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Lt fers Sno ec So ae Ta) f=Roland’ Prec oaeeci)AUGUST 200 Wenn KEYSPACE 10 ARTISTS ‘CHANO DOMINGUEZ MATH THE BAND. TARA BUSCH NATE MARS, ADVICE ‘SESSION SENSEI CAREER COUNSELOR UNSIGNED ARTIST OF THE MONTH: BROADJAM CONTEST WINNERS. COMMUNITY CD REVIEWS GO SEE WEEKEND WARRIOR 20 BOOKER T. CChid proday, hitmaker, burning Hammond organs, mut instrumentals, top sideman and arrange, architect ofthe ‘Memphis soul sound, and the man who inked “Green Chions” indelibly into our collective memory ll this and ‘more describes Booker. Jonos, and he's back with Potato Hole, his rst solo album in docades, 28 DEREK SHERINIAN From Billy Idol to Dream Theater to Alice Cooper, Derek rocks hard and doosn't sound lke anyone olso. In this interview, he talks about how to find your own signature sound. 34 GIL GOLDSTEIN Multiplo Grammys and a 30-yoar caroor with artists ‘rom Paul Simon to Gil Evans, Loarn how it all Bogan ~ with the accordion. PLAY IT! 36 BLUES Up your authentcty with pumping left-hand rhythm, 38 FUNK Riffs — discroot, tasty phrases ~ aro the building blocks of funk that's roally funky. 40 Jazz Ever wish you could play really, really fast and clean? Thase exercises will gat you thore.AUGUST 200) MORE ON THE WEB @keyboardmag.com = * Exclusive video lessons and Interview with Booker T. Jones. * Accordion master class with Grammy winner Gil Goldstein. * Audio examples for this issue's Play Itt and Do Itt lessons. STEINBERG CUBASE 5 * Volta video: See MOTU Volta in action as reviewer Mitchell Sigman ‘commands his analog modular ‘synth from his computer. ABLETON LIVE 8 MOTU VOLTA ONLINE VIDEO EXCLUSIVES: sa 0 64 STEINBERG CC121 es ACOUSTICA PIANISSIMO DO IT! 42 SOFT SYNTHS ‘SEALS “CRAZY” COMP ‘Tho pulsing synth chords that dine ths classic hit havo always boon hard to dupiate ... unti now. 44 ORCHESTRATION ‘SEQUENCE REALISTIC ORCHESTRAL PARTS. ‘Throo rules you need to know so your MIDI mockup doesn't sound lice. ‘aMIDI mockup. 46 PERFORMANCE MULTIPLE LOOPER FUN IN LIVE 8 ‘This month's Borkloo MiniCourso focuses on Livo's new Looper instrument, which works Ike a loop-recorcing delay pedal 8 EDITOR'S NOTE 18 NEWGEAR GEEK OUT ‘72 Derek Sherinian’s personal slant on keyboard stands. 70 PRODUCT SPOTLIGHT 71 CLASSIFIED ADS. ovis She Forse 'STOMPBOX GARAGE: WAH-WAHS ‘On the hools of last month's podal roundup, Robbie Gennet, Dave Bryce, and ‘Arian Schiorbaum go American Idol on as ‘many wahs as thoy can get their fect on. “Tm like Paula and Avian is Randy! says Robbo, “which makes Davo, un, Simon Don't miss the funk and the froney! DRESDEN AND JOHNSTON Davo Drosdon of Gabriel and Drosdon ‘and Mikaal Johnston of Mephisto Odyssoy sive a tour of thor analog synthfilod ‘Oakland studio, and reveal socrots of their ‘lub-anthom romix of J.0. Webb's joint “Bottor Man?CE ee =KEYBOARDMAG.COM aCE ee =KEYBOARDMAG.COM a| a Free Is Good! bi You get MORE for FREE when you buy music gear from Sweetwater aa @ FREE Shipping FREE 2-year Warranty FREE Tech Support FREE Professional Advice ‘We offer the best shipping deal You wont find this kindof Have questions about your Our statis made up of highly inthe ndustry—mostitems protection anywhere else! We gearatteryou've received it?’ _trained proswho love gear es ship FREE! What's nore, we automatically cover your gear ‘Our Tech Support team shere much as you do. They're happy ‘work hard to tun around orders for the frst two years after the to help. We also offer a wealth to help you find what works best as quickly as possibl, so youll purchase, giving you added af onine resources you can for your particular setup, setyour gear sooner. peace of mind, access anytime, Call today for help with your gear needs and questions — and count an us to take care of the rest. irae & Alo (800) 222-4700 * www.sweetwater.comel ED Ey freee | NR THE WEB WE’RE WEAVING For over a year now, Keyboard and its sister mags Guitar Player, Bass Player, and EQ have been at work on major redesigns of our websites. T'll stop shart of saying that our new site will be live “by the time you read this" — that’s a jinx for ‘any project that involves multiple talents and time zones — but if not by then, then soon after. What | can tell you is that it'll be a lot more streamlined, with better integration of audio, video, social media, and your feedback about our stories. When a magazine covers something as rich, deep, and multi-faceted as the intersection of music and technology, the big challenge is that there's always way more cool info to shout from the rooftops than any editor can squeeze into a given month's pages. That's what makes the web a beau- tiful thing, though, and not just because it doesn't have page limits, but because some things are best shouted the second they happen, Others are better committed to a printed page that you can always flip back to for reference, even when your laptop battery is dead, when every square inch of screen real estate is covered with open DAW windows, or when you're catching some well-deserved “me time” in the WC. (Okay, so mine has WiFi and a table for my laptop, but I'ma known workaholic nut- case. Don't try this at home) To that end, our reloaded web presence will be all about more — more artists, more lessons, more Editor Stephen Fortner emerges fron on a recent trip to Austin, Texas, to \ station maker Open Labs. He actualh dle of a major biker rally, but flashet and it was all good. FOLLOW US ON TWITTER We may follow you back! Official Keyboard feed: twitter.com/Keyb oardMag Stephen Fortner’s feed: twitter.com/Keyb oardEdito FIND US ON FACEBOOK Search “Keyboard MagazirEE Lee a ee ee aoe ‘the Muse Research RECEPTOR 2° hardware plug-in player Jordan says © ent eee ens Sear eee eee eee Si erate ee nie ern ere eka eset eee ey Peover arn secyr arora eas} Pe ca ee ee eer ne pee ee eee ee ee ese eo a eae eee eS eee ey Beer ieeen pecaer ee neren ts ‘Check out Jordan on tour with Bream Theater in support oftheir new Pete ee eee reopen Eee) GsYNTHOGY) /TUSEARTISTS, ADVICE, COMMUNITY Spanish Piano Master Mixes Flamenco and Jazz During a rare New York City concert, run, Spanish piano giant Chano Dominguez makes a surprising admission ~ that his fst professional gigs wore no: ther jazz nor Latin, but rather prog rock. “Iwas playing organ, syntnosizer, and Clavinet? Dominguez tols me. “I actually ‘came to tho piano lato, at tho ago of 20. Bofore that, | wanted to play keyboards with distortion and lats of volume. | was influenced by groups ike Yes, Genesis, Jethro Tull and King Crimson. But at tho ‘same timo, | wanted to incorporate the rhythms of my cultur, We did many improvisations, combining tho flamenco language with the rock symphonic foo!’ Those early, gonro-dotying gigs sat tho stage for Dominguoz's remarkable careor, ‘one that fearlessly fusos flamenco rhythms with jaz harmonies, and acoustic sonoritios with electric ones. For Domingues, the aural poss blitos aro ondloss, “Tho frst azz pianst | discovered was (Chick Corea! he says. "I was crazy about his music for many years, especialy his record My Spanish Heart. For mo it was frosh, full of 20 many diferent doas. It gave mo the deste to go discover jazz Piano. After that, I got into Bill Evans, Her bie Hancock, Ahmad Jahmal, oven Joly Roll Morton. | got interested in jazz for fusion music, but whon | was 20, | decided that I nooded to play jaz piano. twas tho language | had to learn? Like his live work, Dominguo2's recorded output spans the styistic divide 18 wel, canging fom the stark, plaintive jazz cadences of his 2000 release Iman, to. the nuljazz meets electrified: prog rock fan fare of his 2006 album New Fiamenc Sound. Upcoming projects include a com missioned suite for Wynton Marsalis and the Lincoln Center Jazz Orchestra, gigs with renowned saxophonist Paquito DiRivera, and a sequel to New Flamanco Sound that will bring him back to his eary days with electrfied keyboards Regardless of the project, Dorsinguer's passion to fuse styles dominates his work “I started to play Flamenco guitar when | was eight? he says. “That was the music that was around me. My music. ! never studied Flamenco. | just flit. But also love to improvise and play jaz piano. So | think | wil feel ke that for ll of my Ife — always wanting to discover new things ‘about music and the pano’ Ln 2MORE ON KEYBOARDMAG.COM Wee MATH THE BAND The music: !love video gamos, s0 take ‘those influonces and mix that wth punk ‘music and add as much energy as possible. Wo try never to take ourselves too seriously. ‘Webpage: myspace.com/maththoband Favorite gear: Ihave a Moog MG-1, an ARP Anz, which is tho litle brothor of the ‘ARP Odyssey, a Yamaha CS-15, and another synth that doesn't have a name on it I got tata yard sale for ton doliars. I's {got throe wavotorms and a Ite drum ‘machine builtin. | can't ovon find a soral ‘number on it. havo a Theremin, too. Recording process: | start out with ‘botwoon 100 and 150 vintage drum machines, sampled in my computer. | start with my favorite, a plain and simple Casio SK-1, and once | gat a rhythm down, | come up with a chord progres sion. Every song has between 70 and 120 tracks of distinct, try tracks — alot of simple things layored on top of one: another. | do my sequencing in [Imago- Lino] FL Studio. Alot of people givo me crap for it = the program has terrible pre sot sounds, but it's great as a sequencer. {record into Sony Acid. ‘Sequencing with vintage analog synths: Il sample each individual note ‘from a eynth programmed with a certain patch, and then sequence using those samples. 'm working on bulding a CV converter mysol. Vintage keyboard love: 'm realy nto analog synthesizers. ve boon fascinated with thom sinco Iwas 13, though wasn't able to afford any until was 18. | would spond hours every day researching what makes thom work and scouring eBay to find one | could afford, which never hap» pened, They sil fscinate me. | have recur ring dreams about being in a supermarket {ul of analog synthesizers. They're only 50 ‘cents and I can buy as many as I want. | have this dream twice a week. Wa! fatARTIS ADVICE, COMMUNITY TARA BUSCH Psychedelic Synthstress ‘The music: Heavy, progressive, psychedolic, electronic pop with stop by seven soft candy conter! ‘o'clock to cook Webpage: Analogsuicida.com dinner! Musie is my ‘Musical background: | bogan singing at three-and-arhalf in _job, 50 Ihave to musical theatre and had a massive turning point at ago 13, show up and bo when my brother played Janis Jopln's version of “Ball and very regimented Chain" for me. Overnight, theatre went out the window and in Also, sicop with ‘camo songwriting, collaborating, sossion singing, and porform- my tape recorder ing in rock bands! | taught myself to play as a moans of getting under my pillow. songs out of my mind, Ths resulted in a style that's a bit chile: Songwriting like and odd, but very spectic to the songs | write. I never had a inspiration: Piano lesson, though | had to educate mysolf on it to bettor Mostly dreams. | ml ‘communicate with the musicians that worked on my album, and havo this very fun and sometimes annoying ability to write while | to bo.a more confident player live. lucidly dream. Things that are non-musical mostly inspite mo. Favorite hardware: | love my Universal Audio LA-610 and my People, locations, non-moladic sounds, and childhood memories Rede Classic mic. Those two sound so lovely together! I could aro the most potent riggers, novor leave my Farf'sa Compact Doluso or my Moogorfooger ped- Creative advice: Always pursue a song past the pont where you als, espacialy the MF-1042, other. Everything sounds groat instinctively feel you should stop. Be honest with yourself ~ have through the Moogorfooger MF-101, too. yu relly gone far enough? You can always put on your butcher Analog aspirations: | droam of owning an ARP 2600 someday, smock and trim the fat! ‘or a MacBoth MB. Beautful machinos, Sarwar acs Ang ring cookin rl yous apa ect I wrte and play every day and Imako sure to For the rest of this Interview: Visit keyboardmag.com, Dubstep, lwstep, dancehall, crunk. parts through MIDI and make a few corrections on notes later. ‘myspace.convaatemars Newest project: | ust hac a track placed in FreO Nasty’s Fabriclive ear: Latoly, my new favorite goar is the MicroKorg _mxcallad "Above & Beyond Dem” (feat. Jahdan).| also recently XL and Rocktron Banshee talkbox. I've also been experment- produced a track for Juakali of Dub Wer/Sub Swara for his Come ing with some cool musie apps on the iPhone. In the studio, | __From Yard EP and am working on some summer jams that I'm sequence everything in Logic Pro 8 and use several soft calling Luvstep, which wil be out soon. synthe including Nate Instruments Komplete, Rob Papen Favorite artist we've probably never heard of: Cru Jonez is Albino and Predator, and Propolierhoad Reason. On tho road, | tho nastiest drummer ever, Ho has boon touring as part of use Abloton Live. Michna’s Ive band but his solo stuf is realy sick! Favorite albums: Skream! by Skream, Enter The Wu'Tang (36 Practice regimen: | ty to exercise my mind and body for at least Chambers) by the Wu-Tang Clan, Songs in The Key Of Life by an hour every day. | actually don’t have a regular practce regimen, ‘Stovie Wonder, Welcome To Jamrock by Damian Marly, and ‘Sometimes | st dawn to be creatve and nothing comes out. Other about 100 more. Yikes. times I'l spend 24 hours working on something and I get a bunch Play by ear or play as written: | do know my scalos and come of tracks done in one session of inspiration. theory, but I play mosty by oar. Logic makes things so easy f Words of wisdom: Take overy opportunty, be a good listoner, you over have to writo a score because you can just record the and always treat people with respect, Fas ae Practice regimerTSA AnataPaco ARTISTS, ADVICE, COMMUNITY Career Counselor Riders on the Storm: Six Tips to Help You Weather Tough Times Whether you're a touring pro or an avi amatour, the forecast of lato for the music businoss has boon bloak. Tours, ovon for votoran artists, ao diminishing, venues are ‘losing, and widespread panic has sot into the hoarts and wallts of musicians everywhere. ‘There isn't a sngle industy that hasn't boon assaulted by these economic times, “Tako solaco in tho fact that you have boon, in the words of Bruce Springstoen, “Work ing On a Dream’ If you keep believing, while simultaneously roling up your sleeves, you will got to wnre you want to go. ‘Though you may not want te hear ther, hore aro 8x toughove tips to holp you ride ‘out the current economic storm, all whl kooping your music up and running 1. Party like it’s 2009. Is your band light on gigs this summer? Pitch yourself to corporate party planners as the ‘must havo" music for their uocom ng ‘evonts, Sometimes the next paying gia is in an unfamiliar place. 2. Say “I do." One area of live music that continuos to woather the current oco nomic crisis isthe wedding businoss. Cou: ples are stil getting marred, and they'l aways need music to accompany thor co ‘bration, Find a local wedding music con WHAT DO YOU THINK? tractor in your area and make them need to hire you. Romembor that wedding bands do ‘more than just play “The Electric Sido ‘Thore aro a pothora of gigs our thore ~ jazz, classical, blues, RAB, and boyond. 3. Share your strengths. Con vert your downtime into paid work by shar: ing the tips and tricks you already know. Use your mastery of Pro Tools or Logic to record local artists. Captalze on your synth skills by hiing yoursef out as a sea soned programmer. The chops you already have can open the door to new and prof itable career paths. 4. Teach your children wet A talented singer/songwrter frend of mne recently started supplementing hs dwin cling touring income by teaching piano and songwriting to aspiring locals. You'd be surprised at how many people want to be where you already are. 5. Flip equals hip. Surprising as it might seem, there is stil a great deal of money to be made in instrument gales. Local web classifieds lke Craigslist are often home to amazing deals that you can turn ito quick profit. That bargain preced \Wurly 0: Hammond organ may just be ‘worth much more than you pay for t to the right buyer. Just be sure to proceed with caution, and closely inspect any by dan Regen, recording artist of ically acclaimed ebum, Lt to instrument before you lay down cash, 6. Get a day Job. Sound depress ing? ft shouldn't. Harrison Ford had one, So did Sopranos star James Gandotfri, ter keyboard wizard Jordan nd countless creative foks. A certain musician and magazine columnist (who is wetng this atc right now) had more than one ~ those jobs kept me afloat hile allowing me to hone my craft Remember that a good day job can inspire you on many levels: Not only will you delight n paying your bills, but the absence of financial panic can leave you feeling rejuvenated each time you sit down at your instrument Got any spocial tips to add to our columnis’s advice? Do you completely dsagroe and want to sot the record straight? I's ll ‘good online at Keyboards vibrant online forums Just visit koyboardmag.com to discuss ary and all topics in the Keyboard com: ‘munity. Joining is easy and free. Session Sensei Blues School Session Sensel Scott Healy has layed the bugs wth Hubert Sunn, Son Seals, Ta) Mahal, and AUB King Hes the keyboard fr The Fight Show ith Corn 0 ‘As | was preparing a blues piano lesson for tho “Play It!" soction of ths groat magazino, {reflected back on my own schooling in ‘blues music. !had spent some time at LP-U ‘School of Applied Vinyl and CD Studies, 4 rien ‘but got my formal training through onstage bbutt-kcking under the tutelage of somo. brilant and colorful older guys who | had the honor of backing in Now York clubs, as woll as on short fostval ours. My frst time playing live with an authentic, second-generation Chicago bluesman was in a packed and smoky Now York City room. I got through tho ‘opening shuffle okay, and then he kickedMORE ON KEYBOARDMAG.COM Wee Unsigned Artists of the Month ores Broadjam Contest Winners Broadiam.com and Keyboard magazine recently teamed up for a raik song contest, along with Casio, who provided special prizes for the winners. Readers wore invited to submit their most badass, cutting-edge, keyboard-driven rock songs for cons deration. Instr ‘montation, orchestration, vocals or no vocal ~ all paramotors wore wide open, s¢ long as the track rocked lke no othor and had koy board jet fuol at its heart. ‘The results wore epic indeed, and narrowing down the feld was no easy task. So with no further ado, the winners: First Place: Winner of a Casio Privia PX-320 Bob Luna, “The Warrior" ‘This oxporty programmed prog voyage purmmels and soars into the winning slot. bablunamusic.com ‘Second Place: Winner of a Casio Privia PX-120 Fred Kimmel, “Into You" Eloments of Nine inch Nails and Colldwoller can be heard inthis grungy, thrashing electonic ode to lust. fedkmmol.com Honorable Mentions: ‘Casey Desmond, “Unbeliever” Sultry, oday pianowoman rock that sticks in your head Ike Tabascofiavored totfoo. scascydesmond.com Brian E. Ison, “Rawk-a-saurus.” Funky, quiky, and driving, wth somo truly innovative sound design, musicforthe-soul.cam ‘Oz Knozz, “Hear What I'm Saying” Kansas-osque operatic rock wth a kiler synth solo. ozknazz.com. ‘Stephanie Rearick, “Nothing New” Amanda Palmer gone psychedelic and retro ~ one ofthe rawest, most orginal aesthetics wove heard in a while. stephaniorearick.com itinto a slow blues. And I mean slow. Right away, this cat was onto me. He had ‘me pegged as groon jazzer. He kopt look: ing back and glaring at me as he soloed. ‘This throw me into “sensitive sideman” ‘mode: playing less and less, easy on th lfthand, softor and softer ~ wrong! After 1 fow tunes, somoone rescued me and hipped me to my mistake. I was to solo with him, give him some answering riffs, and kick it up a notch. !had to pound my left hand and support him by folowing his ‘emotional arc, Throe or four choruses of slow 12/8 is a really long time ~ and | was abandoning the solost at the height of the action! Dospito tho best intentions of any con. sservatory (or magazine columnist), the most valuable lossone in musicianship are Jared on tho bandstand. You can got ‘some great pointer in class, and don't neglect your studios for sure ~ but you ‘can' fully assimilate any information unt ‘you've tried tout live, Unfortunataly, for the bluos, school sooms to be out. The briaf blues resurgence of the ‘80s dried up, thore aro fowor and fewer big tours and fostvals, and in many cities, the best blues ‘clubs have closed, Mayo it will come back. Ihope so. Ta like to stat working on my graduate degree, ead Seat Hes bes lesen on page 38.ANTONIO CIACCA QUINTET RUSH LIFE Italian-born, New York based pianst and composer Antoni Ciacca channels the ghosts of recordings past on Rush Life, an old school, struted blowing sos: sion. Backed by the sympathote rhythm sec: tion of Kongo Nakamura on bass and Rodney Greon on drums, (and joined by saxophonist Stacy Dilard and trumpeter Joo Magnarol), Cacca dshos-out a healthy dose of originals and jazz standards, wth his ‘legant touch taking centor stage through ‘ut the variod sot. On the vonorable “| Remomber Cifford’ Ciacca’s surprising reharmonzation and whisper of a solo serve ‘to make tho tuno all hs own, And on *Groon Dolphin Streot” the staccato ensombie fg utes and metricaly modulated swing broathe new If into the most famliar of songs. Ciacoa plays from the hoar, and Rush Lifes worth an unhurted listen J (Motoma, antoniociaeca.cam cD REVIEWS ARTISTS, ADVICE, COMMUNITY FISCHERSPOONER ‘You know how dreams can mash up contra dtions ~ a car thats also a boat, or one city that's also another ~ andi ll sooms per EAS ‘octiy normal? it you droamod of a groatost hits album of the derkor sido of '80s ‘lectro-pop, only it was also made up of songs you hadr't heard befor, this'd be it. "Bost Revenge" evokos Violatorera Depeche Mode had Noll Tennant b0en singing load. Tho stereo-panned squirts and bloops of “in a Modern World” craft neurotic countorponts that work beautfully over the min malt drum loop. The floor stomping “Supply & Demand! throws us a single trick measur in 2/4 timo as the kick har mors sttoonth-notos ta load of tho out-chorus, whore aay: ‘red string synth douiblos the song's dovishly simple bass hook Many ofthe pointe Iyrics examine the numbing and distracting effects of our modia-soaked cutturo, making Entertainment an onc to, That the music isso infectious ‘and truly entertaining makos t doubly eo Syn For Ranging from sub, piano-driven melodies to smooth synth textures ~ and marked with thought: provoking Iyics and ‘catchy pop hooks ~ Nashwill's Tho Fea tures drop the engaging Some Kind of Salvation. The strength with which thoy rock makes up for occasional iycial hoartstring-tugs, such as the line “not ‘even lions can toar us apart from the track ‘Lions! The incongruity of the ‘quaint whistle sounds on “The Gatos of Holl" unexpectedly bring it to lie. Fits of saxophone and other horns molt nicely with delicate piano and keyboards pro- vided by Mark Bond, adding a swootness that brings to mind Kings of Leon ~ a band that sharos The Foaturos’ hometown, nat to mention producer/ongi: ner Jaquire King. Powerful rock, highly recommended. (tessa ane (Loose Tooth, thafeaturos. com Studios, fischarspooner.com) JERMAINE LANDSBERGER GETTIN’ BLAZED Organist Jormaine Lands berger has boon making @ ram for himsol across Europe of lato. On Gettin Biazed, the rostof tre ‘world is fnding out why ~ o's one formidable force on the Hammond 8:3, Joned by an all: star band that foaturos guitar giant Pat Mar tino, saxophonist Gary Mock, bassist James Genus, and drummer Harvey Mason, Lands: berger struts his way across the double man uals on a varod sot of bluos-tngod originals and covers. Not ust another Jimmy Smith ‘lone, Landsbergor's Lary Young ish mix of hamnic tension and percuss've soloing is a ‘wolcome addition to the current crop of Ham: mond hopefuls His work on tunes tko “Sno! PPoas" and the Horace Sir classic *Fithy MeNasty" shows a surefootod tochniquo that artuly blends burning lead lines with thought ful, ensomble minded socompanimont. Get Blazed san improssivo dabut. aks (Resonance, rasonanceracords.orq)MORE ON KEYBOARDMAG.COM Wee nO ay) 19° WEEKEND pees rise KAREN ELLISON by Jnary Tike nM by At, “Upside Down beh met 2h8°trey Lite Thre Se Dowel ve Sera Boe Sovnyourasamn Iworouel ehMuge’by tho Palo wring abe steay Dan more cona mes crinota- Ifvenes mame tJ) Whyt lay T kop Se spit! de Qwanloterwur Iasehaoar Fan yfecrternting te 8Cemiceane Fetunmace scive tens ere, “Summer gions al yeah, for ru trae rng mi How got started: My mother _tust about sus up If. Tori to the faces of many. ln turn, I'm ‘was an accomplished pianist. My Amos, who | met last year, amazes smiling too. After al, “Gils Just brother, who is throe years older, me with her work. find the song Wanna Have Fun’ Edy started in garage bands in the {ate '70s, playing Kansas and ‘Styx | started my own band wth kids my ago and have beon play: ing ever since! Bands | co-founded The Reagan Yoars in 1996. We holped po: ‘oer tho '80s tributo band con ‘cept that has proliferated in the statos and abroad, Today, tho ‘Maryland:-based project performs ‘new wave, pop, rock, and hair ‘metal hits throughout the mid: ‘Atiantc states, The quintet foatures fve unique lead vocal ists. Ising tunes by Madonna, (Cyndi Lauper, and Joan Jett, her hand, Te Reagan Years, rng the 80st ite with the help a among others. My favorte songs Kory TZ, Yamaha Mati anda Yamaha KXS. She monitors the mix in-ear, wth the help to play are *Don't Stop Boliovin” of x Share PSW-800 sytem. t Eliane Elias. lanes. con Cn A Bob James ‘hinmencom Various Artists, The Hotel Café Presents: Winter Songs (Sony) Singer, songwriter, ad past Sara Bao mos the Kd of mute wonkond waar Karon Enon oven She approcatos Ballo song, nd ta at hat Kaan pute “can ata play hm Karen cle Berle "tly Gown‘o-art art. "Har aco amtzny tong ed pir ard raver sare ot or down Wier Song evry moving, My mae peed ay 9 ‘you age end tha song ware o kop har eprom ny har Tho tin par oa colucton toa ‘onal ack assonbaden ho conpiaton dc. The Hotel Cat Present: Winer Sono, aa Connect! Incubus Got a burning question about a B-3 — or just want to connect with the sharpest keyboard minds —_—enjeyincubus.com ‘onthe planet? Keop up with to latest buzz inthe music technology communty wth the Keyboard onlne forums. Just visit keyboardmag.com and click on “Forums.” It's easy and free. 7il CCT Oa 'SNYDERPHONICS MANTA DIV-ERS’ DARLING THE PITCH MIDI and OSC contro surtaco with backit cols. THE BIG DEAL Each coll sonsos velocity as well as how much surface area your fingor covers, The whole thing can also bo a big multitouch X/Y pad, WE THINK It's boautful, affordable, doos Open Sound Control, and looks Ike t was scavenged from an alien spacecraft. What more ‘could you want? ‘$675 direct, smdorphorics.com DAVE SMITH PROPHET ‘08. POT EDITION ALITTLE KNOB CAN BE A BIG THING ‘THE PITCH Prophet '08 with pots (potentiometers) in placo of tho ‘08's usual ondloss encoder knobs. THE BIG DEAL Endloss rotarios aro co0l, but alot cof usors wanted knobs that folt and rospondd lke those on the Prophat'5, Now they can (cough) exhal. TOM OBERHEIM SEM COVETED CLASSIC REBORN THE PITCH Obothein’s original slf-contained synth ‘module ~ for the modern age, and every bit as analog. THE BIG DEAL The orginal circut design ~ two \VCOs, multmode fiter, wo envelopes ~ is there, as is MIDI-t0-CV for integrat on wit your studio. You can integrate new SEMs into vintage Two, Four, and Exght Vore systems. WE THINK This makes up for the OB-12 (which Tom hhad nothing to do with) a thousand times over. {$899 drect, incl. MIDIto-CV module, tomabetheim.com, MACKIE HD SERIES ULTIMATE POWERED PA SPEAKERS? THE PITCH Macke leverages thor ownership of high: ‘and speaker makor EAW into now flagship active PA. Ino. THE BIG DEAL Tho HD1521 is tho two-way model with 1,600W of power total the HD1531 has throo drivers and 1,800W. Both foaturo “acoustic correction” pro ‘cossing to maximize clay WE THINK Ovorkill as a keyboard amp, but crystal ‘lear and stupid powerful it ‘you need a band PA. 01921: $1,249.99 Isvapprox $1,000 street; 01531: $1,499.99 Ist/approx. $1,200 streot, smackia.com WE THINK t's just better to control some settings this way, and the pots make this Prophet fecl subty and ineably more lik a vintage synth, $2,808 lis/approx. $2,100 strect, davesmithinstuments.com ‘Want to check out the same press releases that we see about new gear, as soon as we receive them? Go to keyboardmag.com/newsSTEINBERG CUBASE ic CUBASE CALLING ‘THE PITCH Conirol Cubase 5 and Cubase ‘Studio 5 from your iPhone or iPod Touch, ‘THE BIG DEAL Comprehonsve transport con trol, plus an Arrangor window for ive, section-by-sec: tion playback and rearranging of song sections. WE THINK Got Cubase? Got iPhone? Get this. Froo at Tunes App Store, steinbara.nat VIENNA WAITS FOR YOU *Quite honestly the most realistic sampled piano ever created! JASUTO Vienna sampled a Bosendorfor Imperial 290 using thoir CEUS technology, getting up to 100 veloc: ties and 1,200 recorded samplos por key THE PITCH Tho fist total modular synth environment fo Phone and \Pod Touch, ‘Wo've yet to hear it, but we love the piano ‘THE BIG DEAL Can tak via WiFi to upcoming VST vor conic look. I's more keyboardistroncly than the usual sion. Geometric, object-based approach makes bulding com: Vienna Instruments user interface, plex synths easy. Records modulation automation! $875, liocom WE THINK This thing is just plain addictive, and the extreme fun factor cleverly d'squises how truly deop it goos. {$1,99 at iTunes App Store, jasuto.com ROLAND JUNO-Di JUNO A-GO-GO THE PITCH Full foatured porformance 5 that runs on eight AA batteries and weighs 12 pounds. THE BIG DEAL Has a lot of Juno-Stago foatures ~ sounds, twoakabilty, audio and MIDI fle playback from a USB stick, mic input, and vocoder. Roland claims up to five-hour battory Ifo. WE THINK Koop itn tho car as your “Damn, fd only brought a keyboard!” keyboard, and novor suffer jam envy again, $799 list, rolandus.comAUS a rr — erie ne UE UCT CCUBooker Legend? In Booker T. Jones’ case, the word doosn't say enough. I rings of past triumphs that future generations remember ‘on grounds of sheer magnitude. Jones cer- tainly has plonty of those ~ “Green Onions” is an indolibio meme in any mind that knows what a Hammond B- is, and tho Hammond teolf owos as much to Jones for its perpetual reign as an R&B instrument as it does to Jimmy Smith for jazz or Keith Emerson for rock. What the term might not ‘uite get across, though, is that Jones! new studio aloum Potato Hole is overy bt as vital, vituosic, and preconcepton-shat toring ~ ovon by today’s hoard:t-all stan > sAASHCOM IS NO ye SES UCL COU f SS 4 sania ‘including more content and improved ; eure a cate CSL Rte ue auCa ist tas al SAM ASH es y a MUSIC GEAR AT THE SPEED OF SOUND PUSS Se CSS Se Ae i LSSRole STEINBERG CUBASE 5 | did some interesting experiments using the 600MB of factory LoopMash ‘content, but when | substtuted my own oops, LoopMash consistently produced rosults | didn't find musically useful. Evon a single loop imported into LoopMash ‘sounded nothing like it was supposed to, ‘Most drum loops have sisteonth-note thythms = at least on some ofthe kit pcos ~ 50 cighth-note slicing probably wasn't a good design choice, VST EXPRESSION Coaxing realstic-sounding tracks from a farge orchestral sample librayis quite a ‘challenge, but thanks to the now VST Exprossion tools in Culbaso, it ust got eas ior. Starting yoars ago withthe original GigaSampler, orchestral libraries have ‘boon programmed to switch among san pes and sample layers when they receive ‘cortain typos of MIDI data. For instanco, you might have separate sample layers of ‘solo trumpet playing sustained notes and the same trumpet playing notes with a doit’ or a fall-of. A koy atthe left end of your MIDI keyboard (a koy whose note ‘was not neoded because it was outside the trumpet’ range) would be employed to switch from one sampled trumpet artic: lation to another. Today, many software samplers do this, in one form or anathor. I's a powerful sys tom, but editing the MIDI switching data in track can be a chore, Cubase 5 provides a full-featured map: ping sotup called VST Expression, with which you can design and edit the switch ing data that willbe sent to your sampler. In an Expression Map, you can route a MIDI signal (such a8 a note-on from a bot: tom-octave key) to whatever articulation you choose, then assign the output to the key, channel, or controler data type your ‘sampler wants to see. If you later want to play the MIDI track using a different sam: piles, ou can substitute a new map much ‘more easily than you could edit a bunch of MIDI events ‘Aticulations show up inthe Score Ed tor onthe staff withthe notes they mocity. Inthe Key Editor (a piano rll view), you 52 Fig. 2 The new automation master pan! lets you handpick what types of data wl be included or excluded from reading, and from writing, separately. ‘can open an Articulation lane, which oper ates much lke Cubase's familiar Controlk and Velocity lanes. The info Ine above the Key Editor's main display area now con: tains an Articulation drop-down, so you can instantly apply any ofthe art.cuations defined in the current map to any note. OTHER NEW FEATURES The REVerence convolution reverb plug in (see Figure 1 on page 49) is a welcome ‘addition, and included only inthe full Cubase 5, not the more affordable Cubase Stud. in my tests it seemed to be fairly (CPU-etfcient It comes with a variety of Impulse responses, from European cathe: drals to studio booths, and you can load your own. Surround impulses and presets are included. Preset loading isa bit slow — for several seconds after switching to a 3 you may not be hearing the 3t yet ~ but i's glich free, which is pleasant. For years, Cubase's tempo/time signa ture edting window has been a throwback to an eatlier generation of the program. But in version 5, tempo and time signature tracks (one of each) can a last be added to the main track window. Dance music, producers won't care, but f you're doing film soundtacks or prog rock, youl love this feature. ‘Cubase 5 adds welcome new flexibilty to automation. Specific types of data (vol ume, pan, EQ, send levels, nsert parame: ters, and track mute) can be excluded from ether reading or weting (see Fgure 2 ‘above. Say you want to boost a track's level temporarly in order to hear it clearly while working on another track ~ but the track you want to boost already has volume automation data. By suspending the read: ing of volume data, you can boost that track in the mixer and stil have its other automation tracks playing back normally. If you're planning to create your music in Cubase 6 and then hand the stems off to someone who uses a different DAW for rising, youll appreciate the new batch ‘export features for creating and exporting submix racks. CONCLUSIONS Cubase 6 isa class act. With the single ‘exception of the LoopMash plug-in, very ew feature inthis update s a clear winner PitchComrect will be a must have for any ‘one who records vocals, and users of large ‘orchestral sample libraries wil wonder how they ever got along without VST Expres. '80n. Optional Steinberg hardware such as the MRB1 Bcsx audio interface (see Hard ‘ware Hookup" on page 80) and C0121 ‘controller (ful review on page 64) tun Cubase § into ano-compromise studio tool. All ofthese features have been inte ‘grated into a sequencer and DAW that was already an industry leader. For the past year or 80, I've been drifting away from my computer based music system in favor of just playing my Yamaha grand piano. But Cubase 5 has me fired up again about composing and recording in the computer. It's so good, it's inspiring. KI Fer more sere vide huts and inks to Cubase § tutorial read this review at keyboardnan.com/nearNOVA ne 1 NOVAMUSIK.COM UR eta ec lery rturia Now is your time to save! ee er ee ALLL De tee eek gL ae Ss] = aw ose Ser nd Se ee cd Dra l Aresh dain Boe eae Bere en pete Boe ea eee efelale ‘Now in stock at Nova Musik..Call or Email to find out more informaiton about the NEW Origin Synthesizer. Toll Free 1-877-290-6682 NOVAMUSIK.COM Due coi) Ce ee een ae eet ee eterRole ABLETON LIVE 8 Have comment abou his review? Pastiton te forums at keyouardnag com, 205 |!) New Grooves get the feel back in your music. Improved warping. Looper is just briliant, Powertu, elegant track groupr ing, Rich new saund design and insttu- mental possiblities. Tweaks make the best realtime host even better ml ‘Assigning hardware MIDI controls can be a pain. Some tools for navigating large groups of clips require having ‘an Akai APC40 controller. Crosstaces ‘are nice, but there are stl no rea! ‘automation curves. No folow actions for Scenes. Me a Live 8: $599 lst/approx. $500 street, Suite 8: $989 is'/approx. $800 street ableloncom st ABLETON LIVE 8 The Realtime Emperors New Groove by ater Kin Imagine seeing Ableton Live asi for tho fot time, You'd eoe an ntorace but around a maar an sot of roctargda stots forclpe of musical materi. the vow (Session Vow), Lie pat msor and part sample workstation, tggoring musical clips intractvelyand proving a tabbod iow of al the offcts and instruments you might uso. Switch to Arange Vow, and Ce prosons a noa’arangomont of your ruse that ooks moro tho tacks window in other DAWs.f you looked at Live some eight years ago, you'd soe almost the same intorfaco, save slighty twoakod hues of gray and a fow loss widgets. Squint, and ‘you wouldn't bo able to tolthem apart. Just as romarkablo as Abloton's com mitment to that user interfaco is the fact that eight yoars later, there's stl not a competitor that dovs quite what Live does. ‘That is, Live not only does the things you'd ‘expect from a multitrack workstation@ The Groore Pol stores Live's new Grooves ~ xa msc fel ad teat a i aii irae noes fie Yr rst sud tt vet © Lie sigs wh rary of gm oy ‘ead ls arr asf Ys, the se oe stom bi te restr el @ Her’ the po-ap mae where you can ett wove an irate dnt aps © Track Groups erga tracks visa, ow can tinge sf is ina Fock Grup ot as vt Sores © The ew ese iste alos pole uti tur aes te Pret ep ‘wcainy © Frequeccy hier capable of special efects and srt. © Yoon won reeset magi pay presets with ge numbers of prety sket- ing wich prt mate, here with Rak © Caio cong an intetce stg (seen ber at 125%) make your projets esi to se. ‘program, but doos itn roaltme in away that blurs tho line botwoon studio and ‘stage, This can make Live hard to roviow, if ‘only because thore's no immediate point of ‘comparison, and because Ablcton’s vsual ‘consistoncy can make it easy to lose the ‘nuance of changes. Live 8 does have big ‘changes ~ arguably the most significant in rocent years. To really consider wnat those ‘moan, lot's look at thom alongside what Live = the entire package ~ has become, ‘and what it hasn't HIGHER WARP FACTOR For many, the abilty to warp, slice, and time-strotch audio has boon central to Live's appeal. The way in which you apply audio warping has been revamped in ths vorsion, essential to artists wanting to romix and manipulate rocorded loops. ‘More importanty, though, a new groove foature could appeal to all artists ~ rogardloss of whothor thoy're DJs or intorested in remixing ~ who found Live's ‘quantization overly mechanical. In order to conform audio clips to a Fg Prevons}y when warping ai, warp artes moved while ain stayed pn Live 6 the meine stays inane pce, Warp Markers remain attached te audi, andthe waveform diply moves - which is lser to what actualy happens withthe sound desired tompo in any tool, you need a way to match up events or transients in the ‘sound, such as tho attack on a hi-hat, with tho musical timeline, Livo's mechanism for this is its Warp Markors, which aro points that indicate how your sound wil bo stretched and squeezed to ft the tempo. Inprovious versions, the waveform was ‘ixod, and warp markers could be placed ‘and moved around it. The basic workiow: ‘Make the markors line up with tho wave {orn to got tho audi in lino with tompo. Now, that relationship is reversed: The time ruler indicating bars and beats stays in one place, and the Warp Markers are fixed t0 their position in the sound (eee Figure 1 ‘above. As you move Warp Markers, the waveform itself stretches and compresses in relation to the timeline's beats, and the Warp Markers move with transients in the ‘Sample Display. This may confuse veteran sers at frst, but it means the waveform now visually represents what's actually happening ~ it's the sound that's being stretched and compressed. ‘Ableton also reworked and expanded ts Warping Engine. The “Complex Pro Mode" produces higher quality -esits; the effect | nuanced, but continues a long progr sion from the relatively prmtive audio warping in Live's early versions. Bats Mode des options for controling looping and preserving transients to improve the results of percussive content. You can ‘quantize the audio directly, with a percent: age offset, o tighten a clip all at once. ‘Also, you can finally sles your audio to transients, and not ust fixed beats and bars, which makes slicing up audio sar ples for Drum Racks much more fun. Some of these changes are long-overdus. Warp ing is more integrated with Live thanit isin just about any other music software; with Live 8, you really feel as though t's a fea ture you can control GROOVES ‘The challenge ofall this warping tothe: beat is that the results can sound mechani ‘cal. you were waiting for Live to have proper groove quantize as you'd expect in {MIDI sequencer, you finally get your wish = and then some. In contrast to @ one ‘dimensional swing” parameter, a Groove represents an entire rhythmic pattern, with all the details of feel that music may con: tain over a bar. Trus to Live's clip paradigm, these are contained in a Groove Library in the Browser and can be dragged on top of any clip. Tha Its you apply grooves to ‘warped audio or any MIDI pattern. I's nor destructive as well There are two ways to find the ‘groove you want. Live 8 ships with a Irary of useful grooves, including exact replicas of classic groove quantize pre sets from the Akai MPG, the Emu 'SP1200, even Emagic Notator. You alsooat ABLETON LIVE 8 EFFECTS AND INSTRUMENTS Live comes with a rich eelaction of effects — even before you consider the extra instruments in Live Suite, Live 8 retinas and adds to the tools. For mastering, there's @ much-needed Mult band Dynamics processor, plus a Limiter and Overdrive. The Frequency. Shifter 's capable of some unique timbres, from conventional rng modulation to special efects to subter coloration. Vocoder is a logical choice for integrating with a host because ofits unique routing, and has a variable number of bands and can operate as a formant shifter, ve 8 also comes with the Essontial Instrument Colecton in the boxed (not download) version only. Hf you get Sutte, Collison (shown) is bult on physical models of percussion instruments and resonators. It's particularly good at ‘marmbas, vibes, toms, and unheard-of sounds, Ae with other modeling instruments, the reaults can be unpredictable, but that's half the fun, and the resonators double as a usetul effect. Also on hand are modeled electrc pianos, strings, and virtual analog synths from Applied Acoustics, who have produced some of tho mast organic-sounding soft synths anywhere ~ a og draw for Suite. Operator now has new filter types, drawable partials for additve synthesis, and more modulation routings ~ enough new stuff that t fools like a new synth, ‘get basic quantizo tomplates and gonro: specific grooves for stylos ke hip-hop. and Latin, Tho real fun, though, 's extract ing grooves from existing audio clips. That allows you to mimic the feel of your favorite hardware, sampled loops, or your ‘own performances. The extract feature works perfectly, s0 there's no excuse for robotic-sounding tracks unless they're what you're tying to achieve, Live's Groove Poo! also provides parameters for base mottic value (quar: tor note, eight note, and so on), quanti- zation, timing, and volocity and randomization controls. These can make ‘even a genorie groove template power: ful. One gripe: You can’t MIDI-learn any of the Groove Pool parameters to hard: ware controls, That aside, in vorsion 8 Live has gone from inadequato in the ‘groove department to having one of the most poworful and intograted implomen tations anywhere. MIXING AND EDITING ‘While warping and realtime performance aro Live's most obvious draws, i's hard to overstate how appealing its one-window simplcity has beon to musicians who ‘want conventional workflows with loss fuss. The tradoott has often boon that ‘some features are stripped down or sir ply missing when it comes to fine-tuning your edits. Live 8 finally addresses some key workfiow details, without disrupting the allimportant simplicity. Grouping tracks seems a natural fit for Live's triple purpose as a sampler, live performance tool, and mixer centric stu dio editor Live 7's Drum Racks and Live 6's Device Racks already provided a glmpse of how powerful grouping tracks could be. Live 8 finally lets you group any tracks, not just Drum Racks: Select mult pile tracks, rightclick, and choose "Group Tracks’ As expected, you can conveniently fold the view of those tracks to treat them as a submix, with fader con trols and audio inserts that apply to the group. What you might not expect is that clips stored in the group can be triggered all at once, meaning you can create groups of clips for launching within a group of tracks, without using Scenes. ‘A signifeant complaint about previous versions of Live was that you couldn't draw ‘automation curves in arrangements. That abil is still missing, which means that to visually fine-tune your automation, you're sill ited to linear curves or what you can perform on your control surface. However, you can now apply volume fades to clips ©? Originally described as a “live sequencing instrument Live is particulary wol-suitod to livo perform: ance involving all manner of manipula tion of audio clips and MIDI It's also perfectly happy to act as a more trad tional multitrack DAW. What do I need to run it? Mac or Windows (XP or 32-bt Vista), 168 RAM, and a 1.25GH? or fastor processor - 2GB RAM and a recent Inte! processor is recommended. ‘Should I get Live Suite? How about LE? LE is til at vorsion 7, 50 you probably want the ful Live version. {Got Suite for more instruments: Oper: ator, Samplor, the new Collision mallot instrument, Electric keyboard, Tension physically modoled string synth, and virtual Analog instrumont, plus more ‘samplod drums and percussion. What about Max for Live? Share? ‘Max for Lve isa special version of (Gyclng "74 Mad MSPoitor that puts the {ull ma ofthis modular patching envi: ronment into ve, Share s an online collaboration tool. Both are in beta, but pricing has not boen announced; expect 0.800 more lator this year,cc YES! Just nailed that Coltrane solo. Now | gotta finish that stupid science project...» IRN, PRACTICE AND PLAY AT TRUEFIRERace ABLETON LIVE 8 Song fuel. Award-winning DrumCore features napiang grooves as toe by over a DOZEN Tomous Foe drummers a¢ BOTH audio so icove AND icles: PLUS Ices an AUATASIST Fa. 2 Feo nonaon ares ti et rn rem bouc alodeo is InDt etrument onde! wih tal emt etree ce sp, hei sie harownroremium acouste, tain AND clocwonie sounds and crossfades between adjacent clips page 46 for a tutorial on using multiple NEW va with: {See Figur 2 above). Youcan also havo Looper in Live, ~Ed| Tho dea ait + Sunburst interace Live automaticaly ects shot 4) rem, bu Looper implementation ithe * ivebrummer MID enhancer fados to avoid cikrng artifacts. Youhave one Ableton user have been wating fr + brumcore Tol or acing to crate crossiados manly; you cant Youcan propre for overdbing in your own audio loops, drum ‘have them automatically added when you advance by setting a tempo first or even ames and for standalone diag ovlpping clipe as with mary tmporing a loop. O you can jus tnt San eat omnis tthor DAWs, Lo 8 aig mprovomort, on star recording, and pay. For falorestsaon of ses, utwhon comes to editing your gutaraa vocal, atmentlaa, (Mix-and-match sounds ce arrangements, it still doesn't stack up vocal beatboxers, and anyone else who create custom hybrid kits! to conventional DAWs on some of ‘does realtime loop recording in perform: * Qver TWICE! as much sttar those doa ance, thas a quantum loop pest prev re ils by Mat Comoros ‘Tho areimprovononts to MDIas cut Live works and reason enaugh Seeeeeee ieee ‘woll as audio, The MIDI Editor allows ‘on its own to buy the upgrade. ake lanes Addon) procte ners a epocé loetore, and Other aul changes are igieant Gubeiter” potter exeation ‘some new keyboard shortcuts make odt- to both contol and lve performance. * Siyies and sounds for rock, ing much fastor. You can also do smplo Third party plugins with ots of parame op, county, mela, prog, ‘stop onty from the QWERTY keyboard, ters can now be fuly controled and Jaze, funk, Latin, wan, Gonoraly, Lio's interface fools more pol- automated easly. Click *Configure™ on reggae and more ishod. You can now previow flo intho any VST or AU plugrin, and you can Includes these drummers browser, adjust mor paramotors across choose which parameters to control and Blue tots morel ‘multiple racks at once (oven without automate simply by clicking on them in ‘rouping), colorcode tracks, scones, and the interface. ‘macros, and make sure macro parame: Tred of hunching over your laptop? tors always dsplaythoir name, ‘You can now increase the sizeof the interface. This works well, but i's too bad LOOPER AND LIVE USE the setting s buried in the Preferences Fast editing is great, but the one area dialog ~ itd be rive to have azoom that has ahvays diforontiated Live the _slider in the Ul its, ora shortcut for ‘most is right in ts namo: How fuid tis to accessing this setting use in five performance. Unfortunately, when it comes to con ‘Tho biggost nows hore is the Looper _troling Live with external hardware and instrument. t ovordubs loops and can set making use of clips, there are stil sign: tho tompo for your entire project based cant limitations that aren't addressed in ‘on an incoming loop, mimicking hardwaro this update. Ableton promises extensbil like Boss’ classic RC-20 pedal. [See _ity and scripting style features in theupcoming Max for Live, but it'd be nice to- see that kind of power integrated with Live's famously elegant interface. Clip Fol- low Actions were one way of doing this, but that idea has been untouched in recent versions, and there are still no Fol- low Actions for scenes. Most significantly for a program called “Live? control is still harder than it needs to be. Managing large groups of clips can be a challenge. Akai's Live-centric APC40 controller adds visual feedback on clip status, in the form of color-coded backlit buttons and an onscreen overlay that lets you select groups of clips. However, you only get this overlay with an APC40 con- nected. MIDI assignments with any con- troller can be challenging — MIDI learn works well enough, but you can't manually type in a control change number. Ifa con- trol sends multiple messages (e.g., an X/Y fouchpad as on Novation keyboards), it can be hard to differentiate which MIDI message you want to use. Some of these limitations come from MIDI, so as live visual apps and iPhone apps add support for OpenSoundControl, OSC in Live would be a logical next step. = SHOW YOUR LO www.cafepress.com/musicplayMOTU VOLTA Powerful Computer Control for Analog Synths by Michel Soman ANG2333: STAT ‘Adds tons of flexibility and functionality to analog syntns. Elminates reed fo MiD/to-CV interfaces, Converts hast automation as well as MIDI messages lo CV. Huge bang fo: buck compared to valog modules. HAA AUUU AULA OE Oscillator calibration routine can be $249 Ist, wwoumotucom Volta opens a wormhole between the DAW and analog synth universes. I's an AU (or MAS) plug-in that transforms your mild-mannered audio itorfacos into @ pow ‘erful contol voltage converter for use with analog goa. Since Volta was announced this past January at NAMM, analog and modular synth fans have eagorly wated to 800 if tdalivors the goods. So havo wo, ‘CONCEPT ‘Analog synths use two types of signals: audio, and control voltagos (CV), which don't generate sound, but instead control synth components. CV includes things lk ‘onvelope generators that afect volume or timbre, and low froquency oscilators used to add pitch, filter, or volume modulation, Using Vato contro analog synths er modules? Tel about your ig on the ‘Analog synthe also use control voltage to spocify ptch ~ bofore MIDI oxisted, this was how keyboards told oscilators what notes to play. Since sound from an audio interface's analog outputs is votago, MOTU deduced that by sonding CV through those outputs, you could conto all kinds of analog goar from a host DAW ‘such as Digital Performer or Logic. SETUP Volta uses an Lok USB koy for copy pro tection, and props go to MOTU for inclu: 1g apro-authorizod iLok, Volta shows up in your DAW as a vital instrument. used ‘Apple Logic Pro 8; this entails loading a “mult-out" Volta, then configuring aux chan: nol strips for the individual outs. Though tho aux out and audio channel numbers woron't exactly wnat | expectod, they showod up correctly in Abloton Livo; at any rate host-specifc tutorial videos included fn the install CD make Ife easier. I's too early to give @ complete Ist of ‘audio interfaces that work (see "interface: ‘and Cable Dos and Don'ts" on page 62 for MOTU's requirements), but a MOTU Ultra LLte performed perfectly. Surprisingly, | also {got up and running with a system consist ing of a RME HDSP-9652 card connected MOTU VOLTA via Iightpipe to Sonorus converter boxes ~ anyone remember those? In addition to the cable guidelines out Ined on page 62, Hound I could use TRS: toTRS cables ~ the CV inputs on most analog gear should just ignore the “ring” portion atthe end ofthe cable. | also got 00d results by running an eight channel TRS snake from the Ultralite into patch bay, then individual TS c patch bay to GV inputs on my synth mod les. | recommend a patch bay in any case, 80 that you're not always reaching behind {your audio interface to repatch es from the vouTa's MODULES When you frst load up an instance, Vlta's control window has 24 empty output slots. Each ofthese slots can feed a physical out put on your audi interface. The bottom of the window contains a variety of types of ‘modules, and you populate the output slots by simply dragging modules in. What type of ‘module you drag where determines what job the corresponding physical out does, and thus where you'd want to patch iton your synths. Voice module. This controls ich, up to four independent envelopes (you can also dupl cate or “mut” anything by option dragging),© Each ota st ease tps cat on our eu ineace you can aes up fo 24 of them pet iste. ® You assign corr sources oetpt sis by raging and droping them in lace, an they remain rey moval. © Cicking the Caibvatioe tab when a vice or sep seqtecer cont soe i sett allows aio outta esciter cali for sips fe ite rackig © Tre step tadis where you speci the audio hardareyoul x fo cont oe Wand carat input © Thelogo cers wa czy ei stom ween is peroming ts ser cairn map noto-on and release velocity and an inde pondent phase-locked LFO. Trigger and note pitch sequencers. ‘Those havo up to 82 stops with adjustable length note values, swing, and stop duraton, MIDI clock. Ths is for syncing non-MIDI hardware drum machines and soquencors with your host sossion, MIDI module. This converts MIDI controle and atertouch data (as recorded in your host or from realtme controler moves) to CV. Ramp automation module. This con vorts DAW automation mavos to CV. LFO module. This adds periodic module tion such as vibrato, tril, and tromolo. It also has sample-and-hold and random walk modes. CALIBRATION For analog oscilators to play in tuno, volt ‘agos must be vory procise, and audio intorfaces don't all turn tho same info from the computor into the exact same ‘output voltage. Compounding ths, vintage synths havo a hard time staying in tune anyway. To solve this problem, Volta’ sor: cory unveils itself with a clover oscillator calibration function. You plug the output of an analog oscilator into your audio inter: face's input, then plug a Volta CV out into the oscillators CV input, creating a loop ‘of sorts. Volta then generates an internal tuning map tailored to spectfic output ‘channels and oscilators, This not only fine-tunos Volta to the audio interfaco, but also lets normally out-of tune eynths play er’ what Vet's carton sereen los ke te thes tuned the osiltors on your analog ays. Caliraton tates about te secon with perfect intonation. In alton to standard one volt per octave oscillator scaling, Vota includes @ volt to Hz oscillator mode for use with older Korg and Yarnaha analog synths. ‘Once calibrated, synths can be played via MIDI keyboard or from your host sequencer IN USE A its most basic level, Vota acts as @ MIDIto:CV converter. First, you drag a Voice module into one ofthe 24 slots, and calibrate one or more oscilators. Once the VO 's properly patched, this 's @ one:clck affair Initially | experienced some “cal bra tion failed’ messages. MOTU informed me there were internal routing issues when Using non: MOTU hardware. Upgrading to version 1.0.3 (a free download for regis tored users) fixed things, ater which Volta worked consistently wth both the MOTU and RME audio interfaces ‘The modules are intuitive and invite tweaking. | opened two trigger sequencers and patched their outputs to two oscillators, causing them to play a counterpoint of syncopated sixteenth note grooves. | then threw a slow LFO on nother channel, alin perfect syne with tracks playing back in Logic ~ awesome! Al of Volta's time-based modules sync to host tempo, and you set timing values with simple note icons thet offer all man ner of dotted, stright, and swing feels Stop sequencers edd controls for voltage level at each step, allowing easy creation of pitched sequences. Multiple step and trigger sequencers can be created with differing lengths and timing, so it's easy to go bonkers with polyrhythms. However, an annoying trait of the sequencers is that they play continuously regardless of the host DAW's start/stop state. They CS ¢MCESISECONUITAINAAAE What is it? A Mac-only AU or MAS plugrin that sonds control voltages (CV) for analog synth gear out of audio interface outputs. Who is it for? For anyono using ‘modular analog synths or analog ‘synths with a decent amount of con- trol voltage HO, Volta is lke gotting a ‘buckot of new modules, all porfecty ‘synced to your host DAW. What hardware do | need? Seo “intorface and Cable Dos and Don'ts" ‘on page 62. Can | use audio outputs and CV ‘outputs on the same audio inter- face? Yos ~ make sure to koop track ‘of which is which, as you don't want to ‘send CV to your speakers by accident. How many independent CV sig- nals will it do at once? Up to 24 por instance of Volta. You can control a lot ‘of modular goar with 24 CV outs! instantly lock to the host's tempo when play is pressed, but can only be silenced by option-clicking in Volta's control win dow. I'd lke to see a global preference setting to play only when the host plays. Voita's ramp generator module easily lets the host DAW's automation generate CV. As host automation i different from MIDI control, ths is something you normally can't do with MIDI to-CV conver ers. Want a 20-minute fiter sweep? No sweat. Got a mising control surface? Use the ramp generators to control a diferent analog setting with every fader. Sweet! There are afew "version one" niggles ~ the step and trigger sequencer interfaces are abit arcane, some controls ranges reed massaging (portamento amount has @RoC MOTU VOLTA ng by raging inthe upper bar. Drag the vertical bars 1p and down or use « mouse whe tusetthe pitch of each step - ota conveniently dapay the MIDI note number as you dag Inthe range fel on the right you st the note range the bars ae capable of: from ene octave up to fl esto range particulaly odd curve, for example), anc you froquentiy find yourself saying, “Hoy, hat iit ei this?” But tho more | used Volta, the more I found mysolf saying "Wow, | can do this CONCLUSIONS Volta is so unique that ithas ro direct ‘compotion. Though some ofits function ality can be duplicated with Native Instr ments Reaktor or Cycling "74 Maw/MISP, Volta makes it far oasior, and it'd bo tough to roplicate Volta’ oscilator calibration. Of ‘course, to do this with othor software, you'd noed hardware MIDI-to-CV convert rs, and Volta blows that approach into the tumblowoeds. For modular synth owners, t's like gotting a great big box of now ‘modules that sync up with your DAW in ways hardware nover could, fora fracton ofthe cost. I you use analog synth goar and a Mac-based DAW, you need Volta. We horaby award it a Key Buy for techno logical innovation. Ik) Interface and Cable Dos and Don'ts ‘Thore's boon some confusion about cexacty what audo interfaces and cables, ‘work with Volta, so we went to MOTU's Jim Cooper to sot the rocord straght. “You rood an intorfaco wth DC-coupled out 5 Jim explans. "They can be XLR or balanced or unbalanced. To avoid the possiblity of short-crcuitng, TRSto: TS or XLR10"TS cables should bo used ~ ‘TRS or XLR on tho intorface ond, TS on the analog eynth end. Don't use TS:toTS. (eg. rogular guitar cables], as these may short he rng portion of the connector. “The referonce to 1/4" outputs on our ‘wobsite is spoctficaly in regards to MOTU intorfaces. It happens that for ‘every MOTU intorfaco over made with 1/4" outputs, they were DC-coupled. So any of those wil work, but this is by no means a requirement ~ OC coupled is the requrement. Several MOTU intorfacos have DO-coupled XLR outs the 896HD, VSHD, and V4HD ~ but not the 896 Mk or original 896° NaC Sse keyboard KEY NEWS crs rear a Unc cag Essentials Rack Accessories ETPLACE < Looking for a way to stay connected between issues? 2 ‘Sign up for Key News, Keyboard's e-newsletter! ‘wice a month URAL ‘Got the latest artist and industry nows ne echo de Read highlights from the Keyboard forums peer rien See the lates featres on KETV Seis Lear laying tps ‘Aad tons more stutf beyond what you find inthe pages of KM! core Rear eed Gore Sign up today atSee How Euphonix and their Development Partners make it Easy to Record Your Music and Inspire Your Creativity EuCon connects Euphonix controllers and audio consoles to all the top media applications for the ultimate in creative control. Click HERE to get the FREE Digital Edition, which features loads of information, interactive links, and video demonstrations. moe gs Euphonix Crgege me @ sa AN DAD 29f Osteinterg omennoua 2 Osteinvers STEINBERG CC121 Hands-On Control for Cubase by Jim ae Tle UENO Moloized fader, Dedicated Cubase EO knobs. Jog whee! can also control most nly moused-over parameter, te it IUHNUAONUUUEEUE AOA AEA to lock channel select buttons prmariy to muer window instead of incon, DINNING NOAEULUL $549 lst/appiox. $430 street, steinberg net ‘Cubase users who can't afford (or don't have room for) an eight‘fader motorized ‘control surface may find the new CC121 an ideal compromise: plenty of control, but a small footprint, both on the desktop and on tho credit card. Nood an even smaller footprint? Steinberg recently announced tho release of iC, a froo iPhone/iPod Touch app (soe "Now Gear’ ‘on page 19) that wrrolessly controls Cubase. Sill, tho C121 doos a hock of alot more, ‘The C6121 is tailored specifically to work wth Cubase 4.8 oF 5 (so0 our fll review on page 48). On its let side are a fador with a 100mm throw, a pan pot, ‘ight command buttons, and lottight arrow buttons for solecting channals, Tho ‘command buttons do the most useful things: Mute, solo, input monitor, record arm, automation read and write on/off, its Wt channel stip edit box open/close, and vir tual instrument pane! open/close. In tho middle are eight transport but: tons, matching the onscreen transport. ‘Above thoso aro dodicatod EQ buttons ‘and knobs. Each of the four EQ sections in ‘8 Cubase misor channel can be switched on ‘or off from tho CC121, and each of tho four sections gets ts own gain, frequency, and (andwath) knobs. When the EO Typo button It, tho gain knob solocts tho typo of EQ. My only rea issue is that | was hoping tho channel select buttons would duplicate the leftight arrow keys on my QWERTY keyboard, which step through channels in the mxer window. At this time, they dupl cate the up/down keys, which step through tracks inthe track window. I you don't have any automation lanes open, that ‘amounts to the same thing. I any ave ‘open, the channel select buttons step through these before reaching the next ‘audio, MIDI, or instrument track. I you're fon an automation track, the dedicated EQ knobs remain active for the most recently selected mixer channel ~ even when that channel is not selected inthe mixer win dow. That can be confusing ata glance, though it does let you adjust a track's EQ land work onits automation at the same time. To make the channel select buttons STEINBERG CC121 ‘sew CORA with Cubase? Something else? el ws aoat your DAW-plas-centrle Selup on the forum at jesboordnancon, ‘The GOTH provides a hefty anseriment of dedicated contl (left en center ares) and afew assigna- ble ones (onthe ight measures about 1125 wide by 7” deep track the mixer, you'd set up a key com ‘mand in Cubase to hide (or show) all the automation in a project, ‘The four buttons and Value knob on the "ight can be assigned to any function in the Device Setup window. There's also a programmable footswitch input. In VST. plugrins only, the jog wheel edits the parameter over which the mouse mast recently hovered. With the Lock button, you can keep the wheel on that parameter leven when the mouse has moved on, which is very handy. I you're @ Cubase user who's tired of rising with a mouse, the OC121's com pact 82 and lower price than larger con trol surfaces make ta wise investment. KE cS GICESISECONITIAINAAAE What is it? A single-ader motorized ‘control surface for Cubase. Does it mean you'll never have to touch the mouse? No ~ it doosn't ‘control sond levels, for example, But it speeds up the process of crafting a ‘multitrack audio mix Is it USB-powered? Eventhing works, but the fador won't bo motor aod. For that, you need to plug in the included wall wart AC adaptor.Rac ACOUSTICA PIANISSIMO io at kevbearimaacom ‘thoughts en Panssimo by coking ACOUSTICA PIANISSIMO Premium Virtual Piano for Everyone by Tom sin Ms UHL AU MEU Vety aliordable, Incredibly CPU-fiendly. Sound quality rvals most hardware dig tal panos. Bult-n MIDI recorder in standalone mate can mix sah t various audio i No Mac version yet. No sostenuto at this time UVF AFOHOOACEOOCOOVQOEUUUUUAE LL download; $79.95 boxed, sacoustieacom For computer-based musicians on the ‘teal quest for better software panos, ‘Acoustica offers Panissimo for Windows, At '$78, i's pried lower than most dedicated piano softwar. It wasn't shipping when wo did our“Ukmato Software Panos" roundup in Oct.'08, but now that it's hor, lt's S00 if it compotes with the big boys. ‘The hear of Pianisamo is 250MB of sampled Steinway D. Pianssimo reportediy uss four diferent samples to cover the va ‘ous volacitylvels on each koy. Tho sound is ‘enhanced by samp of mechanical sounds (such as the hammers and damper poda) and by modeling of the sympathetic reso nance botwoon strings. Reverb presots range from subtle to cavernous. ‘Change the lid positon, and you can see it inthe piano graphic onscreen. Below this image are sliders for hammer noise, rovorb (with a drop-down menu of types), and master volume, plus a Tone Controls, bbutton that opens up a smaller window with velocity curves, sympathetic, resonance, chorus amount, and a throo band EQ. In standalone modo, a big bonus ‘sa simple MIDI recorder that'l actually gonorate a storoo aud fle of your rocord ing in your choice of formats: MP3, WAV, WMA, or Ogg Vorbs. How doos the sound fare against tho competion? Thats tricky, a8 it's hard to tol just who the competion is. To my ears, the sound is superior to much ofthe current crop of hardware cigtal pianos. It costs oss than any product in our Oct. ‘08 roundup, land hundreds less than some of them. Yet ‘easily gets into the conversation as a viable option. What's more ~ and this could well be Pianssimo's key appeal ~ is that i's remarkably CPU efficient. your com puter has to run a DAW with other instrument and effect plugins simuitane ously, Pianissimo shines: You'll Iksly get @ far better piano track than by recording your stage piano or loading a generic piano preset in a soft sampler, and at such small (CPU cost that you won't have to turn up the latency. ‘Software this lean and mean is bound to have limitations. Classical pianists will rigs the lack of sostenuto pedal support, and the soft pedal merely makes the velocity curve harder 80 you get lower volume ~ it doesn't switch to a set of soft pedal samples like in pricier software pianos. Likewise, lid posttion is a simple tone control that doesn't change the sample set. OF course, addi: tonal sample sets would mean a higher price and higher CPU demands. With that in mind, Pianissimo isan ideal option for those of us whose music PCs are already dealing with @ multitude of tasks, bt stil want piano tracks that stand up to oritical listening, I] ICS ‘It COUMETTELNLEAAE, What piano was sampled? A Stein way D concert grand, Do | need a fast computer? Pans sima is kind to even average systoms, ‘On a dual-core PC running at 2GHz ‘or higher, expect ton percent CPU usage or less! Plug-in formats: VST, standalone mode. Who's it for? Anyone who wants a ‘premium piano sound to sitin thor ‘mixes, buts loory of the CPU and wal- lot dran ofthe big-name libraries,Studio Solutions for creative musicians everywhere NT aS gC eo ate ree tr ae UE aon ne ee cue Ce tae uC Rita et O BM oer UN MacOS CLC Bl SANT) Poco RON ee ee eee iralig Michael Dul isa singer/songwriter/producer living in Los Angeles and isthe former lead singer/songwriter of Chalk FarMt Poe re ae Oa eet es ea Cee ee ee em een Cen sea eel teen ORT Sa ae St eee rotate a Pry Pe scorer seaPerfect for the studio. And the road. Run DP6 on Apple's latest MacBook Pro laptops, connect the bus-powered Traveler-mk3, add powerful new tl ‘d-party products, and you've got a state-of-the-art desktop studio you can also take on the road. Apple MacBook Pro ‘The most powerful and stylish laptop ever The Apole 15" MacBook Po Core 2 Duo 2.6GHz represents Apple's fins efor in engineoing, syle, and performance The new al aluminum unibody encowure makes thinner, fighter, and svonger No LCD heel The nnovaive LED capiy {with two graphics cards simply beautfl to look at. Use FireWire 800 for your MOTW interface, and USB 2.0 or the ExpressCard sot or expanded storage, And youl love the large, ergoniamic Mut-Touch trackpad with integrated button, MOTU Traveler-mk3 Bus-powered portable I/O with FX Tho Telok itt a 28 30 Freire itorice. sa {blown digital mir wih fc, including modeled analog £0 and compression on every chanel pls reverb — al accessed via the elagant CueMlx FX on-screen mixer. 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For more informationcheck out our website atIDOL STANDS ARE DEREK’S PLAYTHINGS Greetings, geeks! This month, we spy Dorek Shorrian's Bill Idol touring rigs. At right is tho 2005 sotup, “Closostto Billy | had a Nord Load 3 above a 73-key Electro 2 Dorok says, Tho other pair of koyboards rmakos this look lko an allNord affair, but a ‘loser look atthe bottom keyboard reveals tho trickery. "That's a Korg Trton Pro, paintod rod to match the Nords! laughs Dorek. “Above tt was anothor Nord Electro 2, ths one run through a Losi 147, a8 t wasn't really approprate to bring a B-3 ‘organ on this tour At oft is tho rig a yoar later. Undor Dorok’s right hand is @ Korg Triton Extrome 76; under his ot, the Electro 2 abovo a Korg 21 ~ akillar modoling-basod polysynth whose technology ios on in the Radias, OASYS, and the MicroKorg Ino What, nothing ina rack? *By 2005, Td mado a decision to not use ‘modules or MID! lve? he explains. "I spent ‘mote pre-production timo, programming to got all tho sounds I needed ut of tho key boards infront of mo, without all he MIDI ‘complications, Ivo leaned from exporionco that simplicity in yourrg is blss when you're playing five nights a wook on tout? ‘So what about those koyboard stands? “This [2005] was the fist yoar I decided to do somothing diferent with my stands. | refuse to woar a ‘koyta’ but | wanted the audience to be able to see my hands on the koys. | had my toch get a pine cutter, and we tweaked my old Ultimate Support Dakota stand so the keyboards tited towards the audience. At first it was awk ‘ward, but ater @ day oF so I found it to be more ergonome. I notice a lot of young keyboardists doing this type of tlt now! What's the next step in evolution? “TI replace my Trton Extreme with a pair of 72 key Korg M3, for sure” Sif at2 ee AUTEM MHOLNTOCE NSN EMULU LE ee NLUMOTU Get new advanced tools Datel ee eet ee er eae Craters) you own a “mk3" MOTU FireWire interface, Pe eee ce en Pee ces AO eee ey Ce eg nce professional quality and industry-leading features. CTT Re ee rae eer!