seen in
of analogue-modelled Tube and the 230-plus genre presets that also
Click track Wave distortions, which are a big include layered snares, claps and toms;
Kick 2 adds a whole slew of new improvement on the (also included) a suggestion perhaps that this is much
features and changes, the rst of which Clip distortion from Kick 1. Theres also more than just a kick-drum instrument.
is the dropping of the Nicky Romero tag a Compressor, a nal output Limiter, There are also a few bass presets,
that came with the original plug-in. and a Drive dial that controls how hard although we would have liked to have
The interface is now larger and more the signal hits the output. Its in the seen more of them, given how
polished, with splashes of colour and combination of these elements, the surprisingly good Kick 2 is as a bass
a waveform view that updates as you distortion, and the Harmonics section synth. Whatever the weather, this will
edit the various parameters. Most where the power of Kick 2 as a tone no doubt be getting some serious use
fundamentally, the Click area has been shaping tool really starts to shine. in our future tracks. MTF
expanded from one to three sample Different combinations of each now
layers, meaning you can create more give different types of saturation and MTF Verdict
complex textures and do more effective overtones, meaning you have a broader
+ Highly exible tool for sculpting
drum layering, choosing from either the palette to play with. Other notable
kicks and hits
extensive list of drum clicks, hats and features include a drag-and-drop + Solid collection of presets
noises, or loading your own with a new export function, and a new EQ section + Excellent distortion and
Features drag-and-drop functionality. Each Click with a low shelf, high shelf and two harmonics section
O Kick-drum section still has pitch and volume notch lters for extra shaping of your + Crisp, clear GUI
instrument with
controls, but now adds dials for sample overall tone. This is a nice addition, - Kick 1 user presets not
Sub oscillator
and three Click length, start point, pan, and phase although a spectrum analyser would compatible with Kick 2
sample layers alongside a LP/HP lter. This makes it have been the icing on the cake to help - Pan controls incredibly small!
O 230-plus genre
much more exible, as you can now - No spectrum analyser for EQ
presets
O 180 click load in something like a live kick sample Alternatives Kick 2 is a more nuanced
samples and easily scoop out all the low end to The most obvious alternative is Big Kick from instrument with a more rened
O Modelled Tube, allow space for the Sub part of the Plugin Boutique (39.95), which doesnt quite palette of tools for ne-tuning your
Clip and Wave have the depth of control of Kick 2, but has kicks and sounds, and its an
distortion
instrument. Our only gripe here is that
some excellent artist preset packs. If you essential purchase for anyone
O EQ, Compressor, the Pan control is so tiny that we almost want even more control, built-in FX and a writing music destined for the club.
Limiter and missed it! All the Clicks, along with the mod matrix, then theres Vengeance Sounds
Harmonics
controls
Sub section, can be muted or solod, and Metrum (89), although it might be overkill
for some.
9/10
have a button to toggle whether they

MTF Reviews Sam Spacey Epica Bass
Excellence
SAM SPACEY
Epica Bass
A sample library full of synth basses isnt something that usually comes to mind Above: Epica Basss
main window and
when buying your next library. Matthew Mann finds out if Epica Bass is bold presets list
enough to take up permanent residence on his hard drive
Details
I
like sample libraries, but typically brain-throbbing, gut-twisting arsenal Arpeggio folder has patches that are
Price 89 / $138 dont use bass-sample libraries. of all-round killer bass instruments. well thought-out and useful. I found
Distributor Why? Because I nd it easier these The samples were all taken from an presets in this folder lent themselves
Time+Space
days to create my own bass sounds impressive list of analogue synths, not only to bass arps, but also to higher
Contact via website
Web with hardware or software synthesisers. including an original ARP Odyssey Mk register arpeggios that ll out a track
www.timespace.com But what if you dont really have any III, a Sequential Pro-One, Yamaha CS-15 nicely. The Multi folder is full of presets
System requirements virtual or hardware synths that do bass and CS30 synths, an Oakley Sound that combine multiple instruments into
Kontakt 5 or Kontakt
Player (included) well, or youre not a synth programmer? Systems Modular, an Analogue some excellent layered presets. This is a
nice change from the mono folders
previously mentioned. You can even
Did I say this is all bass? play polyphonic patches in the

Polyphonic folder. Finally, the Raw
Hardly: many of these presets folder is chock-full of unadulterated

samples of the original instruments.
can be equally useful as leads This a great place to jump in and

develop your own twisted sounds. And
did I say this is all bass? Hardly: many of
Well, mega-producer Sam Spacey, the Solutions Telemark-K, Oberheim SEM these presets can be equally useful as
creator of the excellent (and critically and Matrix 6R synths. Sam processed leads and more.
acclaimed) Epica virtual synth from all synths through a variety of outboard
Zero-G, has gone to great lengths to gear (including a Neve Pre and a UBK Sampled lters?
create the ultimate bass-synth library Fatso) to get the best sounds before Sam even went so far as to sample the
Features for you. nal sampling. It was apparent from lters of each synth at different stages.
O 100-per-cent
analogue synth
listening through the presets that he This means some patches will move the
sound sources Enter the bass was very serious indeed, because the sample start time so that you are, in
O 437 instruments Epica Bass is a Kontakt library of sounds are fantastic. essence, moving through the lters of
O Samples from nothing but bass. Actually, its nothing The sounds are laid out in ve folders: the original instrument. I can tell you
ARP Odyssey,
Sequential but synth bass. It works with both Cedefêd_Y that this technique was used to great
Pro-One, Kontakt and the free Kontakt Player 7hf[]]_e effect on these instruments. Also, the
Oberheim SEM
(which is even included). It consists of a Ckbj_ instruments were multi-sampled
and more
O Recorded whopping 26,657 24-bit mono samples Febofêd_Y through every single note rather than
with boutique and comes in at around 7GB. All of the HWm just a few. So, theres no aliasing of
hardware samples have been meticulously edited, The Monophonic folder is by far the stretched notes. And there are at least
O FX rack, arp,
modulation
hand-looped, optimised and organised largest and contains the bulk of the six Round Robins for each note, so the
and more into a 437-preset library of searing, presets. The amount of programming instruments sound as they should
wobbling, dance-oor pumping, involved is truly mind-numbing. The slightly different each time you hit a key.

Sam Spacey Epica Bass Reviews MTF
include a lo- bitcrusher, anger,

chorus, 1176-style compressor,
SSL-style EQ section, a convolution
reverb, and a basic delay. All the effects
onboard are very good and do wonders
for some of the less-animated patches.
Oh, and all effects parameters are easy
to tweak, with no hidden menus. The
dials for each parameter are clearly
labelled as to what they do and a
visual indicator at the top of the FX
window indicates the exact parameter
youre tweaking, and by how much.
Epica Basss FX section is ample and
well-featured, having been borrowed
from Native Instruments own line of
effects. They sound good, too. The delay
is very simple, but does its job well.
This adds to the character of analogue One more thing

synths especially all those lovely I have to mention a feature that really
vintage ones. impressed me about Epica Bass.
Sam also went into meticulous The Start Point Modulation mentioned
detail when programming modulation. earlier is brilliant. Changing the
The mod wheel itself is routed to a sample start time allows the user Above left: Epica presets. I have found use from so many
number of places from FX to hone in on the lter sound of the Bass sub-pages on of the presets already that I can
the main page (AMP,
adjustments to sample-start times. instrument. This does wonders on MOD, FILTER, LFO) imagine using it somewhere on every
things like Depeche Mode-esque track. Honestly, Im nding it hard to
Above: Epica Basss
Less is more ltered basses and resonant leads. It many-faceted FX
nd fault in this library at all.
There are only three main pages in really reminded me of the way Ensoniq section is simple to If anything, I maybe wish the size of
Epica Bass. Each page is dedicated to managed the wave samples in the SQ use and adds an the library was a little smaller, but
extra dimension to
one or more tasks and, while options series years ago. I really feel that this your sounds anyone with a sizable samples drive will
abound, the overall interface remains method of programming (which can be never even bat an eyelid.
clean. The main pages are Main, Arp assigned to the mod wheel or other Of course, while this library may
and FX. The Main page has four sources, such as velocity) gives a much not appeal to everyone, Im pretty much
sub-controls: Amp, Mod, Filter and LFO. better quality to the sounds, rather than convinced that most electronic-music
Each allows you to tailor the sound to relying on emulated lters (although producers will get quite a bit of use
your liking. some of those are included, too). The out of this excellent selection. The
tweakability and programming options
onboard allow you to create anything
Ive already found use from you want and the presets are so good,
youll nd it difcult not to use them
so many presets, I can imagine just the way they are. MTF
using this on every track MTF Verdict

+ Fantastic-sounding bass-sample
library in Kontakt format
The Arp page is dedicated to an thick, warm sound of the analogue + Includes the free Kontakt player
onboard (and well-featured) lters is genuine. + All the samples are meticulously
Arpeggiator as well as an Auto-scale recorded and sound beautiful
+ Ideal for use in most styles of
function, which makes it easier to Conclusion electronic music
compose in different scales if youre not Epica Bass never left me wanting. Im + Tons of options for creating your
a music-theory devotee. very impressed with the layout, the own presets
The FX page is packed with Native quality of the samples, and the well + Start Point Modulation makes
the filters sound brilliant
Instruments own effects, including: bit thought-out programming of the
crusher, anger, and chorus to name a - Could be a slightly smaller
few. These effects work well to polish Alternatives - Doesnt write hit singles for you,
the nal sounds to perfection. Other bass-specic instruments include Spectrasonics insane Trilian but will certainly inspire you to
Bass, which comes in at a hefty 40GB. It covers electric basses as well as write your own
a host of synth basses, but also costs about twice the price. Vir2s Basis
Give my creation life! is a Kontakt library that features lots of electric and synth basses. It This is a fantastic library of bass
The FX page is one of the simplest to comes in at about 7GB, but doesnt have the level of programming that synths. If you cant use it in most of
Epica Bass does although its also only $99.95. And, of course, Native your tracks, youre probably not
work with. All effects are shown on the Instruments has several bass libraries, but they are all purchased
FX page, and you only have to turn on writing electronic music.
separately unless you have the dough to drop for Komplete. If you can
the power switch for the effect you want
to use and its ready to go. The effects
swing the 89/$138 for Sam Spaceys Epica Bass, Id suggest that you do,
now, before he realises what hes done and doubles the price. 10/10
MTF Reviews Sonimus Burnley 73, SonEQ Pro and Sweetone
SONIMUS 9/10
Burnley 73, SonEQ Pro
and Sweetone
There is no such thing as a Holy Grail of EQs, with each
one being able to bring something new. Mike Hillier
tries out three very different vintage-EQ emulations
Made in Burnley
H
Details aving a wide selection of EQs low bands have been kept which, while
Manufacturer to turn to when it comes to The rst of this trio of EQs is the Burnley in keeping with the original, are
Sonimus mixing is arguably as 73, a not-so-subtly named emulation of somewhat unwieldy at least for those
Price Burnley 73
$59, SonEQ $59, important as having a probably the most famous British EQ: of us who like to work fast, without
Sweetone $32 selection of microphones, preamps or the Neve 1073. The emulation models having to spend too long with our hand
Web compressors. While it may seem like a not only the sound of the 1073s famous on the mouse.
www.sonimus.com
3dB shelving boost at 12kHz should EQ section, but also the two input Sonically, the Burnley 73 is a great
Minimum system
requirements sound pretty much the same on any stages, adding an output stage with tool. The input stages provide options
PC Windows XP, AAX, given EQ, in reality, there are dozens of +16/-24dB of gain available to make up for instant gratication, adding depth
RTAS or VST host and drive to the sound even before we
Mac OSX 10.6, AAX,
AU, RTAS or VST host
start shaping the tone with the EQ itself.
From the shape of the curve Like a real Neve, the Burnley 73 is
incredibly musical, capable of fairly
to the harmonic saturation, large boosts while maintaining a

natural quality to the signal.
each EQ has a unique colour On vocals in particular, this EQ is a

real dream to work with. The high-pass
lter and low-end shelf enable you to
bring warmth and body to a
small factors which play into the sound for any level changes brought about by performance without any muddiness.
of an EQ. From the shape of the curve to the EQ itself. The high shelf adds a shine to
the subtle harmonic saturation it may As has become traditional when proceedings, but its the single
add to the signal, each EQ has its own modelling classic EQs, the Burnley 73 parametric mid band which can really
unique colour. When it comes to mixing, has attempted to model not only the bring things together, whether that is
having a selection of different colours sonic signature of the Neve, but also its cutting out a little nasal quality in the
available can help you to shape the mix visual aesthetic (although those with a upper mids, or bringing out the chest
as you see t. keen eye for vintage accuracy will notice cavity in the lower mids.
In this review, we take a look at three that the Marconi-style knobs have been This band is so useful, in fact, that
new EQs from Sonimus. Each of these replace with chicken-head style knobs, we think its a shame that the 1073 gets
EQs has a unique vintage vibe, capable which while not quite authentic, are all the attention compared to the more
of bringing its own signature colour to much easier to read at a glance). The versatile Neve 1084. And in the world of
your mix. dual-concentric knobs for the mid and digital, why not have the best of both?

Sonimus Burnley 73, SonEQ Pro and Sweetone Reviews MTF
The passive tone Behind this veneer of apparent Features dialling it down will cut the top and
The SonEQ Pro is the advanced version simplicity, however, lies a surprisingly BURNLEY 73
bottom ends, creating a mid-focused
of a free plug-in, SonEQ, available from useful tone-shaping tool. O Neve 1073 sound. Again, the Normal/Sweet switch
the Sonimus website. It is based on The high-pass lter is sweepable emulation changes the behaviour, with Sweet
classic passive EQs like the Pultec from 10Hz to 2kHz, while the low-pass O High-pass filter moving the two shelf cut-off points
O High- and
EQP-1A but, unlike the Burnley 73, lter enables ltering from 22kHz down low-end shelves
further towards the low and high end.
doesnt attempt to exactly clone the to 2kHz. Both lters have selectable O Parametric In mixing, this kind of tool can be
Pultec, instead taking inspiration from 6dB/octave or 12dB/octave shapes, but mid-band very useful for quickly altering and
it and other passive EQs to create an the high-pass lter has an optional O Models both Mic placing sounds in the mix. It feels less
and Line inputs
all-new and very powerful tone-shaping Blow mode which adds resonance to controlled than a standard parametric,
tool. SonEQ Pro has four bands, with the lter. This resonance adds a boost SONEQ PRO but the ability to quickly get your
additional sweepable high- and in the low end at the cut-off point, O Classic passive sounds in the right ballpark cannot be
low-pass lters and a variable drive which can be perfect for adding weight EQ emulation underestimated. We could easily see
O High- and
output stage. to low-end sources while this being placed early in the mix chain
low-pass filters
The low band copies the Pultec trick, simultaneously cutting any mud from O Low-band has for various instruments, with any
with independent boost and cut knobs, below the cut-off point. This is the independent specic frequency issues cleaned up by
boost and cut
enabling you to boost and cut the same same trick we see employed by tools a standard digital EQ, or one of the two
O Two parametric
frequency simultaneously. The exact such as the Little Labs Voice Of God. mid bands other Sonimus EQs. In addition to
O High-end shelf shaping the tone of the signal,
Sweetone has a preamp stage after the
The Sweetones high-pass SWEETONE

O Simple tone
control
EQ, which can be used to further boost
or cut the signal by up to +/-10dB. The
filter has an optional Blow mode O High- and

low-pass filters
preamp can be used for simple makeup
gain, with no additional colouration, or
which adds resonance O Tilt or Loud

tone control
O Resonant
switched to a more analogue-coloured
stage, which can be used to add further
high-pass colour with some even harmonics.
Blow switch Any one of these three EQs could
result using this technique will depend Apart from top-and-tailing the make a great addition to your studio
if the band is set to shelf or bell, but frequency range with the lters, the plug-in collection, but they complement
the principle is that, as the cut and main focus on the Sweetone is the Tone each other well, and provide different
boost have different Q settings, the end control. This simple dial has a number functionality which can be brought to
result will see either an emphasis or of functions, depending on how the two bear on different instruments within
de-emphasis around the cut-off switches around it are set. In Tilux your mix to produce the right result in
frequency, but the expected result at mode, the Tone control acts as a tilt EQ: the right context. Each is very easy to
either side of the cut off. This technique pushing the high end up and low end use, and has its own character. MTF
can work wonders on low-frequency down when you dial it clockwise, and
signals such as kick drums, toms or the low end up and high end down MTF Verdict
bass guitar, adding weight without any when you dial it anti-clockwise. The
BURNLEY 73
ringing or muddiness. pivot point of this tilt is controlled by + Model of the Neve 1073
The low- and high-mid bands offer the Normal/Sweet switch which, when
SONEQ PRO
only a single gain knob with +/-10dB of in Normal position, is centred around + Pultec bottom end
control, variable frequency and a switch 650Hz, while in Sweet, is centred + Sweet high-end shelf
for narrowing or widening the Q. Finally, around 2kHz. The Loud mode switches SWEETONE
the high band is xed as a shelf with the tone control from a tilt to a pair of + Quick tone shaping
+/-10dB gain at six, eight, 12 or 15kHz. shelves. This time, dialling the control + Switchable resonant
high-pass filter
This shelf is one of the standout up will add both high and low end,
features of the EQ, producing a silky creating a quick smile curve, while BURNLEY 73
smooth boost in the top end, which can - Fiddly skeuomorphic
be great on vocals or guitars for Alternatively dual-concentric knobs
bringing out the air around the signal. It The Neve 1073 is one of the most sought after, SONEQ PRO
could also be just as at home across an and therefore most frequently emulated EQs - Limited mid-band
in the audio world. UAD owners have the frequency range
entire mix. legacy 1073 as well as a new version with
SWEETONE
The SonEQ Pro is a fantastic EQ, Unison technology for Apollo owners. Waves,
too, has a couple of EQs based on the Neve,
- No resonance on the
which offers a very different scope low-pass filter
the most obvious being the Scheps 73, based
of tools to the Burnley 73, and therefore on Andrew Scheps own hardware unit.
complementing it well. Similarly passive EQ emulations are quite Three great EQs, which between
common, with UAD again having one of the them cover almost all the ground
better Pultec emulations available. Softube you could need in a mix scenario.
Leaning this way or that have an emulation of Tube-Tech EQs, which are
The nal EQ available from Sonimus is hardware EQs themselves based on the Pultec
designs. Tilt EQs are not as common. One of
BURNLEY 73 7/10
the Sweetone. This is the cheapest of
the three and at rst glance seems the
our favourites until now has been Softubes
emulation of the Tonelux Tilt, which has similar
features to the Sweetone, but without the
SONEQ PRO
8/10
simplest, too. It has variable high- and
low-pass lters, plus an additional
option of switching the pivot frequency of the
tilt, or the resonant high-pass lter.
SWEETONE
9/10
mid-band Tone knob, with two modes.

MTF Reviews Splice Sounds
SPLICE
Splice Sounds
The days of paying for samples you never use could well be at an end.
Hollin Jones explains how Splice Sounds could change your world
S
plice started life not all that people to pirate sample collections, This limit is to stop people joining for
long ago as a web service that which is not hugely difcult if youre a month and downloading the entire
allowed users of certain determined to do it. This is similar to the database before cancelling, which
DAWs to upload their raw challenge faced by the recorded music wouldnt be very fair. It will also probably
project data to the cloud and then industry, and Splices answer is not have the effect of making you consider
Details collaborate with others. Or, store their unlike the way that Spotify or Apple more carefully which sounds you really
Price $7.99 a month own work in the cloud so they could have responded to peoples changing do want rather than just downloading
Contact Via website open it on any computer to keep music-buying habits not to mention thousands without thinking. If you do
Web www.splice.com working on it. That free service is called a way to try to discourage piracy. cancel, you keep the samples you have
Splice Studio, but the company has now
Key Features
O Access from
desktop or
created a different kind of service:
Splice Sounds. Claiming to be a new The idea, in short, is to let
mobile
O Audition any
approach to buying samples, its the
kind of thing that has become possible people search, audition and
samples for free
O 700k samples
and growing
only in the last couple of years with
advances in web and mobile technology. buy only what they want
O 100 or 300
downloads per So what is it? The idea, in short, is to let people already downloaded but lose access to
month Splice Sounds is an online catalogue of search, audition and buy only what they download any new ones. You can also
O Build and royalty-free samples 700,000 and want. The problem of having to buy a choose to pay $13.99 a month and get
share your own
Repacks counting from some industry-leading 3GB sample pack to get the 300MB of 300 samples, though its not currently
O Downloads gures, companies and artists. Where it samples you actually want is a real one, possible to pay extra if you want to go
appear on your differs from conventional sample packs though its not really the developers beyond this in any given month.
computer
O Drag and drop
is that it is entirely database-driven yet fault. The only alternative to selling
straight to friendly to use. The developers say that whole collections is to make a The details
your DAW they found people complaining that searchable, micro-payment driven In order to download sounds, you have
O Extensive
they would buy a sample pack and end online system. That requires a lot of to install a small application, and this is
searching
capability up using only a fairly small percentage work, but its what Splice has done. You the same one that is used for syncing
O Artist-curated of the sounds inside it. The others were pay $7.99 a month, and for that you get DAW project data, though the two tasks
collections
effectively useless to them. Worse, 100 download credits, with samples are separate things. A folder is created
encode
frustration with this can lead some costing one credit each. on your computer where downloaded

Splice Sounds Reviews MTF
The web interface is stuff you want, and nd it quickly, than

slick and user- if you were having to plough through
friendly, making the
search process within hundreds of sub-folders on your
Splice a pleasure computer. In the same way that you
might not bother buying an album if it
needed shipping from overseas, you
would be much more likely to listen to it
on Spotify. In the digital era,
convenience is king and this applies
just as much to music producers as to
regular consumers.
Splice Sounds is a great idea and
les are stored, and you can audition can be explored, each one curated and genuinely solves what has become a
and search them here, as well as themed, and with a full demo track signicant problem with the sheer
revealing them in the le system. Files playable by clicking on it. From here, or number of sample collections on the
can be dragged from the Splice app from within a pack, you can lter down market. Namely, how can you be sure
straight into your DAW. You are still further by selecting or deselecting you will use even half the sounds youre
encouraged to manage sounds in your tags at the top of the section. As well as paying for? Piracy is an issue, too, and
online account via a browser and its the obvious tags, you get stuff such as just like with online music streaming
possible to create Repacks, which are one shots and loops, and the ability to services and things such as Netix,
essentially collections of sounds that lter by BPM or key. This all works content providers are increasingly
you can manage manually: electro extremely quickly and makes a lot of moving towards a subscription-for-
kicks, piano loops and so on. This works sense, which is vital if youre going to access model. Its happening in the
well, though collections dont seem to base your system on searching for music tech world, too look at
sync to your computer, so theyre easier specic sounds. The tagging seems EastWests Composer Cloud, SONARs
to manage online. The samples are thorough and the loading fast. This all subscription model and other
downloaded when clicked, but any works from mobile devices, too, and developers such as Adobes Creative
Repacks that you create online arent since youre signed into your account, Cloud. And people seem to be open to
this approach, as long as the
The samples are excellent, as subscription price is reasonable and

there are no penalties for cancellation.
youd expect with partners like In the case of Splice Sounds, the pricing
tiers seem very sensible when you
Loopmasters and Prime Loops consider the range of sounds on offer

and the quality of the user experience.
Expect to see more music technology
mirrored as named folders on your stuff that you buy or organise on the go down this path. For now, Splice is
computer, which would be a nice move will be reected on your studio leading the way for sample users. MTF
addition. Repacks can be shared online machine as well.
with other users, a bit like curating a For any individual sound, you get a
MTF Verdict
playlist for Spotify, and Splice has some preview button to play it, and triggering
artists already doing this. a sound will cause any other playing + Excellent way to pay for just the
The process of searching for sample to stop, which is really helpful in samples you need
+ No wastage
samples is really slick and benets saving time and confusion. You can ag + Very well designed
from a web interface thats very samples, download them directly and + Extremely slick and responsive
responsive, laid out clearly and easy to add them to a Repack by using a + Enables work across devices
use. At the top level, you have multiple shortcut or dragging and dropping. + Easy to search
+ Tagging is great
search options and you can search Selecting more than one sample
+ Keep the samples you download
everything using keywords, or lter illuminates a download all selected + Library expanding constantly
down by categories such as drums, type of button, and theres also a + Can curate collections online
percussion, pads and so on. Then there randomizer sort button that will show + Great variety and quality of
are genre-based categories: dubstep, you a random selection of sounds if you samples and loops from some
big names
house, techno and the like. Click into like. The computer arrow keys can be + Priced sensibly
any of these and a selection of packs used to move up and down sample lists
and preview them automatically, which - WAV format-only at present
again will save you a huge amount of - 300 downloads per month is the
Alternatives
current limit
The alternative is whats always been there, mouse clicking.
- Repacks dont sync to
which is to buy conventional sample packs.
your computer
Theres nothing wrong with that, and some
people may prefer it. You often get multi-
Sounds good
format samples for example, with ReFill, The samples are excellent, as youd This could be the future of buying
REX and ACID versions of the same sounds, and using samples. Smooth and
expect with partners like Loopmasters
which you dont yet get with Splice. You also easy to use, with an ever-expanding
get immediate access to everything you have and Prime Loops providing a good selection of sounds.
chunk of the very varied and large
bought, with no download limit. The two
have fundamental differences of approach,
however, so theyre not directly comparable.
library. The difference here is that youre 9/10
much more likely to be able to nd the

MTF Reviews Native Instruments Una Corda
Excellence
NATIVE
INSTRUMENTS
Una Corda
Alex Holmes checks out a veratile sampled-piano instrument from
Native Instruments that will add the ethereal to your material
Details
P
iano instruments are like Where things get really interesting is in
Alternatives
Price 129 drum samples for the modern the huge tweakability afforded by the
If prepared pianos are your thing, then you
Contact via website producer; youll likely have Kontakt GUI. Theres a basic front page could check out the IRCAM Prepared Piano
Web
more than you need of various with tone, dynamics and space, and from UVI ($399), which is more expensive, but
www.native-
has 45 different preparations. Alternatively,
instruments.com styles, sizes and quality that youve three more for deeper sound design. theres VSL Prepared Piano (65) at a much
System collected over the years. Una Corda cheaper price, but neither has the deep,
Requirements Mac
OS X 10.9 to 10.11, Intel
from Native Instruments is a little More than meets the eye ethereal quality of Una Corda.
Core 2 Duo, 4 GB RAM different, though, and offers up a deeply The rst page is the Workbench, which
Windows 7, 8, or 10 sampled version of a unique piano, allows you to sculpt the primary options make this a great sound-design
(latest Service Pack,
32/64-bit), Intel Core 2 hand-built by David Klavins in characteristics of the instrument. Here tool for soundtracking.
Duo or AMD AthlonTM collaboration with composer Nils you can add harmonics, reverse
64 X2, 4 GB RAM
Free Kontakt 5 Player
Frahm. It only has one string per note, samples, control the tonal depth, and Strike a chord
or Kontakt 5 (version which gives a much purer sound than add a second fabric to the prepared Una Corda is more expensive than NIs
5.5.1 or higher) the usual three strings found on your piano sound. You can also choose from other piano instruments, but its also
average piano, and allows the user to a long list of ambient background noise, more versatile. Its been created with
easily slot in different prepared dial in mechanical and pedal noise, and love and attention, and the results are
materials to dampen and affect the way even add in the sounds of the pianist often breathtaking. This is an inspiring
the hammers hit the strings. moving and breathing. These interesting instrument that oozes class and with
textures can even be brought to the very few tweaks can be morphed from a
Be prepared forefront by removing the main piano gentle, upfront piano, to a swirling,
The technical side of this massive 10GB sound. Next, you have the Response dissonant and clunking beast. MTF
Kontakt Instrument has been put section where you can control how the
together by Uli Baronowsky and Galaxy instrument responds with controls for MTF Verdict
Instruments, who are also responsible dynamics and overtones, and nally,
for The Giant, and Denitive Piano you have the Finish section. Its here + Incredibly rich and
beautiful sound
Collection for Kontakt. The one-of-a- that the sound-design opportunities + Surprisingly versatile
Features kind original instrument was recorded really open up, as you can choose from sound sculpting
using an array of mics and kit in Saal 3 a large number of vintage-effects-chain + Well-thought-out GUI with
O Prepared piano
instrument for at the Funkhaus in Berlin, a famous old and convolution reverbs. You can give deep-but-easy editing
Kontakt 5 and broadcast studio in East Germany. You the instrument a shimmering electric
Kontakt 5 Player - More expensive than NIs other
O 10GB of audio
get three different Kontakt patches piano or toy-speaker effect, then feed it piano instruments
O Three Kontakt with the pure piano sound, a prepared through simple reverbs or complex, - Not always completely obvious
Instruments, piano with felt between the hammer swirling space convolutions to create what certain parameters are
with 100 doing to the sound
and string, and one with cotton, plus some incredibly deep, pad-like tones.
snapshot
presets 100 incredibly varied snapshot presets Youll also nd controls for EQ, Effortlessly atmospheric and
O Clean, plus saved across all three versions. compression and saturation, transients beautiful prepared piano
felt and cotton instrument. Its not cheap, but
Essentially, the pure sound is closest to and stereo image. Its the more ethereal
preparations theres a surprising amount of
O Deeply a normal piano, with a more resonant textures where Una Corda really shines.
sound sculpting possibilities
sampled from a and clean tone; the felt has a more Theres a richness and depth to the buried under the lid.
one-of-a-kind gentle, electric piano-esque sound with instrument that sounds innitely
handcrafted
instrument softer attack; and the cotton is more beautiful and cinematic. The exibility 10/10
percussive, with hints of harpsichord. of the GUI and excellent convolution

Novation/Blocs Wave iOS Reviews MTF
However, as easy as it all is to

arrange, of course we all know that the
real beauty and joy of composition is
crossing the line from messing with
someone elses ideas to creating
something that you can truly call your
own. Fortunately, the wave editor makes
this part a reality, as does some pretty
impressive pitch-and-time adjusting,
where you simply select your key, or
plus and minus your tempo value to
adjust. Both approaches work very well,
particularly the tempo.
But wave editing is Blocs Waves real
strength, and utilises all that iOS touch
power for ease. Open a sample, shorten
it, increase and decrease volume its
all possible, and everything you do just
ts with what you already have. And
NOVATION/BLOCS Innovation while editing audio is the best feature,
the most important one is the ability to
Wave iOS import your own audio and export what

you come up with.
Now this is key, because I like Blocs
Wave and I want to work with it, but with
Wave hello to a new kid on the iOS music-making Bloc. Andy Jones more of my stuff. I want it to connect up
ponders whether Novations new Blocs brand could usher in a with my Dropbox (Drop Blocs?) and to
batch-add a load of my loops. (Since
fresh era of composition for Apple-based music producers this review Blocs has improved the le
management system in this regard).
N
Details ovation seems to be doing its house, indie, dark trap and more, and Maybe Ill also want Blocs Wave to
Kit Blocs Wave iOS
utmost to surprise us these you arrange whichever ones you fancy chain to the outputs of Logic and Live
Manufacturer days. When we expect one into eight blocks to come up with your and for all of my ideas to ow into Blocs,
Novation thing to come along, we get own tunes. So far, so sample arranger, so I can experiment with them on the
Price 3.99/$4.99
Distributor another. Circuit was a Groovebox for the but fortunately, theres a bit more to it move? So, clearly, I want some things
Novation/Blocs 21st century. I said a Groovebox for the than that. And potentially a lot more that it doesnt do yet.
Contact via website 21st century, for pitys sake. Who So each one of Waves sounds will But this early days and I think the
Web www.blocs.cc/
thought we needed one of those 12 play in time and in pitch with another important part is done the editing, the
blocswave
months ago? Turns out we did, and its one, so everything will sound great ease-of-use, the real-time pitch and
bloody amazing. when combined indie with trap, house tempo stuff and the fact that Im even
Now we have Blocs, a completely with hip hop and so on (okay, it wont thinking ahead to future versions
new brand and its rst product: Blocs always sound absolutely great, but you means Novation/Blocs has done this
Wave for iOS. Its an arranger/composer know what I mean). So, if nothing else, well. Indeed the company seems to be
app, of sorts. Its not quite what I we have a great way of mixing musical heaping loads into Blocs as we speak
thought it could be at rst. Nor is it ideas up in a very easy and intuitive way. with real-time recording now an option
quite what I wanted it to be ve minutes Thats because arranging sounds is and improved importing and exporting
after that. But an hour into playing with very easy. You use a hexagon-shaped making it an even more vital app. MTF
it, it turns out to be something I didnt grid (the Discover tab) with your six
Key Features know I wanted it to be, but now do want song elements bass, drums, melodic, MTF Verdict
O iPhone and iPad
it to be! Just like Circuit then. Typical percussion, vocal and FX and you use
ideas/composer + Easy. You dont need instructions
O 8 sound Novation. Or Blocs. Whatever! it to ll the eight slots in your main
+ Good range of sound packs
combinations song/project. You can then audition + Like the newsfeed that offers
O includes 6 sound On your starting Blocs each sound from the six sound packs in more of them (for free!)
packs (300 sounds)
We would dearly love something like the next two tabs, either by sound-pack + Can import and export audio
O 12 additional
Ableton Live for the iPad and initially, I type (genre) or sound type. + Great touch design and workow
sound packs
available (more
+ Mix trap with hip hop
thought that Blocs Wave might well be Press Auto, and ideas are randomly
to come)
just that. But while its not, it does have placed together. You can easily ditch a - Mix trap with hip hop!
O uses 3D Touch
on iPhone 6s elements of Abletons nest DAW that sound by replacing it with another (or - A bit dark
O Real-time tempo make it quite beautiful and usable in its undoing in case you make a mistake),
and pitch change Blocs Wave could be what weve
own right. plus easily mute and unmute tracks by
O Low-latency been waiting for and, at present, is
recording
So Live is what Blocs Wave isnt (yet) swiping up and down. The programmers a great ideas-mangling app. Loads
O Import and but what it is is an arrangement tool, have thought this through; the swiping of potential, get your loops in!
export audio via
Mail, AudioCopy,
AudioShare
and an ideas cruncher. You start with
someone elses ideas, 300 of them
and touch are so well implemented, you
dont realise youre doing it after a while, 8/10
across six sound packs, for hip hop, as it becomes so second-nature.

MTF Reviews Spitre HZ2 Los Angeles, HZ3 London Soloists
Excellence
SPITFIRE AUDIO
HZ2 Los Angeles
HZ3 London Soloists
In conjunction with Spitfire Audio, Hans Zimmer and his engineering
team have produced two more cinematic percussion libraries to
Details complete the HZ trilogy. Keith Gemmell gets under their skin
Product
HZ2 Los Angeles,
HZ3 London Soloists
A
Price 239 each while back we reviewed HZ1, the form of some modular-synth previously mentioned. And within each
Contact via website a truly epic percussion library drum programming. of those is a full performance kit with
Web www. collaboration from Hans HZ3 is an expansion of the rst basic GM mapping and four folders
spitfireaudio.com
Zimmer and Spitre Audio. library; a collection of Hybrid Cinematic containing patches for cymbals, kicks,
It featured four percussionists and was Widescreen percussion recorded, like snares and toms quite an arsenal.
Features
recorded at Londons AIR Studios. We the rst library, in Londons AIR Studios, As expected, its a superb-sounding
HZ2 now have two follow-up libraries HZ2 and performed by renowned kit and you can adjust its sound using
O Jason Bonham and HZ3 produced by Hans himself percussionist Frank Ricotti. close, overhead and room mics, plus a
on unique
Vistalite kit special gated room mic. Theres also a
O 3 LA recording
locations
O Grammy
HZ2 features John Bonham, Beat mapping
and HZ3 is performed by

Award-winning Spitre now features a new type of interface
engineers for percussive instruments and libraries. In
HZ2, there are three takes on Jason Bonhams
O Numerous mic
positions
O Kickstart engine
percussionist Frank Ricotti kit, one by Alan Meyerson, one by Geoff Foster
and a third stereo mix. All the kit pieces are
displayed in the centre and, using a panel to
the right, you can congure them individually
and map them to a MIDI controller.
HZ3 and the same team of engineers that Battery power
O Frank Ricotti on
percussion worked on the original. Looking at HZ2 rst, at the top tier we
O Recorded at AIR HZ2 features Jason Bonham, have two main folders, a Stereo Mix and
Sudios, London recorded at three different Los Angeles an Artist Elements section, each
O Grammy/ locations 20th Centurys Newman containing three folders for each
Oscar-winning
engineers Stage, the Sony Stage and The engineers specic take on Jasons
O Several mic Cathedral, a large concrete space on unique Vistalite kit. The engineers are
positions Hans Zimmers Remote Control Alan Meyerson, Geoff Foster and Steve
O Numerous
articulations
Productions lot. Hans has also Lipson. Inside those, there are three
contributed extra material himself, in more folders for each of the locations

Spitre HZ2 Los Angeles, HZ3 London Soloists Reviews MTF
Sound articulation Familiar look and feel Deeper editing

After rummaging around in HZ2, we found a The HZ3 (solo instruments) GUI is very similar to that of HZ1 (ensembles). A deeper HZ3 general controls panel allows
bonus folder with bass drum, toms and surdos, An overview panel provides a quick and easy way to load articulations, tweaking of the general settings, round robins,
seen here. Note the detailed articulation mic mixes and a set of easy tweak controls. pitch options, velocity workings and so on.
(highlighted within the red triangle).
drum hits and sound-shaping

possibilities. Hans Zimmer, as we all
know, is primarily an Oscar-winning
composer of countless lms but he also
stereo mix. There are plenty of controls, them, as soon as you see the pictures has lots of engineering experience
lters and so on, many of which are that are displayed in the GUI, everything behind him. Over the years, he has
similar to HZ1, so if you own that library makes sense and it soon becomes developed a truly unique approach to
you will feel pretty much at home here. obvious how and when to use them. cinematic sound production that has
Our only grumble is with the GUI tiny Mics are mostly close, front and been widely imitated. What you get
black text on a grey background is tricky surround perspectives, each with a very here, though, isnt a copy. Its a
to read in places. distinctive sound. If you need more, recreation. He has used the same team
The performance kits are superb theres that Additional Mics folder. of engineers and performers that were
and instantly useable as everyday go to Articulations are many. For example, the responsible for many of his lm
soundtracks, and even used many of
the same recording locations. So, if you
If you want the real thing, both want the real thing, these two libraries
will serve you well. MTF
of these beautifully recorded
libraries will serve you well Do you really need this?
One good reason for buying HZ3 is that it
complements HZ1 perfectly. It features solo
instruments as opposed to the ensembles
found in HZ1. They have the same GUI and
rock drum kits. However, you can go Dohl has Both Sticks, Top and Bottom scripting and even share the same manual.
much deeper than this by loading the Sticks, Both Hands and Top and Bottom HZ2, being kit-based is a different prospect
and most musicians and producers reading
individual kit pieces to further tailor the Hands, all laid out in an intuitive fashion this will have at least one sampled kit at their
sounds to your own requirements. A on the keyboard, making it enjoyable to disposal. That said, Jason Bonhams kit has
snare patch, for example, provides a play. Again, like the Jason Bonham been so well recorded and immaculately
produced that were fairly condent that if you
selection of sticks, bamboo sticks and library, theres a wealth of controls. buy HZ2, it may well become your favourite
mallets, all with snare on or off. As expected, theres plenty of virtual drum kit.
Zimmers synth-drum patches are a leap-out-of-your-cinema-seat material
real treat: powerful and dangerous on offer here, but its not all blood and
MTF Verdict
sounding and bearing no resemblance thunder. Theres a good deal of quieter,
to the tacky syn drums of the 80s. more delicate, detailed percussion to be + Great engineering
Theres plenty of variety here: anything found if you root around a bit. + Great sound
+ Outstanding drum kit (HZ2)
from dry up-close hits to big roomy
cinematic thunderclaps, all very Teamwork - GUI has tiny text
exciting and immaculately recorded. Both of these libraries have been - Online manuals only
beautifully recorded and immaculately
These two libraries are both
Percussive Paradise produced and offer a huge array of
outstanding, each in its own way.
Recorded on the opposite side of the Jason Bonhams kit has been
Atlantic Ocean to HZ2, London Solos Alternatives recorded as a cinematic product,
(HZ3) is an expanded selection of the There are so many percussion and drum but it also makes for an excellent
solo content found in HZ1, which was libraries out there that choosing a good standalone virtual drum kit.
alternative can become quite confusing. Veteran percussionist Frank
mainly an ensembles library. Its For creating epic cinematic percussion, Ricottis skilful performances have
structurally similar to HZ2, with two Native Instruments Damage is a good choice. been beautifully captured by an
top-tier folders Artists Elements and Drums Of War from Cinesamples has been award-winning team of engineers,
used in many a blockbuster, as has True Strike including Hans himself. First-class
Additional Mics. Apart from the Bucket from ProjectSAM. If you want some of the
material all round.
and Snare, the instruments might be work done for you, NIs Action Strikes has
unfamiliar, with names like, Djun,
Tombek and Dohl. If you dont know
many designed rhythm sets, making it easy to
drum up a thunderous cinematic atmosphere. 10/10
MTF Mini Reviews
L.A. Beats Drum Key Features
Tools 02
O 4,025 24-bit
Publisher Mode Audio analogue and
Foley drum hits
Price 18
O 79 instruments
Contact info@modeaudio.com Publisher Wave Alchemy for EXS24,
Kontakt, NN-XT,
Web www.modeaudio.com Price 49.95 HALion, SFZ
Contact info@loopmasters.com O Ableton Live
9 Pack
L
.A. Beats is a crunchy new Web www.loopmasters.com O Processed,
collection from Mode Audio Tape & Vinyl
Excellence
D
that features resonant rum Tools 02 from Wave versions
analogue-synth riffs and skewed, Key Features
Alchemy has been two O Perfect for
techno, EDM,
chunky beats from 70 to 86BPM. O 613MB of
years in the making, and
dnb, dubstep,
The bulk of the pack includes 24-bit audio contains 4,025 individually deep house, trap,
156 loops covering drums, hats, O Hip-hop and trap processed drum hits. A range of electronica
inspired samples
percussion and lls, synth bass, drum machines, analogue synths,
O 156 drum, bass,
glistening arps and leads, jazzy synth, keys, guitar Foley recordings and acoustic knife. Theres also a sensible
organ and keys chords, guitar and FX loops sources were used for the sounds, mixture of solid, dependable
licks, and vinyl noise beds. Its an O 139 MIDI loop files which were then processed sounds, and more experimental
O 88 chunky drum,
eclectic mix of hip-hop and trap through boutique outboard gear. hits for added variety. MTF
percussion and
sounds, with an energetic and FX loops Many of the hits were recorded
loose feel. In addition, theres a through an Ampex 1/2-inch tape
MTF Verdict
folder of tail samples that can be machine, and 12-inch vinyl for
used with their corresponding MTF Verdict added warmth. Luckily, this large A phenomenal collection of
vibrant and powerful drum
loops, or as samples in their own Despite some occasionally collection has been sensibly
hits that should be an
right. There are also 139 MIDI les heavy-handed production organised into 36 kits, plus 43 essential purchase for anyone
that offer a great way to use some nish, this is a versatile and instruments for different kicks, looking for cutting-edge,
characterful collection of
of that live feel with your own claps, hats, percussions and other mix-ready drum sounds for
loose-sounding loops and hits.
instrument sounds, and a decent hit types. Everything here has a electronic music.
folder of 88 beefy, saturated drum, 8/10 vibrancy, punch and loudness 10/10
percussion and FX hits. MTF that will cut through a mix like a
Lost In Time Undercover

Dub House Funk Vol 2
Publisher Loopmasters Publisher Loopmasters
Price 29.95 Price 29.95
Contact info@loopmasters.com Contact info@loopmasters.com Key Features
O 25 funk/soul
Web www.loopmasters.com Web www.loopmasters.com construction kits
Key Features
O 361 loops, over
L U
ost In Time Dub House sees O Atmospheric ndercover Funk Volume 2 is 1GB-worth of
house drums,
producers Ralph Lawson a collection of royalty-free 24-bit audio
bass, synths & FX
and Carl Finlow delve into funk construction kits, in O 80 to 140 bpm
O 777MB-worth
their collection of vintage gear for of 24-bit audio your choice or WAV and Rex2 or O WAV and Rex2
or Apple Loops
an effects-heavy journey through O 81 sampler Apple Loops and Rex2 formats. and Rex2
patches for EXS24,
atmospheric house. The pack HALion, Kontakt,
There are 25 kits in total, in a range O Live drums,
contains around 777MB-worth of NN-XT, Kong, SFZ of tempos and keys, guitar, bass,
keys and more
24-bit audio in a range of formats, O 98 to 130bpm with an overall sound akin to a
including tubby analogue bass Recorded and Steven Soderbergh heist-lm
processed using
sounds, echoing synth stabs, and vintage gear soundtrack. From laid-back plenty of Rhodes, pianos, organs,
some retro-sounding, if slightly 80bpm soul grooves, to faster percussion and more plus an
lacklustre, drum loops. Although fantastic sounds tucked away here, 140bpm bank-job funk, each extra folder of processed beats. MTF
the quality of the synth sounds is its just a shame the drums dont folder is packed with individual
excellent, it feels like a missed quite rise to the same standard. MTF instrument loops, plus les with all
MTF Verdict
opportunity not to have the loops the musical elements combined,
a little longer, with more evolving MTF Verdict but no drums. There are often Expertly written, played,
recorded and mixed
modulations and effects. Where Plenty of superb-sounding, several variations on the beats,
construction kits, which
this pack really shines is in the 81 dubbed-out analogue synth and main instrument parts, would be a superb resource
sampler patches, with plenty of riffs and hits, plus some making it easy to build up more for producers and media
well-crafted analogue-sounding slightly average authentic comprehensive arrangements. You composers looking to funk
vintage drum loops. things up.
synth and bass instruments, plus can expect to nd thumping
a handful of drum and FX hits. If
you explore, there are some
8/10 drums, live funk bass, and
reverb-drenched wah guitars, plus
9/10
Mini Reviews MTF
iRig Keys Record

Mini Label
Manufacturer IK Multimedia
Price 97.59
Marketing
Manufacturer Focal Press
Contact via website Price 34.99
Web www.ikmultimedia.com Contact via website
I
Rig Keys Mini boasts being one Web www.routledge.com
of the most portable keyboards
I
on the market. It certainly feels ts the third edition of a book
Key Features
that way lightweight, cheap even that probably needs to be
O Chapters on label
but it is incredibly simple to use Key Features updated yearly (monthly if operations, record
and plug n play (almost). We had O 25-key possible), as this is a subject area label finances,
velocity-sensitive social media, radio
to set its MIDI channel to get it up that moves so fast that it must be
mini-keyboard O 471 pages
and running (quite easy via the hard for labels to pin down and O Written by
O iOS, Android, Mac
website instructions) and then we & PC (cables inc) follow. It has to be said, though, Amy Macy, Clyde
O Size (mm): Rolston, Paul Allen
had it triggering Gadget and this book does its best but the
301 x 120 x 40 and Tom Hutchison
Arturias iMini in no time. And its O Weight(g): 420 fact that it weighs in at 470-odd
surprising how much we actually O Volume/data pages shows there is no clear way
used it as good as the iPad is at knob and octave to make money from your music MTF Verdict
keys included
playing music, sometimes you do today. Subjects such as running a A fast-moving subject that will
want the feedback from a proper label, branding, radio and social inevitably quickly fall foul of
keyboard, while playing it. While MTF Verdict media are covered in great depth, time and some detail is
missing on potential revenue
this is obviously not full sized and but syncing for lm and TV is not
Feels a little cheap, but does streams, but otherwise great
a little too plastic-y, it does a the job and comes with a good which is a shame, as its surely depth, and a glimmer of hope
reasonable job and also ships bundle of software a nice one potential growing source of for musicians and labels in
with a bundle of freebies that mobile add-on. income for any label. It also has a search of cash.
includes iOS, Mac and PC piano
and SampleTank software. MTF
8/10 US-centricity which may not help
our European audience. MTF
7/10
Blue Sound-wise, these are right up

there with our reference ATs and they
translated a mix we were working on
Mo-Fi very well indeed all of the detail we
expected was there. They can be loud
Manufacturer Blue with the amp on and this tends to crank
Price 274 the bass, but they are always
Contact via website comfortable the extra weight not
being an issue and noise isolation is
Web http://blue-headphones.com
very good.
W
e picked the Mo-Fi Small niggles: the amp switch
headphones as one of our crackles a little, the short cable is very
six products of NAMM short (you get a longer one, too) and you
that you may have missed. will need to charge for four hours (for
If were honest, we based that on their active mode). But none of these are
Key Features
looks and ground-up design. For the massive no-nos, especially given the
O Built-in
former, you cant blame us as they look audiophile amp great all round sound vs. comfort vs.
great, but for the latter, Blue has taken O 12-hour battery noise isolation. Pricey? Yes, but do we
the headphone concept and turned it life (4-hour charge) have to say again about spending
O Three analogue
on its head rather like it attempted to money on what youre listening to your
amp modes
do with the microphone. The Mo-Fi O 50mm, fibre- quite compact when you remove them music with? Thought not.
headphones have been designed with reinforced from their box. However, the headband So we may have picked Mo-Fi out as
maximum comfort in mind, and an dynamic driver extends from a compact, sprung one of our NAMM Six based on their
O Over-ear design
audiophile experience helped by an for isolation
storage position outwards, and if this looks, but their performance is right up
onboard amp, which Blue says is doing O Multi-jointed wasnt enough, both phones extend there with the design. Great cans. MTF
to headphones what active monitors headband design downwards, too. This is the clever bit;
did to studio speakers. Quite a claim O Imp: 42 ohms rather than notching them down as you MTF Verdict
O Multi-jointed
The headphones themselves are headband design
possibly would with some headphones Look and sound great, but the
relatively heavy compared to some O Frequency (always hit and miss, at best), you gently onboard amp and unique design set
weve looked at of late, but they t response: pull the phones away from you and they Mo-Fi apart from most of the rest.
incredibly well around your head. You
might not think so at rst, as theyre
15Hz-20kHz
O Weight: 466g
drop. Very cool, but hard to get across
without seeing it in action!
9/10
MTF Mini Reviews
Ultimate Logic Lynx Kinetic

Pro Super Pack Drum & Bass
Publisher Niche Audio
Key Features Publisher Loopmasters
Key Features
Price 79.95 O 8 packs of
Price 24.95 O 624MB-worth of
(requires Logic X 10.2.1+) production-ready
cross-genre kits 24-bit audio
Contact info@loopmasters.com
Contact info@loopmasters.com O Formatted for O 207 loops, 228
Logic X Web www.loopmasters.com one-shots in Wav,
Web www.loopmasters.com/ Apple Loops, Live
O 76 Projects,
labels/71-Niche-Audio Pack or ReFill
H
29 channel strips, ospital Records artist Lynx
formats
347 EXS patches returns to Loopmasters for O 56 patches for
O 1,936
E
ight of Niche Audios another high-octane dnb Kontakt, EXS24,
24bit/44.1kHz
production-ready pack full of speaker-destroying NN-XT, HALion, SFZ
samples
O Bass, drums,
dance-music kits are now O Includes one- basses, breaks and old-school percussion, FX and
available in a bumper collection, shots, plus riffs inspired music loops, with a total music loops
and MIDI files
formatted for Logic X with 76 of 207 loops, 228 one-shots, and O Written and
produced by Lynx
projects, 29 channel strips, and 56 sampler patches. Its clear from
347 EXS patches. This includes stabs and hits are particularly the off that basslines and drums
sounds, native Logic processing, tasty. The content is spread across are Lynxs forte as the heavy, nd a collection of raw drum hits,
and MIDI riffs from Bass House multiple packs, so you may wish to throbbing bass riffs are some of bass and sub instruments, FX and
and Garage, Dub & Reggae, Future re-organise it to make browsing the best weve heard for some music hits to round things off. MTF
House, Naked Techno & Sublime the EXS instruments easier. MTF time. The drums, too, are expertly
Techno, plus crunchy processed programmed with a good balance MT Verdict
drums from Planet 808 and Planet MTF Verdict between originality and simplicity
Some phenomenal, energetic-
909, and effected vocal one-shots to make sure they work on the sounding bass and drum
200 worth of superb
from Vital Vocals. They form a dance-music drum hits, danceoor. There are also some loops, backed up with a
useful tool for electronic-music basses, stabs and FX for 80. good, atmospheric music, FX and reasonable collection of music
producers, and offer decent MIDI You cant argue with that! percussion loops, although these and FX riffs and one-shots.
patterns to edit and make your
own, while the analogue techno
9/10 cant quite match the quality of
the drums and bass. Finally, youll
8/10
u-he Diva StereoSavage

Explained Publisher Plugin Boutique
Publisher Groove 3 Price 59.95
Price $15 for one-month Contact via website Key Features
streaming access to whole site Key Features Web www.pluginboutique.com O AU, VST, AAX
Stereo control
($25 download) O Tutorial on plug-in
u-he Diva
Contact via website O Control stereo
S
O 16 chapters, two
tereoSavage is a new effect
width and pan
Web www.groove3.com hours, nine minutes from Plugin Boutique that
O Three effects for
run time combines multiple generating width
O Stream online
T
his new tutorial from techniques and tools in a single from mono sources
O Covers all areas
Groove 3 and synth of the synth, plus plug-in. You can place sounds in Excellence O Syncable LFO
with multiple
specialist Sami Rabia aims sound-design tips the stereo eld using the Width, destinations
to uncover all areas of u-hes O Presented by Pan and Rotation controls, retain O Bass Bypass
Sami Rabia feature to aid
analogue-modelled instrument a solid, mono low end with the
mono compatibility
across 16 videos totalling just Bass Bypass dials, and control
over two hours. Rabia begins with and functions, everything is still the phase and L/R of the signal
two in-depth chapters covering all tied into how it sounds with good via the Input Routing section. thing missing is a mono
the different oscillator and lter audio examples. The nal chapters Theres also an Effect section that output button to test the mono
models, before moving on to the showcase some excellent sound includes an excellent Vox pitched compatibility of your settings. MTF
envelopes and LFOs. We then have design, using fairly advanced chorus-style effect, a Haas Delay
a further six chapters on elements modulation techniques. MTF effect, and an Expander that uses MTF Verdict
such as Trimmers, play modes, the early reections to add depth. To
An incredibly useful tool that
Effects section, Modulation MTF Verdict top things off, theres a crisp combines multiple stereo
Sources and the Modications goniometer and input/output effects into one concise
A deep but easy-to-follow
Tab. Rabia then rounds things up tutorial, with good audio meters, plus an LFO with six toolbox. A quick-and-easy
with several videos looking at examples, which left us shapes, sync, speed and phase plug-in for adding beautifully
feeling inspired to explore subtle or more extreme depth
building pads, basses, leads, FX controls, which can be used to
Diva further. to your tracks.
and arpeggiated sounds. Although control an array of different
earlier sections are more aimed at 9/10 parameters for subtle movement 10/10
explaining the various parameters and more wild effects. The only

Mini Reviews MTF
TrainYourEars EQ Sinister
Edition 2.0 Strings
Publisher TrainYourEars
Publisher Big Fish Audio
Price 89
Price 46.95
Contact via website
Contact Time+Space 01837 55200
Web www.trainyourears.com Key Features
Web www.timespace.com
O Ear-training
software for Key Features
T S
rainYourEars aims to speed inister Strings from Big Fish
PC and Mac O Sinister-sounding
up your learning process by O Select from audio Audio is a collection of live strings library
presenting you with files, audio input or creepy-sounding string O Over 650MB of
hundreds of EQ choices in a quiz white/pink noise effects with violin, viola, cello, and 24-bit audio
O Loads WAV, AIFF, O 318 files WAV files
format. You can choose to load in MP3, OGG and
ensemble samples. Theres around
O Eight patches
audio les in a variety of formats, M4A files 650MB of audio, including raspy for Kontakt
use a live input for connecting to O Easy to use layout sustained notes, sustained notes (four articulation
with 13 EQ exercises patches, four
iTunes, internet radio or other with subtle bends and various
O Program your own slide patches)
players, or simply use white or advanced listening slides, all with and without O Violin, Viola,
pink noise as the source. You then lessons or import tremolo. On top of the WAV Cello and Ensemble
new ones performances
choose from 13 different version, theres also a package
exercises, including things like with eight patches for Kontakt to
picking out specic frequencies MTF Verdict aid with previewing and editing MTF Verdict
and Q factors, and distinguishing the sounds; we found the Kontakt
A simple but highly effective Clunky Kontakt interface
between shelfs and cuts. You can way to improve your EQ interface to be a little clunky, as it aside, this is a well-recorded
also design your own complex skills, with well-thought-out involves a lot of different pages collection, which would form a
exercises, with an additional set exercises that mirror just to edit the effects sends and useful tool for lm and media
available for free. Its not cheap, production decisions the individual effects. Not massive composers looking to add
encountered in the real world. some tense sounds.
but its slick and easy to use, and or especially broad, but a useful
we found our scores improving
after just 15 minutes. MTF
9/10 asset for adding an unnerving
element to your productions. MTF
8/10
VIBES Vol. 1 Chilled Trap

Soul Trax Publisher Loopmasters
Publisher Loopmasters Price 34.95
Price 34.95 Contact info@loopmasters.com
Contact info@loopmasters.com Web www.loopmasters.com
Web www.loopmasters.com Key Features
C
hilled Trap is a new pack O Chilled-out trap
drum, bass and
S
oul Trax is the rst in a new Key Features from Loopmasters that
synth loops
series from Loopmasters O 1.5GB worth of takes aim at the more
O 274 WAV or
and features 20 24-bit audio ambient and downtempo side of Apple Loops
O WAV and Rex2,
construction kits inspired by or Apple Loops and
trap music as opposed to the O 302 Rex2 Loops
labels like Motown, Tamla Records Rex2 format heavier, in-your-face variety. Its O Over 800MB of
24-bit audio
and Gordy Records, and by artists O 346 loops of essentially 10 construction kits
live drum, bass, O 130 to 140BPM
such as Diana Ross, Marvin Gaye guitar piano,
containing 274 24-bit loops,
and the Commodores. Each of keys and more but is divided into folders for
the kits contains a number of O 90 to 165BPM instruments rather than kits, which with plenty of inspiring riffs,
eight-bar drum, bass, guitar and O Inspired by arguably encourages more with several musically useful
classic Motown
instrument loops, including and artists such as experimentation. Youll nd fragile variations on each idea played out
welcome variations to aid in Diana Ross and pianos, chirping vocal glitches, on different sounds and synths. MTF
arrangement. The piano, keys, the Commodores deep pads and sweeping synths
organ and horn parts work well alongside booming 808 subs and MTF Verdict
to ll out the tracks, but its the MTF Verdict tight-sounding drums with plenty
Most of the pack is relatively
drums, bass, shakers and guitars of rolling hi-hat patterns. simple, but some detailed
that are the real highlight, with A well produced, recorded and Everything is well programmed, production ourishes and
laid-out selection of soul and
some great, energetic riffs perfect with some intricate little riffs and excellent synth riffs make it
funk construction kits, which
for pop productions. Production is lls, and the production nish is well worth a look for anyone
is packed with feel-good riffs
producing chilled-out trap
cleaner sounding than a classic and some excellent acoustic simple and clean. Although the
or downtempo electronica.
Motown record, but the kits are drum loops. drum, percussion and bass loops
authentically written and carry 8/10 dont really push any boundaries, 7/10
a solid, feel-good vibe. MTF the music loops folder is packed

MTF Mini Reviews
Icicle Key Features

ODrum n bass Terry Grant
Dark Dub
synthesis,
Publisher Producertech mixing and
arrangement Key Features
Price 29.95
Contact via website
tips
O Three hours of
streaming video
Odyssey O 2.31GB of
24-bit audio
O Over 500
Web www.producertech.com O Uses Ableton Publisher Loopmasters loops in WAV,
Live, Fab Filter Apple Loops
plug-ins, and Price 34.95 and REX2 format
D
rum n bass production
NI FM8 and O 80, 100 and
wizard Icicle has teamed Massive Contact info@loopmasters.com 120BPM
up with Producertech for O Includes 9 Web www.loopmasters.com O Live bass
a tip-lled three-hour course on Live projects guitar, drums,
and 100MB of pianos, synth
L
modern dnb production dnb samples
ong-time Loopmasters bass and pads
techniques. The tutorial is O Written and collaborator Terry Grant O Produced by
available to stream from the presented by is back with a massive Terry Grant
Icicle
Producertech website and is collection of cinematic
divided into 16 chapters covering soundscapes and dubbed-out drawn-out pads are a little samey
synthesising and processing spoken audio could be a bit better, beats. Dark Dub Odyssey has over and we found some drums and
drums, creating and resampling but this is an excellent tutorial for 2GB worth of loops divided into 80, sounds to be a little dated. That
complex bass sounds, bussing anyone looking to learn dnb 100 and 120BPM, with your choice said, some of these textures could
and mixing techniques, and techniques from a pro. MTF of WAV and REX, and Apple Loops work really well in media projects
adding effects and automation. and REX formats. Youll nd a and ambient productions. MTF
Icicle mostly uses Ableton Live, MTF Verdict mixture of live dub bass guitar,
but also explores the Fab Filter
Some great synthesis and
reverby pianos, and acoustic MTF Verdict
plug-ins and NIs FM8 and production techniques from drums and percussion, alongside
Despite some of the loops
Massive, with some great tips on a dnb master whos not fat analogue bass riffs, electronic sounding a little dated, this
FM synthesis. You also get nine afraid to explain how to beats, and 206 atmospheric, is a large collection with
Live projects, plus a varied and break the rules to get a big, ethereal pad loops. The sound some deep and atmospheric
modern sound. sound design.
decent 100MB folder of samples design is excellent and there are
taken from Icicles Loopmasters 8/10 some decent loops spread across 8/10
pack. The quality of the video and this giant library. However, the
Deep Analog PanShaper

Tech Developer Cableguys
Price 34
Publisher Loopmasters
Contact Via website
Price 29.95
Web www.cableguys.com
Contact info@loopmasters.com
P
Web www.loopmasters.com Key Features anShaper is a new plug-in
O 847MB of 24-bit from Cableguys that
loops and hits
S
ometimes a pack will tell combines elements of
O Arps, bass,
you its been made on its free PanCake plug-in with Key Features
chords, drums and
analogue hardware, but percussion features from the useful O Multiband
O Recorded with a stereo
you struggle to hear it in the VolumeShaper 4. PanShaper is a modulation
range of analogue
loops. However, Deep Analog hardware
three-band stereo modulation plug-in
Tech from Loopmasters wears effect that allows you to draw or O VST and AU
its analogue heart on its sleeve,
Excellence O 123 sampler
patches for NN-XT, load in complex pan position O Independent
Kontakt, EXS24 curves for all
with a rich and varied collection and SFZ
curves for each band, along with three bands
of gritty loops and hits dripping O Inspired by the width and volume controls, and O LFO with tempo
with raw energy. Inspired by the Kompakt label LFO control of the overall speed. sync and Hz-via-
MIDI mode
Kompakt label and artists such The LFO can run freely, or sync to O Comprehensive
as Gui Boratto and Agoria, house, theres plenty of sonic tempo or input MIDI for some crazy preset library
sounds were created using a variety and the quality is audio-range FX. An excellent GUI and curves
Roland Juno-60, MS-20 Mini, exceptional throughout. MTF means its easy to see the
Roland RE-201 Space Echo, waveform position and edit nodes MTF Verdict
Elektron Analog Rytm and Korg MTF Verdict to build complex sweeping
Volca Keys. Youll nd folders of patterns, and there are also plenty A great value plug-in thats
A stunning pack of rich easy to use, with a clear GUI
twisted arps, throbbing basses, and characterful analogue of presets to try out. We found it and some decent presets.
haunting chord progressions and loops and sounds with excellent for pinpointing and PanShaper is a useful tool for
beats and percussion, crunchy interesting quirks and panning specic drum hits in a controlling your stereo width
details in every folder. in new, creative ways.
drum hits, weird FX, and fat bass loop, adding subtle movement to
and synth hits. Although this
pack is aimed squarely at tech
10/10 arps and pads, and for pseudo-
widening without phase issues. MTF
9/10
Mini Reviews MTF
Aiaiai Teeel
Modeselektor Presents -
Edition Retro Wave Key Features
O Synthwave
Manufacturer Aiaiai loops and hits
Publisher Loopmasters
O 1.3GB+ of
Price 250 Price 24.95 24-bit audio
O 137 sampler
Contact Aiaiai via website Contact info@loopmasters.com patches for
Web: http://aiaiai.dk EXS24, Kontakt,
Web: www.loopmasters.com
Value NN-XT, Kong,
HALion and SFZ
W R
e love Aiaia headphones, etro Wave sees producer
particularly the straight
TMA-2 Studio model. The
Key Features
O High isolation
Jim Smith (aka Teeel) delve
into his large collection of
$ O 80-160bpm
O Produced by
Jim Smith,
modular nature of these allows O Modeselektor analogue drum machines, aka Teeel
carry pouch
other phones of different including instruments from
O Impedance:
congurations to be produced, 32ohms Roland, Simmons and LinnDrum, sounding bass, synth, drum and fx
and there are now artist editions O Weight: 238g plus Yamaha DX7, Yamaha CSX1, hits and there are also 18 synth
O 1.2m cable
available. As fans of uber and adaptor
Roland HS-60, Moog Sub Phatty and pad MIDI loops.MTF
producers Modeselektor, we like and Little Phatty synths to create
the look of this limited edition recommend buying anything just a large library of dreamwave and
MTF Verdict
model, complete with MS logo on for a cool aesthetic, we are synthwave samples. Theres more
the earpiece as shown. They are tempted by these anyway. MTF than 1.1GB of unison bass loops, A massive pack of simple but
authentic-sounding analogue
out-and-out bass headphones, so analogue drums and bright synth
and digital loops and hits that
loud and proud to be bottom- MTF Verdict lines inspired by artists such as would be a great resource for
heavy dont expect great and Not for accurate mixing (nor Kavinsky, Mitch Murder and anyone writing in electro,
accurate mixing, but for listening do they claim to be), but these Chromatics. Although the patterns synthwave, synth pop and
back to your work or indeed the have a great low n loud sound. are fairly simple, the sounds are other genres.
Selektor, these are choice
headphones. While we dont
8/10 thick with analogue goodness. You
get a huge collection of vintage-
8/10
The Great Excellence

Hip Hop
British Shadows Key Features
Recording Vol1 O Instrumental hip

hop loops and hits
Studios Publisher Loopmasters

Price 29.95
O 12 construction
kits from 78 to
123bpm
Publisher Hal Leonard Books O 816MB worth of
Contact info@loopmasters.com 24-bit audio, Wav,
Price $29.99 Apples Loops, Live
Web www.loopmasters.com Pack, ReFill, Rex2
Contact via website O 12 sampler
I
Key Features nstrumental hip hop master instruments for
Web www.halleonardbooks.com
O Details on at Chemo has teamed up with EXS24, Kontakt,
least 30 studios NN-XT, HALion,
T
rust the Americans to make Loopmasters for a fresh Kong and SFZ
O In-depth on 12
such a great job of writing a O Includes
collection of organic-sounding O Produced
book about the golden age of tech glossary loops and hits, inspired by by Chemo
UK studios. Were somewhat O Layouts, gear pioneering artists such as J Dilla
lists, quotes, loads
annoyed that no one asked us, as and Flying Lotus. The pack patches with instrument and
of additional info!
we seem to have visited just about features 12 construction kits of drum hits taken from the pack so
every one (of those left). Theres a chapter, and its depressing that so unquantised, live sampled drums; you can build your own beats or
lot of detail technical, many are now not with us, but the wonky bells; pianos and synths; experiment with adding in little
oorplans, etc on each, with effort and research that went into warm, rounded live basses and quirky hits to your tracks. MTF
more space dedicated to those this is extraordinary. An excellent more. The tracks themselves are
you might expect (Abbey Road, geek and gear-fest of a read. MTF atmospheric, beautiful and MTF Verdict
Olympic, Trident, AIR, etc). We love steeped in nostalgia, and
the depth, with personnel lists, MTF Verdict everything has a loose feel with A compact but beautifully
crafted pack thats stuffed
stories, gear lists (yes!), diagrams Its a book that will become plenty of glorious little mistakes with character and a human,
and even acoustic treatment one of the most used in the and human touches. Most of the organic feel that would be
details. There are photos, of MusicTech library. An excellent loops are 8 or so bars long with great for adding life to hip hop
course, and details of the famous and thorough read. little variations at the end, and are or any other genre.
recordings. Wed have loved local
favourite Real World to have had a
10/10 gently layered with sounds to add
detail. Youll also nd 12 sampler
9/10
8 WAYS
TO MASTER
Part
5 A TRACK Its the nal part of our produce a track from start to
nish feature and its the big one: how to give your
nal mix the pro sheen it deserves
reference material you are trying to put it against

and to perhaps sound like (in terms of its sonic
character, anyway). If, during this process, you notice
some glaring things wrong with the mix, then youll
need to go back into the mix and process it again
(or return it to whoever did it). Hopefully, this is
something that can easily be done, either by you or
01 the original mix engineer so that you can consider
the whole rather than having problems with the
parts get in your way
02 Dont be afraid not to do it

And this leads nicely on to our next point, especially,
if you have mixed your own music. You might be just
like us and want to handle every single aspect of
music production yourself (yes, making music does
turn you into a control freak, we know!), but dont be
frightened to let someone else master your mixes.
There are many online companies that offer very
reasonably priced mastering services for as little as
50 a track. Obviously, these do vary in terms of
01 1. Trouble with your output file?
Zoom out Youll need to go back into the
quality although weve been impressed with a
In the mixing process, you will be considering the mix, so sort all of these problems couple of very cheap ones that weve tested (see
detail: the levels, the effects, the EQ, plus perhaps out before mastering and www.musictech.net for more), but you could consider
consider the bigger picture
some automation, including fades and other a named service like Metropolis or even Abbey Road
parameters. With mixing, then, you are very much 2. Research expert mastering where you can pretty much guarantee a good job if
looking inside at every aspect you can. With services like Abbey Road and you have more budget (110 per track for a named
Metropolis, where a named
mastering, you need to forget that and step back, engineer can master your engineer). So why pay someone else to do it? Two
zoom out, rise above it, look down and consider music for a fee. But do learn main reasons: the first is that you are paying for
the process yourself, as well
everything as a large picture with everything you experience. We know for a fact because weve
were working on in the mix all joined up as one 3. Mastering software like interviewed them all that the mastering engineers
whole. You need to consider the track a stereo mix IZotopes Ozone 7 can make the at Metropolis, as just one example, have had their
process easier, but dont use
(usually!) as a single entity and now start to think presets just to do the job quickly. ears around just about every single piece of music
about it in the context of other tracks on an album or Explore and expand you can imagine (and several you cant). So no matter

02
04
what you throw at them, they will have someone on

their team who can handle it. Secondly, simply
having another set of fresh ears listen to your music
and can offer a new perspective. This should always
be encouraged (at any step of the production process,
actually). By the way, dont consider this point as us youre new to
telling you not to give mastering a go. We would mastering, by all means
encourage you to learn the craft and to work with use a mix of both methods; check what
others doing it. Get to a point where you can master the presets are offering, listen to what they do and
another persons mix and they master yours. Fresh how they do it, and experiment. Can you make the
perspectives all round! presets sound better? Of course you can just like
preset sounds on a synth!
04 The actual processes are

03 Here are some typical mastering processes to
consider, all detailed more at www.musictech.net.
Compression does what it says youll create a
more even mix with louder quiet bits and fewer
deafening louder parts. Think about that song which
4. The processes you need brings loads of instrumentation in after a quiet
include compression, EQ and interval without you having to reach for the volume
limiting. The smile EQ is a
control its compression in action. It smooths out a
commonly used EQ shape
mix, and multiband compressors allow you to
5. Limiting will help you boost smooth out certain parts of a mix. With EQ, its more
your levels, but dont make
mastering all about loud. Thats about a general look at the overall picture, where
a war you dont want to be in high end will add fizz and low end cuts will reduce
03 Dont follow a preset path some sub rumble. And the final general process is
Now we cant prove this, but theres every chance limiting, which brings us to
that a less reputable mastering engineer could just
charge you to whack your mix through a set of preset 05 Dont make it all
EQ, limiting and other process presets, depending on about the volume
your musics style (or even not!). And you know what, Volume! Or rather, limiting your volume. Dont let
this might just work! Indeed, many of the specialist volume take over in any sense. By this, we mean
mastering plug-ins weve reviewed have similar
presets, where theyll suggest a signal path with 05
certain parameter values for certain styles of music.
And they often do result in a better-sounding master.
But while this can be a good way to go as a first stab
at mastering, we think that the best way to master is
to treat each track on its own merits or lack of
them and not just according to a genre it is
supposed to be from. On a broader level, you could
probably get away with applying a very slight smile
EQ curve to any track to give it a bit of welly at the
top and bottom and then add some width this
could also be a good start. Or you could listen well,
decide what you think it needs and then do it. If

you reference other tracks that youve mastered that

will be appearing on the same EP or album. You need
all the tracks within a body of work to gel together,
rather than having them sound as though they were
recorded, mixed and mastered by different artists
and engineers. Its bad enough playing tunes on
Shuffle from your iPod and hearing the volume levels
jump from decade to decade you really dont want
that happening on an album!
07 Go easy
Whereas compression, EQ and limiting are the
mainstays of mastering, its not all about these
processes all of the time. There are plenty of other
ones to get yourself involved in. Mid/Side processing
is where the mix can be broken down into its mid
and side areas, which typically allows you to process
06 only those areas with, say, compression, EQ or
6. You should reference your
music against your own tracks, reverb; stereo widening is just as it says, but is also
and those of other musicians one that should be considered as a process that is
sorted in mixing you can widen in mastering, and
7. Additional mastering
processes include M/S or many people do, but be careful. Indeed, that is the
dont master to make your tunes louder, and while Mid/Side processing and message with all mastering processes: go easy. Each
stereo widening. As ever,
youre at it, dont listen to extreme points of view in go easy on these is such a subtle process that you might end up being
the loudness wars, either. On a (perhaps too) unsubtle with certain aspects just so you can easily
simplistic level, mastering is about making your 8. And reference again. Did we hear the results. But some would argue that if you
mention referencing?
music carry more of an impact. This doesnt mean can hear the results too obviously, youve overdone
making it louder, although we do advocate brick-wall things (or have a very bad mix to start with!).
limiting at the end of the process to add a small
amount of level and to control the peaks of a mix. 08 And nally reference again
Youve referenced the track you are mastering
06 Reference, reference, reference against other peoples music; youve also referenced
Have we said this in other steps of the production it against your own music that will be appearing
process? Yes, we have! But its sooooooo important to on the same album, so now its time to reference it
reference your material with a track that you admire against itself. Yes, at every stage, do reference what
one that has been mastered to a high standard. you are doing against the unmastered version you
Load it into the software you are using to master, or started with, to make sure that youre going in the
your DAW, and play it side by side with your own right direction. If you want to get really anal about
material. As with mixing, this may be a little it, make and label versions at every step (with
disappointing at first, but as you progress and different compressors, etc), so that youre able to
progress, you will gradually step up level by level reference each step of the process and hear the
towards your reference goal. Similarly, make sure influence it had on your original mix. Just dont get
too bogged down in it MTF
08
07

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MTF On Your DVD
ON YOUR FREE DVD

The team behind Ableton is constantly tweaking and
improving Live 9, with recent updates adding Link and
new slicing, routing and playability features with Push.
Theres plenty to get stuck in to, so weve put together
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MTF On the disc Over 2 Hours of pro video tuition
GROOVE 3 SUBBASS ACADEMY POINT BLANK MUSIC SCHOOL

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Groove 3 has provided six videos SubBass Academy has provided three A QuickTip on creating automatic track
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On Your DVD MTF
MTF Your Disc

MTF DVD 44 Ableton Live 2016/17
PROMOTIONAL
VIDEOS
Weve got over 750MB of
videos showcasing the
latest plug-ins and
hardware including a
huge range of cutting-
edge synths and software
instruments from Korg,
Native Instruments,
Novation, Studio SOFTWARE DEMOS
Electronics, Teenage Why not try out the latest
Engineering, Toontrack, plug-ins and software to
Zero-G and Wave DNA. supplement Lives native
Youll also nd high effects. From innovative
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USING OUR more to help you
WORKSHOPS compose and ne tune
Whether youre a your tracks.
seasoned pro or totally
new to Live, weve got a ROYALTY-FREE
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Where appropriate youll blistering dnb beats, live
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project les and audio for atmospheric ambient
each of the workshops. drones, chunky hip hop
Please visit loops, twinkling arps,
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to download the full list of and multisampled synth
accompanying workshop and drum instruments.
les and images. All les come in 24-bit
WAV, MIDI or Live formats
and are ready to be
imported, chopped and
On the disc manipulated to your
hearts content.
YOUR DVD CONTENT FILES Download them to your hard drive and unzip them to endeavour to supply you with a replacement disc
ZIP FILES access the individual les (remembering to eject the DVD immediately. Please note that were unable to provide
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each DVD, the video, tutorial and samples les are please check our website at www.musictech.net for any
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able to decompress ZIP les simply by double-clicking on Any MTF DVD content marked royalty-free can be used
them; PC users may need to download a utility such as in your own original compositions (even commercial MISSING YOUR DISC?
WinZip (www.winzip.com). ones). You may not, however, resell these samples in any If your disc is missing, contact us at editorial@anthem-
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TUTORIAL FILES issue number.
The software tutorials that feature in each issue of MTF DEFECTIVE DISCS
are almost always accompanied by les and audio so you In the unlikely event that your disc is defective, please
can work through them on your system. These les are return it to: Disc Returns, Anthem Publishing, Suite 6,
zipped to reduce the space they occupy on the DVD. Piccadilly House, London, Bath BA1 6PL. We will

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1.

The Lazy Guide to Live! Short cuts to instant creativity

PLUS: Ultimate UHPL[LQJGreat gadgets JHDUWHVWV 2016/17

Compiled by the Ableton Live experts from MusicTech

Welcome to Ableton Live 2016/17! This is a special issue of

Contributors All content copyright Anthem Publishing Ltd TEXTING

Issue 44 Ableton Live 2016/17

MTF Live Workshops

MTF44 Live 2016/17 Full listings

Ultimate Guide 034 | Adding hardware to your Live

To Remixing can make them work for you

Everything you need to know ! p22

Produce a track nally: mastering

from start to finish! 032 | 6 Ways To Make Your Studio

Starts on p16 then features your environment more creative

The 12 best soft make your 100 | Teenage Engineering PO-20

synths money studio look

FOCUS Ableton Live 2016/17 |5

Ableton Live A lazy persons guide! Level Beginner

The lazy persons

FOCUS ON SESSION VIEW

6 | Ableton Live 2016/17 FOCUS

MTF Step-by-Step 1. The template factor

FOCUS Ableton Live 2016/17 |7

MTF Step-by-Step 2. The virtual keyboard

8 | Ableton Live 2016/17 FOCUS

MTF Step-by-Step 3. Creative clips

Want to create an instant drum groove that is a little but different

3. Creative clips have a templated set up as we suggested in the rst

FOCUS Ableton Live 2016/17 |9

MTF Step-by-Step 3. Creative clips (contd)

10 | Ableton Live 2016/17 FOCUS

MTF Step-by-Step 4. Follow Actions for easy beat creativity

FOCUS Ableton Live 2016/17 | 11

MTF Step-by-Step 4. Follow Actions for easy beat creativity (contd)

12 | Ableton Live 2016/17 FOCUS

MTF Step-by-Step 4. Follow Actions for easy beat creativity (contd)

FOCUS Ableton Live 2016/17 | 13

MTF Step-by-Step 5. Clip automation

14 | Ableton Live 2016/17 FOCUS

MTF Step-by-Step 5. Clip automation (contd)

FOCUS Ableton Live 2016/17 | 15

MTF Feature Produce a track from start to nish

16 | Ableton Live 2016/17 FOCUS

1 to get more ideas into your head in the rst place!

the best starting points for your music bass, lead,

02 Start from scratch

FOCUS Ableton Live 2016/17 | 17

they are great for identifying an artist who suddenly

06 Borrow the earworm

18 | Ableton Live 2016/17 FOCUS

MTF Feature Produce a track from start to nish

2 main arrangement process starts. All good so far, but

FOCUS Ableton Live 2016/17 | 19

05 Reference, reference, reference

DAWs, arranging is perhaps less obvious, but one

04 Follow the formula

20 | Ableton Live 2016/17 FOCUS

yet another DAW feature that saves you time and

06 08 Consider the remix

FOCUS Ableton Live 2016/17 | 21

THE ULTIMATE GUIDE TO

REMIXING Fancy remixing other peoples music, or having your

PLUS: Ultimate UHPL[LQJGreat gadgets JHDUWHVWV 2016/17