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Reviews on: Wharfedale Pro Kinetic Series, Hammond Sk1, Mesa/Boogie Transtatlantic TA15, Gretsch Catalina maple 6-piece, TC Electronic BH500, Proel M16USB, Blue Spark Microphone, gear news & tutorials
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COMPATIBILITY
G R E AT G E A R N E W S & R E V I E W S F O R M U S I C I A N S
Kinetic Series LoudspeakersKinetic Series Loudspeakers
GEAR & INDUSTRY NEWS GEAR & INDUSTRY NEWS
KURT SLABBERT & JON PIKEALISTAIR ANDREWS|DAVID CHISLETTALAN RATCLIFFE |
KURT SLABBERT & JON PIKEALISTAIR ANDREWS|DAVID CHISLETTALAN RATCLIFFE |
Hammond SK1Hammond SK1Mesa/Boogie
Gretsch Catalina
TC Electronic BH500Proel M16USBBlue Spark Microphone
Mesa/Boogie
Gretsch Catalina
TC Electronic BH500Proel M16USBBlue Spark Microphone
WHARFEDALE PROWHARFEDALE PRO
Transatlantic TA 15
Maple 6-piece
Transatlantic TA 15
Maple 6-piece
AUG/SEPT ‘11
muse | three
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EDITOR’S NOTE
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Editors Note and IndexCover Feature: Wharefedale Pro Kinetic SeriesCover Feature: Wharefedale Pro Kinetic SeriesGear NewsGear newsInstrument Review: Gretsch Catalina Maple 6 Piece Drum SetGear Review: TC Electronic BH500Instrument Review: Hammond SK1Gear Review: Mesa/Boogie Transatlantic 15Gear Review: Proel M16USB Mixing DeskGear Review: Proel M16USB Mixing DeskStudio Review: Blue Spark MicrophoneHot To Get Ahead In The Music Business by David ChislettGuitar Maintenance with Alan RatcliffePlay Better Bass with Alistair AndrewsPlay Better Bass with Alistair AndrewsPlay Better Guitar with Kurt Slabbert Play Better Guitar with Kurt Slabbert Your Private Universe with Jon Pike
o Mediatech has come and gone. The big push towards 20 July for all those who exhibited meant a crazy month for many I am sure. Attendance by all accounts was pretty good this year – a bone of contention previously – with more of the ‘man-in-the-street’ attending as opposed to corporate execs. I’ve also heard great feedback on some serious deals being struck so all in all this is a positive sign for the MI and pro audio industry. For you the reader – if you missed Mediatech this year – be sure to attend the next one which only happens in 2013 again.
This edition of Muse Tech sees us look at more affordable PA gear for the gigging musician in the form of the Kinetic Series by Wharfedale Pro. Wharfedale loudspeakers have been a bestseller in this country for a
while now, offering decent sound at very affordable prices. Kinetic sees them push the envelope of affordability to new heights (or should that be lows) that’ll please many a small band on a tight budget. Talking of budgets we also look at the Proel M16USB mixer – another brand that seems to maintain a tight challenge on the ‘reasonably priced’ stakes. But it’s not all budget talk with some higher end brands on test too to include Mesa Boogie, Gretsch, Hammond, Blue Mic and TC Electronic who all weigh in with some excellent new products giving our reviewers a lot to smile about this month.
Lastly I would like to welcome David Chislett to our pages as he embarks on a series of articles to educate and enlighten young musicians and bands with his wise words on how to remain relevant in this industry as he maps out important advice on the business end of being a band, taken from his excellent book, “1, 2, 1, 2: A Step By Step Guide To The SA Music Industry.”
As always... Enjoy.
Dave Mac
“The Kinetic Series is suitable for a wide range of applications; they are an ideal choice for small bands or portable DJ's that need heavy duty sound reinforcement on a budget.”
I
muse | four
COVER FEATURE By Dave Mac
Wharfedale Pro
On review: Kinetic 15
n Africa price is king. response of 45Hz-250Hz and a Evidence of this will power rating (continuous) of be found in dozens 300 watts. The series also of venues and bars includes the obligatory 215 w h e r e s o u n d cabinet with its double 15 insta l la t ions are woofers and an interesting constrained by tight addition – the 153 which is in budgets and, dare I fact a 3-way cab complete with say it, misdirected tweeter, mid and woofer. The
priorities when it comes to 153 could prove particularly apportioning funds by club popular for those looking to and bar owners alike. keep things really compact
In this country decor, bar and simple but still able to c o u n t e r s a n d g e n e r a l provide enough beef on the aesthetics tend to take bottom end as well as good preference over quality of mid delivery – the bottom end sound and sadly most owners frequency response is a of said establishments tend to healthy 50Hz just 5Hz less than be oblivious to the importance the sub so I would expect with of good qual i ty audio, t h e i m p r o v e d s o u n d remarkably even at venues separation of a 3-way cab, for whose main target is to host small gigs two of these and a live bands or DJ’s. Which is decent amp could do the trick w h y m a n y l i v e a c t s , without having to lug those particularly 1, 2 or 3 man pesky back-breaking subs outfits (and often cover bands) around. or crate DJ’s (those guys who Speaking of weight the spin for hours and cover Kinetic series is not heavy by multiple genres and are any means – their general usually the only music source for the weight to size proportion is pretty starting with the Kinetic 8, 12 and 15’s evening) often take things into their standard – neither super light nor – all two-way passive loudspeaker own hands by arriving with their own unusually heavy. The claimed SPL configurations – you will need a portable rig to either provide the starts off at a decent 124dB on the 8’s minimum of two of these for a basic sound for the night or bolster the and goes as high as 131dB on the stereo setup – naturally the 8’s with inadequate setup at the venue. The 215’s – impressive figures but very their 8-inch custom designed woofers Wharfedale Kinetic Series is directed much in line with what is claimed by are the most portable of the three but at this market of individuals and most modern passive loudspeaker also have the lowest power rating gigging musicians looking to provide ranges these days. (150w continues/ 300w program) and a d e q u a t e s o u n d f o r t h e i r Probably more important than a sub-frequency range of 70 Hz. performances. the always hotly debated and often Understandably, as the woofer
refuted SPL claims of speakers is the sizes increase the sub-frequencies fact that the impedance of these cabs get lower; 60 and 50Hz respectively is 4 OHM which means more bang for As the press release will tell you, “The on the 12’s and 15’s and of course the your buck when driving these from Kinetic Series is suitable for a wide power ratings increase. Aside from your amp. On testing the Kinetic 15’s range of applications, they are an the 3 two-way loudspeakers there is and doing a direct comparison to 8 ideal choice for small bands or also a Kinetic 12M stage monitor – Ohm cabs driven through the same portable DJ’s that need heavy duty essentially the same as the Kinetic 12 amp it was instantly apparent how sound reinforcement on a budget.” In but with a cab designed specifically at much extra gain the 4 Ohm setup total there are seven models to the angle required for floor placed offers. choose from [although the 215 does stage monitors.
not seem to be stocked locally] The 18B sub boasts a frequency
Anatomy
muse | five
COVER FEATURE
Supplied by: Audiosure| 011 - 7904600 | 021 - 5551617 031 - 5699260 | 051 - 4304455 | www.audiosure.co.za
Suggested retail price per speaker: Kinetic 8 - R 1,195.00 | Kinetic 12 - R 1,495.00
Kinetic 12M - R 1,495.00 | Kinetic 15 - R 1,795.00 Kinetic 153 - R 2,195.00 | Kinetic 18B - R 2,495.00
Prices incl. 14% VAT
Kinetic SeriesAesthetics vs. practicality
On Test
Pros:
Who should own one?Cons:
If I had to sum up the Kinetic series’ looks in one sentence I’d have to say it’s a ‘no-frills, easy on the eye, yet very basic looking speaker,’ but then most of Wharfedale Pro’s ranges look like this; handsome in a rugged, practical kind of way. The ‘road-tough’ black carpet finish and steel grill suggest a hardy exterior that should withstand the rigours of speaker bashing at 2 AM when you’re throwing stuff into the back of your van.
Features include parallel Speakon 14” jacks for input and daisy-chaining, dual plastic sunken handles and pole mount receptacle underneath.
I spent an hour with a pair of Kinetic 15’s in a medium sized room. I also had the benefit of comparing them to the Wharfedale EVP-X 15’s as well as the DLX-15’s, both of which are dearer Putting the speaker through its facility. Of course with the extended than the Kinetic’s although the EVP paces with a variety of music from range you could build quite a rig on a series only by a few hundred bob. The dance to pop and rock my lasting budget too and like I said... in Africa most obvious difference is volume impression was one of versatility and price is king so why not build yourself and I think this is where the Kinetic’s adequacy. For a shade over 3K a kingdom of sound? are going to prove possibly more (suggested retail) for a pair of the 15’s popular. At 4 Ohms you simply get they are well worth giving a listen and more juice out of the speakers. I certainly have that extra bit of ! Super affordablewould say a good 25% louder is what I loudness and let’s face it; we’re ! Highly rated SPLexperienced. always looking for as much volume as ! Rugged durable finishOverall sound quality on the we can get out of any rig. ! 4 Ohm impedanceKinetic 15 is pretty good. There wasn’t
! Loud!really much between the EVP-X15 and the Kinetic 15. The personality of the
Mobile DJ’s and 1 or 2 man bands will two is very similar other than volume find the Kinetic series an attractive ! A little harsh when pushedbut of course the costlier DLX-15 proposition. On a tight budget you ! Plastic handles a little whilst also not as loud, was noticeably can pack yourself with a set of Kinetic uncomfortable when carryingmore polished and easier on the ear in 15 tops and an 18B sub plus a decent its overall delivery. But then it is two power amp for under 10K, suitable for grand dearer than the Kinetic 150 odd people (conservative equivalent. estimation) in an average size function
muse | eight
GEAR & INDUSTRY NEWS For daily gear, instrument and industry news visit museonline.co.za
ProAudio Have Moved
The continued expansion of the 52 year old Carlsbro distribution network continues with the appointment of TV Audio in South Africa. According to news on the Carlsbro website the company has been inundated with requests from numerous distributors, dealers and consumers who had previously purchased Carlsbro from overseas. Carlsbro appoint distributors for the long term and TV Audio met all the company’s criteria and will look after all the Johannesburg based company’s loyal retailers and maintain the supply chain stability, which they believe is very important in this industry. “TV Audio and his dealers will look after all the loyal musicians in South Africa and expose the exciting new Carlsbro products to the new generations of music makers.
We are truly excited by this appointment and the new products will arrive in store, in South Africa in September and will be supported with a high profile campaign reinforcing the global success of our unique British Carlsbro Tone.”Distributed by TV Audio | +27 11 805 9910 | [email protected] | www.tvaudio.co.za
Proaudio, a leading SA professional audio company have recently moved to new premises with a brand new showroom. Stockists of the following international brands; AUDIX • BEHRINGER • Cerwin-Vega • FANE • HK Audio • Hughes & Kettner • Kirlin cables • KRK Studio Monitors • Pioneer DJ • Pro Audio (name brand) • Stanton • SKB, their new showroom and offices can be found at the
following address: 419 Martin Crescent, Greenhills Industrial Estate, Tunney Extension 6, Germiston/Edenvale011-822-1430 | www.proaudio.co.za
Worldwide trade distributor John Hornby Skewes & Co. Ltd. has increased its global reach after Technology Innovated Distribution (TID) signed up to exclusively distribute Vintage, Encore and Fret-King guitars in South Africa. A fresh and positive company, Johannesburg-based TID adds the guitar ranges to a number of other high-profile brands it already distributes in Southern Africa. The JHS guitars were launched at last month’s Media Tech trade fair in Johannesburg on July 20th.
Matthew Eales, Sales Manger MI & Retail at TID, said: “TID is excited to be part of the JHS family. The JHS brands are complimentary to the brands in our stable and we are motivated to grow the market share of the brands in Southern Africa.” Adam Butterworth, Export Sales Manager at JHS, said: “We are delighted to have secured the distribution of our main guitar brands in South Africa through TID. TID is very much an up-and-coming distributor with some excellent brands forming part of the MI distribution range. We feel that Vintage, Encore and Fret-King compliment these perfectly.” The partnership between JHS and TID follows up on JHS's recent announcement that it had signed an exclusive distribution deal for Fret-King and Vintage guitars in Japan with Kyoritsu Corporation Limited.For more information on TID and JHS, visit the relevant websites.Distributor: Technology Innovated Distribution (TID) | +27 10 5000 111 | www.tidistribution.co.za
Technology Innovated Distribution to distribute JHS products in South Africa
TV Audio appointed as South African distributors for Carlsbro
BEFORE AFTER
Here’s a look at the new premises before and after...
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GEAR & INDUSTRY NEWSThe iPad holders from König & Meyer – ideal for iPad wielding musicians and sound engineers
Courtney Pine is one of the true British Jazz legends of our time. In a career spanning almost 25 years he’s played with many of the Jazz greats, won the prestigious Mercury award, a MOBO, an OBE and a CBE in recognition of his services to the black community and Jazz music. No one better embodies the dramatic transformation in the British Jazz scene over the past twenty years than Courtney Pine. The saxophonist heads a new generation of exciting and innovative musicians who have chosen to turn their talents to the demanding requirements of jazz music, in all its shapes and forms.
Courtney‘s mic of choice is sE Electronics; “My favourite, because it is so unique, is the sE Rupert Neve RNR1 Ribbon mic. I have just started to use it and found it to be truly remarkable… a real modern day classic… for recording woodwind there is simply no equal.”
“I use the sE4400a on every session I do nowadays. It’s incredibly flexible and durable, with honest and open characteristics. I’ve used it on pretty much everything, from Mandolin and Congas, to Triangle and acoustic Piano, and it recorded all those tones and frequencies perfectly without any fuss or bother.”
On why he chooses sE he had this to say, “I’ve compared my sE mics to ‘classics’ which are three or
four times the price and found them to easily stand up to and better those ‘old-school’ mic brands… sE mics are true modern day classics… they’re for people who care about music”Distributed by Tuerk Music Technologies | (011) 792-8402 www.tuerkmusic.co.za
Whether you’re an accomplished performer, an aspiring pro or a hobby honky-tonker just having fun, show off your style in the Yamaha Key Performers of Note national keyboard & piano competition. Your musical moment on stage could have you playing your way to winning one of three superb sets of keys worth R 85,000 from Yamaha – the legendary name in quality musical instruments. You could even be selected as one of Yamaha’s official piano or keyboard demonstrators!For more information, please visit www.keyperformers.info or send an e-mail to: [email protected].
Play Your Way To Winning Superb Prizes To The Value Of More Than R 100,000 From Yamaha!
Sax Legend Courtney Pine On SE Microphones
Due to its versatility the iPad is fast becoming an established tool in the music industry!In this day and age sheet music and lyrics are available in digital format and with the technology of the iPad it is no surprise that it has a recording feature. Musicians can look forward to other applications as well ranging from instruments and tuners for synthesizers and harmonizers to multi-effect processors right up to a complete recording studio.
For easy use, König & Meyer have developed various iPad holders. The iPad stand holder can be screwed onto any 3/8" thread; it can therefore be attached to all microphone stands.
Due to the clamp mounting feature the iPad holder can be fastened to the tube, in any size from 7 to 30 mm in diameter. The third version is the iPad wall holder, which means it can be mounted and used without a stand. The holder can be attached to a wall by means of three mounting holes.
Depending on the application, the iPad can be inserted vertically or horizontally into any one of the three black holders and can be easily adjusted to tilt at any angle. This enables the user to align the iPad stand holder and the iPad holder in any desired position. All the holders feature the proven König & Meyer material quality and workmanship and are made in Germany. These stands are available from Wild and Marr from August 2011. Wild & Marr | (011) 9740633 | (021) 7879378 | (031) 5643877 | www.wildandmarr.co.za
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By Steven Jacobson
muse | ten
INSTRUMENT REVIEW
Gretsch Catalina Maple 6 Piece
T
Supplied by: BK Percussion | 021 510 7770 | www.bkpercussion.co.zaSuggested Retail Price: R 9,995.00 incl. VAT
he Gretsch Catalina Maple series is known to be one of the best maple kits around and when you take into consideration that you are getting a 6 piece kit (16”
Floor tom FREE), for R 9,995.00, you’ll realise that you’ll be hard pressed to find a better deal.
The Catalina Maple comes with 10”, 12”, 14” and 16” toms, a 22” Bass drum and a 14” x 6.5 Snare drum, and is available in 3 different finishes: Cherry red, Amber and Transparent Black. No hardware is included in this kit, so an extra cost to consider is a Gibraltar Hardware Pack. Options include the 4600 series, 5600 series or 6600 series at a cost of R1,995.00, R2,995.00, R3,495.00 respectfully. All packs include: a snare stand, hi-hat stand, one straight cymbal stand, one boom cymbal stand and a
for infinitely different angles for your single bass drum pedal.tom-toms. This is a great benefit when On display at Ber t Koster you are in a rush to set up or when you Percussion, South Africa’s importer of I am sure that this versatile Gretsch have to share your kit at a show with Gretsch drums was a very professional Catalina Maple kit is going to be loved by other drummers. All that needs to be looking black finished kit for me to test. whoever purchases it; Amateur to done is to hold the tom at the desired At first glance it appeared to be a flat professional, for stage, to theatre, to the angle, tighten the screw and you’re black, but on closer inspection you’ll practice room. From its great finishes, to ready to play. The toms connect to the notice some black stroke work under the the beautiful tone of its maple shells, to tom arm via a GTS tom suspension finish which should show quite nicely the precise and solid build quality along system, allowing there to be no hole in under stage lighting and with a flawless with the fact that you can turn it into the drum for better resonance and less build quality, from near or far, on looks various kit sizes and setups makes this a structural noise from being attached to alone, I would be proud to own such a good buy. the bass drum.kit. To be honest the only thing that
All drums come with ‘Gretsch With the full 6 pieces set up, it is bothered me was that I would have to made by Evans’ one ply coated top skins easy to see how drummers from all purchase a hardware pack, but having and clear one ply bottom, giving the kit a genres would benefit from this versatile said that I believe that nothing should more old-school sound. There is always kit. There are numerous ways to take away the fact that this kit has been the option of changing skins; my configure the drum set; for an all round designed to accommodate drummers in preference would be a clear double ply rock kit (using all 6 drums), to a fusion kit all genres, rock, pop, jazz you name it skin and with maple shells such as these (using 5 drums), to a small jazz set up which adds to its value for money. Set it would only enhance the sound and (using only 4 drums), it all depends on up, play and enjoy!resonance. Also having between five which drums you choose to use, and and eight lugs depending on the drums where.dimension helps considerably for its durability and strong hold against drummers who put a bit more muscle Closer inspection revealed that the 14” into their playing. All lugs, screws and and 16” floor toms are leg mounted and bass drum clamps are die cast which not floating. This makes for a quicker, aids in a better tuning process. From more solid set up that is much closer unpacking to setup, it took only a few and tighter. It also come with a multi-minutes to get a sound that I could work range ball and claw tom arm, allowing with.
Anatomy
Conclusion
A Closer look...
GRETSCH
GRETSCH
GRETSCH
BK PERCUSSION
BK PERCUSSION
GIBRALTAR HARDWARE
GIBRALTAR
The Gretsch Catalina Maple Series are the best value maple shell drumsets on the market. To top it the kits come with an extra 16”floor tom at NO extra charge. Toms are 10,12,14, and 16”with a 22” Bass and 6.5 x 14 maple snare drum.
The Gretsch Catalina Club Mod set has been designed for the player who islooking for quality features in a modern 4pc configuration. With the powerand warmth of the mahogany shells, the 20” x 22” bass drum (awesomesounding) and retro finishes, the Catalina Club Mod offers the looks and features of a pro kit.
Black Hawk by Gretsch were our bestselling drumsets when they arrived in2008. The kit has heavy duty hardwareand an awesome 6.5 x 14 steel snaredrum rivalling other brands in sound and quality at really low prices.
Our own BK Junior drumset is a basic 3 piece starter kit for the young 3 to 8yr old and includes a cymbal and pedal. Available Colours: Black, Red, Blue Retail Price: R1295 incl. VAT
BK Percussion drumsets have doublebraced hardware, a throne (seat)and incl cymbals.Colours available:Black, Wine Red, Blue.Still the best valuedrumset in SouthernAfrica.
The Ludwig Accent CS Combo has 9 plym 8mm veneer
shells and a durable double post style tom holder. The
hardware is a lighter weight, double braced version. The
set is available with an extra10” tom making it a 5pc
The most affordable quality brand 5pc drumset in SA
Prowler, Avenger & Intruder Hardware
provides a comprehensive range of
affordable drum hardware from sturdy
entry level to professional. Innovation
is at the core of the gibraltar range.
Gibraltar Parts and Accessories are the
most widely available drum accessories
and spare or replacement parts in the
world today from tom arms to cymbal
felts and hihat clutches etc etc.
CATALINA Maple 6 Piece
CATALINA Club Mod
Black Hawk
JUNIOR
FT900B
ACCENT CS LS 125
4600 | 5600 | 6600 | 9600 SERIES
PARTS AND ACCESSORIES
“LAST TWO AVAILABLE”
for more info check out
gibraltar.com
Available at a Music Store near you.
eight
By Alistair Andrewsmuse | twelve
INSTRUMENT REVIEW
TC Electronic BH500“A close to perfect amp that is very easy to use.”
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First Impressions
Layout from left to right
Supplied by Prosound (Pty) Ltd | 0861 4SOUND | www.prosound.co.zaSuggested Retail Price (incl. VAT): BH500: R 7, 848.90 | BC210: 4,801.68
Sound
When you invest in new gear first impressions somehow always set the tone for what’s to follow and the TC Electronic BH500 is no exception. When I opened the box I was very impressed with what I saw; a very important requirement for me in a bass amp is the layout of the controls.
The BH500 immediately get’s a ten out of ten for visibility and ease of use. I also couldn’t hope but notice that the amp head as well as the BC210 2x10 Cab is also lighter than most 500 Watters I’ve experienced. So I guess you could say that first impressions do count as visually this is a very handsome package and it does not break one’s back unpacking.
First up is a 1/4” jack input that can take either passive or active basses. There is no pad-switch or separate inputs for Hi and Low impedance but I can’t say I missed this
surprisingly good tube-like sound. One of the test model could be considered pretty as this can actually be controlled with the the better tube simulations I have heard. It lightweight and is a great match too for this gain control. Directly above this jack you’ll replicates both a full pre-amp, a power amp.find the On and Peak Led’s; a good idea to amp to create old school tube warmth and I highly recommend the BH500 to any have it directly above the Gain control. All you can even get a happening overdriven serious bass player, irrespective of your the control knobs are solid and easy to get sound without losing punch. style.to. The Spectracomp Compressor is not
Another great feature is being able to Unfortunately I did not try it on bad at all. It sounds like a type of multi-store 3 sounds to Memory. This makes it upright bass, but I believe it could work band compressor and is one of the most easy to change your tone on the fly. My very well with this too. controlled built-in compressors I have only objection is the lack of a foot-switch to In a nutshell: A close to perfect amp that is come across. It handless every playing change the preset easily in mid-song. You very easy to use.style very well.can store all front panel controls except Directly above the compressor is a Mute and Master Volume. built in tuner which can also act as a mute
The Master level control is next in switch. I highly recommend silent tuning line. There is also an AUX (RCA Left/Right)-so this is the way to go. Unfortunately the in for connecting iPods, computers etc to designers of the amp did not consider rehearse with.myself, John Patitucci and Steve Bailey, as
The headphone amp sounds great the tuner does not cater for the high C on a too and speakers are muted when six string bass, or alternate tunings. You inserting headphones. The Balanced only get B, E, A, D, G notes, but to be fair Output has a Pre and Post EQ switch; a Watch the video on your phone this is fine for 95% of the bass players on very useful option, as not every mixing the planet. by scanning this tag or go to desk or engineer will be able to please you. The 4-Band EQ section is very well www.museonline.co.za to watch At the back of the amp you will find the laid out; Bass, Lo-Mid, Hi-Mid and Treble.
on your computer.power switch (with thankfully a standard Above the EQ section are 2 predetermined kettle chord plug connection) and speaker Contour presets that allow you to quickly output via Neutrik Speakon connectors.get to that “scooped” sound.
BASS: Centre Frequency 100Hz | LOW MID: Center Frequency 335Hz This bass amplifier sounds great; Lots of HIGH MID: Center Frequency 900Hz | power, punch and definition! It looks great TREBLE: Center Frequency 1600Hz too. Since first seeing the legendary SWR
Redhead amp, I’ve started liking the look of The next section is the Tweetertone that red amps... maybe because it reminds me controls how much tweeter sound you of a Ferrari.want. In Centre position it is flat. Left cuts, You can use the BH500 for virtually right boosts. It’s great to have this control any style of music and playing. They even in front of the amp and not at the back of give you a chart with some lay-outs to dial the speaker Cab. into a sound nice and quickly.
The Tubetone section gives a The 2x10 BC210 Cab supplied with
eightBy Damien Albettomuse | fourteen
INSTRUMENT REVIEW
Supplied by: Tradelius Music Group 031-502 3080 | www.tradelius.co.za
Suggested Retail Price: Sk1 – R 21,595-00 | SK2 – R 38,995-00 V.AT incl.
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T
“The designers have taken great care to create an instrument that pays homage to its predecessor
with a classy finish that cries out retro.”Hammond SK1notable feature missing are bass pedals but remember because this is a digital emulation you can split the keyboard and actually play the lower register.
Now once the purists have run out of steam lamenting about the virtues of pure analogue vs. digital the rest of us will be overjoyed with the power and feature-rich add-ons the SK1 offers starting off course with the host of additional voices available which means your Hammond does more than
he Hammond electric organ was invented by Laurens just emulate Hammond organ sounds to include emulations such Hammond in 1934. Originally intended and indeed as Vox, Continental and various Farfisa models. The range of used in churches as a cheaper replacement for the onboard effects, including adjustable vibrato/chorus, reverb and costlier wind-driven pipe organs, the psychedelic 60’s overdrive are all wonderful benefits of the digital platform. The and rock ‘n roll 70’s would change all that as it became full MIDI and USB capabilities also bring Hammond firmly into the the keyboard instrument of choice for many jazz, rock 21st Century. The USB is great as you can save your own
and blues players. Using additive synthesis of waveforms drawn customised patches direct to flash or hard drive aside from from a harmonic series (the use of columns of air oscillating to connecting to your DAW.create standing waves, the combination of which – air and standing wave – will create a sound wave), the distinctive sound of the B-3 organ, often played through a Leslie speaker, was as
There have already been dozens of comparisons between the significant to the evolution of rock music as the electric guitar. Nord C2, Electro and the SK1. Each of these instruments has their Although the last electromechanical Hammond organ came off own virtues and depending on your requirements you’ll no doubt the assembly line in the mid-1970’s the legendary sound has lived buy accordingly. What I like about the SK1 is that this is a on such has been its impact on modern music. There have been dedicated organ catering specifically for organ players and it’s a numerous emulations throughout the 80’s, 90’s and indeed in the Hammond! What could be cooler than that? For advanced usage 21st century some respectable soft-synth versions of the B-3 there is also the SK2 which has an extra layer of 61 notes for organ but let’s face it, nothing compares to playing an instrument double-decker organ ripping. Expect to see the SK1 and SK2 on brandishing the original Hammond logo.many a gigging stage soon! A highly desirable keyboard – it has the looks, the sound, the playability, portability and the features.
It doesn’t take a rocket scientist to appreciate the fine good looks Watch the video on the Hammond SK1 @ museonline.co.za or of the new Hammond SK-1. The designers have taken great care scan this tag to watch on your Smartphone. to create an instrument that pays homage to its predecessor with a classy finish that cries out retro. The crimson wood side panels, the retro drawbar slider knobs and overall finish make a bold statement of vintage class.
Whilst Hammond has endeavoured to recreate the magic of their vintage electromechanical organs, thankfully in one area they haven’t; weight and size. Weighing in at a paltry 7 kg’s and measuring roughly 90 x 30 x 10 cm it’s fair to say the SK1 is a truly portable instrument and this alone will guarantee its popularity on many a stage from now on. As far as emulating the original B-3, portability aside, the SK1 is going to please Hammond fans in two key areas; the nine mechanical pitch drawbars, an iconic feature of the original Hammond organ that essentially served as a built in mixer by allowing you to control the levels of various frequency waveforms, is a key feature as well as the built-in digital Leslie feature, which emulates the Doppler Effect of a true Leslie speaker remarkably well. This Doppler Effect from the Leslie speaker was a key part of the personality of the original Hammond and the emulation on the new SK1 is superb and whilst self-proclaimed purists on forums worldwide may start nitpicking, for the rest of us B-3 fans these two features alone make the SK1 a sure thing. A
Digital = More
Verdict
First Impressions
Anatomy
SP Series Loudspeakers
SP 2SP 4 SP 12M SP 118SP 218
PV Series
- Channels 3 & 5 with stereo line inputs- 3-band EQ on channels 1-2
- Channels 5/6 & 7/8 with dual switchable stereo line inputs- 3-band EQ on all channels
- Compatable with Mac OSX, Win XP, ME and 2000- Built-in DSP effects processor
- Compatable with Mac OSX, Win XP, ME and 2000- Built-in DSP effects processor
- Compatible with Mac OSX, Win XP, ME and 2000- Built-in DSP effects processor
6505 Series
- 120 watts (rms) into 16, 8 or 4 ohms (switchable)- High and low gain inputs
- Six 12AX7 preamp and four 6L6GC power amp tubes- Footswitchable lead/rhythm channel select and effects loop
Six 12AX7 preamp tubes and four EL34 power amp tubes- Footswitchable Lead/Rhythm channel select
- - Four Sheffield® 1200 12 inch speakers
- 16 ohms
- Five 12AX7 preamps tubes and two 6L6GC power amp tubes- Footswitchable lead/rhythm channel select & reverb defeat
www.tropicalmusic.co.za |Tel: 011 025 7636 | [email protected]
- 2-way full-range, bi-ampable sound reinforcement system- RX™22 compression driver with ferrofluid cooling
- Quasi-three-way, full-range, bi-ampable sound reinforcement system- RX™ 22 compression driver with ferrofluid cooling
- Two-way, full-range floor monitor- Sound Guard ™ III tweeter protection
- One 18 inch Pro Rider® Black Widow® woofer
with Kevlar® carbon fiber cone and field-replaceable
basket, flat-wound 4 inch voice coil, and cast-frame
basket
- Two 18 inch Pro Rider® Black Widow® woofers with Kevlar® carbon fiber cones and field-replaceable baskets, flat-wound 4 inch voice coils, and cast-frame baskets
A live sound standard for 30 years
Pro features made affordable, all in a heavy-gauge steel chassis
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6505 Head 6505 Plus Head 6534 PLUS Head 6505 212 Combo 6505 412 Cab
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Unit 3 | 27 Silverstone Crescent | Kyalami Business Estate | Kyalami | Gauteng
NEW ..... Look, Feel, Touch and Listen Showroom
eightBy Nic Roosmuse | sixteen
INSTRUMENT REVIEW
Mesa/Boogie Transatlantic TA 15
I
Supplied by: Rockit Distribution | | 021-511 1800 Suggested retail prices: TA-15 Head - R 12,995.00 | TA-30 Head R 18,895.00 | TA-30 Combo: R 20,795.00
“Few other amps, if any, could put the detail and nuance of so many classics under one hood.”
Tweed mode is a recreation of an old Fender Bassman and is also amazing; punchy and full of the smokey Fender warmth with rich harmonics. It also captures the smooth drive brilliantly which sings when playing slide with a Strat.
Hi 1 mode captures Marshall’s sonic character and nuance. While this amp is in no way designed for modern metal it has more gain than I expected and has a very quick attack. Even with a Les Paul it’s quite bright with tone controls at noon but darkens and gets creamier when lowering the guitar volume. I was able to get some smooth feedback at a whisper
n r e c e n t y e a r s a m p lows at higher gain settings. That’s not to quiet level. Hi 2 mode is based on the manufacturers have been say that it sounds thin with less bass at classic Mark series Mesas displaying producing smaller low- these high gain settings. their characteristic sizzle at a higher powered tube amps for big In fact the tone stays rich, full and, frequency than the Marshall making it tube sounds at bedroom and especially on the 25 watts setting, ideal for cutting lead playing.c l u b g i g v o l u m e s . dynamic. The well written manual is very Mesa/Boogie arrived late to detailed. It also lists possible speaker this party but offer a rich and cabinet connection configurations for
The sheer richness of tone makes this versatile take on the ‘micro amp’ trend. further tonal shaping.
amp amazing. Few other amps, if any The Transatlantic 15 is a small all-
could put the detail and nuance of so tube 2-channel amp with multiple pre-
many classics under one hood. On top of and power-amp modes. As the name Normal mode is the amps dedicated that the head and combo are incredibly implies the Transatlantic is inspired by clean sound. Very sweet and glassy with lightweight. classic British and American amp tones ample headroom in the 25W setting. It The supplied foot switch, however, and crams them into a tiny but powerful accepts pedals very, very nicely. is a straight-forward channel switcher. package. The all-metal lunchbox-sized Maintaining note definition with What’s really missing here is the ability to chassis looks stylish yet very rugged with distortion pedals particularly well. switch between modes or power fewer controls than the average Top Boost mode captures the British settings. Mesa/Boogie, in fact neither channel Vox flavour brilliantly! The signature Another issue is that it doesn’t have features a mid tone control. raspy mids, cutting highs and crackly an FX loop, making it impossible to take
Channel one has two modes, distortion really shine through! I couldn’t advantage of the amp’s sweet distorted Normal and Top Boost. Channel 2 has resist aping a few Brian May licks. The tones while employing delay or reverb three, Tweed, Hi 1 and Hi 2. Both channels extent of the detail in this recreation is pedals. With these two issues in mind I can switch the power amp from 25W astounding. The way the distortion varies must say the Transatlantic TA-15 is aimed down to 15W or 5W and brings out from note to note is spot on. more towards studio use and in this different dynamic flavours
capacity the ability to switch in each mode. The open
between authentic classic back speaker cabinet
tube sounds at the flip of a matches the amp’s wide
switch instead of moving tonal capabilities nicely
cabinets and microphones will and there are more than
be a godsend. enough highs on both
For live use they have channels in all modes.
r e c e n t l y r e l e a s e d t h e Because this is a small
Transatlantic TA-30, which amp, when cranking gain
includes higher wattage, one should decrease bass
effects loop and gorgeous as the EL84 tubes cannot
tube reverb.faithfully reproduce the
Channel Two
Verdict
Channel One
SYSTEM 1
SYSTEM 2
AERO 8A6 per side | 4 x LX218 Subs
AERO 12A6 per side | 8 x LX218 Subs
For trade enquiries or to find your closest retailer call (011) 250 3280 | [email protected] | [email protected] | [email protected]
( res)System Power: 12200 watt12 x DAS AERO8A4 X DAS LX2182 X DAS AX8A Bumper frames1 x DAS DSP 2060 PROCESSOR1 X 4CH / 12Kw Amplifier /4OHM
Suitable for Outdoor 30 met (5 res)System Power: 23200 watt12 x DAS AERO12A8 X DAS LX2182 X DAS AX12A Bumper frames1 x DAS DSP 2060 PROCESSOR2 X 4CH / 12Kw Amplifier /4OHM
Suitable for Outdoor 0 met
PRICE:
R 293,000.00 VAT INCL.
PRICE:
R 499,995.00 VAT INCL.
www.hybrid.co.za
SYSTEM 3
AERO 506 per side | 12 x LX218 Subs
Viva Afrika presents the Aero Series2. The new generation of D.A.S. line array systems designed
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AS SEEN AND HEARD AT MEDIATECH
(8 res)System Power: 52800 watt12 x DAS AERO5012 X DAS LX2182 X DAS AX50 Bumper frames1 x DAS DSP 4080 PROCESSOR3 X 4CH / 12Kw Amplifier /4OHM4 X 4CH / 12Kw Amplifier /2OHM
Suitable for Outdoor 0 met
PRICE:
R 999,995.00 VAT INCL.
muse | twenty
GEAR REVIEWby Alan Ratcliffe
TProel M16USB
he Proel M16USB is a fairly inexpensive, but full-featured mixer aimed squarely at the small band market. Sporting 12 microphone pre-amplifiers, inserts on every mono channel and main outputs, three-band EQ (with parametric mids on the mono channels), three auxiliary sends, four output busses, phantom power and built-in digital effects, the feature set is enough to handle most bands and even small home studio setups.
First impressions
Inputs and channel strips
used as a 12-channel mic mixer. find the midrange frequency range There are also two stereo Aux to be very limiting, concentrating on The M16 has a solid feel and heft with returns (which can be used as line the lower midrange and ignoring the an all-steel casing, plastic side panels inputs if you are not using the aux upper mids completely.and a built in power supply, so first busses for effects) and a pair of RCA impressions are of a well made unit. tape/CD inputs. Stereo channel stripsAll the controls and connectors in the
The stereo strips’ preamps have 20 right places with a logical signal flow Mono channel Strips dB less gain for mic and lack the low-indicating a well thought out layout. The preamps of the mono channel cut of the mono channels, which is a There are some nice extras included strips offer -20 dB trim to +20 dB gain pity when being used for mic or – a padded woven nylon carry case for the line inputs and 0 dB to 60dB guitar inputs, but not essential for and a set of rack ears (fitted by gain (mislabelled as -60 on the most stereo line sources. The EQ removing the plastic side panels and panel), plenty for most modern section differs from the mono strips attaching with the same screws), sources. Each input has an insert for only in the mids, replacing the both of which are surprising at this adding outboard compression parametric midrange controls with price point. Something I was happy and/or EQ to individual channels or low-mid (500 Hz) and high-mid (3 to see was a BNC socket for a 12V taking a post preamp send for kHz) controls.gooseneck light (not included, but multichannel recording (or a easy to find), which are not always a separate monitor mixer in a larger Shared featuresfeature on an inexpensive mixer, but setup.) There is a switchable low- The auxiliary section has three aux invaluable for low-light situations.cut/high-pass filter button set to 75 sends, one pre-fade (for monitor Hz to filter out low frequencies for sends), one post-fade (for effects) those instruments that need it and one switchable. The post fade Inputs and channel strips on the M16 (basically everything but kick drum send goes to the onboard effects, but fall into two types: mono and stereo. mic and bass) and to clean up the low can also be used for an outboard There are eight mono channel strips end of the mix. The EQ section is effects unit. Panning and fader and four stereo to make up the 16 three band: high shelving (12 kHz); controls as well as mute switch are i n p u t s . U n l i k e m a n y o t h e r low (80 Hz) shelving; and a all straightforward - as they should inexpensive mixers, the stereo parametric midrange (100 – 500 Hz), be. Routing is better than most small channels also have a single mic each with 15 dB of boost or cut. I do mixers, allowing you to route the input, allowing the M16USB to be
muse | twenty one
GEAR REVIEW16 Channel Mixer
Supplied by: Musical Distributors | Tel: 021-799-4950 | www.bothner.co.za
Suggested Retail Prices:
Proel M.16 USB – R6 495.00 | Proel M.20 USB – R9 995.00 | Proel M.8 USB – R3 595.00
channel to both pairs of output busses if needed, instead of the usual single switch either/or arrangement, which immediately makes the M16 more flexible. The solo switches can be used either pre- or post-fade and the clip LEDs are bright and clear.
Aux stripThe M16 has an additional, 17th channel strip, used for control of aux sends and returns. Aside from the expected controls here, there are controls to send the onboard effects to both aux 1 or 2, allowing you to add effects to the monitor mixes as well as the mains. There is also a volume control for the tape/CD inputs. The fader is used to control overall effect level to the mix and can be routed to either the mains or group 1 & 2.
The master section comprises Control room mixer (generally pretty quiet). effects, graphic EQ, control room The control room section allows Another niggle is the faders are all controls and master faders.routing the four busses and/or CD very sensitive around 0 dB (where a input to both the control room and good mix usually lives), so it can be a Effectsheadphone outputs with a simple bit difficult to tweak levels at times. It The effects are digital, but have overall level control. should be noted that I had a problem analogue switching and no display.
with the effects dying completely There are sixteen types of effects, after a couple of months, but backup ranging between reverbs, delay, was excellent and the mixer was chorus, flanger and combinations. Using the M16 in both live and home quickly replaced with no argument.There is very little control, with only settings over the last six months and
sixteen variations of each of the generally it has worked very well. sixteen effect type or combos and a The flexibility has saved me a few tap tempo for delays. Unusually times live where I was able to come Other than a few small niggles, the there are also sockets for connecting up with ways around problems with Proel M16USB is a great mixer with footswitches for both tap tempo and gear and venues. I have found that more than enough features and FX mute functions. the onboard effects don’t have much quality for most applications and
input headroom, it’s easy to get offers serious value for money.Graphic EQ clipping from even one input by The graphic is a simple seven band turning the send up too far, so I’ve affair which can be muted or been forced to keep sends low and assigned to either the main output or boost the effects master fader all the Aux 1 and 2. While a little limited for way up (which adds noise. The EQ'ing front of house sound, it is effects are also fairly noisy – even surprisingly good sounding and without any sends, simply enabling comes in handy for a bit of monitor the output of the effects module EQ. easily triples the noise floor of the
Master section
In use
Conclusion
MixersMixersFOR ALL APPLICATIONS
DESK TOP BAND MIXERS
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HYBRID CS1222
HYBRID SM802MS
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4 Mic | 4 Stereo channels with DSP effects 4 Mic | 4 Stereo channels
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Stereo 8 Mic | Bass & Treble Eq/CH | DSP effects with 7 Band EQ | 200w rms/CH
HYBRID SC6215P HYBRID SC8220P
R 2083,00 R 2450,00
Stereo 6 Mic | Bass & Treble Eq/CH | DSP effects with 7 Band EQ | 150w rms/CH
2 Mic | 2 Stereo channels | 3 Band EQ/ch 4 Mic | 2 Stereo channels with DSP effects
HYBRID MC6002S R 3200,00
HYBRID CS2022
HYBRID CS1622
R 2700,00
Prices are recommended Retail, Incl 14% VAT
For trade enquiries or to find your closest retailer call: Tel: 011 2503280 [email protected] | [email protected] | [email protected] | www.hybrid.co.za
Hybrid Power AmplifiersBuilt to work...
R 2,417.00
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B600MK4
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B1200MK4
B1600MK4
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B4000MK4
STEREO POWER...* 8 Ohm 200W - RMS/Ch * 4 Ohm 300W - RMS/Ch MONO BRIDGED...* 8 Ohm bridged Mono - 500W - RMS* Freq. Response - 20Hz - 20kHz, +/- 0.3 dB* Protection - Short Circuit, DC Voltage, Turn on/off transient, Current Inrush, Soft Start, Thermal Overload* Signal to Noise Ratio > 95db (@ 8 Ohms)* Dual speed fans
STEREO POWER...* 8 Ohm 300W - RMS/Ch * 4 Ohm 450W - RMS/Ch MONO BRIDGED...* 8 Ohm bridged Mono - 800W - RMS* Freq. Response - 20Hz - 20kHz, +/- 0.3 dB* Protection - Short Circuit, DC Voltage, Turn on/off transient, Current Inrush, Soft Start, Thermal Overload* Signal to Noise Ratio > 95db (@ 8 Ohms)* Dual speed fans
STEREO POWER...* 8 Ohm 400W - RMS/Ch * 4 Ohm 600W - RMS/Ch MONO BRIDGED...* 8 Ohm bridged Mono - 1100W - RMS* Freq. Response - 20Hz - 20kHz, +/- 0.3 dB* Protection - Short Circuit, DC Voltage, Turn on/off transient, Current Inrush, Soft Start, Thermal Overload* Signal to Noise Ratio > 95db (@ 8 Ohms)* Dual speed fans
STEREO POWER...* 8 Ohm 500W - RMS/Ch * 4 Ohm 800W - RMS/Ch MONO BRIDGED...* 8 Ohm bridged Mono - 1600W - RMS* Freq. Response - 20Hz - 20kHz, +/- 0.3 dB* Protection - Short Circuit, DC Voltage, Turn on/off transient, Current Inrush, Soft Start, Thermal Overload* Signal to Noise Ratio > 95db (@ 8 Ohms)* Dual speed fans
STEREO POWER...* 8 Ohm 700W - RMS/Ch * 4 Ohm 1200W - RMS/Ch MONO BRIDGED...* 8 Ohm bridged Mono - 2100W - RMS* Freq. Response - 20Hz - 20kHz, +/- 0.3 dB* Protection - Short Circuit, DC Voltage, Turn on/off transient, Current Inrush, Soft Start, Thermal Overload* Signal to Noise Ratio > 95db (@ 8 Ohms)* Dual speed fans
STEREO POWER...* 4 Ohm 1500W - RMS/Ch * 2 Ohm 2000W - RMS/Ch * Freq. Response - 20Hz - 20kHz, +/- 0.3 dB* Protection - Short Circuit, DC Voltage, Turn on/off transient, Current Inrush, Soft Start, Thermal Overload* Signal to Noise Ratio > 95db (@ 8 Ohms)* Dual speed fans
B- Series
For trade enquiries or to find your closest retailer call (011) 250 3280 | [email protected] | [email protected] | [email protected]
www.hybrid.co.zaPrice are recommended retail, incl. 14% VAT
eightBy Matthew De Nobregamuse | twenty four
STUDIO REVIEW
Price: R 3,505.50 incl. VATSupplier: Prosound (Pty) Ltd | Tel: 0861 4SOUND | Web: www.prosound.co.za
Blue Spark Microphone
Get the free mobile app for your phone
http:/ /gettag.mobi
As modern music has become increas ing ly computer based, using fewer and fewer recorded sounds, the range of microphones needed to produce to a high level has
shrunk – gone are the days of needing an arsenal of microphones to put together anything radio-ready. However the one sound that is pretty much impossible to 'fake' in the studio is the sound of the human voice, and thus the one microphone that remains indispensable to any studio is a vocal microphone.
The Blue Spark is aimed squarely at that role. It's a retro-looking (in a very good way) cardioid condenser that comes in a handsome wooden box with a custom pop-shield and a shock mount. Build quality seems to be very good – overall it's a really comprehensive package for the price.
its brighter, more expansive presentation, I really liked the more My first test was on male vocals. I lined it focussed Spark take – again it sounded finished, like the intro bars up against my go-to vocal microphone, a to a movie. The Pearlman was very similar to the Spark, but Pearlman TM1 tube mic, and ran them slightly boxier in this application. Both the SM7B and the Spark both through an A-Designs Pacifica. recordings ended up being used in the mix. Saying that the Spark was very close to So what's the overall impression? As a first studio the Pearlman is high praise indeed for a microphone, for vocals and other bits as needed, I think the Blue microphone costing a fraction of the price is awesome for the price. It adds just enough colour to give – the TM1 was slightly smoother in the everything that goes through it a focused, finished tone that I low midrange and a fraction less brittle, have never heard from a microphone in this price range. It has an but the Spark still captured a very well- uncanny knack of capturing just what you want it to and nothing focused and ‘finished' vocal sound. The extra. It's flexible enough to use on a range of sources without TM1 has a frequency response that captures a range of vocals losing the character that makes it so good for vocals. I'd have to extremely well, so judging by the similarities the Spark should be go to a significantly higher price bracket to start finding any very versatile. Also, because of its medium diaphragm size, it's negatives, and the extras – great looks, great add-ons, and the less prone to proximity effect than an LDC, which means you can focus button – make this pretty much a no-brainer at the price. get really close without getting unwanted rumble.
An unusual feature of the Spark is the focus button, which For a video review of the Blue Spark Mic go to museonline.co.za boosts the higher midrange and generally captures a more or scan this tag to watch on your Smartphone.‘cutting' tone, as opposed to the standard, more neutral presentation. Given the amount of processing on modern pop vocals I would have preferred a more pronounced effect, but it's still a really handy extra that can get you a step closer to a 'modern' vocal sound at the push of a button.
Round two was a head-to-head against a Rode Nt1A and a Josephson C42 on acoustic guitar. Here the Spark was a clear winner – sounding, without any processing, like a finished product. It dispensed with the high-end 'sizzle' and jangly transients of the Rode and delivered a focused sound with smooth strums and great tone. And while there will always be a use for the C42 to get a bright, sheeny acoustic sound in busy mixes, for general-purpose use I preferred the more natural tone of the Spark, and felt it flattered my acoustic guitar more.
The final test was a three-way on trumpet and flugelhorn, against an SM7B and the Pearlman, again through the Pacifica. While my brother (who did the recording) preferred the SM7B for
The Test
The first in a series of useful tips and advice to help bands with the business end of being successful by the author of “1,2,1,2: A
Step By Step Guide To The SA Music Industry.”By David ChislettPhoto by Jacqui Van Staden
muse | twenty eight
BAND TIPS
How To Get Ahead In The Music Business
G
Author BlurbDavid Chislett has been in the SA music industry for 25 years. Bassist, journalist, manager, publicist, film maker, author and consultant, he has gotten his hands dirty.
His book 1,2,1,2: A Step By Step Guide To The SA Music Industry is an easy to understand, no holds barred self-help book for anyone wanting to do better in the business.
It is available from Exclusive Books, Look & Listen stores and all good independent shops.
He also hosts workshops and private consultations to help artists get ahead.
www.davidchislett.co.za
iv ing wannabe stars ignorant, you’re going to get ripped off. called Donald Passman. It’s big and red, advice on how to crack the Period. and very useful. But it’s also very scene is a tough job. So, first piece of advice for how to international. Also available for SA Mainly because it appears get ahead in the music business is: conditions are “The SA Music Industry” that there really are NO accept that it is a business. Rule by Jonathan Shaw – a university-level rules when it comes to number two, is learn the rules! The text book on everything about the what makes a song a hit. industry is governed by laws, rules and music biz. Check out Nick Matzukis’ So we’re just not going to contracts which dictate the flow of very helpful book on SA entertainment go there. No instead, we money and the parties involved in it. and contract law as well as of course
are going to talk about another You need to know who these players my book, “1,2,1,2: A Step By Step thought... How to get ahead in the are, where they stand in the food chain, Guide To The SA Music Industry.” Once music business by taking care of what is a good deal and what is not. you have read all of these books, you Business! Flinging up your arms and declaring will have a far greater understanding on
To most artists business is a four you are an artist and someone else how this jigsaw puzzle fits together.letter word, and not one they like to use. must take care of it will result in one Then you need to take the 3rd This is a regrettable attitude because, thing and one thing only: you throwing important step: Put a plan of action by adopting it, artists empower those your arms up in the air later and wailing together. Ja, I know, also not very rock who would seek to exploit them by that you have been ripped off and and roll. Truth is though I have always buying into a myth that was created in stolen from. seen the hardworking, focused and order to rip them off. Yes, you heard Objecting to the fact that the music business-like band succeed over the me. It’s rubbish. If you wanted to play industry is a business environment is a very talented, clueless and unfocused for Bafana Bafana you would know the bit like complaining that the sun came band. Discuss your ambitions and offside rule, what is a foul, how to deal up. It is how it is. Deal with it. And if you break them down into concrete steps with your captain, your coach and the refuse, then stop your whining! Firstly it that you can start taking the very next other players. Because that is what you won’t change anything and secondly, day and you’ll be amazed at what need to do to be a pro. It’s amazing how you made your choice not to play by the happens. I know it’s not cool to admit in the arts, this attitude is completely existing rules! Get acquainted with the that you are a hugely ambitious and absent. existing structures. There is not enough hard working dude that is moving
See, the truth is that, in the music space here to go into detail, but use heaven and earth to become business, money is made because them and they WILL help you successful. But you must be, even as people do business. Now business The best advice is for you to get you develop a look that says the people, they are always looking for a reading. There is a great international opposite!good deal. Remember buying your first book called “All You Need To Know second hand car? Exactly! If you are About The Music Industry” by a guy
f all dynamics processors, gates are the easiest to understand and use. Commonly referred to as "noise gates" they are basically a switch used to get rid of the noise you hear during quieter parts of a track by muting the sound. However, they can also be used as an effect, altering the dynamics of the sound.
eight
by Alan Ratcliffe
muse | thirty
TUTORIAL
O Part 2 – GatesDynamics Effects
How Gates Work
Gates as an Effect
The Controls
and more of the signal is gated out too. When there is a lot of noise, you will need a Noise is usually hidden by the music low threshold setting, and you can raise it signal, as it is normally much quieter in with low noise sources.comparison. However, as the signal fades
away in quieter sections of the music, the Attenuationnoise can become noticeable. A gate This control sets the level that the signal is works by switching off the signal when it reduced by when the gate is closed, -60dB falls below a certain level (the threshold), or more is usually the same as off. With muting both the signal and the noise. higher attenuation settings you'll hear Various controls set how fast the gate some of the noise coming through starts working (Attack), how fast it stops between the wanted sections of the signal.working (Decay) and by how much it
reduces the level (attenuation). Attack and DecayYou can "shape" the envelope of the sound as it starts (attack) and finishes (decay), to change from silence to signal and back again as naturally as possible. If these
instrument to supply a rhythm to a settings are wrong, you'll either hear a little sustained sound like distorted guitar or, bit of noise as the sound starts and quite commonly to a synth pad. The finishes, or the sound will be clipped short.sustained sound is given a pulse by using the rhythmic instrument as the trigger Trigger Inputinput.The trigger input allows you to use a Guitar Effect Gatingsecond audio signal to open and close the With the better guitar pedal gates, the gate - regardless of the level of the signal is A waveform of a distorted electric guitar trigger input can be used for the clean being gated. with noise in the quieter sections.guitar signal so that the gate follows the natural envelope of the clean guitar regardless of the noise level generated by
There are a few ways to get some obvious the effects.effects from gates. Reverse Gates - On some gates, it is
possible to reverse the effect of the trigger Slow Attack Settings - with a slow attack, input, so that the gated signal is only a gate will release slowly, changing the passed when there is no signal at the attack of the sound. It's like using a volume trigger input. This makes sure that the two control to 'swell' into a note. Boss has an sounds are always in counterpoint to each effect called "Slow Gear" which does this. other.Gated Reverbs - using the original signal Ducking - Think of when a DJ speaks over as a trigger input, the sound with added music, and the level of the music drops to
The same waveform after gating to reverb is gated. This makes for a very make space for the voice. This is ducking. remove noise controlled reverb sound - allowing huge This is done by using a reverse gate where
reverbs to be used which are strictly the voice is the trigger input and the music controlled, without adding to much is the gated signal. The attenuation is kept sustain to the sound. lower than usual, as you still want the Threshold'Synching' Instruments - The common gated signal to come through - just at a The lower the threshold, the more radical example is locking the bass guitar with the reduced level. It can be used in any the gating and the more unnatural it kick drum. Using the bass drum as a trigger situation where you need one sound to sounds. As you raise the threshold, you input, the bass guitar is gated so that it only make space for another (voice-overs, will hear more of the signal, and also more sounds exactly when the kick drum does. ducking delays, etc.).noise will slip through. Conversely, as the Another example is using a rhythmic threshold is lowered, you'll find that more
by Alistair Andrews
muse | thirty two
TUTORIAL PLAY BETTER BASS
... Continued on pg 34
BASS in WORLD MUSIC (Part 1)Jonas Hellborg
Richard Bona
I do not think that there are a lot of Richard Bona who hails from people that can come up with an Cameroon, is without a doubt one of absolute definition of what world Africa’s greatest exports. music is. This is a short summary of His compositions naturally took in my humble view. It is a style or styles of different sources: Africa, jazz, fusion… music and instrumentation that unites Bona is highly sought-after as an musicians from all over the world to instrumentalist, and he regularly collaborate and develop a “different” receives calls from some of the sound” and it is taking the world by greatest musicians, including the late storm. Joe Zawinul, Mike Stern, Bobby
The Bass, like in a lot of modern McFerrin, Larry Coryell, Chaka Khan music styles is the heart of World and Pat Metheny. music. Bass players nowadays fuse South African bassist, Bakithi tabla, marimba, mbira, and tuba Kumalo laid the solid foundation down grooves, etc. and apply it to their for Paul Simon on his Graceland instruments. Album.
World Music is a musical genre The rhythmic feeling of two incorporating diverse styles from against three is very prominent in Africa, Eastern Europe, Asia, South African music. (Tap on any solid and Central America, the Caribbean, surface)and non-mainstream Western folk sources. Initially, African popular Right Hand 1 * 2 * 3 *music and world music were virtually Left Hand 1 * * 2 * *synonymous and the genre's biggest stars included the Nigerians King Stem up = Right Hand and Stem down Sunny Ade and Fela Anikulapo Kuti = Left Hand on percussion chard and the Senegalese Youssou N’ Dour. below.
Bassist and fellow Warwick Some of the bassists that have endorsee Jonas Hellborg (above) has defined the Latin style since its initial recorded dozens of albums and development are: Israel Lopez, Andy collaborated with various artists on colour, etc.), it may or may not start or end Gonzalez, Bobby Rodriguez, Al some amazing world music projects. I on the root played by an accompanying McKibbon, Carlos Del Puerto and Oscar heard him for the first time with guitar drone instrument. Stagnaro. These are bassists from many maestro John McLaughl in’s The sides of Latin Jazz - Afro-Cuban, Brazilian, Tala: A metric cycle in Hindustani music. Mahavishnu Orchestra. About classical Peruvian, and Argentina and are busy The most ubiquitous is teental, a 16-beat Indian music he had this to say; “Coming creating new Latin Jazz approaches. It is pattern subdivided 4+4+4+4.from one of the world’s deepest musical interesting to note that Latin music has Sargam: Like an Indian version of solfège, traditions, Indian classical theory isn’t become less “Jazzy” and more “Worldly”. it is the solmization of the notes in a raga. something you can blithely define in a few You will know what I mean once you have Rather than “do,” “re,” “mi,” sargam hundred words.” checked these guys out on YouTube.utilizes the syllables sa, re, ga, ma, pa, dha,
Here are a few basic terms to whet ni, sa. “your appetite. The line below is an example of a Jonas mixes Rock and Jazz with Hindustani: Heavily influenced by the World Drum and Bass Groove with a Latin Indian Music. Go search for his videos on influx of the Moguls into the Indian feel:YouTube. It’s an education in mixing styles.subcontinent in the 16th Century, it is the tradition of classical music generally associated with Northern India. It was made famous in the West by such players as Ravi Shankar and Zakir Hussein, and its most common instruments include the sitar (long-necked lute), tabla (hand drums), and sarod (short-necked lute). It is closely related to the qawwali music of Sufi singers like Nusrat Fateh Ali Khan.Carnatic: Regarded by some as the older of the two traditions, it is the style of classical music generally performed in South India. It has an especially rich t r a d i t i o n o f c o m p l e x r h y t h m i c compositions, and is often performed on vina (lute), violin, mridangam (hand drum), and ghatam (clay pot). Popular performers include L. Shankar and U. Srinivas.Raga: Somewhat akin to a Western mode, it forms the melodic backbone of a classical performance. Often with extra-musical associations (time of day, season,
Since I’ve made World Music more prominent in my style, my journey has become one of challenge and “out of the box thinking”. Check it out and open the doors to the “Real World.”
by Alistair Andrews
muse | thirty four
TUTORIAL BASS in WORLD MUSIC (Part 1) ... Continued from pg 32
On the following examples, we see that the mbira (Zimbabwean instrument) lines could be used on Bass in World Music. The Bass line could be both lines on joint Treble and Bass Clefs.Turkey, Egypt and the Arab world all contribute to this style. You can see the similarity between this Turkish bass line below and a Latin Bass line.
There are many collaborations between various cultures, which could create a new aspect of music which does not already exist or remain interconnected with other elements of music around the world.
I only mentioned a few artists. There are thousands more to check out.
To make things easy for myself, I think of World Music as popular music from Latin America, Africa, and Asia and any combination thereof. You can mix it with Rock, funk, Jazz or whatever.
Till next time, LET THERE BE BASS!!!
Alistair Andrews endorses
bass stringsROTOSOUND THE WORLD’S FINEST MUSIC STRINGS
MADE IN THE UK SINCE 1958www.rotosound.com
PLAY BETTERMy question is, how much about sound lies in the ability of the player?
muse | thirty six
TUTORIALby Kurt Slabbert
I N this article I have I have seen too many awesome and once again it has a very specific decided to talk about the players playing gear that is not sound and I would assume they do it journey of sound, and classed as professional gear and because that's how they were taught. the reason I call it a wow, so let us begin with how can I So your Guitar teacher will also have journey is because the articulate sound with my hands? a huge influence on your sound pursuit of sound never If you look at players like Mark whether you realize it or not.ends. Knopfler he has developed his sound Then there are people who can
I think there is a huge by using his fingers instead of a articulate these different ideas very lesson to be learnt from using gear plectrum; the flesh part of the finger well and go from using plectrum to that is not perhaps the best. I have sounds very warm compared to the fingers and they can do it seamlessly. seen buskers playing with really old sound of the plectrum. He also uses a A player to check out would be Eric guitars and yet they make the pop technique where he picks the Johnson; he manages to use his instrument sound amazing! string really hard to get a popping like hands very well to articulate sounds.
My question is how much about sound. This kind of technique and Okay so that's the first place to start... sound lies in the ability of the player? sound generation would be difficult if a teacher once said that I should go to So even before we get to playing not impossible with a plectrum. a music shop and try playing a bunch guitar how do you sound as a player There are also local musicians that I of plectrums until I find something and how are you developing your have seen that use the nail on their that I really like or that suits my sound? index finger of their strumming hand playing style.
GUITAR muse | thirty seven
TUTORIAL
Copyright Kurt SlabbertBluenoise Productions
Mark Knopfler
Brett Garsed
completely owned his gig. Wow what a player! I think in this country ESP guitars have always been associated with the metal bands but on that day here was a guy that just knew how he sounded and what he was doing with that guitar and it was totally mind blowing. What a player, and off course he had no help from any pedals and the amp sounded really good on its own so I think in closing I would like to say that no matter how burning a player you are it still needs to sound good and usually that's gonna make all the difference. This part of music should never be overlooked and is probably more important than learning your next sweeping technique or another scale.
I am writing this article from Bali and the other night I saw a band on the beach busking. The guitarist had an old acoustic and in the sound hole he placed a speaker and behind the bridge there was another speaker. Somehow he managed to get a delay between the two and he was backed by a percussionist, bassist and rhythm guitarist. They sounded so good, these guys took instruments that weren't great and made them sound amazing so it can be done.
I suggest you spend some time on your sound and it might change the way you play so until next time enjoy and please email me questions or some ideas you would like me to look at for future articles.
Moving on to the controls of the guitar and the guitar itself... Strumming or playing the strings back towards the bridge has a very different sound to strumming up along the neck; you will find that the closer you go to the bridge, your sound will become thin and trebly which works sometimes depending on the musical situation you in.
Then you have volume and tone pot controls on the guitar; the volume pot can also control gain which will have a direct effect on your sound overall.
Then the tone pots... have you tried to roll them off? Sometimes that can give you the smooth sound you are looking for on your lead breaks. So before you buy the next pedal look at articulating your guitar and your hands or plectrum to create different sounds and also remember that you will begin to sound like the music you listen to so try and listen to as much music and different players as you can.
Next we look at Amps. There is so much to be said about amps and I remember watching Brett Garsed in 2007. He was doing a tour with ESP guitars and he also used Hughes and Kettner amps. On that day he went directly into the amp; no pedals, no plectrum and
he e lec t r ic gu i tar i s undoubtedly one the most popular instruments in modern music and over the years many different guitar tones and sounds have become highly desired.
One can fairly easily capture a decent guitar sound with a good source instrument and amp. In this article however, I am going to look at a number of unconventional techniques that can be used to capture this versatile instrument.
I would like to mention that, as always, sound is a highly subjective thing. Many guitarists (and engineers for that matter) are guilty of pursuing THE ULTIMATE guitar tone, when in reality a sound is only truly great when it fits well within the context of the song.
One way of achieving a different sound is, in addition to your close mics, to place a few mics at varying distances within a large room to capture the sound of the room itself. There will of course be no way of getting rid of this room sound once it’s recorded in, so make sure that you are happy with the way the amp sounds within the space before placing your room mics. This technique can also make the guitar lose detail and be highly reverberant; however, a blend of the close sound and the room mics might yield something pleasing.
As soon as more than one mic is used on a single source the issue of
reflecting the sound back into the richer tapestry of tones. Pick the amps phase relationships between the mics r o o m c a n r e i n f o r c e c e r t a i n and mics critically, keeping the final is introduced, so make sure that you frequencies and can help to get a tone that you are after in mind.place the mics with the combined “big”, or at least, unique sound. One final technique involves phase in mind. You could even
This ties in somewhat with Phil intentionally recording with low constructively use phase cancelation Spector’s infamous Wall of Sound. In quality mics, high impedance mics, or by intentionally cancelling out certain the 60’s Spector gathered large you could even use the earpiece of a frequency ranges to create some groups of musicians, including set of headphones as a transducer to weird and wonderful tones.electric and acoustic guitarists, and capture the sound. This will result in a Another way of using the recorded them playing large grainy, almost vintage tone which can locations available to your advantage orchestral parts. He then sent the be great for creating effects and i s to se t up an amp in an signals down into an echo chamber interest within a piece of music.unconventional space like a corridor (essentially a large base-ment), played There is virtually a limitless or basement. Again, set the mics up at them out of speakers in the chamber, amount of unconventional recording varying distances. In a corridor with an and recorded the resulting sound. This techniques that can be used to create amp on one side, all the frequencies produced a rich, complex sound with your unique sound. I can’t promise emanating from the amp will be a lot of depth. that everything you try will result in bouncing around the length and width
A useful technique to try is to something cool and unique, but every of the corridor, reinforcing and route the guitar signal into multiple now and then you may stumble on cancelling out different frequencies, different amps or heads, and to use something truly inspiring and this thus creating a complex tone. The different mics that when blended, will makes the endless hours of trial and concrete walls of a basement yield a sound with more impact and a error completely worth it.
Tby Jonathan Pike
muse | thirty eight
YOUR PRIVATE UNIVERSETechniques for
the home studio
Unconventional Recording Techniques:Electric Guitar
