Ableton Live 9: The Complete Guide To

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ABLETON LIVE 9 2015

ABLETON LIVE 9 2015 THE IN-DEPTH GUIDE FOR THE CREATIVE MUSICIAN
THE IN-DEPTH GUIDE FOR THE CREATIVE MUSICIAN
132 PAGES OF LIVE 9

TIPS & TRICKS
900MB
OF ROYALTY FREE
SAMPLES!
THE COMPLETE GUIDE TO

ABLETON LIVE
Hands on workshops to take you from beginner to expert
www.musictech.net
Produce a track from scratch: huge 21-page guide

ISBN 978-1-909590-39-7
9 781909 590397
Music making on a budget – how to produce for less £$€

The best gear for your Live studio tested and rated
Packed DVD! 900MB of samples & 3.5hrs of tuition videos
Ableton Live
2015
£8.99
Compiled by the Ableton Live experts from MusicTech

MTF38.cover.indd 1 18/02/2015 14:46
Welcome MTF
Welcome … to Ableton Live 2015, the latest Focus

dedicated to (arguably) the world’s finest DAW, and
put together by the Live experts here at MusicTech
magazine. In this special issue we have two very
different, very large and hopefully very useful
workshops to help take your Ableton productions
up a notch. First up, Martin Delaney’s Ultimate
Guide To
Ableton Live
(starting on
p18) takes you on a general Live course, starting at the
We’re focussing on
beginning and then quickly entering the world of basic and
more complex programming. It’s a six-part monster that will
two different and very
be useful if you are either a Live beginner or intermediate user.
Starting on p74, we also have our Build A Track From Scratch
large workshops for all
series of tutorials that takes you on a journey to build a
complete piece of music over 21 tip-packed pages. It might be
users of Live
specific to dubstep but you will pick up essential advice along the way for whatever genre of music
you produce. As usual we have stacks of reviews, general advice features plus tips and tricks and, for
the first time, reveal the studios that your fellow Live users employ!
Enjoy this special issue and keep that music coming…
Andy Jones Senior Editor, MusicTech
andy.jones@anthem-publishing.com
Contributors All content copyright Anthem Publishing Ltd TEXTING

Mark Cousins, Keith Gemmell, Alex Holmes, 2014 and 2015, all rights reserved. While we MUSIC TECH TERMS
Hollin Jones, Huw Price, Liam O’Mullane make every effort to ensure that the factual AND CONDITIONS
content of MusicTech Focus is correct we By entering
MUSICTECH FOCUS MAGAZINE
Art Director Jenny Cook cannot take any responsibility nor be held MusicTech
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FOCUS Ableton Live 8 Volume 2 | 03
MTF38.welcome.indd 3 18/02/2015 14:54

MTF Contents
Issue 38 Ableton Live 2015
THE
ULTIMATE
GUIDE TO
ABLETON
LIVE
Live expert Martin Delaney’s six-part guide which explores
all aspects of Live to help speed up your workflow and help
you make better music, now! Starts on p18
MTF Workshops
Start here…
With the Inside Track in
Ableton Live… p18
… make beats
A complete and process them here p22 & 26
live track
from scratch … and add bass,
How to produce a complete
dubstep track: from beats to bass, keys, and vocals
melodies to the arrangement – All the advice you need… p34-42
huge 21-page guide. Starts on p74
4 | Ableton Live 2015 FOCUS
MTF38.contents.indd 4 19/02/2015 08:32

Contents MTF
MTF38 Live 2015 Full listings

MTF Feature
FEATURES
Budget
006 | Making Music On A Budget
How to produce music for a little
cash outlay, and even for free!
Music!
048 | The 100 Best Music Apps p1
Make music on the move with the
best apps for phone and tablet.
064 | The 100 Best Music Apps p2
How to produce music The second part includes some of

the more unusual mobile apps…
for less, or no cash… p6 WORKSHOPS: THE COMPLETE
GUIDE TO ABLETON LIVE
018 | Part 1: The inside track
022 | Part 2: Starting with drums
026 | Part 3: Processing beats
MTF Feature 034 | Part 4: Producing bass

038 | Part 5: Keyboard sounds
The 100 Apps 042 | Part 6: Recording vocals

WORKSHOPS: A COMPLETE LIVE
TRACK FROM SCRATCH
For making music on the 074 | A 21-page workshop on how
move, revealed right to produce a dubstep track from

scratch using Live.
here… p48 & 64 TUTORIALS: BLUFFER’S GUIDES…
030 | …to music technology
058 | …to EQ and production
MTF BUYERS GUIDES
Bluffer’s Guides 046 | 6 Of The Best: Monitors
062 | 6 Of The Best: Libraries
Music technology 124 | 6 Of The Best: Interfaces

MTF REVIEWS
and EQ explained
104 | Live 9 & Push classic review
109 | AMT The Riser software
110 | iZotope RX4 audio restoring
p30 & p58 112 | Fender Focal monitors
113 | Akai APC 25 keys/controller
114 | Modartt Pianoteq instrument
115 | Focusrite Saffire interface
116 | sE RF Space reflection filter
117 | Genelec 8010A monitors
118 | Arturia Beatstep sequencer
MTF 6 Of The Best 119 | Fabfilter Pro-Q2 EQ plug-in

120 | Akai APC 40 & Mini controllers
The best 122 | Tannoy Reveal monitors

121-129 | Mini Reviews
monitors, REGULAR FEATURES

084 | 20 Tips: Instrument micing
interfaces & 100 | Show Off Your

(Live!) Studio
libraries revealed 130 | On your

MTF DVD
p46, p62 & p124
FOCUS Ableton Live 2015 |5
MTF38.contents.indd 5 19/02/2015 10:39

MTF Produce great music on a budget!
MTF Feature Budget music production
Produce
great
music on
a budget!
Getting a great sound doesn’t have to cost the earth, and with so
many temptations around you have to spend your budget wisely.
Hollin Jones shows you how to make the most of your money
and, where possible, do it for free!
MT143.cover feat.indd 6 11/02/2015 15:31

Produce great music on a budget! Feature MTF
I
t’s an indisputable fact that producing music is a far more accessible pursuit
than it was a couple of decades ago. The cost of recording to a professional
standard used to be prohibitive for many people, and making demos on home
equipment was how a lot of musicians and bands started out. Now all that has
changed, but if you want your music to sound good you’re still going to have to
invest a little money, as well as time, in it. Some things can be achieved for free or
next to nothing, and in other cases, while you do need to spend money, you can
make smart choices about how you spend it to make it go as far as possible.
Gearing up
Some people enjoy having loads of kit, which is great if you can afford it, but most of
us can’t always get the latest and greatest thing as soon as it comes out. On the
flipside it’s not a good idea to skimp unnecessarily either: there is a balance to be
struck and you have to understand how best to allocate your resources for the task
you’re trying to achieve.
Get the right kit for the job

It’s arguably better to have
the right kit for a job, and
rather than the biggest thing

to know how best to use it,
than to just get the
with the most flashing lights

biggest thing with the
most flashing lights.
It’s also true that the
vast majority of software
and hardware is actually very good: poor quality stuff rarely gets released onto the
pro audio market. The task therefore becomes finding the most cost-effective gear
that works for what you need.
If you’re willing to put a bit of time in and look around it’s possible to get some
great bargains. A lot of entry- or mid-level DAWs are given away for free with an
audio interface; similarly, sample packs, plug-ins and loops can often be found
bundled with hardware (or with MusicTech magazine!). A last-generation product
might be significantly discounted and still do exactly what you need it to do. The
phone or iPad you already own can be used for recording or composition, and your
computer could potentially be beefed up instead of replaced.
Secondhand hardware can also be a good way to expand your setup, and you can
take simple steps to improve the sound in your studio without spending a fortune.
It’s possible to make and even sell your own multisampled instruments, and
showcasing and selling your music online is simple and inexpensive.
This isn’t going to be about how to do everything for free, because if you want
good results you have to put something in, but we’ll show you that you don’t have to
spend the earth to produce great-sounding music.

Choosing recording A solid state drive can

massively speed up an
ageing computer
hardware and software

and extend its
useful life.
Your recording devices are going to be central to your

setup, so it’s important to get them right. You will
probably be recording on a computer, or perhaps an
iPad (more on that in a moment). Whether you are
buying a new computer to produce music on or
upgrading an existing one there are several
components on which to focus your budget to get
maximum bang for your buck. A lot of software is well
Go mobile
Older computers can have their
Music applications are RAM- useful lives prolonged by adding more
RAM or an SSD drive, or even a new CPU
hungry, so you’ll want a minimum of where your machine allows, but at some point it
becomes a false economy to run an ageing setup
4GB, preferably 8GB MTF Tech term: Dock
because it seriously slows down your workflow.
One alternative is to use an iPad, and the platform
● An all-in-one device is increasingly catering to pro musicians. If your needs
optimised for multiple cores now, so in most cases a to connect to your are more straightforward, or if you already happen to
quad-core CPU, even at a slightly lower clock speed, iPad that provides own an iPad, apps such as GarageBand, FL Studio HD,
will perform more usefully than a dual-core one in pro-level audio, MIDI in Auria, Cubasis and Tabletop run the gamut of mobile
and out, and power by
real-world situations. All modern CPUs are pretty DAWs from a couple of pounds up to around £40,
connecting the iPad’s
powerful, but steer clear of the slowest available. Even data port to a depending on functionality. Virtually all will track audio
though they are cheaper you’ll soon be cursing all the selection of and MIDI, have effects and instruments, and most are
waiting around while your machine churns away trying conventional I/O ports. much more advanced than you might have realised.
to work stuff out. Technologies such as inter-app audio and MIDI
The same goes for RAM and hard drives. Music mean much greater routing flexibility, and the fact that
applications are RAM-hungry, especially sample- MTF Tech term: most iOS apps are really quite inexpensive, or free with
based instruments, and since RAM is now cheaper Inter-app in-app purchases, mean you have more control over
than it’s ever been you’ll want a minimum of 4GB and ● A technology how your money is used to build your system. Paired
preferably 8GB or more. Similarly with hard drives, go whereby apps inside an with an iOS-compatible audio interface, a MIDI
for a solid state (SSD) drive for the system partition as iPad are able to pass keyboard or an iPad Dock, you can achieve remarkable
this will massively increase the responsiveness of your both audio and MIDI productions for much less than the cost of a full
data between each
computer. A lower capacity one can be much cheaper, computer and a load of software.
other, meaning you
as long as you pair it with a much more spacious can use them together
regular hard drive for bulk data storage, either internal and don’t have to Docking station
or USB. Your computer is the brain of your whole setup keep exporting data The key with using an iPad for music is getting a good
so you need it to work smoothly. between them. I/O solution. Get a dock or an iOS-compatible USB
audio and MIDI interface and you can record just as
Making EDM on a budget

Electronic producers tend to work ‘in the box’ bundles. There is some good free material out
with a lot of synthesized or sample-based there and developers often have time-limited
instruments, sounds and virtual effects. So any giveaways, so be sure to sign up to relevant
‘real’ recording that they tend to do can often be a mailing lists so you hear about them.
single track at a time, such as a guitar or a vocal. Apple’s iOS isn’t a bad place to look to make
As such they may not need lots of dance music on a budget, with great apps such
simultaneous ins and outs and can get away as Novation’s Launchpad, Korg’s Gadget and
with a smaller audio and MIDI interface, as the other similar software letting you program
majority of the sound is being generated inside and sequence some excellent synths and
the computer. Even when introducing MIDI- beats, stitch them into songs, then upload the
triggered hardware this can usually be handled results straight to free hosting services such as
by a box with a couple of audio and MIDI ports SoundCloud. As noted, iOS apps often let you
connected over USB, as long as you don’t need to add only the content or features you want via
have it permanently plumbed in to your setup. in-app purchases, making them, in some ways, a
If you are making EDM you might want to look more cost-effective method to build a portable
out for free or bargain loop, sample or plug-in studio setup.

be worth checking out such apps if you’re not

concerned about being without a ‘big name’ DAW.
With the increasing availability of super-fast
broadband, online DAWs are becoming popular as well.
Two of the best are www.soundation.com and www.
audiosauna.com which are both free and offer a great
set of production and composition tools running right
inside your browser.
Buy wisely
Music production isn’t just about computers, and you
can add outboard hardware (as we discuss later on).
However there are some good tips for buying kit that
apply more generally.
If you’re after a microphone, go for one that is a
good all-rounder. You should be able to identify a few
MTF Tech term :

Online DAW
A browser-based
Thanks to fast
broadband, online
●
system for composing
and recording
(Top right) A mobile DAW can be a surprisingly effective solution if the

audio and using
virtual FX. Makes DAWs are popular
workflow suits your needs. online collaboration
particularly easy
since multiple people models by searching reviews and by getting one that
you would on a computer. In fact choosing an interface can log in and work on can be effectively used for vocals, guitars, percussion
is always central to getting a system right regardless a project. and other things so you can avoid buying several mics.
of your recording platform. USB microphones are now pretty good and can even
If you’re working ‘in the box’ then you may well be save on having to buy an audio interface, provided your
able to get away with fewer ins and outs, perhaps 2x2 MTF Tech term: workflow doesn’t demand any more I/O. Monitoring is
or 4x4 if you only ever need to monitor on stereo Multi-core one area where it’s advisable to buy carefully because
speakers and record guitar, vocal or a simple stereo ● Modern computers how you hear your music will determine how it’s mixed
source such as a synth one at a time. This kind of have given up on and mastered.
setup often works for acoustic or EDM producers who pushing Gigahertz Go for powered monitors (often cheaper than an
work either with fewer tracks or mostly with virtual counts into the amp/passive speaker combo) and try to match them
stratosphere because
sounds. If you are recording more simultaneous with your genre, or go for good all-rounders if you work
technically it became
sources, say a drum kit or a whole band, you will really impossible. So now in different styles. A good pair of headphones is also
want more inputs; although you can always they have lots of cores essential, though if you do your research you should be
compromise by submixing via a hardware mixer and instead, and software able to find a good balance of price and quality. It’s not
recording to fewer tracks if budget is a real issue. spreads processing a great idea to rely on cheap monitoring as it can kind
Some interfaces come with a free bundled DAW. load across them. of negate all your hard work.
Ableton Live Lite, Cubase and SONAR are all given
away in their more entry-level versions by various
hardware companies when you buy an interface. The
The key with using an

iPad for music is getting a
good I/O solution
idea is that they ‘get you started’, and in truth they
really can, providing many of the core tools you need
to produce music digitally. They don’t have the
advanced features of their full-fat cousins, but there’s
(Right) Online DAWs
always an upgrade path if you decide you need tools like Soundation are
such as unlimited tracks, all the instruments, scoring generally free,
and surround support and stuff like that later on. pretty advanced
and usually offer
Some DAWs like Reaper aim to offer a pro feature set collaboration
and experience at a much lower retail price so it can features.

Making the best of your recording space
FreqAnalyst is an excellent and

free audio analysis plug-in.
MTF Tech term – MTF Tech term –

Isolation Acoustic treatment
Creating a dry space in The process of placing
an otherwise imperfect physical materials like
room. This can be done foam blocks or baffles
by using specialised strategically in a space
equipment or, at a to minimise standing
pinch, various waves, bass boom and
fabrics to deaden other undesirable
sound reflections. sonic imperfections.
A lot of people who produce music are doing so in a

spare room at home, maybe a bedroom or a box room. You can achieve results
Thanks to modern technology and virtual instruments
and effects you can achieve results in the computer with a computer that would
that would have seemed impossible not so long ago,
and indeed some hit records really have been made have been impossible not
in the unlikeliest of domestic surroundings. One
aspect that technology can’t fix so inexpensively is the so long ago
acoustics of your room, but luckily there are things you
can do yourself to improve matters. improved by controlling the space around it. A portable
isolator such as sE’s SPACE or Reflexion Filter can be
Learn to improvise used not just to create a pocket of dry space for a
A professional acoustic treatment is ideal, and at the vocalist but also for a mic pointed at a guitar or bass
entry-level these can be relatively affordable, though amp, or a piano. It costs, yes, but not nearly as much as
still something of an investment. In terms of stuff you repeatedly hiring out a pro studio.
can do yourself, simply correcting some positioning If even that is a stretch, you can box in the mic
errors is a good – and free – starting point. that’s pointed at an amp using sofa cushions or even a
Your speakers should be placed away from walls if duvet, and this will block out most external noise as
at all possible, and certainly not in the corners of well as letting you whack the volume up a bit.
rooms, which tend to give a boomy effect to the bass Duvets or carpets hung on walls can help to cut
end. Acoustic isolators are excellent for tightening up down on room reflections, and many mics have
bass when placed under speakers, though in a pinch switchable polar patterns or cut switches to help
two identical blocks of substantial foam will do a compensate for different recording situations. Guitar
decent job too. Some studios put their speakers on amps are often placed on crates or chairs to get them
bricks or breeze blocks. off the floor and thus focus their sound, and this is
When it comes to recording there are some steps easy to do for free.
you can take to improve things even if you’re not in a
proper studio. Studio hacks
Anything that you record with a mic can be Recording drums at home is always going to be tricky

Budget setup for a singer-songwriter

This is probably the most stripped-down of all
possible recording setups, but one where your
choice of microphone is crucial. You won’t need a
massively powerful computer and could probably
get away with using an iPad, but you will need an
audio interface with good preamps and zero-latency
monitoring for a more natural performance.
Choose a smaller interface with iOS compatibility
if necessary: whether or not it needs a MIDI port
depends on whether you have any MIDI gear. In truth,
you could probably get away with programming and
quantizing drums in GarageBand for iPad, or using
loops in Live Lite to back you up.
A decent pair of headphones will be important for
monitoring, along with a good quality microphone
that can capture the nuances of your voice. You may
be using pickups on your acoustic guitar or mic’ing
that too, in which case you’ll need a second mic to
perform everything live – though still only two mono
audio inputs.
A popshield is absolutely essential, and perhaps
also an acoustic isolator to create a pocket of dead
space in your room. In terms of software you’ll be
able to get away with something simple as you’re
A portable acoustic isolator like really just tracking, and you probably won’t need
SE’s SPACE is cheaper than hiring anything exotic as far as plug-ins go. The tools that
a vocal studio. may have come with your audio interface could be
all you need here.
and is perhaps the one thing you really ought to try to

find a budget for, though if you can borrow a MIDI kit
connected to a drum instrument you will remove the
need for mics and massively cut down on the
disruption for the neighbours.
For mixing and mastering it’s a good idea to get an
analyser to strap across the master outputs. This will
show you how your signal is behaving before it reaches
the speakers, so can be useful. Blue Cat Audio’s
FreqAnalyst is a free plug-in for doing just this.
For mixing it’s a

good idea to strap an
analyser on the
master output
MTF Tech term: MTF Tech term:
Audio analysis Mic modelling
Taking a reading of the Using software to
sonic characteristics of emulate the character
audio before it leaves of specific microphone
the computer in order models. Can be useful
to give you a more if your mic is neutral
accurate idea of how it but you want to get
is behaving. the sound of a load of
classic mics without
actually buying them.
FOCUS Ableton Live 2015 | 11

Found sounds and field recording

inexpensive ones available online. After naming the
clips and saving them individually you should end up
with a bunch of samples for each note, or at least one
per note. These need to be consistent in how you
record them so that the final instrument will sound
coherent. It’s much easier for simple kit, such as old
beatboxes, where you have fewer sounds and
velocities, and key mapping is simple. For instruments
such as guitars, pianos, organs and the like, it can be
more fiddly.
Environmentally friendly
You’ll need an environment in which to build your
instrument. NI’s Kontakt is the most popular, though of
course it is not free. Logic’s EXS24 and Reason’s NN-XT
are also adept at building instruments, though they
only come as part of those DAWs. Each also tends to
create instruments in its own format, so you may not
be able to port them easily to other platforms.
The process of actually building an instrument is
time consuming, but essentially involves mapping your
samples to corresponding MIDI notes, using velocity
layering to control which samples play back when keys
are pressed hard or soft, and perhaps also using
filtering , looping and time- and pitch-stretching to
account for different playback methods.
Recording doesn’t just mean tracking in a studio, it can Sampling your own loops is easier, but
also mean capturing material while you’re out and you’ll need to be aware of copyright issues
about. The microphone in your smartphone can make a if you are sampling someone else’s music.
decent field mic, though you’ll get better results by Loop manipulation is easy in many
adding either a dedicated add-on microphone for applications and lets you mash up
£20-£80, or indeed substituting a proper portable and randomise sounds, which is
recorder with a stereo mic, which cost around £50 and an easy way to turn uninspiring
go up depending on what features you need. loops into something much
Any one of these solutions is great for recording funkier. Going out and
ambient sounds, effects and even live making your own sounds
performances. The mics on solid state recorders is a good way both to
such as those manufactured by Zoom, Yamaha or develop an original
Olympus are generally excellent. Where a device has style and also
a line input you can also take a feed, perhaps from potentially to
the output of a live sound desk, and record a live mix of make money if
a performance. you can sell
what you
Build your own instruments create.
It’s also possible to create your own sampled
instruments, but it does require some skill and the
The microphone that’s built

into your smartphone can often
make a decent field mic
investment of a certain amount of time. The actual (Top) Build your own sampled
instruments using tools like
recording is a matter of capturing each note of your
Reason’s NN-XT sampler.
instrument whatever it may be, usually at a variety of
intensities such as soft, medium, hard and very hard. (Right) Use a phone
or preferably a dedicated
This can be done by recording repeated takes into a field recorder to capture
simple wave editor, and there are many free and found sounds.

Get the most out of plug-ins

and samples
Virtual instruments, effects and samples are likely to
feature in your productions to some extent, and for
many people they form the core of their sound library.
Thanks to the ubiquity of computers in modern music
production and the fact that they are powerful with
large hard drives, you can have more sounds at your
disposal than would have seemed believable a couple
of decades ago.
When it comes to getting content, your first port of
call will probably be the material that came bundled
with your DAW. The included content can vary greatly
but you’ll always get at least a basic tool set. If you
move up to a mid-level or flagship version you
generally get more stuff as standard, and this is true of
DAWs such as Cubase, Reason, Pro Tools, SONAR and
Live, whose full versions come with a ton of material.
Logic is arguably even better value since there’s only
one version and it’s inexpensive thanks to Apple’s aim
of selling hardware, so you get everything right away.
Bundled content
The same audio and MIDI interface hardware that
sometimes ships with a lite version of a DAW often
includes some additional plug-ins and/or sample
collections to sweeten the deal. Hardware from AKAI,
M-Audio and Novation is good for this, and other the full version! The same goes for Rack Extensions in
manufacturers often throw stuff in with a purchase Reason: they are all free to try for a month, though only
too, so it’s worth investigating if you can get bonus once of course.
(Above) Even big companies
material when buying hardware. Another good source such as NI offer excellent
for free samples and sounds is, of course, coverdiscs free versions of their I’m free!
heavyweight instruments.
of MusicTech, or indeed downloads from user areas of New free plug-ins come online all the time but there
our website (head over to the DVD section of www. (Below left) A number of are some great ones available at the moment.
musictech.net). hardware brands give away Bluecataudio.com has a dazzling array of tools on sale
generous software bundles with
There are plenty of developers who give away a few their products. but also offers the Free Pack, a collection of six
free plug-ins to tempt you into the wider world of their plug-ins in all major formats for Mac and PC. There’s a
full, commercial lineup, and there are some excellent MTF Tech term: vintage chorus, phaser and flanger, FreqAnalyst, Gain
ones to be acquired. Demo versions are generally Re-sequence Suite and Triple EQ to be had. If you think free means
feature- or time-limited in some way, so they are The process of poor quality you’d be quite wrong, as these are
perhaps an inefficient way to try to get processing on chopping up samples excellent effects that can be of real use in your
the cheap. But if a plug-in is a fully functional 30-day or loops, mapping them everyday music-making endeavours.
free trial, for example, you can get some good use out to pads or keys and Head over to www.meldaproduction.com and check
of it while it lasts – and hopefully like it enough to buy then using them as out their MFreeEffectsBundle, a collection of 24 (yes,
instruments, creating
24!) effects processors, ranging from autopitch
new beats or patterns
from them. through to dynamics, EQs and tuners amongst others.
They are feature-limited compared to the fully
unlocked versions but nonetheless they do a great
MTF Tech term: job. To unlock them fully costs just €49, which is
Freemium really not bad at all considering that it opens up lots
A term sometimes of extra functionality.
used with reference to It’s not just independent developers that offer free
iOS and other mobile stuff, some of the big boys do as well. If you head over
applications. Usually to the free section of NI’s website (www.native-
denotes an app that instruments.com/en/products/free/) you will find free
is free to download versions of the Komplete, Guitar Rig, Kontakt and
but offers in-app
Reaktor Player apps as well as the free Mikro Prism
purchases, which is
very common among synth. These come with a good selection of sounds,
music apps. effects and features and are intended to be an entry
point into NI’s software instrument universe. Of course

re-sequence them, you can unleash a whole new lease

of life and turn mundane loops into totally new ones.
There are dedicated tools for doing this, such as
FXpansion’s Geist and Propellerheads’ ReCycle. They
are paid-for apps, but if you plan on doing a lot of loop
slicing they are a good investment. Reason 8 is able to
natively slice up any audio file you throw at it and
send it off to a loop player in the rack, so if you have
the DAW you already have this very useful and
creative functionality.
the full versions have much greater functionality

and far more content, but the free versions are
still impressive and will certainly help you out in your Some plug-in developers offer
really impressive free downloads
productions. The same can be said for IK
as a way of introducing you to
Multimedia, which provides free versions of its their products.
SampleTank, AmpliTube and T-RackS apps for Mac
and PC with some good basic content and the ability
to add specific modules using in-app purchases, so
you can tailor your system to include only the modules
you want.
Get much more use out of the Budget setup for a film and TV composer
samples you already own by You’ll need a DAW that has native video playback,
but this includes most of the big players these days
mashing them up
(and if you’re doing this kind of work commercially
you shouldn’t have any problem plumping for the
flagship version of your chosen application).
Your computer will need to be decent too, since
Other developers have periodic giveaways so it’s MTF Tech term – a lot of what you do will involve loading sizeable
worth keeping an eye on their websites as these tend Upgrade sample-based instruments while running video,
to be for limited times only. Waves has started doing Paying to switch to a probably at HD resolution.
this, and at the time of writing is giving away its fully featured version If you’re covering a lot of different thematic
OneKnob Pumper effect for one weekend only. of some software, bases you will want a good selection of sounds
to unlock existing to work with, and sounds that can be cinematic,
FXpansion.com has a free dynamics plug-in called
features or to remove ethereal and realistic when required. NI’s Komplete
FreeComp, Voxengo offers the Marvel GEQ for free and 10 is perfect for this as it includes Absynth,
adverts, depending on
so on. In fact there are loads of free plug-ins available how the system has Kontakt and a raft of other compositional
that can be found simply by running a web search. been implemented. essentials. If you can afford the Ultimate version
You’ll be glad you did. it will be everything you need for composition.
EastWest / Quantum Leap makes an excellent lineup
of sample-based instruments for scoring, which are
Free samples MTF Tech term –
also well worth a look, though again they do come
It’s less common to find large, quality sample packs Bundling with a high price tag.
available as free downloads, but as noted earlier these Giving away free Hardware-wise you may not need tons of
are often included as part of a hardware purchase and content with a I/O unless you’re actually going round recording
can also (sometimes) be made available for purchase, or collecting orchestras, in which case ‘on a budget’ probably
promotional purposes, so again it’s worth getting together a number of isn’t applicable to you. Good monitoring and a great
mailouts from companies whose stuff you like. software products and sound library is the key here, and producing to
selling them for a price make the music sound bigger than the room it was
Another interesting approach is to get more out of
that is lower than what composed and programmed in. Modern tools make
the samples you already have by mashing them up. If it would cost to buy this process easier than ever, but it’s still crucial to
your DAW has a beat masher or a drum instrument them all individually. choose the right ones for the job in hand.
that’s able to slice up existing samples and let you

Finding a bargain
The secondhand arena is one where hardware beats
software more or less hands down. Although it is
sometimes possible to transfer a software license
between users it can incur an admin fee, and on the
whole it’s not something that people seem to do an
awful lot of. However there is money to be saved in
buying an older software version once a new one
comes out, where possible.
This depends on two things: your being satisfied
that the older version suits your needs, and the
physical availability of the older version. When
software is distributed digitally there’s often no reason
for a developer to keep selling old versions, but when
they have boxed copies they’ll want to shift them, so
this can be something to look out for. Upgrade deals
are often attractive around new release time too.
Going… going… gone!

It’s in hardware where you can really pick up a bargain,
with sites such as eBay and Gumtree being the go-to
places for used music kit. Secondhand stores are also
a good bet, not least because you can actually see
Secondhand mixers are often (Above) Research on sites such as vintagesynth.com before buying.
inexpensive and can form the

(Below) Bag a bargain on auction sites.
centrepiece of a home studio something in the flesh before you commit to buy it. You
need to look out for stuff that’s going to materially
improve your studio setup and that you really need.
Secondhand mixers are often inexpensive and can
form the centrepiece of a home or project studio.
Similarly, a piece of outboard like a nice plate reverb or
delay unit can bring an element of realism to an
otherwise all-digital setup. Be realistic, though: you’re
not going to find a real Roland Space Echo for pennies,
but a Boss RE-20 delay pedal is modelled on the same
thing and costs a much, much less. It’s still hardware
too, so you can use it for recording and live gigs.
Buying classic gear can be expensive, but spending
top dollar is not really our aim here. If you have the
space, old instruments such as pianos, drums or
synths can sound great after a little cleaning up, and
often don’t cost much in the first place. If something is
easily fixed it can be a bit of a bargain. People can be
keen to get rid of large instruments so you may have
the upper hand when negotiating.
Remember also that thanks to digital technology
you can post-process a lot of this stuff after it’s been
recorded. So if you record a crusty old synth and it
sounds a bit lifeless, whack it through some plug-in
delay and distortion and pretty quickly it can sound
great. The same goes for old processing kit. Old tape
machines or kids’ toys (like megaphones) can bring a
new feel to digitally processed tracks if used correctly.
Of course this isn’t to say you should just buy any
old stuff – you should have an idea of what you’re
going to use something for and not pay over the odds.
But if you get it right you can really bag a bargain.

Showcasing online
It’s never been easier or cheaper to get your music out without your own custom-designed site, it’s more or
there for people to hear and buy. Even more than the less all possible to do for nothing.
shift from analogue to digital recording, the internet Plenty of sites offer to get your music onto
has revolutionised the way we go about showcasing streaming stores such as iTunes and Spotify and each
music. It really wasn’t very long ago that people were has a different set of charges, offering different levels
still paying to press CDs and sending hundreds out in of service in return. If all you want is to get online and
the mail in the hope that they would get picked up. see simple accounting, mondotunes.com has a cheap,
But just putting stuff online guarantees nothing – one-off-only deal to do just this.
you still need to focus your efforts on promotion, You may also wish to submit your music to sync and
airplay and playing gigs to raise awareness. There’s no licensing agencies for pitches to film and TV. There are
(Above) Bandcamp is a great way
substitute for legwork, but the actual processes of to stream and sell your music, hundreds of these, all different, but read up on them
hosting and making music available for sale are now a and its approach to charges is before you sign anything and be wary of any that ask
refreshingly fair.
piece of cake. for money up front. A good agency will only take a
(Below) Many sites can get you pre-agreed cut when your music sells. MTF
Host for free onto iTunes and other streaming
stores, and Mondotunes is one of
It’s pretty safe to say that MySpace has had its day but the better deals out there.
it kickstarted the phenomenon whereby bands and
artists looked to the web as their first stop for MTF Tech term:
promoting their music. Although ad-supported it was Outboard
free to use, and this is still the expectation for most Physical equipment,
hosting services, which is good news for users. usually effects
Probably the most widely used audio streaming processors or mixers
service is SoundCloud, and indeed it has upload that are used for
recording, mixing and
support baked into many DAWs and other pro audio
mastering. They are
software. It works across desktop and mobile still a key component of
platforms and its core features are free to use. Only if many studios.
you want more hosting time and detailed stats do you
have to pay to upgrade.
SoundCloud lets you sell music in a roundabout MTF Tech term: DI
way using widgets, but a neater way to stream and sell Direct Input – the
is using Bandcamp.com. Again this is free to use and process of connecting a
you can set your own prices, including free, and use microphone or another
sound source to an
various kinds of add-ons such as discount codes and
input box, which is then Budget setup for recording a band
bonus material, as well as embedding players and buy routed to a mixer or an
links in all kinds of third-party sites. If you start to sell interface for recording. Recording a band is at the more complex end of what
in quantity the site charges a little, but crucially this is you might be looking to do, but you still don’t need
to spend a fortune. Even a fairly modest computer
only when you start to sell – it’s not upfront.
running a mid-level DAW should be easily capable
YouTube is another great way to showcase your MTF Tech term:
of tracking 20 or more simultaneous audio channels
music, especially if you like making videos to go with Overdubs (unless for any reason any of them need to be
your tracks. Although these sites don’t let you build a Performing a new or passed through software FX for monitoring, in which
conventional webpage they do let you embed a fair alternative version of case latency could be an issue).
amount of biographical information, contact links, a part over the top of a Get an audio interface with as many channels
pictures and often integrate with other sites such as section of a track. Can as you have inputs, so for a drum kit you’ll need
also refer to overlaying between five and ten inputs plus as many mics; one
Bandsintown, Facebook or Twitter to provide fans with
whole new parts onto channel for mono guitar and two for stereo; stereo
more or less everything they need. So if you can live entire tracks. ins for keyboards, and so forth. You will also almost
certainly want some kind of mixing desk but you
can just connect straight to an interface provided
MTF Tech term: it has sufficient software-based routing and
Streaming monitoring capabilities.
When you record a band, most of your sound is
The process of going to be coming from the source, so what you’re
playing back audio really focusing on is getting a good sound in the
and video digitally room using mic positioning and level checking.
over the internet. An Then it’s just a case of getting a good take and
increasingly popular maybe doing overdubs of bits that need changing,
way of consuming or capturing alternate versions. Since a band makes
music and film on all a lot of noise you’ll need a good space to work in – a
kinds of devices. bedroom might not cut it. At a pinch you can record
drums first then layer other stuff on top, which is
achievable in a smaller space but potentially at the
cost of affecting the vibe of the players.

MTF Technique The Ultimate Guide to Ableton Live Part 1
Ableton Live The Ultimate Guide to Ableton Live, Part 1
Ableton Live:
the inside track
Ableton Live’s popularity continues to grow, and if you’re a recent convert
and want to get a quick handle on it you’ve come to the right place, as
Martin Delaney is here to demonstrate its power…
A
bleton Live has been around for over ten years (signal routing) and the Detail View, which is where you’ll
now, but sometimes it still feels like the new On the disc see either clip contents or instruments and effects. The
kid on the block, remaining fresh, innovative keyboard shortcut you need for all of these is alt-cmd
and deceptively simple to use. The Session followed by the appropriate letter for the element. So
Accompanying
View and warping are what make Live truly project file included alt-cmd-m toggles the mixer, alt-cmd-i toggles the In/Out
unique – the competition has had a decade to try and on the DVD View, and so on (though it’s ‘l’ for the Detail View – I guess
catch up, but still hasn’t really managed to. they ran out of letters!).
Live keeps growing in popularity, too, with new users
coming on board every year, so now seems like a good time Just looking
to go right back to the start and write a guide that unearths I’ve already mentioned the Browser, and on a day-to-day
the reasons for the software’s popularity while exploring its basis this is your one-stop shop for software instruments
hidden (and not-so-hidden) depths. and effects and their presets, as well as audio sample
content. Live will install with tons of content anyway, but
Live can be easy to learn, and you can add more at any time.
Of course you can record and program your own
is a fully functional tool for music content, but Live Packs are a great way to gather more
material. (They’re like Ableton-specific .zip files, and Live
creation and performance Packs from Ableton or other suppliers will install their
contents directly into your Library, appearing in the Packs
section of the Browser.) You can also create shortcut links
Live can be easy to learn and it’s a hell of a lot of fun, to your own folders outside of the Live Library, which is
but it’s not a toy – this is a fully-functional tool for music useful if you like to keep your full-length songs in iTunes,
creation, production and performance. You’ll see Live on for example.
stages and in studios around the world, and this series will Once you have a lot of material in there sometimes it’s
explain why it has become such a force in the DAW world. faster to search for what you want instead of scrolling
through huge lists and sub folders (as long as you have an
All in one idea of what it’s called). For those times you can use Live’s
Live’s single window design contains all of the elements search function, the Browser doesn’t even have to be open,
that you need to get going, and most of them can be just hit cmd-f and begin typing the name of what you’re
shown/hidden by keyboard shortcuts to make the best of looking for – the Browser will open, and a list of results will
your available screen space. (Live also supports dual begin to filter itself as you type. Then use your
displays, where you can view Arrangement and Session keyboard’s arrow and
Views simultaneously.)
The triangle at the top left of the screen toggles the
Browser, which is where you need to be to load samples,
instruments and effects. Other elements include the
Mixer, the Overview, Sends, Return Tracks, In/Out View
FOCUS ON… VIEWS

When you’re new to Live, the first thing that’ll trip you up is the Views.
With other DAWs (digital audio workstations), there’s a timeline,
where the music flows left to right from beginning to end, and that’s
it. Live has that too – the Arrangement View – but the most unique
thing about Live is the Session View, which is a vertically scrolling
grid. This busts you out of the timeline constraints so you’re free to
improvise with the material inside the grid, ie, your clips. Actually, you
can use both Views at once, for ultimate power, but we’ll talk about
that another time…
MT143.tut live.indd 18 11/02/2015 15:35

The Ultimate Guide to Ableton Live Part 1 Technique MTF
MTF Step-by-Step Set up your soundcard and controller
You probably have a MIDI controller and an audio interface Connect your controller by USB. Install any drivers needed (most
01 (soundcard) that you want to use with Live. The specifics of
02 controllers are class-compliant, though), launch Live and go to
setting them up varies according to which ones you have, but here are Preferences/MIDI Sync. Select your controller as a MIDI input source
the basics. for Track and Remote.
Click on the Control Surfaces list at the top – if your controller’s Close Preferences, and type cmd-m to enter MIDI Map Mode.
03 listed in there it will have a certain amount of built-in control over
04 Anything blue can be controlled by MIDI. Click a parameter then
Live without you having to configure anything further. move a knob or fader on your hardware to assign it.
Use cmd-m to exit MIDI Map Mode when you’re done. Now when Connect your soundcard while your speakers are turned off, and
05 you move your hardware control the on-screen one moves too!
06 install any necessary drivers. Open Live’s Preferences and select
You can assign one hardware control to multiple objects in Live. it as Input and Output device in the Audio tab.
enter keys to select and load the item you were looking for. will change fast as you get to know Live. So for now, if
It’s a very fast way to get around! you’ve got an old MIDI keyboard lying around, work with
As an Ableton Certified Trainer I spend a lot of time that to get started.
dealing with buying advice to do with soundcards and
controllers. I don’t want to be a party pooper, but usually Switching sides
my advice is to wait as long as possible before choosing a Live isn’t only picking up new users, it’s gathering converts
controller, because your ideas about what’s right for you from other DAWs such as Logic, Reason and Pro Tools. If
MT143.tut live.indd 19 11/02/2015 15:35

MTF Technique The Ultimate Guide to Ableton Live Part 1
MTF Step-by-Step The basics of launching clips
Open the example Live set on the MusicTech DVD – it’s called Track 1 contains a white clip called Beat, which is a drum loop.
01 TUGTAL1. Make sure you’re looking at the Session View with the
02 Click on the small triangle at the left of the clip to launch it. Now
grid – use the tab key to move between Views. it’ll loop forever unless you stop it!
Stop it by clicking the square in any empty slot below that clip, or You can change the clip’s launch behaviour from the Launch box.
03 on the track stop button at the bottom of the track. Control the
04 If you can’t see it, double-click on the clip and click the small
volume by moving the volume fader up and down. black L button near the lower left of the screen.
Experiment with different Launch Modes as you launch and Change the project bpm at the top left of the screen, and your
05 re-launch the clip. Mix and match with different quantization
06 loop speeds up or slows down without changing pitch or tripping
settings from the box below that and you start to see how clips can be over itself as it loops round. This is warping (timestretching) at work.
quite organic!
you’re coming to Live from another application, you’ll need different features, so check the handy comparison chart on
to undergo a period of adjustment. Live is like those www.ableton.com. There’s an upgrade path, so if at any
programs in some ways, but very different in others, and it time you want to step up you needn’t pay to start all over
can be frustrating at first. But be patient, it’ll be worth it! again. Prices are also lower if you purchase the download
Live comes in three flavours: Intro, Standard and Suite versions rather than boxed discs. Occasionally you’ll find
(currently at version 9). Increasing in price, each version has other versions of Live bundled with third-party hardware
MT143.tut live.indd 20 11/02/2015 15:35

The Ultimate Guide to Ableton Live Part 1 Technique MTF
MTF Step-by-Step How to program a simple beat
Live also enables us to work with MIDI, programming our own Double-click the clip slot at the top of the track to create an
01 parts as well as using audio from other sources. Let’s add some
02 empty one-bar clip. Launch this, even though it’s empty. Your
more electronic-sounding drums. Track 2 contains Live’s Core 808 Track 1 clip will play too, unless you stop it.
drum kit.
Double-click the clip to view the MIDI Editor. The left side of the Preview the 808 kit sounds by clicking the preview button
03 editor displays the names of the sounds in the kit. The grid is
04 (headphone icon) at the top of the list, and clicking in the boxes
numbered with beats and 16th notes. next to each sound. Turn off preview when you’ve done this, though.
Let’s add a kick part. While the clip’s playing, double-click in the Draw a snare at 1.2 and 1.4, and cowbells at 1.2.3 and 1.3.3. Scroll
05 grid on 1.1, 1.2, 1.3 and 1.4 in alignment with the kick on the left.
06 if you can’t see the entire kit. Click the Dupl Loop button in the
The notes will trigger as the clip loops. Notes box, then draw another snare at 2.4.3.
such as keyboards and so on and branded with the effectively making it the Suite version.
manufacturer’s logo, so be aware that they might have Our walkthroughs take you through the simple
different features as well. This is mostly a thing of the past, process of configuring your controller and audio
as I believe Ableton has standardised these bundled interface, launching your first clip, and programming your
editions. If you can’t decide which version you want, or first beat. Have fun with these first steps – you’re entering
whether you want to buy Live at all, download the demo an exciting world! MTF Martin’s Ultimate Guide To Ableton
and give it a spin – it’s fully functional for 30 days, Live continues over the page.
MT143.tut live.indd 21 11/02/2015 15:35

MTF Technique Part 2: Beginning a Live project with drums
Ableton Live The Ultimate Guide to Ableton Live, Part 2
Beginning a Live
project with drums
Ableton Live is fantastic for drum programming; it has all the tools you
need, and it’s easy to get started. Martin Delaney counts you in…
L
ast time round we gave ourselves an more simple by freeing you from thinking about structure
introduction to the basics of Ableton Live – the On the disc at this early stage, so you can concentrate on the job in
interface, key commands, clip launching – hand: making the best beat possible. A benefit of working
before programming our first little MIDI drum with MIDI is that you don’t really have to commit to a fixed
Accompanying
beat, using Live’s Core 808 kit. Now we’re project file included tempo until a long way into the production process – and
moving on to a new project, one that we can work on over a on the DVD with Live, even when you’re working with audio, you’ve got a
few simple instalments, building it into a self-contained lot of freedom with tempo changes thanks to the wonders
set that will include all the tips and material referred to in of warping. It’s also important to remember that you can
the tutorials. automate BPM changes in the Arrangement View if you
We’ll begin by going back to drum programming, to want your music to breathe a bit.
create a beat that’ll be the foundation of our new project.
Most music projects begin with a beat, even if it’s simply Get kitted out
In the interests of compatibility, I’m using one of the
No matter how focused you standard Live library drum kits for the tutorial, but there’s
no need to limit yourself to this as there are many more
are on electronic beats, you’ll still Live Packs available which feature great sounding kits,
whether you’re looking for acoustic or electronic sounds
work with acoustic sounds – you’ll find some on the Ableton website (the Session
Drums pack is a good example), as well as through
third-party providers.
acting as a glorified click track for the recording of live When you’re browsing the Library drum kits, you can
instruments. We’re going to use an acoustic drum kit, in audition each kit without loading it; either click the Preview
the shape of Live’s Kit Core Session Dry. button that sits just below the Browser, or simply
No matter how focused you are on electronic beats, right-arrow on your computer keyboard to hear a brief
you’ll still be working with acoustic sounds, and their sample of the kit sound (this only works with the Live
playing and programming techniques. A clean acoustic kit factory sounds). Along the way we’ll be adding two little
is also a better way to illustrate MIDI programming tweaks samples – just to let you know that this is possible!
and audio effect usage, instead of one that loads with a lot We set Record Quantization to Sixteenth-Note, though
of effects in place before you start. you’ll change this on a project-specific basis depending on
Our tutorial will skim through the fundamentals of Live the part you’re recording. If you forget to enable
beat production – including creating clips, programming quantization, you can use Cmd-U to quantize the
beats, customising drum racks and adding audio effects. recorded notes, so you
For this, we’re working in Session View because the
loop-based workflow is ideal for programming beats – at
times like this you just want the part in focus to keep
looping round while you edit it, which makes things a lot
DO YOU REALLY NEED DRUM PADS TO

PROGRAM BEATS?
In a word, no! But a sensible answer takes longer – you can program
MIDI beats perfectly well using a computer mouse or trackpad, but
that doesn’t always get you in the mood. We can play in drum hits
using Live’s computer MIDI keyboard for starters, then the options
ramp up after that: from MIDI keyboard to MIDI drum pads,
culminating in a more dedicated device such as Ableton’s Push. Never
mind the funny keyboard-in-a-grid gimmick, if there’s one thing Push
is good for, it’s creating drum parts! Velocity-sensitive pads, step
sequencing, device control… it’s all there.
MT144.TUT Live2.indd 22 11/02/2015 15:37

Part 2: Beginning a Live project with drums Technique MTF
MTF Step-by-Step Making a beat with Ableton Live
Open our example set – TUGTAL2. Look at the Session View: a Enter a bpm value in the tempo box near the top left of the
01 timeline gets in the way when you’re building beats (we want
02 screen. We could use any value from 20-999 bpm, but let’s agree
them to loop indefinitely) and there are some clips there! on 126 for now – a little bit upbeat.
Type Cmd-F to search, and start typing ‘Kit-Core SessionDry’. This is an acoustic drum kit, as you’ll hear when you audition the
03 When you see the kit in the ever-updating list, navigate to it with
04 sounds from your MIDI controller (arm the track first), or from the
the computer keyboard’s down arrow and hit Enter to load it. triangular preview buttons in each cell in the drum rack.
We want to add one electronic sound now, so drag the audio Double-click in the top clip slot in your drum track. This
05 sample we’ve called ‘Noise’ on to the Conga cell in the drum rack
06 automatically creates a 1-bar MIDI clip. Turn on the metronome
– that’ll replace the original sample. Drum racks contain 128 cells. as well. Launch the empty clip. All you’ll hear is the metronome.
don’t have to record them again, with an Amount control can also expand the editor upwards by mousing over the
that lets you blend in the amount of correction. border at the top, where you’ll see the pointer icon changes
When you’re working in the MIDI Note Editor, you can into a dragging tool – and you can scale the editor upwards
navigate note pitches by simply clicking and dragging up/ so it fills the screen, which makes it easier to work with.
down on the piano roll at the left, and you can zoom in and The way I like to work when I’m creating a drum track is
out by clicking and dragging left/right at the same spot. You to add variations and breaks in the programming of the
MT144.TUT Live2.indd 23 11/02/2015 15:37

MTF Technique Part 2: Beginning a Live project with drums
MTF Step-by-Step Making a beat with Ableton Live… cont’d
You should now be viewing the MIDI Note Editor grid. If not, click As the clip loops around, draw kicks at 1, 1.1.3, 1.3, and 1.3.3. Refer
07 the device view selector at the bottom right. Time to draw the
08 to our screenshot – draw the hi hats, noise and snare as you see
beat. Enter the notes by double clicking in the grid. there. That’s a 1/16th note grid.
Now we have enough activity, we don’t need the metronome –

09 turn it off. Drag our ‘Tambourine’ clip onto the Cowbell cell in the
10 Go to the Edit menu and find Record Quantization. Set it to
Sixteenth-Note Quantization. This will tighten up the timing when
rack. Let’s record the tambourine in real-time, just for the practice. we play in our live tambourine part – it saves editing time later!
Arm the track (the red button lit at bottom), then find the key or Now you’re recording! As the loop plays, add a tambourine hit on
11 pad for the tambourine. Click the Session Record button in the
12 each beat. They’re overdubbed over the other parts, nothing’s
Control Bar, and playback begins; the clip play button is red. overwritten. Because Record Quantization is on, the timing of your
tambourine is corrected automatically.
notes, but to use the Velocity MIDI Effect Device for can impart a ‘human’ feel in your beats. Most of us will
dynamic variations – this keeps them randomising across probably be working in 4/4 time, but don’t forget that Live
the length of the track. We’ll offset the snare hits a bit, can easily handle more complex time signatures, and even
which is what real (good) drummers do to vary the feel of time signature changes can be automated, so don’t limit
what they’re playing. This is part of what Live’s Grooves do yourself to the ones that feel safe.
as well – you can find them if you look under Packs/Core Live’s drum kits are usually based on drum racks, but
Library/Swing and Groove. If you use these carefully you it’s worth remembering that the good ol’ Impulse drum
MT144.TUT Live2.indd 24 11/02/2015 15:37

Part 2: Beginning a Live project with drums Technique MTF
MTF Step-by-Step Making a beat with Ableton Live … cont’d
Press Stop or the spacebar. Now we have a 1-bar beat, but if you For live-sounding drums you need velocity changes. Find the
13 click the Dupl Loop button in the Loop Box, you get an instant two
14 MIDI Effect preset Velocity/Add Some Random, and drag to the
bars! Add some more kicks at the end of bar 2. drum track. These variations are too extreme, so raise Out Low to 110.
We can tweak the beat’s timing, to take the edge off the tempo.
15 Drag the snare hits to the right, but only a tiny bit, so they sound
16 Drag the Simple Delay from the Audio Effects Browser straight on
to the drum cell that contains the ‘noise’ sample. Set the Dry/Wet
like they’re dragging behind the beat. to 20% – this gives a little extra rhythmic value to that sound!
17 Drums sound flat unless they’re located in some kind of room

space, so add the Audio Effect preset Reverb/Room/Ambience to
18 We can use a compressor to fatten up our beat (we’ll be coming
back to compressors later). Find the preset Compressor/Mildly
the track after the rack. Set the Dry/Wet mix to 30%. Aggressive and drag it on to your track. It should sound punchier…
sample player is still there. This is a basic beat-making processing them, and laying that on top of the beat we’ve
tool, but it’s great if you’re building your own electronically- created. In part 4 we’ll then be adding bass and keyboard
oriented kits and you want to limit your options. parts to the project to create an entire track.
And don’t forget to look at our example Live set on the
Making tracks DVD this issue, which contains the raw material that we’ve
Next time we’ll be treating beats more aggressively – used in this tutorial plus the remaining four tutorials
taking audio samples of drum loops and slicing and coming up! MTF
MT144.TUT Live2.indd 25 11/02/2015 15:37

MTF Technique Part 3: Processing your beats
Ableton Live The Ultimate Guide to Ableton Live Part 3
Processing
your beats
In Part 2 of the Ultimate Live Guide we built a nice,
clean MIDI beat with a few realistic variations, but
now Martin Delaney explains how to dirty it up!
I
n our last tutorial, we began a new Live project and the track, which is incredibly useful. Just be aware that
created a beat using one of Live’s more acoustic, On the disc Flatten is destructive - your original track is gone! What I
natural-sounding kits. All good but now we’re going to usually do is duplicate the track, then create a group track
cannibalise that beat in two different ways - we’ll called ‘Spare’ which I use to contain all of the original
Accompanying
duplicate and process it to create a new tuned project file included versions of my frozen tracks.
percussion part that plays over the top, and we’ll also on the DVD You’ll notice that every clip in a flattened track is
convert that original beat to audio, before slicing it up for double the length of the original source clip - this is a
yet more processing, removing some of the slices feature not a bug(!), designed to accommodate effect tails
at the end of loops - this makes sense because it’s quite
annoying to hear a reverb tail cut off and begin again as a
There’s no right or wrong with sample loops. If you’re obsessive about house-cleaning,
which I am, you can use the crop sample command to put
the beats you use as long as they your clip back to its original length.
We added the Resonator effect to our new percussion
are right for the project track. I love the Resonator, it has quite a distinctive sound,
although that means that sometimes you have to tweak it
somewhat to get something different. It’s very important
completely and replacing them with totally different to use that Note control though, and make sure it’s pitched
sounds. correctly to fit in with your other parts - things can get a
There’s no right or wrong about the type of drum bit discordant otherwise.
sounds you use; what matters is they’re right for the Having programmed and customised a beat earlier,
project you’re working on at the time. Truthfully in most we’re now converting it to audio and beginning the process
genres these days, you’ll be working with many drum all over again, slicing it up and adding different sounds
tracks playing in parallel, combining acoustic and and effects. We’re doing this because I want to show you
electronic sounds. Dance music tracks are typically based the very cool ‘Slice to New MIDI Track’ command, and also
on core drum kits derived from the classic drum machines because it’s another interesting creative step you can take.
of old, the Roland TR-808 and TR-909, but these sounds Even when you’re working with something you’ve
will be customised, processed with audio effects, and programmed yourself, you can give it more of a ‘sampled’
often layered alongside more realistic percussion sounds vibe by converting it to audio and slicing it up. It makes you
for a richer texture. As well as mixing and matching source use different tools in different ways. ‘Slice to
kits, there’s a lot of leeway with sample resolution and New MIDI
sound quality; you can build a kit that includes nice high
resolution drum hits alongside grungy little samples that
you’ve grabbed from an MP3, YouTube, or you’ve
resampled from a little dictating recorder. Mix and match
- that’s what it’s all about.
During the tutorial we talk about freezing and
flattening tracks - this retains each separate clip within
FOCUS ON… QUANTIZATION

Sometimes Live treats audio and MIDI in similar ways. An example of
this is quantization. We discussed this for MIDI already, but we can also
do it with audio samples – a very powerful feature. Try the sample in
our example Live set, Loose Beat. Double-click the clip to see the
waveform – you’ll see it’s not exactly in time and we can fix this.
Right-click inside the waveform and type Cmd-U. You’ll see the peaks
in the waveform snap to the grid. Cool! To change the quantization
values, use Shift-Cmd-U to access the quantization settings.
MTF38.TUT live3.indd 26 12/02/2015 12:22

Part 3: Processing your beats Technique MTF
MTF Step-by-Step Processing your beats
Open our example set - TUGTAL3. Select the drum track and type Freeze and Flatten makes double-length audio clips – this helps
01 Cmd-D to duplicate. Right-click the new track, choose Freeze
02 handle effect tails and the like. Use the Loop Brace, Start Marker,
Track, then right-click again and choose Flatten, creating an audio and Crop Sample command to cut the clip back to the original length.
version of the track.
Set the new drum audio clip to Beats Warp mode if it isn’t already, This deactivates the Transient Loop mode, which determines how
03 then go down to the bottom of the Warp controls and choose the
04 the gaps between slices in Beats mode are handled. While the
top arrow icon, pointing to the right only. loop’s running, click and drag downwards in the adjoining box to
reduce the decay between slices.
It sounds cool, yes? It’s gating the waveform’s transients. Drag Go to the Audio Effects category in the Browser and add the
05 right down to 0 for a delicious clicky part, then use the Transpose
06 Resonator preset called Berlin to the track. Set the Note inside
knob at the left to raise it by 24 semitones or two octaves. Resonator to E2, then try setting the Dry/Wet mix at 35%.
Track’ is great if you have a beat from another record, and slices made by this command, as they’re created and
you want to edit the arrangement, or tweak or even replace placed in a rack, is ‘chains’. Dragging samples or
some of the sounds in the sample; putting a compressor instruments to replace slices is a big thing; you can take a
on the kick in a sample loop is a good example. I also like to loop from an old record and totally replace the kick or
use lo-fi effects such as Redux, Erosion, and Cabinet to snare with another sample. Or as we touched on here, drag
dirty things up a bit. The correct technical term for the in an instrument. The slice will be replaced, and the
MTF38.TUT live3.indd 27 12/02/2015 12:22

MTF Technique Part 3: Processing your beats
MTF Step-by-Step Processing your beats... cont’d
Now you’ve created a melodic percussion part by tweaking your Uh, maybe we’re getting bored with the original beat now – it
07 original beat. Live is great for recycling your audio and MIDI parts!
08 sounds quite flat against the Resonator percussion track. Let’s
It is definitely possible to make an entire tune from one source sample. put it through the wringer taking it on a gratuitous journey of sonic
dismemberment.
Right-click the track containing that original beat and choose This is just a fun way to mess with your parts as we want a
09 Freeze Track. Right-click again and choose Flatten. The MIDI
10 different vibe. Crop the new clip down to only two bars. Right-
track’s disappeared! Freeze/Flatten is destructive – that’s why we click on it and choose Slice To New MIDI Track.
copied the track when we did it before.
Choose the 1/8 Slicing option from the new window. Now you This operation has sliced the audio clip, and made a new drum
11 have a new MIDI track and clip. Perverse, isn’t it? Launch the clip
12 rack, with a different instance of Simpler for each slice. It’s also
– it should sound pretty much the same as the original. automatically created a MIDI clip, with a note for each slice.
instrument will play as the clip loops. You can build really and hide the various elements that make up the rack,
interesting loops by adding soft synths, audio effects… including input/output routing, effect sends and returns
really taking it on to another level. (yes you can have these in a drum rack), and of course the
If you’re ever following a drum rack tutorial and you’re macros, chains, and devices.
not seeing everything, make sure to click on the black If you really want to go big with elaborate evolving
buttons at the bottom left of the rack – these will show beats, you can start using automation as well. This is a real
MTF38.TUT live3.indd 28 12/02/2015 12:23

Part 3: Processing your beats Technique MTF
MTF Step-by-Step Processing your beats... cont’d
Audition the slices from your MIDI controller, or from your Effectively we’ve sampled ourselves. Experiment with dragging
13 computer keyboard (Shift-Cmd-K to activate that), or enable
14 the notes around the editor grid, to see what happens; you can
Preview for the clip (the headphone icon) and click on each note to take any beat and reorganise it to fit your song, this is one of Live’s
hear it. top features!
Not only can we reorganise the notes, we can tweak each slice. Now we turn our attention to the snare. Drag the Ping Pong Delay
15 Give the kick a little bump by dragging the Compressor preset
16 onto slice 3, the first snare in the clip. Wow! That’s too much. Dial
Brick Wall onto slices 1, 5, 9 and 13 in the clip. the Dry/Wet control down to 30%.
Delays are a great way to change the rhythm of your beats. Doing that automatically replaces the original slice – now you
17 Onwards. We have another sample, called ‘bass note E’. Drag it
18 have a bass note hitting alongside the beat. Click on the track
onto slice 7. It automatically creates a Simpler instrument to contain it! name, type Cmd-R, and rename the track ‘Sliced beat’. That’s it for now.
opportunity to go nuts, because you can automate every for a few weeks!
device in every chain in the rack, and that can be hundreds That’s all we have room for now and we haven’t even
of parameters. And of course you can separate the length mentioned the totally awesome ‘Convert Audio to Drums’
of the automation loop from the clip length (with the Link command. That will have to wait for another tutorial. Turn
button), and do that individually for each parameter, so to p34 where we use the Simpler instrument and MIDI
warn your friends and family that you’re going to disappear Effect devices to add some bass to our beats.. MTF
MTF38.TUT live3.indd 29 12/02/2015 12:23

MTF Feature A bluffer’s guide to music technology
MTF Feature Music Technology Guide
A BLUFFER’S
GUIDE TO MUSIC
TECHNOLOGY If you’re bursting with musical ideas but don’t know how to realise
them then this is the series for you. Rob Boffard guides you through
the music-making maze, starting at the very beginning…
P
roducing music is a bit like snowboarding. You need equipment to do it,
and you have to have a basic understanding of what you’re doing, but
you’re probably going to fall flat on your face a few times. Simply
admiring good snowboarders or knowing the general principles of
snowboarding aren’t going to be enough. If you want to carve up a
slope you need to put a little time into working out how it’s all done.
Now that we’ve got the mangled metaphors out of the way, welcome to our
bluffer’s guide to music technology. If you’re just getting started in making music
then this is the perfect primer for how it all works. In the articles to come we’ll
focus on different aspects of producing music, but for now we’re just going to
look at the big concepts: the mountain, if you will, rather than the boards and
boots and bindings.
Open the DAW

This may come as a total shock to you, but in 2015 music is mostly created using
computers. That’s not particularly interesting or informative but you might not
know just how it’s done, or exactly what goes on when a producer sits down at a
computer to make some music. Back in the day, the centre of the music studio
MT139.feat Bluffer's Guide.indd 30 11/02/2015 14:36

A bluffer’s guide to music technology Feature MTF
was a big mixing desk.

In many cases it still is,
but it’s not as crucial as
it once was. Every piece
of sound went into that
desk, and after having
processing applied to it,
it all came out the other
end. Outside of big
studios you won’t find
too many enormous
mixing desks. What you
will find, though, are
their 21st-century
equivalent: DAWs. Logic Pro’s mixer pops up when you press X on the keyboard. Instant access to the levels, pan controls
Nobody has ever been and effects on all your tracks.
able to pin down if you

pronounce it ‘Door’ or ‘Dee-Ay-Double-You’. Frankly, it doesn’t matter. Pick the Tech terms
one you like best. It stands for Digital Audio Workstation, and it’s almost always ● DAW: Digital Audio
the hub of any producer’s world. It contains a sequencer, where pieces of audio Workstation. The place
are arranged and edited, a mixer, where their levels are changed, and a whole where everything
host of effects and instruments that you can use to mess with existing sounds or happens. Nobody knows
create new ones. how to pronounce it.
You’ll find plenty of DAWs on the market, and you’ll need to spend a bit of
● SOUNDCARD: A
time figuring out which one you like using. This should be the deciding factor: piece of equipment
you absolutely have to be comfortable with the program you’re working with, that handles the audio
and so it pays to audition them before shelling out your hard-earned. There are signals. Can either be
several big names and they all have their own strengths and weaknesses. internal or external to
Pro Tools is a big, powerful, industry-standard program, but it’s also finicky your computer.
and expensive and difficult to get to grips with. Logic Pro is Apple’s own
● MONITORS: A fancy
program, and is versatile and great to use, even if it is Mac only. Reason is a name for speakers.
music-focussed software package with dozens of dedicated instruments – perfect They come in various
for production, but quite unusual and hard to learn. Then there’s Cubase – a flavours, such as near-
great cross-platfor,m choice – Audition, Soundation, the ever-popular dance field monitors, which
choice, Ableton Live, and many more… are smaller and used in
home studios.
Any DAW is intimidating to learn. But put the time and effort in and you’ll
discover something interesting: whatever each DAW’s personality, they all work ● INTERFACE: The box
in roughly the same way. that you plug everything
You’ll find plenty of DAWs on

Realising this is a into. It receives audio
powerful moment, signals (from your
because once you can computer or your
the market, and you’ll need to use one DAW, you can, in instruments) and tells
it where to go (speakers
figure out which one you like

theory, use them all.
or headphones).
The big three

Music production is
divided into three distinct segments: composing, mixing and mastering. No
matter what kind of music you make, whether you’re in a big, multi-room studio
or hunched in front of your laptop, that’s how it goes.
Composing is the act of making music. It’s the process of taking an idea in
your head and putting it into recorded form. This might happen with an entire
band or it might be you and your DAW and a couple of software instruments
bashing out a drum beat. Doesn’t matter. If you’re recording something, or
creating it, then you’re composing.
Then there’s mixing. This is also pretty simple: you’re taking all the elements
of your song and blending them together. This is all about adjusting volume
levels, panning left or right, and applying effects to sharpen up sounds (don’t
worry, we’ll deal with effects in a subsequent instalment). You’re looking to take
the separate channels and put them together so that they sound awesome.
We’re not going to lie to you: the mixing stage is hard. It requires you to
develop a good ear, put in a lot of time, and gain a good dose of experience. But

MTF Feature A bluffer’s guide to music technology
you can’t skip it, and the only way to get good at it is
to do lots of it.
Then there’s mastering. This is about taking your
finished track and putting an extra layer of shine on
it. Imagine you’ve cooked a nice meal, blending all
these different ingredients together and using the
perfect amount of spices. You don’t just slop it out
into a polystyrene kebab box you’ve got lying around.
No, you find the nicest plate you’ve got.
Mastering is the plate. The process beefs up the
sound, makes the volume consistent throughout the
track, and puts an extra layer of polish on it.
Mastering is a dark art – you can do it on your own,
but it’ll be much better if you let a pro do it. That’s
not just because they’ll have the best-sounding
studio and the most heavyweight equipment, it’s also
because they can bring a fresh set of ears.
Hard and soft Meet Reason. It uses a rack system to line up software instruments for you to use. Hit tab, and the rack
flips around to the back where there are cables you can rearrange.
There’s nothing to stop you making music with just a
laptop and a DAW. It can be done. But you’ll be in a
much better situation if you can invest in some good one, such as the MBox that ships with Pro
hardware, particularly when you stop composing Tools, will enable you to control your instrument
and start mixing. No matter how good your computer levels, the main volume, and how much of anything
is, its soundcard is not going to give you the results you’re hearing at any given time.
you want. Speaking of instruments, they’ll all connect to
The easiest bits of gear to get your head around that interface. Whether it’s a keyboard, a guitar and
are headphones and speakers, or monitors as they’re amp, or a microphone, they’ll all eventually come
known in music making. You want ones that aren’t back to the interface. If you have a lot of instruments
going to colour your mix – what that means is that (if you’re in a band, for example) then you’ll be
they absolutely have to pump out the sound as it is, needing a bigger interface with a lot more inputs.
rather than increasing the bass or treble. This is not Just you and your DAW? A single input will be fine.
the place for a pair of Beats by Dre cans. When you’re And you might have guessed this already, but a
mixing, the most important thing is to know exactly mixing desk is just an interface with faders on it. It’s
how your mix sounds, and monitors and headphones not just the computer’s external soundcard, it lets
that can give you this – known as a ‘flat’ response –
There’s nothing to stop you

are worth spending money on. (See p46 for choices.)
Of course, you could just plug them right into
making music with just a laptop

your computer. If you’re an idiot. A much better
option is to invest in an interface. This is essentially
and a DAW. It can be done

an external soundcard for your computer, one which
you can plug all your equipment into and then
connect back to your computer (usually via USB). A
you get direct physical control over the parameters

of your track. The big, classic desks are renowned for
providing a pleasing colour to the sound – a quality
that translates as warm and rich when it hits the ear.
Not every desk will do this, but there’s certainly an
argument for investing in your own. It’s a nice-to-
have, though, not an absolute.
By the way: remember those effects we
mentioned? They can come in hardware format too,
usually in big rectangular units that can be slotted
into dedicated ‘racks’. They perform in exactly the
same way as their software equivalents, shaping and
moulding the sound, it’s just that to use them you
send audio to them from your computer and then the
effect sends it back all nicely processed.
So. DAWs, the three stages of music making, and
hardware. That’s the mountain you’re standing on
You can master your tracks on your own computer, using programs such as iZotope Ozone, pictured
top of. Next time, we’ll take a look at how to get
here. But you won’t get good results with a bad hardware setup.
down it. MTF

MTF Technique Part 4: Let’s make some bass
Ableton Live The Ultimate Guide to Ableton Live Part 4
Let’s make
some bass On the disc
Martin Delaney thinks it’s time to add some
bass to our beats, doubled up with a little sub Accompanying
project file included
to make it bounce. Here’s his guide… on the DVD
T
oday we’re adding a bass part, ideally one that 128 racks inside another rack, so you can quickly end up
somehow fits in with our beat from the last with thousands of chains buried deep within your rack.
tutorial. Refer to the example set included with When you connect a MIDI keyboard or use your
the issue – it’s called TUGTAL4. The set includes computer keyboard to play those sounds, you’re going to
all the steps from the last tutorial as well as a get a massive sound because all of the chains will play at
couple of samples you’ll need to complete this one. once. This can be a bit overbearing, but we’re only using
Bass sounds change considerably across genres; two today, so we’ll deal with that issue another time, and
you’ve got classic electric bass played with pick or fingers, there are various tactics we can use to specify which
sounds play at what times.
We’re using a transposed sine wave to create a sub
Resist the temptation to bass – a low bass fundamental tone which fattens up the
make a huge bass sound

bottom end. It can be almost inaudible in the mix at
certain times. For reasons of simplicity, we’re pairing it
because we plan to add

with our square wave sound, but there’s no reason why a
sub couldn’t be on a track of its own and subject to a
other instruments
whole other round of editing and effect processing.
After drawing in the notes in our bass clip, we went
back to shorten the bass note in our sliced drum rack from
analogue and digital synths, and LFO-driven wobble last time to make sure it didn’t overlap with the new bass
sounds. They’re all good and they’re all readily available to part. When you’re working with MIDI programming, a lot of
us these days,through real or software instruments and mixing problems can be fixed at the programming stage.
Live Packs. We’re going to build our own bass sound and It’s the same reason we set the Simpler instruments to 1
program our own part. This is because the Simpler voice each, to avoid overlaps that will affect the bass part.
instrument we use is included in every version of Live. If I
was to do the tutorial using the Operator synth, you might Simpler sampler
not be able to follow the steps. You should try Operator, Simpler is a very powerful sampler, although it has a
though – it’s my go-to synth for bass parts. I’ll move user-friendly interface. It makes it possible to build long,
on to others only if I can’t find what I want in there. sustaining notes by loop and crossfading short samples,
We’re spending more time working with but on this occasion we don’t need those controls. Lucky
instrument racks as this is a great way to build us! Maybe we’ll come back and use them later.
deep synth sounds that would otherwise require As I mention in the tutorial, it’s important to
complex routing across several tracks. In many resist the temptation to make a huge bass sound
ways they’re similar to drum racks, which we’ve right now. This is because we plan to add other
already encountered. We’re using two chains in our instruments, and sonically there won’t be any room
rack – that’s two instruments playing together – but for them if we have a bass sound that’s riddled with
you can have up to 128 chains in a rack. Impressive effects and covering a huge frequency range.
enough, but then bear in mind that you can have We use clip envelopes to create repetitive
movement of the Auto Filter controls; it makes our
FOCUS ON… REAL BASS bass sound a bit more evolving and interesting. It
The best thing you can do if you want to program good depends on what genre you’re working with, but
bass parts is to get your hands on a bass guitar – it’s a automated filters can be a huge factor in the mix. If
great way to try ideas against your drum tracks. You don’t
have to learn to play properly, it doesn’t even have to be a you don’t like the restrictions and mouse-work of
good bass and it doesn’t matter what it sounds like, drawing these envelopes, be aware that you can
because 99 times out of 100 it doesn’t even get plugged in. record them in real time if you’re using a
This is my most common way to create bass parts, noodling
away while the drums loop. To get a bass vibe…play bass. It’s suitable hardware controller. Also I can’t stress
pretty obvious! enough the importance of unlinking clip
envelopes from the clip length. And remember:
MTF38.TUT live4.indd 34 11/02/2015 15:46

Part 4: Let’s make some bass Technique MTF
MTF Step-by-Step Making some bass
Open our example set, which follows on from last time. Load Arm the track and play your keyboard to audition the sound, in a
01 an empty Instrument Rack into a new MIDI track. Drag the
02 low-ish range. Drag the clip ‘sine’ into the rack’s drop area,
clip ‘square’ into the rack and it’ll automatically appear inside a creating another chain. Now you’ll be playing both sounds together.
Simpler instrument.
In the ‘sine’ Simpler instrument, set the Trans (transpose) value to You might want to rename the chains now, for visual reference –
03 -12 semi-tones, that’s one octave down. We’ll use this as our sub
04 Cmd-R. Good, now let’s draw in some notes. Double-click in an
bass and the saw as our more immediately characteristic tone. empty slot to create a new MIDI clip, as we’ve done before.
Refer to the screen shot. It’s just E1 then D2 at 1.1.3 then E1 again There’s a bass sample in the drum kit; our bass clip leaves room
05 at 1.3, D2 at 1.3.3, and A2 at 1.4.3 and E1 at 1.4.4. Match the note
06 for that. But, find the controls for the bass note in the drum rack
lengths to what you see in the picture. and reduce the Release to 1.00 ms, shortening the note.
each envelope can be a different length. You might notice although that’s one area where I think third-party plug-ins
that the sine wave part of the bass sound doesn’t react or even hardware can step in and do the job better, for
much to the filter, but that’s normal – sines are not so those times when you want a compressor that purposely
responsive compared to other more complex waveforms. adds some character to the sound. If you have the Glue
We finished off the bass track with Live’s Compressor. Compressor from the Live 9 Suite, that’s a good place
This is perfectly adequate as a clinical compression tool, to start…
MTF38.TUT live4.indd 35 11/02/2015 15:46

MTF Technique Part 4: Let’s make some bass
MTF Step-by-Step Making some bass… cont’d
While we’re shortening, set the Sine’s Sustain to -7dB. This makes Because we’re using short punchy notes for this, we don’t have to
07 it shorter against the higher, square sound; when you play the
08 play with the other Simpler settings for loop/fade, release time,
clip, it keeps the punchy low bass hit without cluttering up the mix. and so on. Our samples are long enough that it won’t matter.
Our simple bass part will be monophonic – only one note at a We could add effects to each chain and use the Spread control to
09 time – so we can set the voices for each Simpler to 1. This means
10 make a monster bass sound, but it doesn’t leave much room for
we can’t play or program any overlapping notes by mistake. other sounds in the song if the bass is too big.
Let’s raise the sine volume inside Simpler to 0 dB – Simpler and Let’s add Auto Filter for some nice filter sweeps. Drag it right after
11 Sampler always default to -12 dB, I guess to protect us from
12 the rack so it applies to both chains and set the filter cutoff to
ourselves! You can keep tweaking the levels as you go on. 170Hz, and the Q (resonance) to 2.00.
As we’re adding more elements to our track, we’ve got 0 using the white boxes under each Pitch control. That
to make sure everything sounds good alongside everything should sound better!
else. While working with the bass sound, I was starting to That’s all for now. Next time we’ll be working on a
feel the Resonator settings were a little bit too abrasive. To keyboard part to layer over our bass and beats. Once
fix this you can go to the Resonator in our percussion track again we’ll take a shot at building our own instead of
and tame it a bit by resetting all of the fine tuning values to loading a preset. MTF
MTF38.TUT live4.indd 36 11/02/2015 15:47

Part 4: Let’s make some bass Technique MTF
MTF Step-by-Step Making some bass… cont’d
Sweep time. Inside the MIDI note editor, click the envelope arrow Click the left end of the red dotted line in the editor to anchor it.
13 and choose Auto Filter and Frequency from the pop-up choosers.
14 Drag the right end upwards to 1.50 Hz (Cmd-Click-Drag for finer
Click the Link button and type a value of 4 bars next to that. resolutions). Now the frequency changes as the clip plays.
Choose Resonance now, unlinking it again, anchor it, then draw What sounds cool is if you create different length sweeps for
15 an envelope that ends at 2.90. You’ll hear that as well. Look at the
16 different parts of the song. Once you’ve clicked that Link button,
Auto Filter and you’ll see red dots marking the automated controls. you can set envelopes to any length, even with simple one-bar clips.
When you’re repeating these nice envelope sweeps, don’t Drop in Live’s Compressor/Classical Compression preset. Make
17 use the same values every time either – it’ll sound more
18 sure it goes right after the entire rack so it applies to both chains.
organic if you vary them a bit. You will hear the difference especially If you’ve got Glue Compressor from the Live 9 Suite, try that instead.
with the Resonance.
MTF38.TUT live4.indd 37 11/02/2015 15:47

MTF Technique Part 5: Make your own keyboard sound & sidechain it
Ableton Live The Ultimate Guide to Ableton Live Part 5 On the disc
Make your own

Accompanying
on the DVD
keyboard sound
& sidechain it…
Anybody can load a synth preset but it’s fun to As well as adding a new sample to our set – which
build your own. Connect your keyboard and again, incorporates the steps from the last tutorial – I’ve
taken the opportunity to reorganise, rename, and colour
Martin Delaney will show you how it’s done. code the tracks and clips. Not only do I get a kick out of
W
organising everything, it helps me recognise what I’m
e continue our Ultimate Guide by adding a looking at faster and it avoids accidentally triggering or
simple keyboard part to our ongoing selecting the wrong clip or track. I made a ‘spare’ group
project, following on from the bass last track for unused tracks, and put the original beat in there.
time. You like the project? Good. You don’t We mentioned this before – Shift-Click to select the tracks
like the project? That’s fine too as it’s you want to group, then type Cmd-G. You can also drag
merely a vehicle for us to introduce the core techniques of additional tracks in later.
using Ableton Live. Our keyboard part doesn’t have to be too demanding.
All we need for this project is something basic that doesn’t
If you’re not great at take up too much room, sonically speaking; we’ve got
enough going on already. We’re just using one note, then
music theory Live has a making it move with some sidechaining instead.
Whenever we talk about creating instrument sounds,
whole bunch of tools to make sure you’re using a keyboard to audition the sound
constantly as you work on it. If you already have a MIDI clip
make parts sound busy and notes in place, you could just keep that playing and
rolling round. But if you’re working on a sound that needs
to have some velocity sensitivity – some responsiveness
Once again we’re using the Simpler instrument device, to how hard you hit your keys or pads – it’s better to use
with a sample that you can load from the provided your keyboard or pads in real time while you’re testing. As
example Live set. This works for us because there are a I’ve said before, I like to use the computer keyboard as
few different versions of Live out there – Suite, Standard well, and when I’m doing that, I’ll keep tapping on the c
and Intro, not to mention older versions counting from 9 and v keys to change through some different velocity
backwards – so using a synthesizer instrument device at settings if relevant – they’ll take you up and down through
this point could cause compatibility issues with some the velocity range from 1 to 127 in increments of 20. Don’t
folks reading this. We’re on safe ground with Simpler forget to keep an eye on your track and master volume
because it’s in every version of Live – it has to be, because levels as well as we don’t want to see any red peaks!
drum racks in particular won’t work without it! We don’t use any notes other than E4 for this clip,
Either way it’s good, partly because we can now say because we want to start with a drone and then find a way
we’re using sample based synthesis, a form of sound to make it sound a bit more interesting. If you’re not great
design that uses audio samples as well as waveforms at music theory, Live has a whole bunch of tools to help
generated by the synth instrument itself. Many synths let you make even a basic
you combine these techniques in one preset, which really
opens up the sonic spectrum.
FOCUS ON… THE HARDWARE

In this tutorial we’re building a keyboard sound based on a sample
from a Waldorf Pulse Plus, a hardware, rack-mount, synth first
released in 1997 (the range is still going strong in a tabletop format).
I used the Pulse for two important reasons: one, because it would
give a different texture than resampling a plug-in, and two, because
it was nearby! One of the great things about Simpler is that it makes
it easy to use almost any sound as a source. Hardware instruments
seem to be on everybody’s mind at the moment, so the Pulse it is.
MTF38.tutorial live5.indd 38 11/02/2015 15:49

Part 5: Make your own keyboard sound & sidechain it Technique MTF
MTF Step-by-Step Keyboards and sidechaining
Be sure to use our updated example set for this tutorial. I’ve Load the Simpler sample-playback instrument into a new MIDI
01 added a new sample, ‘synth note’. This is a synth playing a long C
02 track, and drag the ‘synth note’ sample into Simpler’s drop area.
note (sampled from the Waldorf Pulse Plus hardware synth). Double-click the top empty clip slot in the track to make a clip.
This should sound familiar, because we’ve done this step before When you arm your track and play your MIDI keyboard, you should
03 when we made our bass part. Click the Dupl.Loop button in the
04 be hearing the sampled synth tone playing across the range. We
MIDI Editor’s Notes box twice, creating an empty 4-bar MIDI clip. used a C so it’ll be correctly in pitch with other instruments.
Draw an E4 note across the entire length of the clip - launch the To edit the note velocity, unfold the MIDI Velocity Editor (click on
05 clip and then it’ll play just like a drone over four bars. Keep the
06 the little triangle) below the MIDI Note Editor, then drag the
velocity to around 100 or 110 – it doesn’t matter precisely. velocity marker up or down until you reach the desired range.
programmed part sound busy i.e. the MIDI Effect Devices. it) and applying it to the keyboard sound to create a
We’re using the Chord device a little bit here, but don’t be ‘pulsing’ quality. After you’ve loaded the Compressor into
surprised if we come back and look at MIDI effects again in the keyboard track, you can choose any sound as a source,
the near future. digging deep into drum and instrument racks to find the
The other thing we do to make it sound more active is to exact trigger you want. However, from a workflow point of
sidechain it, taking the timing of the drum track (or parts of view I find it much easier to work with a separate track as

MTF Technique Part 5: Make your own keyboard sound & sidechain it
MTF Step-by-Step Keyboards and sidechaining cont’d
So far we have a pretty dull synth part so let’s jazz it up a bit. At Let’s make some changes inside Simpler. Start by turning Loop
07 this stage if you need to do any volume management for this
08 on and set it to 40%, then turn Snap on and set the Start to
sound, use the Volume control in Simpler. 0.30%. Set Length to 14% and Fade to 70%.
Set the Volume envelope Attack to 500ms so there’s a bit more to Now let’s add some interest: because we’ve been lazy with our
09 the tiny little fade-in at the beginning of the sample (as you can
10 programming, let’s expand the part with one of Live’s MIDI effect
see, it starts quite gradually already). devices. Add the Chord MIDI effect to the track, it’ll go before Simpler.
Set the Chord device’s first two Shift control knobs to +3 and +5 The extra notes make it sound very full – too full, in fact. So drag
11 semitones. As the clip loops or as you play your keyboard, you’ll
12 an EQ Three audio effect to the end of the chain and set the
hear the extra notes. Set Simpler’s Spread to 50. GainMid to -12dB. This thins it out nicely.
a source for a sidechain, that’s why we’ve copied the drum going when the drums drop out. You could even automate
track here. Not only do I then have something that visually that sidechain track and do very weird things with it,
helps me keep track of what’s going on, outside of the without disrupting your drum beat. As it says in the
drum kit, a separate track for sidechaining, it enables me tutorial, remember that the sidechain source can be silent
to program a totally different kick pattern to trigger the – mute the track and it still works!
compressor if I want to, or even to keep the sidechain feed If you’re a musical type of person, who can play

Part 5: Make your own keyboard sound & sidechain it Technique MTF
MTF Step-by-Step Keyboards and sidechaining cont’d
Now we need to add some movement to this keyboard part – I Inside the rack, solo chains 1, 3, 5, 9, and 13 and deactivate the
13 guess you’d say it’s a pad sound; duplicate your MIDI drum track
14 track by clicking on the yellow track number. Launch the clip,
by clicking on the track name and type Cmd-D. though. Yes, that’s right. We have a plan.
If you can only solo one item at a time, check your Record/Warp/ Click on your copied drum track and use Cmd-R or the Context
15 Launch Preferences and make sure Exclusive Solo is off.
16 Menu to rename the track ‘Sidechain’, then load the Compressor
Otherwise, temporarily override the preference setting by Cmd- ‘Brick Wall’ preset into your keyboard track after the EQ Three.
Clicking on each item.
Click on the small triangle in the Compressor title bar, turn on Bring the Compressor Threshold down to -50.0dB and set the
17 Sidechain and choose the sidechain drum track from the Audio
18 Attack to 0.30ms. Play your keyboard and sidechain clips and you
From box. Leave the other settings alone. should hear a new rhythmic pulse to your keyboard part.
keyboards and who understands musical theory, Live is a effects we’ve mentioned here. It’s about as novice-friendly
great tool for you anyway, especially with ‘alternative’ input as it gets, and it doesn’t fail to deliver once you get more
devices like Push and the forthcoming Novation knowledgeable. We’re making good progress through this
Launchpad Pro. project. Next time we’ll be adding our final element – a
But if you’re really confident or even conscious in terms speech sample – and processing that in a few interesting
of theory, Live can really give you a boost with the MIDI and different ways. MTF

MTF Technique Part 6: Recording and manipulating speech samples
Ableton Live The Ultimate Guide to Ableton Live Part 6 On the disc
Recording and
Accompanying
on the DVD
manipulating
speech samples
Time to do some audio recording. Get mic’d up thorough and immediate routing options, so you can send
- Martin Delaney will show you how to add some and receive audio freely throughout the application.
There’s also the lovely Resampling input option which
speech samples to our ongoing Live project. provides post-master, post-everything, capture of Live’s
S
output, straight back into the Live set. Live works with
o far we’ve used MIDI and we’ve used existing audio samples at different sample rates, mono or stereo,
audio samples, but we haven’t covered how to and combines .aiff, .wav, and .mp3 files in the same
record our own audio material. Instead of project. Despite what some say, there are no audio quality
jumping in at the deep end and attempting to issues with Live; you’re more likely to experience problems
record fully-blown vocal or instrument takes, through user error – choosing the wrong Warp mode for
let’s make it easy on ourselves by recording a short speech time-stretched material or stretching a clip way beyond
sample that’ll also work inside our ongoing project. To be what any reasonable person would do (we’ll be coming
back to that later).
I record short speech Although Live isn’t an audio editor, it covers some of the
basics. Crop Sample, which we use in this tutorial,
samples into Session View discards unwanted portions at the start and end of an
audio clip; and Consolidate – available only in the
and anything longer goes Arrangement View – combines two or more audio clips to
create a new one. These functions are non-destructive –
into Arrangement View you’ll find the new samples in the sub-folders inside your
Live project folder.
You probably already have the necessary equipment to
honest, this is more frequently the type of recording I do record a voice sample – most computers have some kind
with Live anyway – capturing short snippets to use in the of built-in microphone. Then it’s a matter of scaling up
Session View. We aim to record one short sample, then use from there with a dedicated microphone and soundcard
it to create three different clips. Note, because this is such (as far as we’re concerned, a ‘soundcard’ and an ‘audio
a variable exercise, and I can’t hear what you’re doing from interface’ are the same thing). You can get excellent
here(!), I’ve included an ‘after’ voice track to make it clear affordable USB soundcards – look at the Focusrite
what kind of result you’re shooting for. Scarlett range – and a basic microphone for not much
It might not sway Pro Tools snobs, but Live does a great cash at all. There’s an ever-growing number of good USB
job of recording audio. It has the advantage of two views, microphones, too, although you lose the flexibility
so two distinct approaches. As a rule of thumb I record of a soundcard. There’s also
short clips like speech samples and effects into the
Session View, and anything like a full vocal track for a
song, rhythm guitar parts, and so on, goes into the
Arrangement View. In either View, you can record into
multiple tracks at the same time, and Live has very
FOCUS ON… THE MICROPHONE

It’s nice to use expensive microphones and recording hardware but
you should be willing to work with what you’ve got. It’s easier for us
because we’re recording a simple speech sample here so we’re not
tied up in the complexities of recording a sung vocal against backing
tracks and creating a headphone mix. What I will say is that unless
you have a very specific idea of what you want, you should always try
to get a clean voice recording, without distortion or baked-in effects.
Other than that limitation, anything from your computer’s built-in
microphone upwards will do fine.

Part 6: Recording and manipulating speech samples Technique MTF
MTF Step-by-Step Recording and editing speech
For this walkthrough we have to make some assumptions about Choose your soundcard in the Audio Input Device and Audio
01 your microphone and soundcard; read our main text for more
02 Output Device lists then close Preferences. Connect your
details. Connect your mic and soundcard, launch Live and go to the headphones to your soundcard (watch your volume) and turn your
Preferences Audio tab. monitor speakers off to avoid feedback.
Open our example Live set. Make sure you’re using the updated Use Alt-Cmd-I to open the In/Out View. This will display the audio
03 ‘part 6’ version and use the shortcut Cmd-T to create a new audio
04 routing options at the bottom of your tracks. Click on the Audio
track. We’re still working in the Session View, of course. From chooser to select your input – Ext. In.
Below that is a list of available audio inputs – click to view the Set up your microphone and mixer so you get a manageable
05 list. As you talk into your microphone, you’ll see a level displayed
06 volume level. Exactly how this works will again depend on what
alongside one of those inputs. That’s your microphone. Click it. equipment you’re using but please avoid red peaks anywhere in the
signal chain!
the Apogee One, which is unique because it has – or require – you to monitor somewhere else along the
connections for a microphone and instrument, but also signal chain. As I said, we’re not singing along to a backing
boasts a built-in microphone. It’s a cool tool for the track with this exercise, so frankly, accurate monitoring is
travelling musician. I’m not going further into this not so critical.
discussion now, because it’s a whole other tutorial… There are different ways to initiate recording: you can
Well, a whole other book, actually! use a mouse or trackpad, your controller, or even your
I’ve suggested that you set the track’s Monitor switch to iPhone. You can go into record while Live is already running
Auto, which means you’ll hear the mic input when you arm or enter record to start Live running. Record start and stop
the track, but bear in mind that your set-up might enable are quantised so that means if you’re using the default

MTF Technique Part 6: Recording and manipulating speech samples
MTF Step-by-Step Recording and editing speech (cont’d)
Set the track’s Monitor In switch to Auto, and arm the track – As you arm/disarm the track for recording you’ll see the square
07 click the small circular button in the mixer, it goes red. Stop your
08 stop buttons in each empty Session View clip slot (in that track)
other clips – you’re not singing along to anything for this one! transform into circles; that means you can record into these.
We’ll record a short phrase to use as a one-shot sample and a Press the space bar to stop Live when you’re finished. Note the
09 rhythmic loop. Click a slot button to start recording. Wait a beat or
10 clip length is cropped to the nearest bar. Disarm the track so you
two, then record yourself saying ‘Please be aware’. can’t record anything else by mistake and always save after recording.
Before you launch your other clips again, listen to your voice Double-click the clip to view the waveform if necessary. Let’s
11 recording on its own, checking for distortion and also checking
12 discard some of the silence around it. Position the loop brace
that you haven’t chopped the start or end off as it’s very easy to do. around the ‘keeper’ part and the start marker at the front of that.
global quantization of one bar, recording commences on The most important thing when recording is to avoid
the next bar. It’s important to remember this and not start overloading and distorting your input levels. It’s very ‘rock’
talking too soon, otherwise you lose the beginning of your to record to tape with everything in the red, and it sounds
sample. Record ending is also quantised which is great as cool, but sadly it stinks when you do it with digital
it gives you ‘pre-cut’ loops, rounded off to bars and more recording. Live has some great distortion effects, so why
likely to loop in sync with your other content straight off. not save that fun until later? If you’ve erred on the side of

Part 6: Recording and manipulating speech samples Technique MTF
MTF Step-by-Step Recording and editing speech (cont’d)
The Loop Brace is that bar above the audio waveform. You can Make sure the Loop Brace is an even bar length, though.
13 drag to reposition it and grab either end to change the length. FYI
14 Right-Click inside the area contained by the loop brace and
the Loop Brace dimensions and coordinates are MIDI-mappable. choose Crop Sample. Duplicate this clip to the slot below using Cmd-D.
Select the first clip. From the Sample View at the bottom of the Use Cmd-D to duplicate the second clip. Double-click above the
15 screen, deactivate Warp so it’ll play just once at its original
16 right end of the waveform to add a Warp marker. Grab it and drag
speed. Now you have a one-shot, plus a looping version. to the right, doubling the length of your original sample.
Make sure you adjust the length of the Loop Brace to Quantize the audio-click inside the waveform and type Cmd-U.
17 accommodate the stretched waveform. Experiment with Warp
18 Watch the waveform peaks snap to the grid; you’ll see Live inserts
modes – the difference between Beats and Complex is very noticeable yellow Warp markers to achieve this.
(but let’s stick with Beats).
caution and recorded at a low level, use the clip Gain slider vocals, which is why we’re doing it here. A bit of
to boost the volume. Do this while the clip’s playing, so you quantization also adds to the unreal effect, but it can also
can check for the distortion that arises if you go too far! make a looping speech sample sit more neatly on the beat.
We’re touching on Warping and audio quantization That’s it for now. I hope that over these six workshop parts
during our walkthrough; it’s fun to over-stretch audio I’ve given enough tips to inspire and help your music
samples and tweak the Warp modes; I can’t resist it with making – happy producing! MTF

MTF Buyer’s Guide Six of the best
Six of the best

Hardware Software Mobile Technology Samples
Details
Price
£490 (pair)
Contact
Fender GBI
Welcome to a brand new MTF Buyer’s Guide where we round up 01342 331700
Web
some of the best products recently reviewed in MusicTech www.fender.com
magazine. We kick it off with the most important of studio items:

the monitor…
BEST BUDGET
PreSonus
Eris 4.5
Given those caveats the sound quality
was absolutely remarkable. Of all three
Eris monitors they have the finest bass
definition, but it is possible to detect
BEST MOBILE!
Fender
some roll-off in the lowest frequencies.
T
Details
he Eris range is new from The imaging was also remarkably crisp,
Price
PreSonus. MT monitor expert and although the obvious application
Eris E4.5: £169 (pair)
Focal
Huw Price was particularly may be use with computers we’d have Contact
taken with the 4.5s, which only no qualms about integrating them into Source Distribution
weigh in at £169 for the pair. Huw said: our studio monitor setup. 020 8962 5080
Web www.
“We hadn’t expected that much from “These are not expensive
Passport
sourcedistribution.
them because they resemble computer monitors but they punch way above their co.uk
speakers and are priced accordingly. price point. ”
BEST LOOKING
Studio
Unity
F
or these monitors Fender and
Focal have teamed up to
Audio The
produce a set of high-quality
mobile speakers, the thinking
being that you can mix anywhere. And
Rock Mk2
they sound great according to Huw…
“Judged purely as studio monitors,
the level of detail and solidity of the
imaging is certainly commensurate with
T
hese are inspiring in terms of the price point. However, more
looks and, fortunately, sound conventional competitors might offer an
as good. Huw Price says: extra degree of user adjustment.
“The depth of the Details “The defining feature is that the
soundstage is something special. After Price
Passport Studio system can be locked
some experimentation with toe-in, we £2,199 (pair) together and transported without the
found the left/right imaging impressive Contact need to preserve the original packaging
Unity Audio
too. The Rocks may not be the ideal or buy a flight case. Then you simply
01799 520786
choice if you do a lot of location Web split them, set them up and they’re good
recording but in all other regards these www.unity to go. This is a cleverly designed,
audioproducts.co.uk
are no-compromise nearfields that carefully thought out and affordable
slotted straight into our setup. ” product that fills a niche in the market.”
MT139.6 of the best.indd 46 11/02/2015 14:32

Six of the best Buyer’s Guide MTF
BEST HIGHER END
PMC
TWOTWO.6
A
t the top end of the budget level. The depth of the soundstage is
there’s a lot of choice, but the incredible and left/right imaging is
twotwo.6s from PMC are about as crisp as it gets.
MusicTech editor Andy Jones’ “If you prefer listening to your
choice, and Huw agrees… speakers rather than listening to the
“The principal reason the twotwo.6s music, these may not be for you. But if
are outstanding is that nothing stands you want a clear and neutral window
out. There’s no low-mid hump, forward into what’s going on with your mix, the
midrange or glassy treble sheen and the twotwo.6s deliver everything you could
balance remains constant regardless of ask for.”
Details
Its delicious, classic sound is Price £4192 (pair)

Contact HHB
a refreshing change from

020 8962 5000
Web www.pmc-
speakers.com
unforgiving modern boxes
BEST HIGH END
MAD 1920s
Details
Price 2.1 system
£879. SC204 £480
(pair). TS107 £399
monitors
Contact Nova
Distribution
020 3589 2530
Web www.
eve-audio.com
O
ur hardware expert John
Pickford is a MAD fan (that’s
BEST 2.1 SYSTEM My Audio Design). Here’s
what he had to say about the
EVE SC204
company’s latest release…
“My Audio Design has created a
wonderful monitor with the 1920s. Its
& TS107
delicious, classic sound is a refreshing
change from the unforgiving nature of
many modern boxes and it’s equally at
home relaying both minimal acoustic
E
ve has released many a good recordings and complex mixes of all
monitor in a relatively short kinds. A very well thought-out and
period of time. Huw Price says sophisticated design.” MTF
of this 2.1 system…
“If you haven’t listened to monitors Details
with folded ribbon tweeters before, the Price £2,350
treble response may surprise you. The Contact
My Audio Design
SC204s are bright but they’re not in the 020 8123 9789
least bit edgy and the overall character Web www.
is smooth and refined. It’s a superb- madengland.com
sounding, full-frequency system with
user-friendly features that’s particularly
well suited to smaller rooms.”

MTF Feature The 100 best apps for music production
MTF Feature
THE 100 BEST

MUSIC-MAKING
APPS We bring you Part One of our biggest ever features on mobile music
making where we round up the 100 best apps for music production
on your phone and tablet…
I
t’s one of the biggest articles we
KORG
have ever produced – a mammoth
feature on mobile music
Gadget
production. In part 1, we look at (iOS)
the best apps for music making on
your phone or tablet and reveal the
50 best mobile synth, DAW, vocal,
Not strictly an all-round studio app as
controller and, best of all, free apps!
audio is not an option just yet, but how
Where possible we have tried to
can you resist a package that enables
include different platforms in each
you to combine 17 synths and drum
category. So read on for the first
machines, up to 35 tracks (on newer
part of our mobile must-have 100…
iPads) and some of the coolest looking,
well, gadgets around? The emphasis is
very much on electronic music
production and you can’t add audio
(yet). Korg will be getting a
few mentions in
these lists but this is
like a ‘best of’ –
amazing sounding
synths and drums
and a very easy-to-
use environment to
put it all together.
Web www.korg.co.uk
Price £27.49
MT141.cover feat Apps.indd 48 12/02/2015 11:43

The 100 best apps for music production Feature MTF
TOP 10 DAW apps
The closest thing to fully-blown DAWS and

complete studios for recording or making music…
APPLE BLIP SOUND
GarageBand Interactive TRENDS
(iOS) NanoStudio Studio.HD
(iOS) (iOS)
Apple is giving GarageBand away free NanoStudio was one of the first This loop-based app is aimed at anyone
as part of the iOS package or via iTunes, music-making apps on the market. who wants to get ideas and tunes
so it makes two of our Top Tens. If you Within it you can combine up to six together quickly and who doesn’t mind
don’t have it then it’s obviously well instruments (expandable to 16) using loops to do it. Sure you can record
worth a download. It only comes with including the rather fabulous Eden your own playing – and do this three
eight instruments as standard but £2.99 16-voice synth. There’s sampling and times per track over eight tracks
gets you the full works, and what an pad triggering via the TRG-16 plus a resulting in 24 playback tracks – but
amazing app it is. GarageBand features sequencer that enables up to 64 tracks with 900 loops on offer across a variety
‘proper’ virtual instruments such as to be assembled (if you buy the of genres you’ll be very tempted just to
guitars and pianos – although you expansion). With a nice range of effects, assemble music that way. There are a
needn’t be skilled in either to play them NanoStudio is well suited to the decent range of nifty effects that you
– and with 250 loops thrown in you can mid-experienced musician. can use on each channel but there are
easily be assembling songs in no time, Web www.blipinteractive.co.uk some limitations in mixing too,
especially with the ‘smart’ options that Price £9.99 although at just £6.99 it’s one of the
help you assemble melodies and beats. cheapest options to get some quick
All genres covered, no experience tunes together.
needed, easy to use and free! Web www.soundtrends.com
Web www.apple.com Price £6.99
Price Free/£2.99
HARMONIC IMAGE-LINE STEINBERG

DOG FL Studio Cubasis
MultiTrack Mobile HD (iOS)
DAW (iOS and
(iOS) Android)
With little in the way of compositional With 133 instruments, FL Studio Mobile Like GarageBand, Cubasis is put
options – that is instruments or bundled HD definitely veers more towards quick together by a company that knows its
loops – Harmonic Dog concentrates on composition than the likes of Auria and music software. Steinberg has been at it
recording and does it well. It also looks MultiTrack DAW, which concentrate for years, which definitely shows here.
great, the waveforms especially, and more on recording. You compose either This is an incredibly slick music
there are several effect options both per by using a virtual keyboard, piano roll production app and more like a
track and globally. You can even do a editor or a very intuitive step sequencer. professional music-making package
little mastering to make your tunes It’s pretty hard not to get some decent than many others on these pages, and
sound more ‘pro’ should you wish. tunes going within minutes and this is Cubasis also boasts incredibly intuitive
You’ll want to upgrade to get the probably the app to go for if you are touch controls. It is therefore quick to
maximum track capacity but doing so new to music making, as it has find your way around – create tracks
will only cost you a total of £12.48. everything you need on just a few easily and select instruments and
Web www.harmonicdog.com screens. It’s arguably more for loop- effects in an instant. It’s pricey, and
Price £6.99 based composers – within electronic or could do with more synths, but you
dance genres – than GarageBand, but really can get pro results and it’s ideal
for instant rewards there’s little better. for all genres and musical abilities.
Web www.image-line.com Web www.steinberg.net
Price £13.99 Price £34.99

TOP 10 DAW apps cont... TOP 10 Synth apps
WAVEMACHINE
The app market for synthesizers is hotter
LABS than ever with emulations of classics synths
Auria
(iOS)
alongside modular madness. Here are our
ten best…
One of the first quality recording apps
for the iPad and still one of the best.
Auria features quality channel strips on KORG 2BEAT
each of its 48 playback channels with iMS-20 Oscilab
effects bundled in by high-quality (iOS) (iOS and Android)
third-party companies such as PSP
Audio (and there are many more As well as software versions of the Hard to categorise this as just a synth
optional effects to buy too). There’s little MS-20 there are even newer hardware as it’s really a groove box and more.
to get excited about on the composing releases including a mini keys and But it features so many instant sound-
side as this app concentrates purely on build-your-own! Which all must mean shaping and swiping options that it
high-quality recording – and on that that this is a great synth. iMS-20 shows a great way forward for
score is the most ‘pro’ app here – and is doesn’t disappoint but you might be a hands-on mobile synthesis. There are
the ideal choice if little overawed at first, as it does look 28 wave shapers, a synth, a drum
you are in a band pretty daunting and Korg has added a machine and 36 instruments. You go
and want to lot. You can patch things together, into each section and adjust as it
record gigs or route audio and effects in and out or loops. Adjust the waveforms, for
studio sessions. generally just have fun with the example, add some beats and then
Web www. sequencer, the pattern producer and a instrument notes to flesh it out.
auriaapp.com fantastic drum module. Inspiring stuff.
Price £34.99 Web www.korg.co.uk Price £20.99 Web www.2beat.io Price £6.99
4 POCKETS BEEPSTREET JASUTO

Meteor Multitrack SUNRIZER (iOS and
Recorder (iOS) (iOS) Android)
With a traditional mixer this is more of
a recording app, but there are
instruments and effects for producing
complete in-the-box tunes. Meteor is a We’re trying not to do too many Interestingly with Jasuto and
very rounded music-making package emulations of classic synths here but Reactable the Android and iOS
and suitable to slightly more this is a worthy inclusion and not a platforms are blessed with (at least)
experienced producers in any genre. total emulation, although owners of two modular synth-type apps where
Web www.4Pockets.com the highly regarded Roland JP-8000 you drag and link modules to create
Price £13.99 will be happy when they give this one various sounds, sequences and so on.
a go. It uses SuperSaw waveforms, Jasuto comes with more than 75 of
and these are combined with analogue these nodes plus (thankfully) 200+
INTUA modelled oscillators, loads of examples, so you don’t have to do any
modulation and filtering meaning the work if you are a non-synth head. And
BeatMaker2
resulting sound is right up there with some of these really are something to
(iOS and Andoid) pretty much every mobile synth out behold: giant bulbous creations all
BeatMaker was one of the first ‘proper’
there (and way beyond some). It might pulsing and shimmering with wave
mobile apps, and while BeatMaker2 has
be more dance orientated but the options to adjust parameters in time.
extensive drum machine action it’s
original was slap-bang in the middle Jasuto might just have the edge in
developed into a complete music
making package with instruments,
of rave, and this pays homage to it terms of prettiness, but big fingers on
samples and effects. We’ll look at the while supplying enough sounds for both of these apps could be a
drum side of things in detail next month… more up-to-date genres. problem. But then aren’t they always?
Web www.intua.net Web www.beepstreet.com Web www.jasuto.com
Price £6.99 Price £6.99 Price £2.99

WALDORF ARTURIA
Nave iMini
(iOS) (iOS)
Waldorf has a great reputation in Over a year since its release and this
wavetable synthesis, and while Nave classic Minimoog emulation is still as MOOG MUSIC
may look fairly simple its engine great-sounding as ever, with a front Animoog
contains some of the finest factory panel that is easy to use, equalling a
wavetables from Waldorf’s Blofeld synth that is easy to program. It
(iOS and
and ‘soon to be legendary if they comes with a huge variety of presets, Blackberry)
aren’t already’ Wave and Microwave a little randomly ordered at first but It is refreshing that a company with a
synths. There’s more, however, as Nave then you realise you can load them by track record as good as Moog’s in
has a couple of wavetable oscillators programmer and type very easily. producing hardware hasn’t just done
and an Uberoscillator to fatten things There’s a glorious performance page a software emulation of its synths
up. There’s a shedload of other where you can modify parameters in (but that would be very cool too).
features as some of the biggest names real time using X/Y grids, plus chorus Animoog is powered by an Anistropic
in modern synthesis were involved, and delay effects and a neat Synthesis Engine (or ASE) and the idea
including Axel Hartmann. As such adjustable keyboard. Arguably it is to move through an X/Y space to
then, Nave delivers the sonics but could be more accurate sonically but, morph between classic Moog sounds
might be for the more experienced hey, what Arturia has added is a using an X/Y pad. With excellent
synth head. Spend time with it and bonus to the sound overall, which is touch feedback and those superb
you will be very well rewarded. both right and varied. Superb. sounds, it’s a joy to use.
Web www.waldorf-music.info Web www.arturia.com Web www.moogmusic.com
PROPELLERHEAD Thor REACTABLE STEINBERG

(iOS) (iOS and Nanologue
Android) (iOS)
Originally a research project the If you want something free then we

We love a bit of marketing speak. Reactable caught the eye of many have a whole section of free apps in
Apparently Thor is ‘simply the most musicians who loved the concept, this issue, but this one didn’t make
powerful synth ever created; an which was essentially moving blocks it… because we could include it here!
unstoppable monster of a sound over a scanner to synthesise sound. Nanologue is Steinberg’s surprisingly
generator that utilizes synthesizer One was Björk who took a prototype good analogue synth emulation. We
technology from the last 40 years.’ It’s of it on tour, successfully combining say ‘surprisingly good’ because
a shame that lines like that do get in the visuals (it looked amazing), with initially it’s just that – a bog-standard
the way sometimes as Thor really is a hands-on real-time synthesis. Now synth – but what it does it does very
very good synth, transferring the bulk the blocks have been turned into well. Big monophonic sounds, cool
of the power and character of the virtual touch elements, easily linked interface and very easy to use. If you
original into the iPad for some together to produce very interesting are new to analogue synthesis you
breathtaking sound. With over 1000 results when dragged into a central can’t go wrong with this. It’s not
presets and a synth engine based pulsing area. Reactable really does trying to be
around six different oscillators and show what touch operation is all clever but it
four filters you really do get an about – don’t expect to be making can be big!
incredible range of sounds songs straight away but it is great for Web www.
Web www.propellerheads.se hours of noodling. steinberg.
Price £10.49 Web www.reactable.com net
Price £6.99 Price Free

TOP 10 Controller/Performance apps
There are a large number of apps specifically designed to control music

software and hardware. Here are the best…
TKFX HEXLER. Livkontrol
(iOS and NET (iOS and
Android) TouchOSC Android)
(iOS and
Android)
TKFX is a controller for Traktor Pro’s TouchOSC for iOS and Android is an Ableton Live is one of the DAWs that
effects that runs on iPad and Android open programming environment app best suits remote control from a mobile
devices and gives you remote control of that isn’t tied to any particular software device thanks to its clip-launch style of
the effects in real time. Greatly but instead enables you to create setups performance. Install the support files
expanding on the control available to to control anything that can accept the on your Mac or PC and Livkontrol for
you using the mouse in Traktor itself, it Osc or MIDI protocols, which covers a iOS and Android will discover your copy
uses MIDI mapping to enable an X/Y huge range of applications. You can of Live (8.26 or higher) and give you
grid, and you can assign different choose custom sets of controls and hands-on control over your sessions.
parameters to both axes as well as make assignments, building unique There’s the Launchpad interface for
holding the effect on, flipping between maps to do exactly what you want. It launching clips, a scrollable Track
decks and slots and controlling overall supports both wireless and wired MIDI Detail, and a Clip Composer to work
dry / wet levels. To enable this you have and is officially supported by Logic Pro, with MIDI clips remotely. There’s also
to install a small, free app on your Mac as well as a range of other DAWs and MIDI sliders for varying parameters,
or PC that acts as a MIDI server more experimental music packages. and MIDI pads for composition. Live
between the two. It supports both There’s a downloadable editor for OS X, responds especially well to remote
wireless and wired network connections Windows and Linux that enables you to input, and with this app you can control
and you unlock access to more of create and customise layouts more your sessions and actually play and edit
Traktor’s effects via in-app purchases. easily from your desktop computer. MIDI live as well.
Web www.tkfxapp.com Web www.hexler.net Web www.livkontrol.com
Price Free, with in-app purchases Price £2.99 Price Free, Standard and Pro versions
LIINE IK APPLE
Lemur MULTIMEDIA Logic
(iOS) DJ Rig Remote
(iOS) (iOS)
The touch interface is perfect for certain Designed to work in conjunction with As is often the case, Apple is so big it
kinds of control, and before iPads and IK’s iRig Mix, DJ Rig is a familiar- can afford to give away some
iPhones came out it was restricted to looking DJ app with two virtual remarkably powerful apps in order to
very high-end hardware. Now for a tiny turntables and several modes of drive hardware sales. For musicians
fraction of those kinds of costs you can operation. Each of its decks can operate that’s a pretty good deal, and Logic
get the same experience. Lemur enables in waveform, turntable or CD Digital Remote is a really excellent app for iPad
you to build any control interface you Jog modes to suit your performance that works with Logic Pro X, MainStage
can think of for software that can style. You get all the tempo and sync 3 and GarageBand. You can play any
receive MIDI or OSC input signal. That features you’d expect as well as a drift Logic or GarageBand instrument
includes DAWs, DJ software, VJ apps, meter, direct cue with multiple cue remotely on a virtual keyboard or
stage lighting and loads more. A highly points, three-band kill EQ and access to fretboard, play beats on virtual pads
advanced system, it lets you script the iPad’s music library. There’s also and even strum chords. Navigate
custom widgets with multitouch IK’s X-Sync feature that syncs the projects using transport controls and
support and has complex sequencing tempo of tracks from the iPad with markers, punch recording in and out
objects and an in-app editor (iPad only) songs from external sources when used from anywhere on a network and
to design and edit templates on-the-fly. with an iRig Mix. There’s AutoMix for remotely change patches and trigger key
Fully skinnable, it’s found fans among when you want to go to the bar and a commands. It’s an amazing and free
some of the leading electronic artists. loop surface as well as onboard effects. extension to your studio setup.
Web www.liine.net Web www.ikmultimedia.com Web www.apple.com/uk/logic-pro/
Price £17.49 Price Free; full version €17.99 Price Free

NATIVE
INSTRUMENTS Traktor DJ (iOS)
When NI does mobile apps it tends to do them
really well. Traktor DJ for iPad and iPhone
takes the essence of the much bigger Traktor
Pro software and places it into a touch
environment. The results are amazing:
incredibly accurate beat detection and sync
capabilities, slice freezing and easy library
and playlist navigation. You get a bunch of
effects that can be controlled via integrated
X/Y pads and the whole thing feels really
slick. You don’t have to be an experienced DJ
to give a great performance and you can even
record the output of the app as a regular
audio file. Features like the Superslicer mean
it’s more of a performance tool – it’s not just
for spinning tracks.
Web www.native-instruments.com
Price £2.99
You get the kind of functionality

from your iPad that a decade ago
would have cost thousands
STEINBERG NEYRINCK HUMATIC
Cubase iC V-Control TouchDAW
Pro Pro (Android)
(iOS and (iOS)
Android)
Steinberg has been very active in V-Control Pro is a multitouch control This Android-only MIDI control app
developing a range of iOS applications surface that supports a wide range of supports Cubase, Logic, Pro Tools, FL
that tie in with its flagship Cubase apps running on your Mac or PC. It uses Studio, Reason and a range of other
software. Cubase iC Pro (there’s also a Wi-Fi to control transport, editing and DAWs. You get mixer and transport
free version available) runs on iPhone mixing and also provides control of functionality and the app can send
and iPad as well as Android and is sends, automation, groups, plug-ins, MMC in parallel with, or instead of,
beautifully designed, giving you a transport, I/O assignment and more DAW control. There’s a multitouch MIDI
detailed overview of your project as well depending on the app you are keyboard and launchpads, a MIDI mixer,
as hands-on navigation controls. You controlling. Remarkably, it can connect configurable X/Y pads and the app
can mix, and you also get to set up to to almost any music app: Pro Tools, works both over wired and wireless
four individual headphone feeds using Logic, Live, Cubase, Sonar, Reason, connections and hooks into Apple’s
Cubase’s control room features, and any Digital Performer and Reaper among Network MIDI implementation. It’s an
performer with their own device can them. And it can also control Adobe inexpensive way to open up your studio
adjust their own mix independently. Premiere and Final Cut Pro. It may be setup to wireless control from your
There are customisable key commands among the more expensive apps around Android device and can be configured to
and macros, and you can record- and but it gives you the kind of functionality work as you wish. There’s a limited free
monitor-enable tracks from anywhere from your iPad that just a decade ago version for testing and then you can opt
on the Wi-Fi network. would have cost thousands of pounds. to buy the unlimited version.
Web www.steinberg.net Web www.neyrinck.com Web www.humatic.de
Price £11.99 Price £34.99 Price £3.80; Free demo available
MT141.cover feat page 53.indd 53 12/02/2015 12:08

TOP 10 FREE apps
Yes, you can get something for nothing and it can be great. In fact you can
get ten somethings for nothing, and here they are!
SoundCloud APPLE NOVATION
(iOS and GarageBand Launchpad
Android) (iOS) (iOS)
The SoundCloud app GarageBand for iOS is free when you The Lauchpad app for iOS comes free
runs on your iOS or buy any new iOS device, otherwise it with eight ready-to-play sessions, and
Android device and not costs £2.99, and for that it works on additional features such as audio
only provides a way to iPad and iPhone for a single payment. import are available after in-app
listen to content from the It’s ludicrously cheap considering what purchases. For £4.99 it’s probably worth
audio-hosting website and curate your you get: multiple virtual instruments, unlocking audio import as it will really
own playlists and collections, but also auto-playing tools for strumming broaden the scope of what you can
record directly from your device into guitars and playing chords, guitar amps achieve: you get an 8x6 grid for
the cloud. So if you are out and about or and live recording through effects, a launching up to eight loops at once, a
making field recordings you can use sampler and a cool mixing environment. range of effects on iPad including
your device’s built-in mic and capture You can record lots of tracks (though repeater and synced filters, and on the
the sound around you directly into your not unlimited) and when you’re done iPhone there’s filter, stutter, gating and
account. SoundCloud is pretty much the either mix down your file or export the delay. You can perform, mix and match
standard audio hosting site for most raw project data out to GarageBand on and trigger loops and record your
people these days and also provides the Mac for further editing. As such it’s performance, then share it online or to
some apps to help you sell and market a great way to start an idea on the move another app via Audiobus. You can also
your music. then continue work back at home. connect one of Novation’s controller devices
Web www.soundcloud.com Web www.apple.com via the USB Camera Connection kit.
Price Free Price Free or £2.99 Web www.novationmusic.com
Price Free
RETRONYMS Drum Guru REVONTULET

Tabletop (iOS and STUDIO
(iOS) Android) Walk Band
(Android)
Tabletop is a modular environment that Drum Guru for iOS and Android is a This popular app for Android gives you
lets you mix and match different training app for drum enthusiasts of all a range of virtual instruments to play
devices such as samplers, mixers, skill levels, and features lessons on the move. There’s a virtual piano
effects, synths and more. You get 14 delivered in video and audio format by with single or dual rows, two-player
devices for free and can add extras via some of the world’s leading drummers. mode, along with pressure sensitivity,
in-app purchases. It’s an advanced but There’s a half-speed option so you can key-width adjustment and five keyboard
relatively approachable system and up break down what’s actually going on, sounds. You can record MIDI and audio
to 43 devices are available, with and musical notation and transcription and set your recordings as a ringtone.
support for Tabletop-ready apps such as of each lesson that can be viewed while The virtual guitar has chord mode and
iMPC, iMini and iProphet. There’s a watching the video. Interactive practice three model types, and there are also
piano-roll editor and pads for mode enables you to play along with or five drum kits that you can play using
programming and editing MIDI, without a click, looped and at different virtual pads. Bass and synths round off
quantization, MIDI learn and mapping, tempos. Lessons are divided into packs the package, and there’s support for
Core MIDI support and the ability to of 8-10, categorised by style and skill external MIDI keyboards over USB
hook up compatible MIDI hardware. level. You can add more lessons for not MIDI. It’s possible to add more
More devices and features tend to get very much money via in-app purchase instruments through in-app purchases.
added over time so Tabletop is an in the style you want to learn. If you’re after a free way to play music
organic, expanding environment. Web www.drumguru.com on the move, this could be for you.
Web www.retronyms.com Price Free Web play.google.com
Price Free; added in-app purchases Price Free

TOP 10 FREE apps cont...
IK Musical Piano Hokusai

MULTIMEDIA FREE Audio Editor
AmpliTube (Android) (iOS)
Free This free, ad-supported app gives you a
(iOS) virtual piano and keyboard with various
options as well as eight bundled MIDI
AmpliTube Free for iOS brings a piano instruments. You can pay to This audio editor for iOS supports
beautifully designed set of guitar upgrade the app, which unlocks 128 multiple tracks, and you can edit them
processors to your mobile device and it instruments, wireless playback and side by side, mix together, export to
works using either the built-in mic or a piano recording. WAV or MP4 format and send them to
connected interface to get sound into Web play.google.com your computer, DropBox or to another
and out of the hardware. You get four Price Free app inside your device. You swipe and
simultaneous stomp boxes, an amp zoom to select areas of audio clips, and
head, cab and mix and you can add live scrubbing means you can hear the
more gear by purchasing in-app. There’s IK MULTIMEDIA sound as you move your finger across
a single-track recorder, again the waveform. There’s full undo support
iRig Recorder FREE
expandable to eight with master and a set of bundled processing tools
effects if you choose, and a tuner and
(iOS and Android) includes fades, normalization, reverse
The app is designed to
loop drummer module to play along to. and basic synthesis. Upgrading to the
work with IK’s iRig Mic
Inter-app audio and Audiobus are paid version adds audio copy and paste,
models but will work with
supported for touring sound grain synthesis, noise gating, time-
any mic. If you want to
internally and imported songs can be stretching, pitch-bend and a host of
record on the move and
slowed down for you to learn them then clean up and upload other effects including filtering, reverb
more easily. your sounds, try it now. and modulation.
Web www.ikmultimedia.com Web www.ikmultimedia.com Web App Store
Price Free Price Free Price Free
TOP 5 Vocal apps
Five mobile apps designed

with the singer in mind…
IK ANTARES VIRSYN
MULTIMEDIA Auto Tune Harmony
VocaLive (iOS) Voice
(iOS) (iOS)
VocaLive gives you a suite of 12 Antares has been at the cutting edge of Harmony Voice is a pitch-shifter and
real-time professional vocal effects as pitch correction and auto-tuning on the harmonizer that can add up to four
well as recording capability that can be desktop for years, so it was natural that voices to your sung signal based on keys
combined into a chain of any four at they would eventually bring that that you play on a keyboard, and also
once. 50 presets are included and the technology to the mobile arena. The idea comes with automatic tuning correction.
effects include Pitch Fix, Choir (a is that you plumb your iPhone or iPad in It works with formants, so you can turn
three-part harmonizer), Morph for between your mic and the mixing desk a female voice into a male one and vice
formant shifting, De-Esser and Doubler. or your audio interface and make versa. Choose automatic or manual
There are also seven studio effects settings on the device for how the pitch harmonisation, change voice character
including reverb, delay, EQ and is to be corrected. Use gentle settings and play back racks from your iTunes
compression. The single-track recorder for subtle correction or flip into full library. There’s onboard reverb, delay
can be expanded up to eight tracks with robot mode to get the well-known and chorus to process the signal, and
in-app purchases, and a Voice Cancel ‘stepped’ effect. It’s Audiobus Audiobus support along with an audio
feature lets you remove the vocal parts compatible so you can use it to recorder with a metronome and support
from existing tracks and sing along to process vocal parts that you have for MIDI input devices. Connect to other
them. It’s MIDI controllable and already recorded, and has multiple apps or use it as an effect between your
supports Audiobus for routing vocal scales available for more accurate mic and computer-based recording
parts in from other apps. pitch correction. setup and create harmonies with ease.
Web www.ikmultimedia.com Web www.antarestech.com Web www.virsyn.net

MTF Feature The
The100
100best
bestapps
appsfor
formusic
musicproduction
production
TOP 5 Learn Music apps
Brush up on your technique, learn a new

TOP 5 Vocal apps cont… instrument, or simply work on your musicality
QNEO Better Ears Songsterr
Voice Synth (iOS and Tabs and
(iOS) Android) Chords
(iOS and
Android)
Voice Synth is a nifty tool for real-time Better Ears for iPad is an educational Songsterr for iOS and Android is a tab
vocoding. In fact it has three 24-band music and ear training program, which player with instant access to realistic
live vocoders, AutoPitch, a multiple helps you grow your musical skills. playback of 90,000 songs (500,000 tab
voice harmony arranger, pitch and There are ten different exercises tracks) from Songsterr.com. You can
formant shifter, an onboard sampler, included, starting from interval search tabs by keyword or browse by
24-band EQ, multiple studio effects and recognition all the way to chord tags and popularity, and it supports
a spectrum stroboscope. You can import progressions. You can choose from a guitar, bass and drums. There’s
vocal files or route sound in from the range of exercises performed by up to alternative Chord view, half-speed
mic or via inter-app audio. Use the six different instruments. It comes with playback, a realistic guitar engine and
built-in virtual keyboard to control the a virtual keyboard and fretboard so you tabs for multiple instruments, as well
notes that are generated by the can enter notes yourself, and has four as looping, solo, offline mode and
vocoder and even use inter-app MIDI to skill levels from beginner through to syncing. There’s a tuner and background
control it from a different app. There are professional. There’s support for audio support so you can play along
100 factory presets and you can building your own courses and syncing using a compatible effect app. Happily
record and export your performances. between devices amongst other things. it’s also all legit so when you access a
Advanced pitch-shifting enables you Music theory is often overlooked but it tab the original composer will get a
to change your voice into almost can really help you to get a better small royalty payment.
any style. understanding of how music works. Web www.songsterr.com
Web www.voicesynth.com Web App Store Price App free; subscription is £2.99
Price £6.99 Price £10.49 per month
VocalEase STEINWAY & SONS Guitar Jam

(iOS and Etude 2.0 Tracks: Scale
(iOS and Android) Trainer &
Android)
This app for iPad lets you find a song Practice Buddy
from the in-app music store, download (iOS/Android)
it, and see keys to press at each
This is a portable moment. You can slow it down and even This app for iOS and Android lets you
warm-up studio for practice each hand separately. There’s a learn guitar scales and solo to five
performing vocalists built-in MIDI synth, onscreen keyboard, great-sounding jam tracks right from
and public speakers, and sheet music or piano roll views. your device, adding more styles and
designed by a well- Web www.etudeapp.com scales with the in-app store. The
known vocal trainer. 12 Price Free; buy songs for £1.99 each easy-to-read scale charts show you
warm-up exercises are exactly where to put your fingers to
included as audio files and you start sounding like a pro. Several keys
can play these to get your pipes ready MAHALO and scales are included as well as styles
for the big performance. Warm-ups are
Learn Piano HD such as acoustic blues, jazz and modern
a crucial part of any performance and rock. Simply pick a key to start playing
something that a lot of vocalists don’t
(iOS/Android) the track, then tap Chords to see what
This app, with content from piano tutor
take seriously. With these exercises to chords are being played, or tap Scales to
Peter Darling, shows you everything
hand there’s no excuse for damaging see the scale charts for that key.
from hand exercises through basic
your voice by not limbering up first. playing skills and much more. The app Practice is one of the hardest things to
You can also opt to download itself is small, but you can download motivate yourself to do but it’s an
extra exercises via in-app purchases videos through it to greatly expand the essential part of improving, and this
at any time. Web play.google.com range of lessons you have access to. app can really help.
Price £1.18 Web www.mahalo.com Web www.ninebuzz.com
Price £1.49 Price £1.49 (offers in-app purchases)
Turn to p64 for Part 2 and the next 50!
56 | Ableton
AbletonLive
Live2015
2015 FOCUS
FOCUS

MTF Feature A bluffer’s guide to EQ
MTF Feature EQ Guide
A BLUFFER’S
GUIDE TO EQ
This is what a boost in the highs
looks like. Our node is at about
5kHz, and we’ve got a very high
Q. Expect seriously snappy
snares here.
The first step in becoming a mix master is getting to grips with the
simplest of tools at your disposal: EQ. Rob Boffard shows you
how to bring balance to your musical force…
T
he Equaliser, or EQ, is the Tetris of audio effects. You’ll figure out how
it works in seconds, but it takes an age to master. No other effect, if
used subtly, can make such a dramatic difference to your sound. If you
know what you’re doing with an EQ it’ll make your mixes sound as if
they’ve popped out of a top-of-the-range studio. Conversely, there is no
other effect that, when mishandled, can screw up your mixes so badly. A heavy or
badly managed hand with EQ can wreck a good song.
Don’t stress, though. EQ may sound intimidating but in practice it’s not
difficult to get the hang of. Give us a few minutes with this guide and we’ll show
you exactly what you need to know about this powerful effect.
What’s the frequency?

Let’s start with the basics. Sounds have frequency, right? It’s the part of sound
that is measured in pitch. A high pitch, or high frequency, means that the sound
waves are packed closely together and hit your eardrum more frequently than
sounds with a lower pitch. A low frequency is the opposite, where sound waves
are spaced further apart. That means your eardrum hears those sounds as
low-pitched. If that sounds hard to handle, think of it this way: a violin has a
high-frequency sound; a bass drum has a low frequency.
An EQ enables you to boost or reduce those frequencies. You can make the

A bluffer’s guide to EQ Feature MTF
bass louder, the highs

higher. You can also cut
that bass, or remove
some of the high
frequencies so things
don’t get too sharp. In a
full song where you have
any number of different
sounds, all with their
own frequencies, this is
an exceedingly
important technique.
You’d be hard-pressed to
find a music session
that didn’t have some EQ Your basic paragraphic EQ. Note the individual nodes (each of them draggable), the frequencies along
in it somewhere. the top, and the decibels on the left.
Frequencies are
measured in Hertz (Hz), named for Heinrich Rudolf Hertz, who was the first to
Tech terms
identify electromagnetic waves. Humans can hear only a certain range of
● FREQUENCY: The
frequencies, from as low as 20Hz to as high as about 20,000. Dogs, obviously, can
vibrations in sound
hear much higher, but since they aren’t great music fans the 20-20,000 range is
that determine its
what you’ll see on most EQ displays. This range is known as the frequency pitch. You can also
spectrum. Again, instruments such as bass drums are down low, violins up high, use this as a distinct
the human voice somewhere in the middle. measurement – as in, it
Instruments can possess more than one frequency. Indeed they have ranges of has a low frequency, or a
their own. Think of a kick drum. Sure, you’ve got the big, bassy boom which will frequency of 50Hz.
show up at around 200Hz, but you’ve also got the ‘snap’ as the beater hits the
● HERTZ: The unit used
surface, which registers much higher in the spectrum at around 2,5kHz to 4kHz. to measure frequencies.
What you’re trying to do is lower or raise the volume of these frequencies to Named for Heinrich
bring out, or reduce, a sound’s desired characteristics. Rudolf Hertz. Most EQs
Here’s a pro tip for you: when talking frequencies and EQ, don’t talk about go from 20 to 20,000Hz,
bass or treble. Talk about highs, mids and lows. and it’s not uncommon
to see the latter
abbreviated as 20kHz,
Revert to type or KiloHertz.
So what exactly are you going to see when you bring in your EQ? Well, that
depends. There are a few types of equalisation, some of which are more useful ● GAIN: Simplified,
than others, and it’s gain is volume. It can
worth going through be raised to boost a
frequency or lowered to
Instruments can have more
them all.
cut it. It’s measured in
First, you’ve got your
decibels, or dB.
than one frequency. Indeed

fixed EQ, the most basic
of all the types. ● Q: The width of the
they have ranges of their own

Essentially it gives you a space under an EQ
bunch of controls curve. No, we don’t
– knobs, usually – each know why it’s called
Q. Doesn’t matter.
set to a specific
You’ll want to pay close
frequency. You can’t change that frequency, but you can raise and lower the gain attention to it.
(read: volume) for each one.
Then you’ve got your graphic EQs. Instead of the few controls you’d get in the
fixed EQ you’ve now got dozens, usually appearing as faders instead of knobs.
Each one of them is still locked to a specific frequency and you can still raise and
lower the gain as before, but what this EQ does is enable you to create ‘curves’ by
setting the faders in increments. You usually see this sort of EQ on an old HiFi,
and frankly, they’re a pain to work with.
Paragraphic EQs are what you want. Now you don’t have fixed frequencies;
instead, your EQ display will have nodes, each of which can be dragged to any
frequency you want. You can raise or lower each node to change the gain, and
(this is the clever bit) adjust its ‘Q’ to change the shape of the curve. The lower
the Q, the more space there will be under your EQ curve, which means more
frequencies will be boosted or cut. It’ll look like a hump. Raise the Q, and you’ll
get a spike, with far fewer frequencies affected by the boost or cut.

MTF Feature A bluffer’s guide to EQ
When it comes down to it that’s all the controls

you ever need worry about with EQ: frequency, gain,
Q. Go try it out now. Load a track into your DAW and
start playing. Like Tetris, you’ll figure it out
straightaway. We promise.
OK, there are one or two more things to bear in
mind. Most of the time EQs will include what are
known as high- and low-pass filters. A high-pass
filter is a specific type of gain cut that removes all
frequencies below a certain point. In other words it
lets you eliminate the lows. The opposite is true for a
low-pass filter, which gets rid of the highs. This is
useful when you’re doing things such as EQing
vocals – with so few bass frequencies in them there’s
often no need to have any lows at all, and so a
high-pass filter will get rid of them for you. Handily,
this can also help eliminate background hum.
You also get shelving filters. Essentially they’re a
stripped-down version of the high- and low-pass A high-pass filter. Any and all frequencies under about 700Hz will be cut. This is very useful for
elements such as vocals or strings.
filters, which cut or boost the frequencies in far less
dramatic fashion.
Some EQs provide a subtle colour or warmth to have all sorts of other noises to play with. Sounds
the sound when used. It’s pretty cool. If you don’t share frequencies, they don’t exist in a vacuum. Your
want that then consider investing in a linear or kick drum and your bassline both have low
transparent EQ, which will do nothing but boost and frequencies, and when they combine one will mask
cut your frequencies without colouring your sound. the other. When your sounds start masking each
other you’ve got problems. You’ll end up with a
Make room muddy, disappointing mix.
So you’ve got your EQ. You’ve loaded it up, you How do you fix this? You use the EQ to carve out a
understand how Q and gain work, and you’re ready space for each sound. When your vocals start there
to go. What exactly do you do with it? shouldn’t be anything else dominating those
On an individual level, when applied to a specific, frequencies, so you can use your nifty paragraphic
solo’d sound, you’re going to use it to make things EQ on instruments that conflict with the vocal and
sharper. You’re going to use that EQ to take the sound lower the gain in their middle ranges.
from where it is to where you want it to be. You will Now, we can’t teach you how to do this. We can
boost the frequencies that bring out the sound’s best
The only way that you get

qualities and cut the ones that muddle it. A big,
booming bass drum will not suffer – indeed, will be
good at using EQ is by doing lots

improved – if you use a shelving filter to remove
some frequencies above, say, 15,000Hz.
and lots of mixing

But that’s not difficult. The tricky part is what
happens when you un-solo a sound because then you
teach you how it works but the only way you get
good at Tetris is by playing, and the only way you
get good at EQ is by doing lots of mixing. You need
to learn how different sounds work together and
which cuts and boosts you need to bring out their
best qualities. You need to listen to a sound –
really listen – and discover where its most
important frequencies are, as well as the ones
which you can cut.
That being said, there are a few principals to
abide by. Cut first, boost later – often, things can be
improved just by dropping the gain in a few places.
And be gentle. You don’t need big Q spikes; and if
you’re boosting or cutting over -3dB, then you’re
going too far.
Most of all, remember that EQ doesn’t exist in
isolation. You’re going to be using a whole whack of
See that greyed-out mountain range? It’s a frequency analyzer. It gives you a visual representation of
other tools to help you along, such as compression,
your sound, showing you the dominant frequencies – useful for EQ.
which we’ll deal with another time… MTF

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music software?
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We continue the new MTF Buyer’s Guide where we round up

bestservice.de
some of the best products recently reviewed in MusicTech

magazine. This time: six of the best instrument libraries.
BEST SYNTH
Zero-G Z
ero-G’s Epica synth
instrument is surely one of the
best instrument sample
Epica
libraries ever, certainly the
best synth one. At least, that is what
MusicTech editor Andy Jones thinks. In
the review back in March 2014 (MT132)
he gushed: “So you can see I love Epica.
I warn, again, that my musical
upbringing almost forces me to dive
into this kind of stuff like some happy,
hippy, electro dolphin, and if you are not
like me you might find it a little too
‘electronic’. But if you’ve ever had your BEST FANTASY
heart plucked by the sound of the Details
Best
synth, then buy it, come and find me, Price £113
thank me and tell me it’s the best £113 Contact
Time+Space
you’ve ever spent.”
Service
01837 55200
He finally concluded: “Epica is as
Web
epic as epic can be. The best collection www.timespace.
for synth-heads currently out there.” com
Shevannai
W
e obviously had great fun
BEST ORCHESTRAL writing this review
Sonokinetic
complete with a boxout
discussing whether Elvish
is a real language (kind of) and what
the difference is between Elvish and
Grosso
Elven (the latter is basically Welsh but
more drunk), but all joking apart this is
a superb collection. Again, Andy Jones
T
here are more orchestral was on hand to say…
libraries around than “The soundscapes are excellent and
seemingly everything else, so I will be using them and the whispers in
they probably warrant a ‘Six of projects that need that kind of distant
the Best’ on their own. Until then, atmosphere. I’m sadly not involved in
Grosso is the best one that we have composition for Elvish projects (but I
looked at of late. MusicTech’s resident am open to offers!). As a quality
orchestral expert Keith Gemmell was Details collection for a very specific job,
direct and simple in his verdict… Price
however, Shevannai is excellent.”
“Grosso is the most comprehensive €299 The final verdict was: “An excellent
orchestral phrase-based composition Contact collection that caters for what could
Via website
tool around – great sound, well be a small market, but there isn’t much
Web www.
orchestrated, and if you get stuck for sonokinetic.net competition out there. ‘Enni e bain’
ideas, it’s highly inspirational.” indeed… Look it up, people!”

BEST OFF THE WALL
Big Fish Audio Details

Price £125
Zodiac
Contact Time &
Space
Tel 01837 55200
Web www.
timespace.com
W
e never really thought we’d atmosphere. Andy Jones said…
see an instrument library “One of the most interesting
dedicated to musique collections I have come across. I love the
concrète but Zodiac takes atmosphere, vibe and direction of the
the best bits of that musical genre – whole collection and applaud its
found sounds, natural noises, recording philosophy.” Details
atmospheric recordings – and turns it He then concluded: “If you want Price £125
into an absolutely stunning collection. something organic and inspiring to Contact Time+Space
01837 55200
Obviously one for ambient fans and counter your real or electronic worlds,
Web
anyone wanting to add some look no further…” www.timespace.com
I love the atmosphere, vibe

and direction and applaud its
recording philosophy…
BEST PIANO
Modartt
Pianoteq 5
P
ianoteq has now reached v5
after impressing us in its previous
incarnations. It is not strictly a
sample library as such –
weighing in at just 40MB – but is certainly
one of the best instruments out there and
with impressive results
that match, if not
beat, other
BEST CINEMATIC libraries. Hollin
Jones said:
Heavyocity
Details “Pianoteq is an
Price $399 excellent way to
Contact info@
heavyocity.com get playable and
AEON
Web configurable
www.heavyocity. piano sounds on
com
your computer
without taking up
T
his comprises two collections: vast and varied. Throughout the pack space.” MTF
Rhythmic and Melodic. And, the production value is high and can
while this is one of the older be adapted as the user needs in a Details
collections here, it’s still a number of ways for variation and Price Pianoteq Stage, €99; Pianoteq Standard, €249;
great all-rounder. Reviewer Liam O’ general expression. You’d be hard- Pianoteq Pro, €399; upgrade from previous version, €29
Mullane said… pushed to produce the mood, size and Contact Via website
Web www.pianoteq.com
“Overall, the preset selection is quality of these sounds from scratch.”

MTF Feature The 100 best music-making apps
MTF Feature
THE 100 BEST

MUSIC-MAKING
APPS It’s the second part of MusicTech’s biggest ever feature! We’ve rounded up
the 100 best apps for music production on your phone or tablet: the first 50
are on p48 and now it’s now time for the second half-century…
Part I

n this issue, on p48, we started this,
the biggest ever feature in the
magazine’s history. We’ve spent
months installing and testing the
latest apps across as many platforms
two
as we could and have narrowed them
down to the best 100 across several
different categories. Over the next few
pages we’re looking at the 50 best beat
making, remixing, guitars, VJing, ‘real’
instruments, experimental apps and
that final stage of music making,
mastering. So sit back and enjoy the
best apps for mobile music making…

The 100 best music-making apps Feature MTF
TOP 10 Guitar apps
If you want to bring the sound of the guitar to your music then there are a
surprisingly high number to choose from…
YONAC INC zCAGE iFretless
Steel Guitar Futulele Guitar
The iFretless app is

There are many It’s not just regular guitars that exist in a guitar fretboard
different types of app form. Futulele is based on 72 high re-imagined for
guitar that aren’t particularly well quality ukulele samples and combines playability on iOS devices. It replaces
catered for in the app world, but Steel and tweaks them to strum the virtual two-handed playing and strumming
Guitar for iOS is one of the more strings. You can play automatically and with a one-touch-per-note approach
unusual apps you’ll find. You can select also set different strumming speeds, that enables fast, precise playing of
from four guitar models: the Lap Steel, recording and exporting your melodies, scales and arpeggios and
Eight-String Console, or either of the performance. It comes with ten real-time control over the pitch of each
traditional Nashville or Texas setups. pre-defined songs and the ability to individual note. It uses velocity
You can use it as a plain slide guitar by create your own, and up to 12 chords sensitive multisampled instruments and
turning on the six-string ‘Lap’ mode and per set with a total of 132 chords has ten instruments available. You can
turning off the accelerometer, or use the available. There are four effects on play up to three different sounds at
full ten-string monster along with board and you can use the separate once on the iPad and there’s inter-app
configurable pedals. Slide, pick and dip remote app to control it from another audio, MIDI in and out support as well
the device to bend, and wire up the device. The audio engine is also capable as audio copy and built-in effects. You
volume pedal and swell. There are also of detecting the current output mode can also layer string and pad sounds
some effects supplied, so you can be (speaker or headphones) and adjusting together with your guitar for an even
sliding like a pro in no time. the instrument’s sound accordingly. bigger sound.
Web App Store Web App Store Web www.ifretless.com
Price Free Price £1.49 Price £6.99
Platform iOS Platform iOS Platform iOS
IK POSITIVE 4 POCKETS
MULTIMEDIA GRID StompBox
AmpliTube BIAS
IK Multimedia’s BIAS has StompBox turns
AmpliTube was replications of 36 your iPad into a
one of the first amps that you can flexible multi FX
serious guitar processing suites for tweak extensively. Swap out tubes, processor and includes 17 effects plus a
mobile devices, and it continues to go preamps, transformers and even alter a four-track recorder (after in-app
from strength to strength. It comes with tube’s bias to get the sound you want. purchase) and media player with
11 stompbox effects, five amps, five There are plenty of presets but every time-stretching. It’s a guitar and bass
speaker cabs and two mic models, and element is also customisable in processor with 16 types of effects,
you can combine these in any order you remarkable detail. It is approachable for including seven types of distortion. You
like. There’s a free version and you can guitarists, too, emulating a real can chain up to 12 effects at once and
also add more models via in-app hardware setup rather than using lots there are other handy tools like a
purchasing, including amps from of fiddly menus. There’s a noise gate metronome and tuner, virtual foot
Orange, Fender, the VocaLive effects and and a room simulator built in, as well as controller, and whammy pedal, tap
more. You can also add more tracks to quick preset recall for swapping sounds tempo and three unique skins. It doesn’t
the on-board sequencer and mixer. on the fly. It integrates with JamUp, the just cater for electric guitars, as it has
There’s a song player as well, so you can company’s other software, and with some presets specifically designed for
jam along to your favourite music, and a other iOS apps. Although it costs a little acoustic processing. It’s highly
feature called Loop Drummer for more than some other iOS amp suites, tweakable, with lots of different
playing along to beats. this is a really pro piece of kit. controls to help you sculpt your sound.
Web www.ikmultimedia.com Web positivegrid.com Web App Store
Price €17.99 Price £13.99 Price £13.99

TOP 10 Guitar apps cont…
LINE 6 usbEffects AGILE

AMPLIFi This app has a guitar tone PARTNERS
Remote 2 stack and 13 effects pedals, AmpKit
all of which are
Line 6 has always configurable, along with AmpKit Free comes
been at the forefront other nifty features. Just with a Peavey
of digitally add a USB guitar cable and ValveKing amp with
modelled guitar amps. If you happen to you’ll be getting great tone two cabs, two pedals, two mics and a
own an AMPLIFi hardware amp, this in no time! built-in noise and feedback filter, and if
free app for iOS and Android will let you Web play.google.com you decide to go further you can add
remotely control the amp’s parameters. Price £2.99 lots of other content via in-app
As well as sharing your tones with the Platforms Android purchases. The paid version of the app
cloud you can download others, match represents better value than buying
the tones of songs in your music library everything separately, and includes
and store unlimited presets. It’s a far JamUp XT more amps, pedals and cabs. Both
cry from having one amp with a few JamUp XT comes with versions have access to the Gear Store
knobs on it – now you can remotely set one amp and six effects, which contains 50 amps, 30 pedals, 26
up, store and load as many different along with the Jam cabinets and eight mics as well as
amp emulations as you like. Check out player, phrase sampler, bundling some content together. You can
the website for more info on the and more. The amps and mix and match gear in the app and jam
supported devices. effects can be arranged with the along with your favourite music from
Web uk.line6.com drag-and-drop interface and you can iTunes or by uploading your own stuff.
Price Free run up to seven simultaneous models. Web agilepartners.com
Platforms iOS and Android Web www.positivegrid.com Price Free (offers in-app purchases)
Price £6.99 Platform iOS
Platform iOS
TOP 10 Experimental apps
With their touch capabilities, tablets, phones and iPads are open to all sorts
of experimentation. Here are the best 10 apps for getting creative…
YAMAHA SunVox BIT SHAPE
TNR-i TC-11
The Yamaha TNR-i is SunVox is a The TC-11 is a fully
based on the modular synth programmable
remarkable Tenori- with a pattern- multitouch synth for
on hardware and based sequencer. iPad that includes 120
works in essentially Not for the faint of heart, it has a presets and unlimited
the same way, just on modular interface and multiple synth user patch slots. Using
your iPad. It’s a new algorithms as well as supporting up touch and the
way to make music by pressing to 32-bit samples. It has multitrack movement of your device for input, it
buttons on the 16x16 grid, not just to WAV export as well as Wi-Fi and MIDI has 23 modular synthesis objects and
enter notes but also to program all in and out, line-in real-time recording 22 oscillator waveforms, three
kinds of other parameters. There are and Audiobus support. You also get controller modules and full display
modes to randomise parameters and multiple synths and effects including customisation. There’s also built-in
clever features such as networked an analogue generator, FM synth, recording and AudioCopy support.
collaboration sessions, file sharing MetaModule for building your own There are no onscreen knobs, keys, or
online, and audio recording and synths and effects, an FFT-based sliders; all synthesis is driven by your
upload to various online hosting synth, sidechain compressor, multi-touch performance. Although
services. The app is much more distortion, echo, EQ, reverb and more. it’s one for the more adventurous
affordable than the hardware and It’s pretty advanced but if your tech musician, the unusual method of
offers a very similar experience, so it’s skills are up to it it’s an inexpensive interaction makes this one of the most
a great way to experiment. way to build instruments. unique mobile synths around.
Web App Store Web www.warmplace.ru/soft/sunvox/ Web www.bitshapesoftware.com
Platform iOS Platforms iOS and Android Platform iOS

TOP 10 Experimental apps cont...
synthPond
The synthPond is a relaxing
spatial sequencer and
generative audio toy. Unlike a
normal sequencer, you place
nodes in a field; it’s
approachable and intuitive,
AUDANIKA VIRSYN
but also fairly deep. So while it’s easy Sound- Addictive
for someone with no musical Prism Synth
knowledge to create a complex
melody, synthPond is also suitable for SoundPrism is an This dynamic
advanced musicians who are advanced MIDI wavetable synth
interested in generative composition. controller for iOS enables you to
The sounds can be placed in a 3D that connects to your DAW or explore a wide range of sonic territory
space, occurring around the listener. hardware synth via Wi-Fi or USB from acid loops, crystal clear
Web App Store (from iPad only) and enables percussions and realistic human
Price £1.49 individual MIDI control of multiple choirs to complex musical
Platform iOS instruments at the same time. It lets soundscapes. It has six dynamic
you easily create harmonies in any wavetable oscillators per voice,
key, and build loops graphically. continuous morphing between two
There’s support for non-diatonic oscillator sets and real-time editing of
PROPELLERHEAD scales on iPad and you get to turn up to 128 partials. Extensive
Figure your iOS device into a wireless 3D modulation is possible with the four
Figure is rather more MIDI controller. It takes a little LFOs and envelopes, and a matrix
experimental than what getting used to but once you do you’re enables real-time control of five
most big developers would likely to find it both creative and parameters using the XY touch pad,
come out with: an app enjoyable to use. New features include mod wheel and the accelerometer in
designed for instant ringtone creation, recording and the iPad. It’s also Audiobus and
gratification and quick pattern direct emailing of compositions. inter-app audio compatible.
creation. You program drums, bass Web www.audanika.com Web www.virsyn.de
and lead synths by tapping on XY Price Free (with in-app purchases) Price £6.99
grids and amount sliders. It’s all Platform iOS Platform iOS
about sliding and tapping, altering
pitches, patterns, tempo and intensity
of the various parts. It’s a fun way of
generating music on the move. MODE OF PIRINGER
Web www.propellerheads.se EXPRESSSION abcdefghij
Price £0.69 noteplex klmnopqrs
Platform iOS
Create music
tuvwxyz
visually with Incredibly, that’s not a
MADGARDEN chain reactions in misprint. This oddly
this unique app. A plex consists of a named app lets you
Glitch- network of nodes, and each has a tone create and control tiny
machine associated with it. When a pulse hits a sound-creatures in the
Glitchmachine is a node, nodes create pulses. The shape of letters that react
generative music resulting chain reaction creates a to gravity or each other
synth that edits noteplex song. You get multisampled and generate rhythms
expressions live to produce sound instruments and synths: three and soundscapes. It’s a sound toy, a
interactively. It’s pretty advanced complete drumkits, a Rhodes-like performance tool and an art work
stuff and features interactive live piano, multiple bass sounds, leads, where you can play with the letter-
code editing and code line muting as strings and more. Add your own creatures and watch and listen to how
well as waveform and data samples to create an even more they interact with each other. It
visualisations to do its thing. It’s unique noteplex. There’s online blends art, biology, fun and physics to
worth checking out the website for an sharing of plexes and the app enables create a unique, dynamic and
idea of the lo-fi glitchy stuff this app zoom, drag, draw and edit modes. It interactive sound ecology. While you
is capable of. takes a little learning but it can do might not be taking this on stage it’s a
Web madgarden.net/apps/glitch- cool things. unique approach to music generation.
machine/ Web App Store Web apps.piringer.net/abcdefg.php

TOP 10 Drum machines / beats apps
Not surprisingly there are loads of apps for beat making, but we’ve
managed to narrow it down…
INTUA KORG NI
BeatMaker 2 iElectribe iMaschine
A workstation With a pattern You get four slots
with great beat memory of 160 in which you can
tools. Import iElectribe gives mix and match
songs/samples or you eight voice instruments and
record your own parts in total: four audio. There’s bundled content and you
sounds. The drum machine section has percussion and four PCM synths. There can record and edit your own sounds
128 pads and there’s a multitrack are eight effects (+ master). Feels like a and add up to two effects.
sequencer and mixer. Web intua.net/ groovebox and great fun. Price £13.99 Web www.native-instruments.com
products/ Price £6.99 Platform iOS Web www.korg.com Platform iOS Price £1.49 Platform iOS
SUGAR BYTES SYNTHETIC

SINGLE CELL
Turnado iPad BITS FunkBox
SOFTWARE
Adept at slicing,
Caustic 3 Drum
mashing and Machine
manipulating beats. You choose which
Choose from instruments you A fun drum
different effects, want to buy from synths, organs, machine and old
swap modules and vary the amounts to vocoders, and drum machine. It has an skool rhythm creator. Comes with
slice and dice your beats. You get four effects rack, mixer and master section classic sounds and 36 preset patterns
X/Y pads to control two effects. There’s with effect slots and parametric EQ. plus you can create your own. Has a
virtual, network and external MIDI Has automation and sample import. mixer and you can sync the app up to an
support. Web www.sugar-bytes.de Web www.singlecellsoftware.com Price external groovebox. Web syntheticbits.
Price £13.99 Platform iOS £2.49/module Platforms iOS, Android com Price £2.99 Platform iOS
FINGERLAB FINGER PRO Electrum

DM1 MoDrum Drum
Rhythm Machine/
Composer Sampler
With 99 vintage
and produced This iOS app uses This lets you load custom (or your own)
drum kits, DM1 real-time synthesis samples, plus add sound packs (many
not only looks great, rather than sampling to generate its free) from Google Play. Audition samples
it sounds amazing too. There’s a step sounds, and is a virtual analogue drum while a pattern plays, record a vocal or
sequencer for old-skool beat machine with a 32-step grid sequencer, instrument track, export to audio, MIDI,
programming, touch drum pads with many sound-shaping parameters, ringtone or DAW. Web play.google.com/
automatic quantization, a mixer, FX tempo-synced delay, compression, Price £2.45, Platform Android
trackpads to distort, modulate and reverb and MIDI support as well as an
transform your beats, and a song audio looper and a performance
composer to chain the patterns you have recorder. There are 11 real-time synth
BEEPSTREET
created into a whole song. You can modules covering everything from kicks
import your own samples from various and snares through cymbals and even
Impaktor
sources and take advantage of the cowbells. Built-in support for Audiobus, A unique synth that uses
randomiser tool to generate ideas. Wave sharing and WIST means you can modelling, FM and noise
There’s support for WIST, inter-app link it to other apps and you’re also able shaping to make beats
audio and Audiobus, and full MIDI to expand the preset list via inexpensive without using samples.
implementation for incorporating it into in-app purchases. This is a nifty drum It has a 6-track recorder,
your studio. synthesis environment for any iOS user. 3D panning, quantization
Web www.fingerlab.net Web www.finger-pro.com and effects. Unusual and
Price £2.99 Price £2.49 unique. Web beepstreet.com/impaktor
Platform iOS Platform iOS Price £2.99 Platform iOS

TOP 5 Real apps
Oddly named, but we couldn’t think of another catch-all title to cover the
apps available to make acoustic or band-type sounds!
IK SoundFont RHISM
MULTIMEDIA Pro Guitarism
SampleTank
SoundFonts are With a suite of
SampleTank is freely available electric and
IK’s iOS version files that use acoustic guitars and
of its much larger synthesis and an amp, this app
desktop samples to lets you play virtual
instrument. Even so, it provides you recreate different kinds of instruments. guitar from your iOS device. Based on
with hundreds of instruments and This app is multitimbral, multi-layered samples, it lets you play along with
patterns from a range of ‘real’ and multi-zonal, meaning that you can songs from your music library and save
instrument categories including pianos, take an ordinary MIDI keyboard and chord presets as well as recording and
organs, drums, basses, guitars, strings, assign key ranges to the different sharing performances with others. Use
percussion and vocals. You can expand presets from different soundfonts. You the Quadroplay system to
the instrument set to over 600 via can also set up different zones and simultaneously control Guitarism and
in-app purchasing, and these include assign input MIDI channels to receive up to three additional MIDI-compatible
MIDI riffs and grooves as well as just MIDI from an external controller or apps, such as GarageBand, in
sample-based sounds. You get a from another app. As well as some complementary roles: guitar, bass and
four-track MIDI recorder and the app effects there’s voice recording chords. Quadroplay essentially turns
itself is four-part multitimbral and has capability, audio import from your Guitarism into an advanced multi-
a built-in master reverb as well as library with overdub, live effects using a channel MIDI controller. AudioCopy and
insert effects. You can edit sounds and modulation grid, and Audiobus and Audiobus are supported too so you can
effects and MIDI is fully supported. A inter-app audio compatibility. integrate with other apps to take things
free version is available for you to test. Web App Store to the next level.
Web www.ikmultimedia.com Price £6.99 Web www.rhism.com
Price £13.99 Platform iOS Platform iOS Price £2.99 Platform iOS
TOP 5 VJ apps
iFretless IK
Bass MULTIMEDIA Matching light shows
iGrand
The iFretless The iGrand puts an
with music is the easy
Bass app is a entire gallery of the way to bring life to any
professional
virtual
world’s finest
pianos right at your performance…
instrument that provides bass and fingertips with studio-grade quality
guitar players with an expressive thanks to high-definition stereo
fretless playing surface. The layout is samples across multiple velocities. vidibox
like a nine-string bass guitar with the The app brings you the most
notes coloured black and white like the playable, expressive and beautiful
keys of a piano. Although it looks sounding grand, baby grand, upright Vidibox lets users
different from a guitar neck, bass and speciality piano instruments create real-time
players will find it surprisingly easy to available on a mobile device. You also music and video
use. It has a good feature set and is get a recorder and a metronome, and projects from an
based on over 200MB of bass samples. you can record as MIDI with intuitive drum pad
MIDI in and out are supported as are overdubbing and punch-in. Virtual MIDI interface. The slots can contain audio,
Audiobus, Audio Copy and inter-app is supported and there’s up to 64-voice video or both and there’s easy import
audio. There’s an XY control pad along polyphony on newer devices. A free via drag-and-drop. You can play up to
with velocity sensing of touch for more version is available and you can add 16 tracks and an automatic video
expressive playability. more pianos via in-app purchases. composition engine displays multiple
Web ifretless.com Web www.ikmultimedia.com videos at once.
Price £6.99 Price £13.99 Web App Store
Platform iOS Platform iOS Price £3.99 Platform iOS

TOP 5 VJ apps cont…
PixiVisor ALGORIDDIM MACHINE-

vjay CODEX
PixiVisor is a clever Algoriddim’s vjay SOFTWARE
tool for audio / transforms your Muon
visual experiments. iPad into a mashup
It’s a simple and fun machine. Mix and scratch your Muon is a music
cross-platform favourite music videos from iTunes visualisation app
application that or combine songs from your music for iPad that
consists of two parts: Transmitter and library with personal video footage. generates endlessly varying organic
Receiver. The Transmitter converts the Web App Store animations in time to your music. When
low-resolution video (static image or Price £6.99 left alone, the Evolution Engine ensures
GIF animation) to sound, pixel by pixel. Platform iOS that your screen is filled with
This lets you listen to the sound of your fascinating, ever-changing animations.
image. But the main function of the If a form evolves that you don’t like, a
Transmitter is to transmit the signal to HEXLER single tap or shake generates a new
the receiving devices. The Receiver then TouchViZ mutant universe. It also includes an
converts the sound back to video. You intuitive control surface editor that
can set the colour palette for this video, TouchViZ lets you makes customising simulation
and record it to an animated GIF file. play back and mix parameters quick and easy, while
This is a more experimental kind of app two channels of video switch-bay patch-panels enable you
that lets you explore the relationship with independent playback speed to customise how the visualiser
between sounds and images. control and ten different blend modes. mutates and responds to touch and
Web warmplace.ru/soft/pixivisor/ You can also use the iPad’s two cameras audio stimuli.
Price £1.99 to integrate live footage Web www.machinecodex.com/muon/
Platforms iOS and Android Web hexler.net/software/touchviz Price £1.99
Price £6.99 Platform iOS
Platform iOS
TOP 5 Remix apps
Whether you want to remix your own music or mash up other people’s,
you can do it on the move with these five apps…
DJStudio 5 Ninja iMashup
Jamm
This DJ app for This app from With this app you
Android lets you legendary record label Ninja Tune can mash up any
spin, mash up and remix your favourite combines aspects of DJing, remixing two tracks from
tunes. It provides two virtual turntables and producing. You buy a sound pack your music library
with a crossfader, skinnable decks, a of your choice from your favourite artist on your iPad or iPhone. Using beat-
scratch engine and disc physics for then use the device to remix it. Touch, matching technology it lets you make
realistic scratching, and access to your tilt and shake to cut sounds or to effect, harmonic mashups without key clashes,
music library. You also get on-board glitch and mix them. You can throw in create loops and copy and paste
effects and three-band EQ, ten one-shot samples and upload your segments of a song to create entirely
customisable sample pads, pre-cueing finished projects to SoundCloud. The new versions. You can adjust the
support, recording of your performances best part is the material you’re working loudness of various elements of a track
with the built-in recorder, and auto with has come direct from artists such and also export high-quality WAV
mixing. You can share mixes to as Coldcut, Bonobo and other respected versions of the end results back to
SoundCloud, use the on-board Ninja Tune acts, so you can get really iTunes or send them to Dropbox. It’s
visualiser, and it’s also compatible with hands-on with their loops, stems and easy to get to grips with and will have
IK Multimedia’s iRig Mix hardware. Its samples. It’s a really well-designed app you searching your music library to see
system requirements are pretty low too, and has a more unique approach than what tracks work well together. Thanks
so even if you’re on an older device you just letting you cut up stuff that’s to its clever features you’ll be able to
should be able to get the party started. already in your iTunes library. make some awesome mashups.
Web play.google.com Web App Store Web www.imashup.com
Price Free Price Free (with in-app purchases) Price $2.99
Platform Android Platform iOS Platform iOS

TOP 5 Mastering apps
As the final stage of music production is

TOP 5 Remix apps cont… mastering we’ve left this category until last!
NOVATION POSITIVE WAVE-
Launchpad GRID MACHINE
The Launchpad
Final LABS
app comes free Touch Auria
with eight Final Touch is Auria is one of
ready-to-play one of only a the most
sessions, and small number advanced DAWs
additional sound of dedicated on the iPad
packs and features such as audio mastering apps for mobile devices and platform, offering up to 24 simultaneous
import are available as in-app it’s arguably one of the best. Using a tracks of recording, 48 of playback with
purchases. For £4.99 it’s worth series of modules that can be dragged 24-bit sound. Each of its channels in the
unlocking audio import: you get an 8x6 in or out of the signal processing chain mixer has an expander, multiband EQ
grid for launching up to eight loops at you can fine-tune your master with and compressor, and there are further
once, a range of effects on iPad incredible levels of control. You get mastering effects such as limiting on
including repeater and synced filters, pre- and post-linear phase EQs each the master channel strip. Crucially,
and on the iPhone there’s filter, stutter, with eight bands and five filter types, Auria supports plug-ins which you can
gating and delay. You can perform, mix, multiband dynamics with four add via in-app purchases. For mastering
match and trigger tempo-synced loops independent bands of compression / you might want to look at Fabfilter’s
and record your performance to share it limiting, a stereo imager, reverb, Pro-C, Pro-Q and Pro-L, all of which can
online or internally to another app via maximise, dithering and noise shaping. be added onto Auria and used to master
Audiobus. You can also connect one of To add to the pro-level lineup of tools process your project. Use Auria like you
Novation’s controller devices to get the there’s stereo mid-side processing and a use a desktop DAW, just on the move!
full hands-on experience. full waveform overview. Web auriaapp.com
Web uk.novationmusic.com Web www.positivegrid.com Price £34.99
Price Free Platforms iOS Price £13.99 Platform iOS Platform iOS
NI Audio Mastering STEINBERG

Traktor DJ Studio Cubasis
This app is remarkably Cubasis is
When NI does powerful to use. If you’re Steinberg’s
mobile apps it looking to get a version of
tends to do them professional master of your iPad Cubase for iPad
really well. projects, this is well worth a look. and it’s
Traktor DJ for Web audio-mastering-studio.blogspot. surprisingly
iPad and iPhone takes the essence of the co.uk powerful. With as many audio and MIDI
much bigger Traktor Pro software and Price £4.99 tracks as your device can handle along
places it into a touch environment. The Platform iOS with a 32-bit, 96kHz audio engine you
results are amazing: incredibly accurate can record up to 24 tracks at once and
beat detection and sync capabilities, trigger over 70 virtual instrument
slice freezing and easy library and sounds. There are ten effects processors
playlist navigation. You get a bunch of
Audiobus that can be assigned both to individual
effects that can be controlled via tracks and to the master channel for
integrated X/Y pads and the whole Audiobus provides a way mastering, and Core Audio and MIDI are
thing feels really slick. You don’t have to to link apps together on a both supported for getting sound and
be an experienced DJ to give a great device. Or more MIDI in and out. Audiobus is also
performance and you can even record importantly, from the perspective of supported. As well as mastering it’s
the output as an audio file. Features like mastering, routing the output of one or basically a supremely capable all-round
the Superslicer mean it’s not just for more apps into another for processing. music production app.
spinning tracks. Web audiob.us Web www.steinberg.net
Web www.native-instruments.com Price £2.99 Price £34.99
Price £2.99 Platform iOS Platform iOS Platform iOS

MusicTech.indd 1 11.02.2015 09:19:25
MusicTech.indd 2 11.02.2015 09:19:36
MTF Technique A track from scratch part 1: Dubstep bass
Technique A track from scratch: Part 1
Dubstep bass
Liam O’Mullane and Christopher Pearson begin a massive tutorial to guide you through
the process of creating the harder edge side of this contemporary genre, their first point of
call being the fundamentals of bass design…
D
ubstep is a genre that’s morphed from its something original. It would be pointless to give you a full
dubbed-out form over the years and since On the disc how-to on today’s sound as the leading artists will have
splintered into two distinct camps. For the more moved on by the time you’ve learned your trade. Although
meditative and deeper experience, artists such today’s sound is of importance, do try to keep an open mind
Accompanying
as Burial, Phaeleh and Mala fly the flag, sticking example audio files
and fully explore our suggested practice in your own way.
to the genre’s original principles of a mix with depth, space included on the DVD This is key, as a lot of the best ideas and sounds will come
and general musicality. Over the years and more recently in from happy accidents and a pursuit for originality. So set
the mainstream, a louder and more aggressive influence your tempo to 140bpm and let’s begin by first defining the
has taken hold. The driving force behind this new breed of essential components for the dirtiest of basslines.
dubstep include Skrillex, Zomboy, Excision and Flux
Pavillion to name a few. Although terms like EDM and Bass: defined
brostep are often frowned upon due to their buzzword The word ‘bassline’ when used in bass music may differ to
nature, this is the musical style we are focussing on in this your own definition, so it’s important to understand what it
five-part feature. means in the context of a dubstep track. Although a sub
bass is used to pin various instruments and sounds
together – so they have an even sense of low-end weight
Set your tempo to 140bpm and – what people consider to be the bassline can be a large
range of musical, noisy, discordant and SFX sounds. If we
let’s explore the components of break down the elements that form to make a dirty
bassline, there are no set rules and this is why
the dirtiest of basslines experimentation is so important. Though less common in

use today, a single bass sound can be the singular feature
of a track, but this does require a huge amount of creative
Like any bass-orientated electronic genre, there are programming to give it the variation it needs to hold the
rules that apply across the board in terms of composition listener’s interest. The more common approach today is to
and production. These aspects will be highlighted when work between at least three separate sounds with
relevant, but our real aim here is to educate you on the contrasting timbres, then after
standard tools for crafting a heavy dubstep track, whilst
offering a variety of techniques you can use to create
FOCUS ON...GUIDE
DRUMS
Though we’re starting our track off
from bass-design onwards, it’s good
practice to get some basic drums in
the mix for a guide as you go. The basic
requirements are a kick and snare with
some form of cymbals/percussion to
add a further sense of rhythm.
Anything busier than this could be too
much information at this stage and
influence your choice of sounds, so
remember to try to keep it simple
Though your first drum sounds can be
sparse, they still need to be
appropriate for the genre. Keeping
things simple we’ve used a quick
double layering technique with an
acoustic sounding drum kit from BFD
edited to add a sense of space and
texture. We’ve then layered synth drum
sounds for that much needed weight
and impact using Tremor. Our hi-hat
has been chosen simply to be clean
and minimal. This is all we need to then
start creating our first bass elements.
MT136.tut genre pt1.2aj.indd 74 11/02/2015 12:59

A track from scratch part 1: Dubstep bass Technique MTF
MTF Step-by-Step Vowel bass foundation with FM synthesis
Not all FM synthesisers are equal and some techniques might

translate differently from one to the next. The fundamentals
however, are the same. Sytrus is one of our preferred options
because it allows control of individual partials (harmonic frequencies
above the fundamental).
Our first oscillator begins its life as a sine wave-based sub. Sines are a clean
01 source meaning frequency modulation is easy to hear and therefore control in
establishing an initial idea, use internal modulation
finer detail. The sine is pitched to E1 or 41.2034Hz – this will sound much higher when
and automation to twist and take their tone into
we apply frequency modulation. The second oscillator’s pitch is the same as the first,
different areas for maintaining listener interest. but slight detuning can be used to create movement.
Though dirty bass might be fierce and in your face, a
constant barrage of a singular distorted synth will lose
the listener’s interest quite quickly through monotony.
Bass design is about building the right sounds, but
before you lay down a single note, you need to be
thinking ahead for how you’ll create bass dynamics.
Dynamics
When designing a bass sound, asides from the technical
starting points we’ll discuss next, be mindful of your
options for twisting and turning a sound. When
balancing parameters of a synth or subsequent creative
audio processing, take note of parameters that create
either a subtle or severe timbre shift. These can then be
either internally modulated within your synth or
sampler so they respond to MIDI note information as
you play, or you can program them within your
sequencer through automation or MIDI CC data. Our second oscillator is set to modulate the frequency of the first oscillator
02 using a triangle wave. This imposes new harmonics which thicken up the sine
wave. If you can control oscillator partials, raise the 32nd to add a new fifth octave
The more common pitch to the triangle’s shape. Otherwise, add a 3rd triangle oscillator up by five octaves
to modulate the 2nd.
approach now is to use

at least three sounds
for you bass
In the interests of workflow, make use of macro
options within the instrument itself or your DAW so
multiple parameters can be controlled at once. If you
don’t decide on the best parameters to modify, or group
them up in this way from the start, you’ll soon find
yourself swamped with confusing movement data. This
will always cause problems when it comes to
arrangement and further editing of your track, so do treat
this as an essential part of the initial creative process.
Moving the modulation amount for the second oscillator will now create a basic
As the parameter combinations of synths and audio 03 vowel sound. Next add another oscillator to create high information for a sense
effects are infinite, let’s look at the standard options we
of air. Pitch a different oscillator (we’ve used a square) up by 64 semi-tones and add
always consider when creating a bassline sequence. modulation depth to taste.
The first choice is what register you want a sound to live
in. Even though the sub bass may stay in the same
frequency area, a lot of dynamics can be created by

MTF Technique A track from scratch part 1: Dubstep bass
synthesis are used so much in today’s production for

dirty-sounding bass. Uneven clusters of harmonic
content that are static or move over time are all used
against each other to create the type of textures the
older generation often dismiss as noise. But it’s this
contrast of tuned and none-tuned sounds that are
essential in creating aggression, abrasion and a
generally up-front energy that still retains a sense of
movement and depth.
FM design
To start with a solid foundation, we use a sine wave
based oscillator. A pure sinusoidal waveform is the
most clean, and therefore most powerful wave we
can create and being infinitely smooth, it has nothing
Bass Processing uniqueness in character. This allowed us to firm but its fundamental frequency to impart. The sub is
There are two different categories you can put up certain areas of the frequency spectrum and
audio processing into when it comes to bass: add harmonic information per-band or mid and essential as it carries the weight of the track and the
creative and mixing. Creative processing can be side plane as required. For EQ balancing you frequencies you want from sub woofers to rattle the
a fundamental part of a sound or punched in on shouldn’t need to do any major removal work to audience’s nose cartilage.
occasion to create a timbre shift for dynamics remove brash frequencies. If you’ve got too much
and variation. Amplitude modulation is a popular grit, go back to source and find what element of On its own, a sub instrument can be nice but our
choice at the moment and can be achieved your synth or plug-in chain is creating it and tone examples throughout the article contain sub, mid and
through a tremolo effect or LFO controlling a it down!
synth’s amplitude. At slower rates you’ll hear a Wherever possible we like to group ‘types’ of
high range information. Sometimes we’ll achieve each
detectable rhythm, but get the rate above 20Hz sound together. Not just for aesthetics and bass instrument with more than one layered source, but
and you’ll hear a distortion that creates edge housekeeping but mainly to give groups of it’s entirely possible to create large and complex
with a soft characteristic sounds their own identity and colour in the mix
As long as you’re processing the mid to high to help them stand out as a unit. For example, patches within a single synthesizer. In this particular
frequency part of your bass sounds (i.e. not all bass sounds will go to a bass group and genre, FM synthesis seems to be the main staple for
processing the sub-bass) the options for creative be compressed, EQ’d and mastered as a unit.
processing are endless. Dry/Wet reverb control, This solidifies its range and defines its space,
strong phasing, guitar distortion and glitch-like allowing other groups to cut through around
effects are tools which feature in dubstep on a these main bass elements.
regular basis. So the more you experiment with Bear in mind that it’s always good practice to
the less common options, the better. pick out similar sounds. So rather than grouping
Mix processing involves the use of EQs and everything musical to a single ‘music’ group,
dynamics processing to balance each sound to think about dividing them by their transient and
fit comfortably within the track. We generally timbre nature. For example, we wouldn’t group
used multi-band processing that also includes pads and guitars together as they’re so different
an element of saturation. FabFilter’s Saturn, sonically. If picked instruments are grouped, we
Image-Line’s Maximus and iZotope’s Alloy 2 can then accentuate frequencies that are plucky
are good examples for their sonic quality and with EQ and add transient processing if required.
Experiment with different processing on your grouped bass sounds
The sub is essential as it

to fill or create space to all sounds as a whole. This will help unify
them and put them in their own space within the mix.
carries the weight of the track

and frequencies you want…
alternating between a low- and high-pitched
instrument. For instance, one sound can be very
low-end orientated which leaves space in the mids and
top-end of the mix. Another sound can have lots of mid
and top info so it’s a fuller-sounding part and the third
sound could be scooped in the mids by being a sub with
a thin sound that plays towards the top-end of the mix
– very much akin to classical music.
The nature of each sound’s frequency content is
another element to explore for dynamics. Fundamental
waveforms – sine, triangle and saw waves – are pure,
slightly and very harmonically-based respectively. The
harmonics are even so they create a pleasant, defined
musical pitch. Square waves also carry pitch clearly, but
they consist of odd harmonics which means they sound
big and hollow. These waveforms can be used in modern
When experimenting with audio processing, or any onboard synth
dubstep, but they will be a point of contrast against
modulation, it’s worth trialling a sound to see if it works better when
other, much less musical components. These re-sampled into a sampler or kept live. Playback speed alters when
instruments are a counterpart by being non-musical playing a sample higher or lower and this adds a character of its own
to a bass idea.
and noise like. This is a big reason why FM and additive

A track from scratch part 1: Dubstep bass Technique MTF
Re-sampling and Slip Editing

A good way to get creative with an existing idea is to re-work it as
a new sample. This can be done in various ways depending on the
tools available in your DAW. All DAWs can bounce audio and this is
the simplest way to re-sample. Once bounced, you can chop and
re-edit the sample, or use slip editing to move the start position of
the audio within the audio clip. This changes the content but the Though we’re focussing on FM synthesis for most of our bass design, additive synthesis is a great option
clip itself stays in place on the grid. This is good way to encounter for different textures. It allows complex waveforms to be built from many sine waves just as real sounds
happy accidents and is most commonly used on long pieces of are in the natural world. But it’s the unique approach it takes to synthesizing sounds and its interface that
audio recorded when jamming with a synth and its parameters. will encourage unique results.
bass creation. Because of how FM synthesis works, it Food for thought

becomes very simple to create complex, warped In this first instalment, we’ve covered the very essence
sounds. In fact, even when basses are created in other of what this genre is about – bass! You should have the
types of synthesizers, it’s usually an FM technique that tools and basic understanding of FM synthesis to
will make the sound fit the genre. For instance, NI’s explore or use to try and mimic our example sounds. You
Massive, although subtractive, uses phase modulation can explore different styles of guide drums at this stage
to create similar-sounding effects. to help expose new potential vibes, but let’s not get too
committed at this stage. After all, we haven’t explored
musicality or thought about song structure and
FM synthesis allows us to
flexibility is a gift at this stage in the process. We’ll next
explore where our bass ideas can go while also
create warped tones – a sine

designing our principle drum sound. MTF
wave adds more harmonics…

Turn over the page for part 2 of Liam and Christopher’s
dubstep guide.
FM Synthesis allows us to create very warped tones

by using oscillators to modulate other oscillators. A sine
wave set to modulate another will impart new even
harmonics which in turn create a new waveform at the
synth’s output. But detuning the modulating oscillator,
or changing its wave type, it will venture into noisy and
unpleasant timbres. Sweeping the amount of
modulation being applied is key to achieving the FM
bass sound used countless times in this genre. So be
sure to explore tuning, waveform choice, waveform
phase and additional oscillator routing to move away
from the norm.
For example, a few of our bass sounds use Image-
Line’s Sytrus with internal modulation amounts being
used for movement. After exploring some strong-
sounding parameters to automate, we then mapped
Musical keys side of this, going too high can leave your track
them across an X/Y controller within the synth. These Due to the sound-design biased nature of the lacking in any low impact information when
X/Y parameters are then mapped to our host software more extreme end of dubstep, musical keys compared to other music in the mix. Also bear
as two automation lanes to keep life simple. To find the are difficult to decipher and follow. Pitching in mind that sound systems are EQ’d to sound
sounds, re-sampling them, pitch-bending etc pleasant for their environment and genre; boosts
sweet spots of where the X and Y best overlap, we can result in the end result, often venturing into and cuts will be applied in the expected sub
started with random automation data, then fine tuned non-western scales and microtuning. But an area, kicks, snares and even where cymbals are
important factor is the choice of root notes expected to fall. For all of these reasons, bass
the automation until we achieved a groove and that you base your sub bass around and its genre artists have naturally fallen into using the
interesting timbre shift against our varied drum track. closest harmonics. keys of around E, F and G.
To underpin an FM instrument with a clean sine Most club sound systems have a bass roll-off You can test this phenomena by running
of around 40Hz which means pitching your sub reference tracks through a spectrum analyser
wave to emphasise bass, we can simply enable another bass any lower than this can cause a less than to study where their keys lie. Even individual
operator, set to sine and keep it modulation free. This universal translation from one venue to the next. sounds are becoming standardised to frequency
means we have all elements of the sound available to In some cases this means you’ll hear no sub at all so mixes tend to have a unified and equally
if your choice of key is too low. On the opposite musical sound.
play in one instrument.

MTF Technique A track from scratch part 2: Dubstep beats
Dubstep beats
Following on from the building blocks for bass design within the harder side of dubstep,
Liam O’Mullane and Christopher Pearson now delve into the art of programming and
producing drum sounds that tick all the boxes for the genre.
I
f you’ve absorbed the first part in this series (over the perfect ingredient to inspire a track to be taken into a
previous pages) you should be joining us with a solid On the disc unique direction.
bass idea, or at least a good starting point to tweak Our own project drum sounds make use of a variety of
later. This may still need a bit of work but, as you’ll see, techniques simultaneously: acoustic-based drum samples
Accompanying
when it comes to drum design and programming, the example audio files
with FXpansion’s BFD3, and home-made, synthetic drums
groove aspects of both drums and bass can now intertwine included on the DVD using FXpansion’s Tremor for some simple physical
and move forward together, inspiring each other as you go. modelling techniques. These first two techniques give us a
In this instalment we’ll explore the use of drum contrast of sounds to mix due to their opposing approaches
synthesis, sampling, ambience, groove, quantization and the of being acoustically and synthetically rooted, respectively.
hows and whys of each. We’ve chosen to delve a little bit These techniques can, of course, be achieved through the
deeper into the actual design of drums for this tutorial, so careful use of samples, but we’ve chosen to use sources
you’ll soon be armed with more than just the simple skills of that give us more flexibility over dynamics and tonal
grabbing the same, commonly used samples that many shaping if it’s needed later in the mix.
aspiring producers reach for today. Creating your own
drum sounds is not only satisfying, it can also be the Let there be drums
Although the blind pursuit of searching for drum samples
Soon you’ll have more can be a fruitful event for inspiration, it can be difficult to
understand what and why you should choose unless you
than just the basic skills have grasped the basic aesthetics of dubstep drum
production. You first need to have an idea of the drums’ role:
of grabbing commonly will they be a lead element, standing forward in your mix
and providing constant interest; or will they serve as a
used samples backing track to support a leading bass or melodic line?

These types of questions need to be addressed in your
choice of both sound source and programming
FOCUS ON...GUIDE DRUMS

Like our bass elements from the first part in this series, individual drum sounds also benefit
from being grouped to a single channel and being processed as a unit.
This is the point when you might insert various
processing devices to add character to
all drum elements as a whole, which in
turn helps them stand apart from the
other mix elements. It could simply be
a case of inserting an EQ, saturation or
compression device, as long as it can
unify the group as a whole by adding
some form of unique tone. For instance,
we did try to use compression to glue
our elements together but this
suffocated the group, making it feel a
little lifeless and over compressed. So
after a bit of trial and error (which we
can’t encourage enough) we settled on
using a combination of two EQs,
specifically for colour, which then ran
through a shaping device to smooth out
the harsh transients, rather than
enhance them.
After using the Dangerous BAX EQ
and Maag EQ4 plug-ins to add some
colour to our drums, the Transient
Master by Native Instruments
enabled us to soften any harsh
transients. At the end of this
processing chain we’ve added a
limiter, which is just tickling the signal
with a few decibels of reduction to
keep dynamics options open for the
mixing stage.
MT137.tut genre pt2.indd 78 11/02/2015 14:26

A track from scratch part 2: Dubstep beats Technique MTF
MTF Step-by-Step Synthetic kick drum design
The first element we usually deal with when synthesising a kick drum for
01 dubstep is the fundamental impact sound. This will involve an oscillator
having an immediate and severe drop in pitch created by an envelope. The main
oscillator should be fairly clean unless you want to go into a more hard-style tone
of kick, so sine and triangle waves are commonplace here. For more knock, start
the kick at a higher pitch before its descent or add curve to the envelope.
To give a good push-and-pull groove to your drum sound, group all

elements except for the kick and snare. Set a compressor on this group to
listen to the kick and snare on its side-chain so all surrounding sounds
duck when these two play. The groove can be shaped using the
compressor’s attack and release times.
techniques. For instance, if the lead instrument is to be

quite frantic and given the limelight in your track, the drums
need to provide space by being made sparse and infrequent
in events, ensuring there’s a focus of power in the right
frequencies rather than overcrowding the mix with details.
Alternatively, when using a more minimal bass section such
as a dub-like sub or less manic-sounding synthesis for the
bassline this opens up the opportunity to be more detailed,
and driving rhythms and sounds can be explored.
During our initial bass-design stage, guide drums were
thrown into the project using a simple break sample or two With the weight aspect of your kick taken care of it’s time to consider adding
02 some character. As it is, this kick can be given a more rounded tone by
carefully increasing the attack time on the amp envelope. Alternatively you can
You need to have an add a tiny snippet of noise or distortion, or a fraction of a bright sample at the
start to give it a more aggressive tone, adding more bite to the front end.
idea of the drums’ role:

will they be a lead
element or backing?
to help guide our bass creation process and govern an
initial vibe. We needed something to give us a very simple
part that wasn’t precious. If these drums didn’t fit how the
bass was starting to sound, it didn’t matter, we hadn’t spent
countless hours creating and processing drums that
could’ve been wasted due to the bass creation taking us
down other paths. Now we have our outlined bass, we can
start to build our drum section to fit the project’s more
focused direction.
The science part If your track is going to be quite sparse you’ll have more room in the mix to
03 make each sound big and interesting, and this is where you can be quite
Regardless of the style of drum sounds you have in mind for
experimental and give your kick a unique body tone (as long as you use EQ
your project, each individual drum element can be thought shaping to keep this new sound in balance with your track). Various sounds such
of and broken down into stages. Let’s think about the as toms, gated reverb tails, etc, can be used to give your kick a tone to set it apart
physics of hitting an object and how each stage affects the from the stock 909 kick that’s too commonplace. Moderation is advised.
next. Firstly we’re hitting a surface with a stick or a brush,

MTF Step-by-Step Synthetic snare drum design
For variation, rather than programming fills don’t forget that effect
processing can also be quite useful too. We’ve made good use of
low-pass filtering to create the odd spot of variation at the end of a
musical phrase before a new section begins. Just program or record
a filter sweep to minimise the drum sound so it has more impact
when coming back in.
the skin then vibrates, firing part of the sound into the
air whilst the rest reverberates internally to its shell and
casing dependant on its material, stiffness, mass and
volume. All of this then radiates out into the room,
which creates yet another reverberation. We’re not Like the Kick Drum Design example, it’s usual to start designing a snare from its
01 impact sound onwards. This will hit higher in the frequency register from around
expecting you to get too scientific here, but creating
180Hz to 250Hz. A good trick to get a nice ping here is to set the pitch of a higher, tonal
drums with these factors in mind can help you produce
layer to ascend so the pitch goes upwards when the impact goes down.
very rich, deep and more natural sounds.
In our example the two synthesized hits for kick
and snare are intended to represent the first impact
strike or transient of a drum’s surface along with a little
of its own ambience. As we’re working with electronic
music it’s actually preferential to use something
synthetic in nature for this initial transient hit as it
keeps it pure, clear and up front. Their fundamental
pitch will trend towards lower frequencies because
our bass is full in frequency content and occupies much
of the higher register. This means the only real
Creating drums with

these factors in mind
can help you produce 02 The impact noise aspect of the snare itself can come from a noise oscillator by
adding ring modulation or distortion to an existing synth hit, or by using a
rich, deep sounds sampled snare sound, then high-pass it so any lower frequencies don’t clash with
your existing impact sound. A classic drum machine sound can also be achieved using
white noise samples. But however you add noise keep a close eye on your envelope
duration (so it’s a tight impact sound), and on the top end (to avoid harshness).
prominent mix space available is around the lower
mids, around 100-300Hz.
Although we’ve chosen BFD3 for our tonal and
ambient layers you can continue with synthesis or
break samples to complete your drum tones, though the
former is beyond the scope of this tutorial. We shaped
our acoustic drum sound in BFD3 by bringing forward
the ambient mics and utilising their width and contrast
with the synth layers to fill the stereo field. We’ve
tightened the body mic sounds with amp envelopes and
tuned them by ear to help them gel with the synth
layers. The body mics have been tightened with
amplitude envelopes and tuned to be more ear-pleasing
when layered over the synths. Similar tightening can be
achieved through synth envelopes or careful volume
control of samples.
To reiterate here, in this particular genre a note of
When working with a sparser drum track like our own, a long noise source can
importance is that anything too high-frequency-based 03 create a huge ambient type of sound when thinned out with a high-pass filter to
in the main drum hits may get lost in the mix due to
avoid any mid-range clutter. Again, white noise can work, but more tone can come
being masked by our synth basses. Something to keep from using an open hi-hat, cymbal crash, ride or even adding a large reverb tail to a
in mind for the mixing stage later down the line! trigger sound.
Finally, to mimic the natural ambience from the skin
and the shell of a drum in a real room, add a very short

A track from scratch part 2: Dubstep beats Technique MTF
FOCUS ON...PERCUSSION TRICKS

In most cases, percussion leans towards being
used for creating fills and phrase endings in the
harder side of dubstep rather than being a
constant element used to drive the rhythm
section forward.
This is mainly down to the fact that basslines,
especially in our example track, tend to be
all-consuming in respect to the frequency range
used and how rhythmical they can be. You could, in
fact, say that bass can take on the roll of
percussion in this genre!
But percussion, when used wisely, can fill out
any uncomfortable gaps in bass or melody parts
and help fill the space with new points of interest
and tonal dynamics. Your choice of percussion is
quite open and can be made from any source, so a
healthy amount of experimentation in this area is
always advisable.
That said, dynamic elements can also be born
from the use of empty space. This too can help to
feed the feel and groove of your track. Sometimes
the music just needs to breathe, and silence can be
golden in these circumstances.
Even using rhythmic tools such as a tremolo
device on non-drum elements in your track can be a
percussive tool. Here we’re adding a rhythmic effect to a pad sound for
one of our fills.
and wide reverb to the appropriate layers individually. amount of distortion built into the synth, which helped
The main difference is the impact synth layer should highlight its punch.
have a dampened sound in the high end so that it Though compression tends to have a reputation of
maintains its thud-like character and the shell sound destroying dynamics it can be used with a slow attack
has a slightly longer, roomy reverb which can have a and heavy gain reduction so that only the tail after the
brighter timbre. A different use of width or panning on transient is reduced, therefore actually increasing
the reverbs can give a greater impression of size. apparent dynamics. This is best used as a shaping tool
on your kick and snare groups individually with custom
Compression and EQ settings as required. A more airy sound can be achieved
Processing is always a subjective craft, but some basic by only compressing the impact transient layer per
guidelines are always a good place to start. In our case, Although we’ve talked a lot about
drum, as it leaves any additional layers or ambience
because the bass sound is the aggressive, mid-ranged synth envelopes, don’t forget effects free and open sounding while the transient layer
element we have pulled back the mid frequencies on that most DAWs have audio is still slightly enhanced.
sample volume envelopes as
our synth layers in favour of allowing BFD3’s acoustic well. These are great to fine tune
timbres to come through in this region of frequencies. the start and end points so Groove and bass
transients don’t mask each
We did, however, add overdrive to produce some sizzle Everyone associates an infectious groove with drums,
other and to make fade outs as
in the top-end of our impact layer using a very slight smooth as possible. and it’s often easy to fall prey to thinking that this is the

MTF Step-by-Step Pattern sequencing
For an authentic dub delay, bar getting your hands on a real tape
delay device, there are emulations available which offer non-sync’d
timing settings in milliseconds and dulled-out delays over time. This
can be roughly emulated by low-pass filtering a delay that runs in
parallel and automating its cut-off to go low over time.
only aspect involved in creating it. The fact is, every

sound in your track can enhance or destroy an existing
groove you may have created. This is something to stay
vigilant of when adding any new elements to your track. The simplest of beat patterns can have a rock feel to them as the kick falls at the
01 start of each bar and the snare in the middle on the third beat of the bar. Some
It’s important to be mindful that each new element
beats will simply have a thin crash-cymbal-sounding layer alongside each drum to
added works at its best to enhance the song.
create a large, sparse sound, leaving space for the bass to breathe in the mids.
When added, each new element in a track can either Alternatively, explore adding cymbal hits slightly earlier on the grid for a sense of
be placed to work alongside a drum part or create a new immediacy or slightly later for a lazy, laid-back feel.
feel by working rhythmically between drum hits. But
this doesn’t have to be the extremes of placing a bass
sound in the biggest gaps between drum hits. For
example, it can be a simple matter of just placing a bass
part slightly before a beat. Then, why not let the kick
drum hit early here, in time with the bass part, to
highlight the fact? This kind of thinking will give more
power and energy to a mix, and the groove now feels
much more natural and less grid-static and sterile.
Groove can also be explored through the use of delay
lines. Classically, the roots of dub relied heavily on the
Every sound in your

track can enhance or
destroy an groove
The feel of your pattern can also be dramatically changed when you explore
02 either swing or triplet quantization. These grooves are instantly recognisable as
they are commonly used in commercial music as a base rhythm or a means for
you’ve created variation. Whether your track will benefit is entirely dependant on the song, but be
sure to experiment as sometimes you’ll find it can bring a track together.
use of delays and this carried through to current-day

dubstep. Using triplet tape delays on some drum hits
can add to the groove and work in place of drum fills at
phrase endings. They can even be used to add
rhythmical ghost notes to a pattern, and this works
especially well when turning off quantization from the
delay unit and using your ear as a guide for tempo
instead, creating a more human feel and a more classic
dub delay from a time before ‘Sync’.
Moving forward
Now we’ve outlined the steps we’ve taken in creating
our bass and drum tracks you should be in a good
position to move forward towards completing your track
(in its rough form, at least). Next time we’ll be looking
more closely at developing our existing ideas towards
If you’re aiming for a more pounding movement in your track, a traditional dub
an arrangement and adding melodic content. In the 03 beat will give a sense of sounding like 4/4 hard-style music even though the
meantime be sure to explore what can be achieved with
third beat of the pattern is a snare rather than a kick. We’ve used velocity changes and
the tools we’ve demonstrated so far. MTF side-chain compression to emphasise the main drum hits, and left lighter, dynamic
hits in-between. Our crash and rides also fall on the beat for a more driving feel.
Turn to p88 for part 3 of Liam and Christopher’s
dubstep guide.

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MTF 20 Pro Tips Instrument mic’ing
Instrument
Mic’ing Tips
It’s the most vital technique to master, as capturing a great sound is key to producing a
top-notch mix. Get the inside track with our essential advice…
RAISE YOUR AMPS UP
02 It can be a good idea where possible to place combo
amps on a chair or a stand to isolate them from the floor, as
02 this will result in a cleaner sound. Also try placing amps away
from walls or the corners of rooms, as this tends to reduce
the likelihood of a booming effect that will be picked up by
the mic and colour the signal. If you’re dealing with amp cabs
and heads they’re usually too big to place on top of
something, though you could consider a couple of crates, like
you sometimes use at gigs to raise amps up to direct more
sound at the crowd. If the space you are recording in isn’t
perfect you can try boxing the amp and mic in using sofa
cushions or, at a pinch, a duvet. This will have the effect of
creating a kind of acoustic shielding that should remove
unwanted room ambience from the recording if you are
having problems with reflections.
LESS IS SOMETIMES MORE

03 Drums are probably the most technically difficult of all
instruments to record properly, but your approach should
reflect what you’re trying to achieve. A slick pop record might
well call for upwards of ten drum mics, lots of ambient room
mics and so on, but a more lo-fi kind of garage guitar track
might sound better with just a few well-placed microphones
picking up a grungier sound. This also means fewer drum
Getting your amp off
the floor will
eliminate unwanted
dirt (above).
ACOUSTIC GUITAR POSITIONING More mics for a

01 A good starting place for recording acoustic guitars is to cleaner sound, or
fewer for a trashier
use a cardioid mic placed around 40cm from the guitar, firing one (right).
at the join of the neck and body. This usually offers a good, 03
well-balanced sound, and though it captures some of the
power coming from the sound hole it doesn’t dominate the
signal. With any live recording, experiment with moving the
mic around to see what works best for your particular
situation. As a general rule, moving the mic gradually further
up the neck will increase the high frequencies captured and
lessen the bottom end, whereas moving the mic closer to the
sound hole will add warmth and depth if your sound is overly
bright. Moving the mic further away from the guitar will create
more ambience but perhaps at the risk of losing some
definition. Placing the mic closer to the guitar will create a
more intimate and dry sound.
MT139.Tips.indd 84 11/02/2015 14:40

Instrument mic’ing 20 Pro Tips MTF
tracks to juggle in the mix, though also less overall control of

the drum sound. Bleed is something that some producers get
obsessed with and it can be lessened by using very
directional mics, though you’re always likely to get some
signal leaking between them. Bleed can be minimised
through careful placement and also reduced using EQ after
06
recording, but it’s usually not a huge problem if a little signal
has bled between some of your drum mics.
PIANO, MAN…
04 Recording an acoustic piano can be particularly tricky
and you will almost always want two microphones to capture
the full range of the instrument: one nearer the bass end of
the body, and one nearer the top. For an upright piano you will
probably need to open the top lid, but if you remove the front
panel entirely you should be aware that this dramatically
alters the way the air resonates and fundamentally changes
the sound of the piano – even though this can sometimes be
an interesting effect to go for. You may want to angle two mics
in from above, or place one near the ear level of the player so
the sound they’re hearing is what gets captured. Some people
even place a mic around the back of the piano for a slightly
different effect.
presence and so on. Mics positioned closer to the floor will
05 STRINGS ATTACHED
When you record any kind of stringed instrument such
generally provide a bit more low end. Close mic’ing an amp is
the most common technique for capturing a harder, rockier
as a violin or cello, think about where the sound is actually Mic positioning can
guitar tone when the mic points straight at the speaker.
being generated. In the case of smaller instruments such as be crucial when Moved off centre, the tone softens a little. You can also try
the violin, the strings and sound holes are facing upwards, so recording guitar adding a second ambient mic that you blend with the first,
it’s best to angle a mic from slightly above, adjusting the amplifiers (above). moving each around until you hit the precise spot that works
distance from the player to control the balance of direct for you. Any phasing problems should become apparent as
Recording from a
sound and room ambience. A cello is played at a different you monitor.
little further away
angle so you will find that pointing the mic more or less at 90° captures a similar
towards the bridge should capture it pretty accurately. As sound to that which HOW LOW CAN YOU GO?
ever, close mic’ing will give a more intense and intimate feel, the listener hears
07 Recording bass is much the same in terms of technique
and moving back a little will soften things. You can even try (below left). as recording guitars, with the possible exception that you
recording strings with stereo mics for a little more flexibility would never really record bass amps in stereo because bass
Use multiple
at the mix stage. To get a better ensemble effect when microphones for almost always has to sit at the centre of the stereo field.
recording several players, try a few mics placed in more more options Another thing to bear in mind is that a lot of general purpose
ambient positions a little further away. (below right). mics have a bass roll-off built in to deal with the proximity
effect caused by close mic’ing vocals and some other
sources. This can result in reduced bass capture, which you
don’t want if you’re trying to get a nice deep sound. If it’s
switchable you can always turn this off but it can be a good
idea to use either a non-vocal dynamic mic that has a flat
low-end response or a dedicated bass or kick drum
microphone, positioning it around 6-12in in front of the
speaker in the cabinet.
05
USE MICS AND PICKUPS
08 If you want a close mic’ed acoustic guitar sound but also
some room ambience you could either try an omni pattern
mic, or using two separate mics, one placed close by and one
further away (being sure to listen for phasing problems).
Mono mic’ing is often sufficient for many tracks, but it’s not
the only option you have. Positioning a single mic correctly is
08
IT’S ALL IN THE POSITIONING

06 A mic pointed at the centre of a speaker will give you
a brighter sound, and moving towards the edge smooths it
off and introduces more bass. Distance will affect the
MT139.Tips.indd 85 11/02/2015 14:40

MTF 20 Pro Tips Instrument mic’ing
fine, but having two mics in different places sometimes gives stereo effects in use that are modulating the way that signal
you greater flexibility when it comes to mixing. The DI’ed is directed to different cones. If you are able, set up several
sound produced by piezo pickups captures only the sound of mics 3-6in from the grille of the speaker. Then, listen to them
the strings, very little of the body and none of the room, and at a sensible volume and audition each one. Ideally you
so tends to result in an unnatural-sounding recording. But would want to have someone to move the mics for you until
recording it won’t affect the mic’d signal and it costs nothing you find the best position for the microphone you end up
to record an extra audio track. In some situations, blending a choosing. If you don’t have an assistant then put the guitar in
little of this signal with the mic recording can add weight and
11 the headphone mix, crank it up, stand in front of the amp and
body when balanced correctly. At the very worst, you can just move the mics until you get the right sound. This is all much
not use it if it doesn’t sound good. easier, of course, if you have someone to play guitar while you
arrange the mics.
THE CHALLENGES OF PLAYING TOGETHER
09 If you are recording multiple musicians in a single space, CLASSIC MICS
bleed can become a real issue. A bit of hi-hat leaking into the
11 The classic mic for recording electric guitar is the Shure
tom mic isn’t a huge problem but lead guitar getting into the SM57, an inexpensive microphone and a staple of many
bass recording definitely is. And while you can fix some of this studios. They are often used in combination with a second
stuff in the mix with EQ and gating it’s better to try and stop it mic and the two channels either recorded to a single track or
happening in the first place. Sometimes, recording everyone double tracked and layered together later. Other popular
separately really kills the vibe of a track, so it’s better to microphones include the Sennheiser MD 421-II, t.bone RB
record people at the same time if you can. Your drummer 500, Royer R-121 and Neumann U 67, and of course each has
should ideally have some kind of isolation from other players its own characteristics.
since drums are so loud. One tip for guitars is to place amps
in a different room, mic them up and then feed the signal to
the player through headphones. This way the sound gets Using acoustic isolation like sE’s SPACE can help
you get the most out of your mic and the space
captured accurately and the guitarist can play with feeling,
you’re working in.
but there’s little or no bleed in the room itself.
12
10 THE QUIRKS OF AMPS AND SPEAKERS
On a multi-speaker guitar cab not every cone will sound
the same. Some are different sizes, or there may be some
A well-chosen all-round
condenser mic can fulfil a wide
variety of studio roles
10 12 KEEP IT SIMPLE
People obsess about microphones sometimes, but the
truth is that a well-chosen all-round condenser mic can fulfill
a wide variety of studio roles from vocals and electric guitar
recording through to percussion and acoustic guitar. Combine
it with some acoustic treatment like an isolator and some
clever positioning and you’re able to achieve a lot with a fairly
simple mic.
IT’S JUST A PHASE

13 Check stereo mics for phase cancellation by panning
them to the same spot and listening in mono. Retaining each
mic’s recordings on separate tracks will enable you to wait
until the mix stage to balance them properly. Another
interesting idea is to mic the front and back of an open-
backed cabinet. If you do, be sure to start by placing the mics
at an equal distance from the speaker itself and reversing the
phase of the rear mic.
PERCUSSION TRICKS
14 When recording percussion such as bongos or a djembe
When an amp has more than one
cone, remember that its sound may you will get very different results depending on your mic
vary between cones (above). placement. A mic firing at the top of the skin will capture the
MT139.Tips.indd 86 11/02/2015 14:40

Instrument mic’ing 20 Pro Tips MTF
harder, more percussive slapping motion of the hand. A mic

pointed up inside the drum body from underneath will
capture the booming from inside the drum. Some people use
both mic positions at the same time and then balance the
two in the mix for a really percussive but meaty overall sound.
WORK THE ANGLES Get a more

15 One common guitar amp mic’ing technique is to point consistent sound
one mic at the centre of the speaker and angle another with certain
instruments by using
across the face of the first mic towards the speaker edge.
clip-on mics (right).
Bring the mics up on the desk and route them both to one
track on tape or in your DAW. Flip one out of phase and Taking a dry feed
balance the two channels until the sound is really thin, then from an amp’s direct
flip the phase back and you should have a nice thick sound. out gives you more
options when mixing 18
guitars (below left).
16 LIFT THE LID
Simply raising or lowering the lid of a grand piano can Get creative with
dramatically alter the way sound is picked up, as can moving dynamic mics
a microphone closer to the strings or further away. With a (below right).
CLIP-ON MICS
18 Some instruments are particularly hard to capture with
A mic pointed up inside the a conventional mic: flutes and some other brass, such as
trumpets and saxophones, where the players move around.
drum body will capture the

There are categories of clip-on mic and they remain fixed to
the instrument rather than the performer having to play into a
static mic. For serious studio recording you’ll want to spend a
booming from inside bit of your budget on one of these, but it will be worth it.
USE STEREO… CAREFULLY

lower lid you’ll get a more intimate sound, and with the lid
19 If two acoustic guitar mics are different distances away
raised, a bigger effect and more room ambience. Since grand from the guitar you can encounter phasing problems, so
pianos have huge soundboards you will almost always need many producers make sure they are equidistant to avoid the
to place one mic near the lower strings and one higher up to problem. If you want one to be further away for a specific kind
ensure you capture all the signal properly. of sound you can phase align the two parts in your sequencer
afterwards. If you want to get really creative you could try
placing one mic about 30cm from the neck and another firing
over the player’s shoulder, which can produce a sound much
more like what guitarists hear while playing.
ONE DIRECTION
20 Directionality can be crucial. An omnidirectional mic will
generally offer a more roomy sound, but a directional mic
should reject sound from the back and sides and just record
what you point it at. Some mics have switchable polar
patterns and others are just directional. Dynamic mics such
as the SM57 are often used to record amplified instruments
thanks to their directionality and high SPL tolerance. MTF
20
17
DON’T BE AFRAID TO DI
17 When recording anything through an amp it can be a
good idea to take a feed from the direct output of the amp, if
it has one, to record on a separate track and then blend in
with the mic’d takes. This is worth trying if your guitar amp is
smaller, as the DI will give you all the bottom end whereas the
speaker might offer more character. Record both at the same
time and balance them afterwards, remembering that you
may need to reverse the phase of one of the sources.
MT139.Tips.indd 87 11/02/2015 14:40

MTF Technique A track from scratch part 3: Riffs, fills & fx
Dubstep riffs, fills & fx

Rome wasn’t built in a day, and good craft takes time and patience. Liam O’Mullane and
Christopher Pearson share more tips on creative exploration and the important decision
making required when shaping initial ideas into full song sections.
O
ur first two instalments have taken you through work you’ve done already. For example, our bass idea might
being mindful of various production techniques On the disc be completely re-worked by the final part in this series, so
and creative possibilities when carving your own be prepared to take your time and be open to a change in
sound in the dirty dubstep business. If you’ve direction if you create something that raises the game of
Accompanying
been with us so far you should have a balanced- example audio files
your song.
sounding song section for both drums and bass. Our next included on the DVD If a new idea works, just go with it and do what you must
process is to develop these ideas and extend their playable to get all other elements up to this new standard. But if
duration. We’ll then look at exploring other foreground and some sounds are good but not right for the track, be
background melodic information to take the song elsewhere efficient with your efforts and save them out as presets to
and aid arrangement while musically guiding the listener. use another time or bounce them as audio to store as
We’ll continue to develop our sound as we move further samples. If you’ve done this several times already you’ll be
towards the final stage of mixing but remember that things piling up your own arsenal of sounds to cherry-pick the next
can change; so whether it’s an instrument sound, or an time around. Great for when you need quick inspiration.
over-laboured pattern you’ve programmed, don’t be afraid to Whereas parts one and two of this series have focused
throw away bad ideas if they simply don’t do justice to the more on the technicalities of music production, it’s possible
and sometimes favourable to revisit simpler and often
There are many overlooked techniques. There’s a lot of creative potential in

working with sounds at their most fundamental level, i.e.
approaches you can their notes, and using endless effects chains will degrade
the quality of your sound source. So take note of the simpler
take when it comes to things in life where possible and put to use our tips on
musicality and further editing your initial ideas.
expanding ideas Open your mind

There are many approaches to take when it comes to
extending your initial ideas. When
BLURRED LINES
Much like the sample-based melting pot that was exploring variation, some techniques can
jungle in the 1990s, dubstep is also a musical genre quickly become quite complex and place
that constantly borrows the vibes of other, often
a fair amount of strain on your computer if
classic, genres. This can help create a distinct musical
element for the listener to latch onto, and it is open you’re piling on effects or using various
territory that’s well worth exploring. sound sources, so we’ll start with the
The influences of trance and hardstyle are very
popular right now, encouraging heavy use of synth
least CPU-hungry options.
arps, dense musical-sounding pads, hard distorted Feel free to start wherever the track
lead synths and triplet rhythms. Skrillex has used takes you, but we’ll focus on drum
obvious dub reggae influences in tracks such as Make
It Bun Dem and Ragga Bomb, Zomboy’s Survivors patterns first. Aside from adding the
shows influence of techno and metal, and it’s usual eight- or 16-bar fills to break up
impossible to avoid the scourge of trance and
each phrase of your bassline, it can be
chip-tune influenced tracks in any mainstream charts
these days. But this all goes to show that good practice to edit the groove of your
experimentation can not only work for a song, it can drums in a repeat of your initial pattern to
also be the seed to start the next new sub-genre.
The only thing tying these elements together is the
alter the feel of the drum and bass
unified focus on a heavy bass drop and a snare on the combination already established. This
third beat – aside from this you’re free to explore new technique works well when the bass plays
musical hybrids as you like. If you’re not sure on where
to take this, open up your preferred music resource a second repeat of itself, as the drum
and have a listening session on a particular genre. This changes can be enough to keep the
could be a genre already proving successful in musical
listener engaged. In our example track we
charts around the globe or a nod back to older times
– whatever it is, you can find inspiration by listening. changed the position of the kick drum for
Electro swing is a great example of fusing new and our second section to hit in unison with
old, so don’t be afraid to dig out music that hasn’t
glimpsed the mainstream for a long time. Then look at
the bass instead of a beat later as before,
emulating the style of sounds available, or just the thereby altering the groove to emphasise
compositional style and feel, replacing older sounds the bass. This type of editing instantly
with a new-age, synthetic equivalent.
changes much more than just the kick

A track from scratch part 3: Riffs, fills & fx Technique MTF
placement – it has the power to change the groove of the LEADS,PADS AND AMBIENCE
whole track when done with care and is a very simple edit to From intense, driving bass drops to the slightest of ambient sections, music needs dynamics.
Take time to think about these contrasts and how they can complement each other. Our
implement. Similarly, try to change the position of bass
example track sports a main lead sound that is very simple in its creation – just saw waves in a
notes around the drums to get a feel for how they can play synth that have been detuned and distorted with soft saturation and embellished with reverb.
off of each other and create new rhythms or to extend the After the reverb, compression really helped to give a sense of size to the patch by
emphasising and swelling over time. This technique is best used when melodic content isn’t
section in focus. overly complex, as it allows time for the reverb to be heard. In addition to large leads you might
When it comes to bass parts, if you’re keeping your want to consider backing and overlaying them with delicate arpeggiated synths and other
instruments live, or even programming a sampler from lighter, more ambient sounds.
A simple way to create strings is to use a monophonic synthesizer with a relatively simple
sounds you’ve committed to audio already, there’ll be a sine, triangle or saw wave pitched up high to emulate a bow stroking a string. Add a little
handful of new sweet spots to discover through the movement from a modulation wheel or slow LFO for vibrato to add more depth to the final
exploration of pitch and parameter manipulation. result. Next, adding a long-tailed reverb as an insert or send with around 75-80% wet on the mix
can give a quite realistic single-string sound. Multiplying this patch and creating chords across
As well as trying to vary the notes of an existing riff for tracks can lead to you creating your very own, rather convincing, string ensembles, especially if
musical change as it progresses, explore the extremes of you use panning and/or mid/side processing to place each string in its own space.
high or low octave notes to dramatically change an
instrument’s timbre. A bass will often break-up below a
certain pitch and this effect can be used as an occasional
accenting tool as it has a differing power when compared to
the instrument playing in its strongest area of pitch. Higher
pitched notes can be a good way to add a dynamic too, as
the instrument that is usually more bass orientated can
suddenly gain a lot of midrange information and a dramatic
shift in character.
Chopping and changing

Though cutting, moving, inserting and reversing are all
techniques you’re probably familiar with when working on
audio files, look to approach your MIDI patterns in much the
same way. Dance music as a whole is based around sounds
Although we only used two layers to create our choral pad sound we managed to create a sense
being looped and stuttered in a variety of ways, and this of depth and movement by picking the right sounds that would modulate each other through
should therefore be how you see your MIDI patterns. MIDI phase when detuned.
clips can be edited to small quantized-sized lengths, so try
slicing them up and re-ordering them as you would an audio
through automation for one instrument, and you can copy
Musicality plays a big

the automation from these sections to new ideas so you’re
starting from the same tone. Don’t forget that too many
role in even the most

automation lanes can be a real headache to deal with, so we
always advise the use of macros to group particular
seemingly unmusical
parameters together and make them much easier to
manage effectively.
dubstep tracks
Re-edits can apply to the instruments themselves as
well, and we often take an existing instrument, duplicate it
to a new track and then edit it to take it to another timbre.
This can help create a new layer to embellish what’s already
file. Repeat some of these smaller parts for a looped effect, there, or even help you find a completely new instrument
or try moving a small number of notes from part of your that might complement the first when not over-layered.
existing idea to paste into a different location within a new Keeping all automation intact helps to gel new layers
clip, i.e. start the pattern from beat three rather than beat together, and from there subtle automation edits can start
one. From here, write new parts around them so there’s a to give even more movement between layers. Just be
mix of new and already established material for the listener careful, as this can soon result in tens of instruments with
to latch onto. processing chains being active at the same time, which will
Again, this seemingly simple technique can help your put a lot of load on your computer.
elements progress through a track without getting too
complex from the production side of things. Remember: The knowledge
MIDI should not be overlooked in favour of effects chains. Musicality plays a big role in even the most seemingly
This editing technique can be applied to automation as unmusical-sounding dubstep tracks. Although some songs
well and works particularly well when altering the will go for a heavy musical section that stands apart from
placement of rhythmic data. It’s pretty much like playing the bass drop there’s also room for some musicality to aid
around with the triggering and speed of an LFO or envelope the bass section no matter how ugly it may appear to be on
on a synth – copy a highlighted portion of data from here to the surface.
there, change its shape, extend its duration (if your DAW Even when a track appears to be made of purely horrible
supports this) and so on. sounds and noises, they need to have some musical
Copying automation from other areas of your song can relationship to each other or they just won’t gel. Drums can
also be handy for recreating certain sweet spots between be pitched musically, and riser sounds and other effects can
parameters to then edit and move on from. For example, you carry forms of musical pitch to help the listener get a sense
might have two or three distinct timbres that you’ve created of key without even realising. Even seemingly disassociated

MTF Technique A track from scratch part 3: Riffs, fills & fx
FOCUS ON… VOCAL MANGLING

Vocals are a common feature in dubstep tracks these days, and fall into two main camps: fully
performed vocals and lyrics, which are generally left to be heard in the state the performer intended; or
heavily manipulated vocal parts that sound nothing like the original recordings. The latter approach
requires quite a lot of trial and error but the fruits of your labour can result in a critical hook line for IMAGE BOX
your track, so it’s often time well spent.
You can search for vocal samples from a variety of sample packs to begin these techniques, but we
prefer to get the mic out and do a continuous recording session while we explore different vocal ideas
to use. These can be anything from spoken word ideas, singing, or general weird noises which on their
own won’t sound like much to work with. The key element here is to try and get as much timbrel range
out of your vocals as possible, as this will give you more to work with. Also explore the duration of your
sounds so you have a few variations to work with.
Once your audio is ready to use, first explore pitch transposition to see if the vocal recordings slot
better into your current production aesthetic when pitched up or down. If you have the option to also
play with the formants of your sound through your available transposing tools, this can yield large
timbrel shifts and get you into the ‘alien voice’ territory as well. This is quite handy when we need to
remove the embarrassment factor of hearing our own voices!
We like to add mix processing here too, especially if these vocals are home grown. So we’ll add
compression, EQ and some master buss-like processing as well, and this will then be rendered down to
audio. The idea is to make this vocal sound like we’ve sampled it from elsewhere so that it has that When extending your bass ideas it’s easy to assume this needs to be
richness of sound from the outset to work with. done with editing alone, but there’s no reason why you can’t continue
Next it’s time to chop the audio up, and this can be done on an audio track or after slicing it into a to make use of your instrument’s sweet-spots through a controller to
MIDI sampler if preferred. The main requirement is that you can sequence individual slices and then jam out new ideas for where your sounds can go.
move the start point of each slice’s content. We want to sequence an interesting rhythm first, then
move the content of each event to find the best place for each vocal sound to start – with audio tracks
this is called slip-editing, and just moving the start marker for each slice in a sampler creates the same
keep the timing interesting we’ve used a less-than-
effect. Also make good use of pitch and direction, as vowels can take on a completely different tone predictable point for chord changes.
when reversed. We highlight this by changing the drums’ groove in
When you have an interesting pattern going, explore pitch alongside the start point of each sound.
You want something that’s musically interesting here, so you might want to edit pitch to create a some sections to match. We’ve also used heavy
melody line of sorts. Remember that less can be more, so don’t just fill up each bar in your pattern with sidechain compression from the drums, so although
a constant barrage of vocal edits – leave space for other sounds to come through the mix. they are long and sustained they actually only play at
Once you’ve established an idea that seems to work in your track it’s time to add more texture, and
we do this through further effects processing. You can punch in certain effects to be sequenced as part full volume for a very brief moment in time. This
of your pattern using automation, so for instance, a ring-mod only turns on for one slice of your overall makes the drums, bass parts and melodic content all
vocal pattern, etc. The more creative you can be here, the better. Use dry/wet controls to balance out
your processing if you want to retain some of the original vocal character for an overall consistency in
interact with each other for a sense of sonic and
timbre between samples, but the type of effects you choose is completely fair game. musical dynamics.
The chords you hear on the intro are actually the
initial ideas we developed, but it made more sense to
keep them sparser in the main drop to simplify and
create space, so we confined the busier content to the
intro and breakdowns to help fill things out.
We’ve also added an arpeggiated synth part over our
lead, which again began its life as a continuous
sequence while we figured out the best notes to use.
Then, later in the arrangement, we stripped it back to
play less frequently, giving it more impact when it does
When it comes to vocal manipulation, it’s not often that we’ll stumble across a good pattern and idea play. Its notes help to highlight the lead further whilst
straight away. Like all aspects of heavy sound-design, follow this process until you have something of
interest – edit, process, bounce, and repeat as necessary.
also creeping into the upper register of the mix.
Musical elements can have just as much interaction
with your drums as bass parts do, so be mindful of
bass sounds should have a harmonic relationship with
each other, as our ears need this to make sense of it.
This is why some tracks, although well produced on
the surface, still don’t seem to sound completely in the
There are no set rules
pocket – a common occurrence in electronic genres,
and something to keep an ear out for.
when it comes to adding
You don’t need to understand music theory to pitch
your sounds in the right place, though, just explore the
musical layers to
potential pitch of each sound (trial octaves too) and
then decide which sounds best.
accompany your bass
Musicality is also an important aspect of the mix
process; after all, musical notes are divided by where you place each new sound. Groove is an easy
frequency, so choosing the right pitch will mean you’re thing to lose if you don’t stay focussed and keep that
letting the mix take care of itself to a certain extent. bin handy for dropping ideas if they don’t aid the track.
Don’t introduce sounds that need major mix correction, Experimentation is key to finding complementary parts
and be wary of building up frequency conflicts in the that help inspire progression.
mix – key is key here!
Come together
Anything goes On listening to our track’s basses, lead and arp as a
There’s no set rule when it comes to adding musical whole sequence you’ll notice that all of the separate
layers to accompany your bass, and we’ve kept things elements work together to create a single, cohesive
pretty sparse in our example track – we have a musical phrase. The idea here is that you should be able
prominent lead synth of a few chords tied together. To to hum along to your track through most of its

A track from scratch part 3: Riffs, fills & fx Technique MTF
MTF Step-by-Step Three steps to better instrumentation

sections, no matter what style of sounds you’ve used.
It’s important to note that without this ‘hum’
approach you might find an audience to be
disengaged. It seems people need some form of
musicality to connect with, but this doesn’t mean it
needs to be directly obvious.
For instance, employing simple techniques such as
tuning the drums and finding musical content through
your choice of FX can help to really solidify a track into a
particular key. Even though these methods may be
subtle, do still aim to create a full musical phrase with
them by using different sounds and sections. This
makes a big difference to whether or not listeners find a
track engaging.
Time to face the change

In dubstep it’s common to make fundamental changes
to sections after 16, 32 or 64 bars. A good place to
Try not to get too distracted with the idea of having a vast range of instruments
start replicating this type of arrangement can come 01 to work with. We prefer to get stuck into a few instruments at parameter level
from copying an earlier section and making edits,
and explore automation editing in much the same way as we work with MIDI. Copy,
such as cutting all musical elements to let the bass paste, insert, stretch and edit automation and you’ll be surprised by how much range
lead the track for a while. You can also go for an A/B is available from each instrument.
format that moves between one main bass idea and
another while editing each repeat to give them
unique variation.
Our example is quite progressive in terms of the
song sections we have so far, but this could change. We
have an intro section, breakdown, main drop, second
edit and a middle-eight section to change the feel of the
track and introduce a new focal element.
To create the latter we studied the musical notes
used throughout our intro and main sections, then
copied the drums over to a new section. Here we
added a new main arpeggiated synth in the same key
but altered the melody to fill the frequency range and
kept our bass elements minimal. This new section is
used as a prelude to the breakdown, delivering a
softer entrance to the upcoming ambience.
Sections like this can often be used by DJs to mix
out of tracks – another thing to keep in mind, and
It’s easy to get stuck in a jam with automation when trying to create a lot of
something we’ll cover more in depth when looking at 02 different tones from a handful of synths. If you can, try to map parameters to
finalising our arrangement. macros or snapshots so it’s easier to automate them.
Alongside the new melody line we recorded and
mangled some vocals to add a new texture to the track.
This took quite a while due to experimenting with a
mass of editing techniques, but we ended up with an
interesting-sounding alien vocal part.
All of this experimental play gave us a slightly
percussive vocal element that we could carry through to
the breakdown. In fact, we might later develop this by
overlaying percussion to highlight this section further.
Destination anywhere…
We’ve covered drums, bass and musicality through
parts one to three, and you should now have at least a
rough idea of where your track is heading or even what
it will sound like on completion.
There’s still much to do before we reach the finishing
post, though, and part four of our dirty dubstep series
(over the page) will look at the arrangement,
Different DAWs offer different levels of MIDI editing functionality, which can be
bridging song sections with effects, build-ups, and 03 used to manipulate your existing ideas for variation. Cubase (pictured here) has
breakdowns, and adding any other sounds required some of the most comprehensive tools for this task, but most DAWs will offer
to aid the arrangement. Then we’ll finally look at features such as reverse, flip and the ability to re-scale the duration of a highlighted
mixing and pre-mastering (p96). MTF number of notes.

MTF Technique A track from scratch part 4: Arrangements
Dubstep arrangements
Ready to lay it all out? Liam O’Mullane and Christopher Pearson guide you through
the twists and turns of a successful dubstep arrangement and get you one step
closer to your final product…
I
f you’ve followed us from part one you’ll be aware that approach is down to how DJs have increasingly become
there are many ways to start a track from scratch. You On the disc centre stage in the industry over the last 30 years.
might start with a musical idea that inspires a song or Because DJs tend to play mix-friendly tracks and shun the
maybe a bass hook that’s just begging to be written trickier side of dance music, over time this has forced
Accompanying
around. Regardless of how you go about the task of example audio files
producers into more simplistic arrangements to be sure
composition it’s a rarity to write in the order that the song included on the DVD their music is playable.
plays, i.e. from intro to ending. It’s more likely that you’ll Classically termed a ‘club’ or ‘DJ friendly’ mix, this format
write from the meat outwards, as this is where most ideas is traditionally six or more minutes in duration and extends
happen. The surrounding sections are then designed around the ideas from a shorter three-minute ‘radio friendly’
it to guide the listener on their journey. version. Though the format for a club mix hasn’t changed
Bearing this in mind, this penultimate part in our dirty that much the duration has, especially with dubstep.
dubstep series will focus on taking our meat and turning it Many dirty dubstep tracks these days only last around
into a full, delicious meal. Although it’s rare to carry out four-and-a-half minutes, which inevitably means they cut to
arrangement work in the running order a track is built, for the chase quicker. This shorter duration also means that
clarity’s sake we’ll talk you through each section in a linear the songs are more radio friendly, but with this comes the
fashion, from the first bar to the last. need to have strong ideas that will catch the listener’s
attention from the very outset. So whereas the
It’s a rarity to traditional club mix might have a long, drawn-out

introduction that enables the DJ to mix the track in for a
compose all the parts while before anything major happens, now it needs to get to
the point pretty quickly.
in the order that the A typical arrangement format goes like this: intro, drop,
alternative drop, breakdown, drop, alternative drop, outro.
song plays This isn’t a strict rule as there may be a breakdown before
the drop, multiple breakdowns or none later on, and so on,
but you should get the idea of the order in which each
The ‘stock’ format section is introduced. Although the second repeat of the
Although there are distinct sonic and rhythmic differences drop may not be strictly identical to the first time it’s played,
between this sub-genre of dubstep and other forms of a simple duplication of the parts when laying your
club-friendly dance music, song arrangements are arrangement out is a good start, but we’ll get to that later
becoming more and more universal these days. This unified on. First let’s break down the format above and separate
each part into their respective functions.
TRANSITION EDITS In the beginning

Once a track has a fuller form you can step back and
listen to it as a whole before making decisions on what Intros are obviously a precursor of
might need to be nipped and tucked for further what’s to come later in the track. You’d
improvement. Transitions between song sections are
one of these decisions and they need to be smooth usually expect an inclusion of some
and unobtrusive. light rhythm work provided by perhaps
To achieve this you can play with a few techniques
some sparse hi-hats or a catchy
such as using a slowly creeping, sweeping sound to
cover the transition, or removing some complex percussion phrase. The DJ uses this
content so there’s a sense of breath in the song’s section as a metronome for mixing and
density. These can both be used, though; for instance,
you could simplify drum editing a bar or two before the
also helps the audience stay in sync
end of a section, and where a drummer may play a fill, with the track should it be played from
instead introduce the sweeping sound before the next the beginning – rewind!
section begins. This will create suspense by stripping
down the track’s drive for a moment to have another Introductions usually include some
sound sweep through before a new section starts. unique sonic elements, but leading
Another approach is similar to how you can borrow
sounds tend to be borrowed from, or
parts of a main drop to tease in an intro, but instead (Above) Here we’ve borrowed parts from
you’re borrowing parts from the section to come. This the breakdown section and teased them musically associated with, a main
is especially useful to help smooth a drastic change in beforehand through simplifying their drop’s hook. There is a reason for this over an apparent
that’s about to happen by preparing the listener to content and fading them in to smooth
some degree. over the transition.
laziness – a focal or memorable motif from the main drop in
some form can help an audience identify the upcoming

A track from scratch part 4: Arrangements Technique MTF
track during a DJ mix (providing they’ve heard the track MTF Step-by-Step Reverse engineering an intro
before, of course). This creates a sense of excitement and
anticipation for the listener. This most commonly surfaces
through a form of effect variation, such as filtering, to tease
in what’s to come.
Musically associated ideas can be anything from leads
and SFX to strong rhythmic motifs. These work as a less
obvious way to guide the listener to the drop but they do
need to have a melodic or rhythmic association with the
main drop. Bearing this in mind, it’s good practice to create
these sounds over the drop at first to build them in context,
then move them to earlier in the song over the intro to create
a sense of build or lead-in.
Dropping science
The drop is the part of a song that people recall when they
think of a track. It’s where all the energy lies and what all the
excitement is about. In dubstep, the intricacy, bass melody
and full body of other musical elements live here, the rest of
The intro is at its fullest before a drop or breakdown, so start here and work
the song is almost superfluous to a dancefloor – it’s all 01 your way backwards while chopping content away. Intro content should
about guiding the listener to this point in your song and then
always create a slightly lower energy level than the drop, so bass is usually
guiding them to the second iteration, making sure they removed and drum tracks have less content.
appreciate the second drop by arrangement dynamics.
This section has probably been the core focus of your
composition from the outset for this very reason and it
makes or breaks a track, so we have little to discuss here for
the elements you might choose to include. However, if you
wish to go for a common 32-bar section, variation is
something to focus on to sustain interest over time. In part
three of this series (p88) we discussed how you can choose
to unite or offset sounds such as your bass and drum parts
while programming a drop to add variation, but finding
The drop is the part

of the song that people
recall – it’s where all
the energy lies 02 Paste a new copy of all content before this section and then mute parts to
audition what can be either removed entirely, partially edited down to be
more sparse, or teased through the use of filtering, volume or other audio effects
processing that can mask a sound.
some other occasional sounds outside of those for
accenting can be a good trick for variation too, as it
introduces new timbres.
The drop and alt-drop in our example track consist of the
same 32-bar bass sequence, doubled, but we’ve inserted
new sounds in the alt-drop half and edited it to change the
rhythm as well. The alternative drop in our example isn’t as
drastic a switch as some songs have. For instance, the drop
may consist of two main bass ideas that interact and play
off each other.
This technique is referred to as ‘Q&A’ and is how our
bassline has worked when adding the second element in
our alt-drop. For further development, another element can
be added, bringing a third party to the conversation, which
can be joined by another, and another, and so on. Just try to
use a few core elements to lead the musical phrase
throughout for continuity and musicality for the listener to
latch on to.
Another trick to introduce a musical section is to create a looping-like effect
03 where you duplicate a short first section of the phrase for a section before it
Start breaking down plays in its entirety. This works especially well when used in conjunction with
Regardless of where breakdowns live in your arrangement filtering for a DJ-like effect.
their purpose is to both let a listener take a break and

MTF Technique A track from scratch part 4: Arrangements
MTF Step-by-Step Creating a second drop DECORATIVE SOUNDS

From chopped vocal ditties to foley sounds or synthetic effects,
additional interests that surround the main elements in a track
can really help to let a record shine. These elements can help
establish new song sections by introducing a new sound that
hasn’t been present in a song up until that point. Alternatively, a
stripped-down song section can benefit from flutters of sonic
interest to give them life and a little ear candy. These smaller
details can go a long way and are a great excuse to get creative in
or out of the lab.
If you have a portable recorder, phone, or any device capable of
audio capture, leave the studio space in the search for sounds. If
you like to write songs with a theme, think about what sounds that
theme might entail. Trying to recreate and record them is a very
creative process and gives you an excuse to escape the mouse and
keyboard for a while if you’re computer-bound with your music.
Alternatively, if you love your mouse and keyboard, explore
combining different layers of samples from your arsenal of
instruments, effects processing and any other audio mangling
techniques you may not normally go for. From this you can
stumble across happy accidents that can then be re-sampled,
edited and generally taken further through experimentation to
achieve unique sounds to augment your song.
When it comes to your second drop, explore being bold – a memorable first and
01 second drop will make your track more desirable and likely to be played for
longer in a DJ set. Switching the accenting on your drum groove to a 4/4 style can lift
the drive of your track, and although key changing is often associated with cheesy boy
bands, when done well it’s a powerful tool to keep building up energy levels
throughout your song. IMAGE BOX
Though they’re not at the forefront of your track, decorative sounds

should be given close attention, as this is where you can work on
another level for unique timbre and textures.
heighten the impact of the drop that’s to come by

lowering the energy level from the section that’s come
immediately before.
In this genre the main sections tend to lead into a
single breakdown, or into a pre-breakdown where the
aggressive midrange of the bass dissipates in favour of
a melody or other inoffensive elements. For instance,
the pre-breakdown in our example track replaces the
main bass parts with a floating synth line and new vocal
edit. This introduces some breathing space into the
To truly understand arrangements we recommend you grab a small selection of
02 your favourite dubstep tracks and start slicing them up into sections. This will
DJs rarely allow a

help you identify how many sections there are and how much is repeated.
second drop to be heard

before they’ve mixed
into another song
track before it slowly filters out to an ambient
breakdown prior to the second drop. As the drums are
now mostly absent it gives us the room to explore
expressive musicality, which we’ve achieved through the
use of ambient pads and delicate tones.
Rinse and repeat

When it comes to other repeated sections like the
second drop and alt-drop, there are two schools of
When you’re considering where to add or remove layers of information in your thought on how this should be approached. The first is
03 track to enhance arrangement dynamics, remember where the peaks and to simply copy the earlier sections and just repeat
troughs need to be to guide the listener. them; after all, most DJs these days rarely allow a
second drop to be heard before they’ve mixed into

A track from scratch part 4: Arrangements Technique MTF
MTF Step-by-Step Creating risers and descenders

another song. But if you want your tracks to have a bit
more musical merit and also increase the chance of a
full play in a club, make a significant change to this
second drop to distinguish it from the first and further
increase the track’s energy levels.
A simple yet effective way to raise energy levels is to
alter a sonic or rhythmic aspect of the drums. Adding a
thin-sounding ride or crash cymbal layer to play on the
beat is a common yet still effective practice in the
genre. If done right, fundamental reprogramming of the
drum pattern and bass parts from the first drop can
create a drastic switch for this second drop.
If you’re feeling brave, don’t believe that this section
has to simply be a repeat of the first drop at all. So,
though it’s not commonplace by any standards, a
strong, independent second drop, complementing the
song as a whole, has the ability to make your music
stand out and be more than the flavour of the week in a
At its most fundamental level, a synthetic rising or descending sound can be
DJ’s crate. 01 used to help get to or from one song section to the next. Any synth with a
fundamental waveform can be used like a saw wave for clarity. Then draw in a held
The ultimate goal note over 4, 8, 16 bars, etc, and automate MIDI pitchbend from zero to its highest value.
The outro is quite open-ended in terms of its Make sure the pitch-wheel is set to a musical interval such as one or two octaves.
execution, and if you’re here you’ve already experienced
the ups and downs of production along the way. Outros
are usually the last piece of the puzzle and can be
relatively straightforward.
By simply copying a short portion from an intro or
breakdown with no elements of crescendo you can
An outro can be
another opportunity to
explore artistic flair in
your track
achieve a passable ending to your song. This is short,
sweet, and a quick exit. Alternatively, a more traditional For an increase in intensity add an LFO to amplitude and automate its depth of
02 modulation so the volume fluctuates faster when the pitch is at its highest
approach is to remove track elements one by one to
value. This could also be an LFO controlling pitch for a wobbly tone, or any other
filter out density over time. Much like our advice to be
parameter to help amplify the effect of this sound in the mix.
bold when creating a second drop, an outro can be
another opportunity to explore even more artistic flair
– there aren’t any set rules here, so musical freedom is
entirely yours.
The end is nigh

Before we move on to our fifth and final instalment in
this series, it’s time to recap where we’ve been and what
we expect you to have achieved before it’s time to mix
and pre-master our dirty dubstep track.
We’ve worked on bass, drums and groove production
while sharing various methods to expand ideas and
craft a final arrangement. This has been a lot of work so
far and we encourage you to follow us through to the
end. By this, we mean even if your ideas aren’t chart
topping at this stage, the value of seeing this song
through to the end outweighs waiting until you have a
perfect song to mix. Yes, it may not get you signed, it
As well as parameter exploration, try effects as well. An effect that generates
mightn’t even give you a track to play out for yourself, 03 stereo width such as chorus can have its dry/wet control automated so a sound
but it will teach you the hardest part of the music goes from mono to stereo as it grows in intensity. Or perhaps increase saturation on a
making game – completing your work! We’ll see you distortion unit while keeping the output level controlled so there’s an increase in
next time for the mixing treatment… MTF frequency content over time.

MTF Technique A track from scratch part 5: The perfect mix
The perfect mix

In the final part of this epic series Liam O’Mullane and Christopher Pearson guide
you through the hardest part of music production: finalising your mix and finishing
off your track…
W
ell, it’s been a long road but we’re finally at arrangement details that could prevent our main ideas
the last stage of our dirty dubstep track, and On the disc from coming across in their best light. Remember that your
we hope you are too. Even if you feel that the song is a story and your mix is there to sell it to the listener.
track you’ve created isn’t that great, stick A bad mix won’t get the ideas across clearly, so with that in
Accompanying
with us and sit through the entire process example audio files
mind let’s make some mixing decisions and compile our
from start to finish. It’s important to drum in all of these included on the DVD completion list.
skills and not get too caught up on one part of the process in
particular, as every track you complete is a worthwhile Trimming the fat
lesson for the skills you’ll gain for the next project. The first rule about evaluating your current mix is to listen
We’ve been crafting our ‘mix’ throughout the sound- and with your ears and not your eyes. So for the first few
idea-building process, but regardless of how good things evaluative plays, listen with the computer monitor turned
may seem to sound at the end of a creative songwriting off. This secret of the pros is often overlooked yet it
session there are many problem areas that are much easier highlights parts of your song that need further editing.
to detect when you’ve given yourself a break from the Perhaps some sections need improving as they aren’t in
project and listen with completely fresh ears. keeping with the established flow of the track. Or maybe the
ideas are all there but in some sections they’re sounding
Patience is a (dubstep) virtue cluttered due to an overload of events. A big part of this
We’ve waited a good few weeks before re-opening our stage is to be brutal and decide what aids the song and
project for writing this final instalment and can immediately what needs cutting back so the ideas can breathe.
hear a variety of problems with the mix and finer This is a time to explore muting out specific parts that
may distract the listener from the main ideas happening at
We’re at the last stage of our any moment in time. Choosing muting rather than deleting
means you can always un-mute later, and this is better than
dirty dubstep track, and hope having to undo or load an older project version.
When creating fills at the end of a section, newly
that you are too… programmed elements are often blighted by competing
layers of sound that may still exist from the song section
that’s about to end. These can also be muted or you could
MIX BUSS PROCESSING choose to re-program them to work in unison with the new
Processing on the mix buss will help to sculpt your work. Here are a few tips for heading in the idea instead.
right direction when mastering dubstep…
Use a linear phase EQ for the most transparent After listening to our own song with
adjustments, and add a high-pass filter to cut fresh ears it’s immediately obvious
below 35-40Hz to clear out sub frequencies that our track is a little too dense in the
that will only eat up the headroom and
therefore the potential maximum volume your top end and that the kick and snare
track can achieve. Also limit the top end with a are often being masked by other
low-pass filter around 16kHz. Although this is
a classic technique to help your music
sounds in the mix, resulting in an
translate better to vinyl, it’s good to smooth off inconsistent feeling of power. When
the top end for a warmer sound. assessing your track it’s important to
Experiment with gentle compression but
be careful not to get too squash-happy or you’ll start creating your end goals for
ruin the dynamics. We’re talking 2-3dB of gain completion – this is where writing a
reduction, applied with a slow attack and list is important. (See the Completion
release to keep the transients intact.
Stereo width control and possible List boxout on p54 for an example and
enhancement are a consideration too; but with check out the audio files provided on
width comes a loss of power, so be sparing and
keep it in the higher frequency range.
your MT DVD.)
Last in the chain is limiting. Although this
needs to be left off for mastering, to get a quick Physical phatness
playout version beforehand try one limiter and
lower the threshold until you hear crackles and Now that we have an initial to-do list of
Mix buss processing should be used with caution, but it’s useful to make
artefacts, then back off. A second limiter with a
the track ready to play out on the day of completion. A non-processed
fixes for our mix, let’s look at how we
different algorithm can be added, and a little of can achieve some basic tasks. One
version should always be available when delivering your work for
the two will have a cleaner loudness than too
mastering, but sending your processed version can give them artistic advantage of stripping back some
much being squeezed out of one.
reference to work from as well.
elements in your track is that they’ll
MT141.TUT Genre pt5.indd 96 11/02/2015 15:08

A track from scratch part 5: The perfect mix Technique MTF
bring the remaining sounds to the fore, making them seem MTF Step-by-Step Effective side-chaining
more present even though you’ve not technically made any
changes to them. In the case of our drums being lost in the
mix, this needs more attention than simply stripping out
other conflicting elements, as this could result in almost
nothing being left and we don’t want to lose the epic, trance
production-like sound we’ve gained so far.
The kick and snare have plenty of size in terms of
ambience and weight for lower-end impact but they don’t
come across as aggressively as we’d like. One option is to
process single drum sounds, or the whole drum group, with
some saturation-based plug-ins.
Saturation is a good option here as it can be used to
increase the density of mid-range frequencies while also
compressing the signal to become a little louder and more
up-front sounding. A drawback of this approach is that we
could soon be chasing our tails by beefing up the drums too
much in relation to our other sounds, and then ramping up
other elements and ending up with a louder but just as
A good way to ensure your drums will always cut through your mix is to
cluttered mix. 01 group all other sounds that aren’t drums, and then set up a compressor
We also thought about the key frequencies within our triggered by the kick and snare with a fast attack and release to duck this ‘all but
drums and how we don’t want too much overlap from other drums’ group.
parts, which will cause masking. A simple trick that can be
very effective here involves adding an EQ to the drum group,
and then using its frequency bands to pinpoint where the
main impact and mid-range frequencies of our kick and
snare are via a combination of positive gain settings and
sweeping the frequency of each band to find and boost the
key frequencies. Group all non drum-based sounds and drag
the same EQ over for subtractive reduction of these set
drum-orientated frequencies.
This can be as subtle as five or so decibels in reduction,
but these notches in all non drum-based sounds will help
the drums to cut through the mix better and therefore have
more impact.
Stereo dynamics
Though we’re about to discuss loudness and dynamics, it’s
important not to overlook the dynamics available through
If you want a massive sound for leads or pads, send them to a huge-
the manipulation of the stereo field. A variation to the stereo 02 sounding reverb on an auxiliary channel. Then add a compressor after the
width of different mid-range bass sounds can really help
reverb and have the original sound trigger it with a fast attack and a slow,
your basslines have a stereo dynamic as a whole. musically set release time. This will duck the reverb when the source sound plays
Some of your upper bass sounds may be stereo from and the reverb will swell up in volume in-between the notes.
source or from effects you’ve processed them with as part
It’s important not to

overlook the dynamics
available through stereo
field manipulation
of your sound design. If this is the case, a simple stereo
width plug-in can help you pull in or slightly widen the
stereo field on a per-sound basis. If sounds are mono or only
slightly stereo in nature there are a few ways to process
them to become wider sounding.
The first and most common way is to use dedicated
stereo enhancement tools. Though this isn’t the A great way to tighten up your mix without losing its ambience is to add a
03 compressor after your auxiliary ambience FX, as in the last step, but with a
cheapest method, plug-ins such as iZotope’s Ozone or
snappier, short release time to be triggered by your drums. Now ambience FX will
Alloy make it easy to create dense, stereo sounds. But
duck in sympathy to your drums so the heavier sections sound tighter and
before you splash the cash, there are other options out breakdowns fill out with louder FX.
there to create width.

MTF Technique A track from scratch part 5: The perfect mix
MTF Step-by-Step Creating tight micro edits COMPLETION LIST EXAMPLE

Below is our own completion list, created after a few fresh
listens to our project at the start of the day. As well as noting
down points of concern, jot down how you think you’ll fix the
issues as well. This will help create a list that you systematically
have to get through. Even though more areas needing attention
will become apparent as you start working through each task,
using this method will at least help you get started in the
daunting task of finishing your music.
• Get kick and snare to cut through better, maybe EQ out

clashing frequencies on all other sounds in the mix.
• Slowly introduce duller kick and snare on intro with low-pass
filter and add tape delays to create more rhythm.
• Process the Obnoxious bass sound to sit better in the mix so
it’s less wide sounding and overly up front.
• Slowly introduce main pads at intro with volume automation.
• Minimise other sounds alongside the vocal stabs before the
drop to make the vocal more prominent.
• Clean up pad ambience and other background sounds on
various bass fills for a dryer sound.
• Create more stereo movement and interest for middle-eight
vocal part.
• Process middle-eight vocal riff more towards end of phrase
for more interest and make it the main feature just before
Stripping down your mix for short fill sections really helps to tighten up your
01 sound and create more dynamics in your track. This is quite a time-consuming
the breakdown.
• Give arp synth part more textural interest and movement when
task, but a good starting point is to loop around the fill with a bar or so either side for playing, maybe through filtering.
context, then solo each track to hear where all the current sounds are coming from. • Add filtering to main melody riff on intro and outro.
The first method is to use slightly opposed pan

settings for two related sounds. This isn’t great for bass,
but does work very well on percussive drum parts such
as two hi-hats that alternate between each other on a
regular basis. Just set one slightly to the left and the
other to the right and your drum sounds will suddenly
start to sound wider while your kick and snare still drive
down the centre of the mix.
You can also do this with layered pad sounds so the
layers are panned across the stereo field. Be careful
because width substitutes power, and whereas a hi-hat
doesn’t need to be up front, a bass generally does, so
exercise caution with leading instruments.
Special effect
The Haas effect is one of our favourite methods to
widen any non-percussive sounds. This involves
Now start muting out parts that detract from the main elements. If sounds have
02 a decay to them you’ll have to automate either a mute or a fade to create
delaying one side of the signal by a short, sub-50ms
complete silence. This can also apply to your auxiliary FX channels too, as reverb tails value, so although you can’t detect the delay as a
and delays will also shift the focus. separate event you do get a sense of stereo. But its
delay-based nature means it doesn’t work very well on
Your drums sound

wider while your kick
and snare still drive
down the centre
percussive sounds, as you can start to hear a slight
flamming effect on transients at higher ms values. For
pads and mid-range bass tones, though, this is a
valuable tool.
You may have already utilised modulation effects in
your bass design, but chorus, flanger and phaser are
excellent tools to stereo-ise a variety of sounds. You can
When stripping things down to one or two sounds, experiment with going from a
03 wide stereo sound to mono using a stereo width plug-in. This will give another
go for slow, subtle modulation rates and a liberal
dynamic to the track at this point and is brilliant to help the sound seem unique to the amount of wet signal, or go for more extreme tonally
rest of your potentially wide mix. altering settings and only feed a slight amount of wet in
with the dry signal to achieve width. The trade-off with

A track from scratch part 5: The perfect mix Technique MTF
these effects, though, is that sounds become a little MTF Step-by-Step Unwanted pops and clicks
smeared and will step slightly further back into your
mix, but this smoothing side-effect is often more
beneficial than being a hindrance.
Our final technique can achieve similar results to the
purpose-built enhancing plug-ins already mentioned,
but you’ll need to figure out how to do mid / side
processing within your specific DAW to achieve it.
In short, the mid signal is the mono centre of the
mix, and the sides are all the information that is unique
on one side of the mix from the other. Start with at
least a slightly stereo-ised sound so some side
information exists, then add compression or saturation
to the side signal only. Saturation is particularly useful
here as it adds compression and new harmonics, which
is great for that super-wide sound whilst retaining
mono compatibility.
Achieving tasteful loudness

While you’re performing micro edits you’ll start focussing your hearing at such a
Our last focus is on maintaining a level of volume 01 high level that you’ll potentially start to find problem sounds and clicks, which
dynamics while also achieving a competitive level of you’ll want to get rid of. If they are at the start or end of a piece of audio use fades to
loudness. As dynamics are coming back into fashion it’s smooth them out.
important that you don’t just slam the hell out of your
sounds for a perception of loudness. If you add
saturation, compression or limiting to a sound or group
of sounds, go for little and often so the effect isn’t so
obvious to the ear. We like to use a variety of tonal,
vintage gear emulations, pushing the sound a little bit
with each one so the tonal sum of each tweak is
texturally interesting to the ear.
Experiment with
settings in the context
of the whole mix to tune
harmonic content
Another problem area can arise from clicks in consecutive heavily edited pieces
When it comes to saturation, a multi-band option 02 of audio. This happens from jumps in the waveform cycle position between edits.
over broad or whole-band processing can let you To solve this, solo the track and use crossfades to smooth out the transition from one
selectively choose where you want the new, loudness slice to the next to even out the resulting waveform.
increasing harmonics to sit while leaving the other
frequencies untouched. Just remember to experiment
with these settings in the context of the whole mix so
you can correctly tune your new harmonic content to sit
in a non-congested area of the mix.
Final thoughts
If you’ve made it this far we want to say ‘well done’ for
sticking with us on what’s been quite a long pursuit.
Over this series we’ve covered a lot of ground and hope
you’ve picked up some useful applied technique for the
filthier side of dubstep. Though you will of course aspire
to produce to the standard of your heroes, don’t forget
our tips on experimenting with your ideas to discover
something unique.
This attitude is what will continue to push the scene
forwards, striving to achieve the same FM8- and
Sample-based MIDI instruments may also benefit from some de-clicking,
Massive-based bass sounds that the masses will not. 03 especially if you’ve been heavily re-sampling bass from your own creations. You
We wish you all the best with your efforts and don’t
can move the start point with a ‘Snap To Zero Crossing’ setting enabled, or, like audio
forget to see each project through to completion when parts, you can use the attack and decay or release stages as fades to smooth out any
possible, as it’s the final tasks that are the hardest clicks and pops.
skills to master. MTF

MTF Show off your studio – Live special
Show off
your (Live)
studio
We asked MusicTech readers
to show off their Ableton-based
studios and got a fantastic
response. Here are some of the
It’s smart, neat and perfect.
best Live set-ups out there…
Plus we love the chair…
Kooza Production Studio

Interviewee: Loris Venegoni
Contact: loris.venegoni@gmail.com
Key components in your studio? producer launching clips or writing of sun when I can go outside and see
An iMac 27” with orchestral/ in loops but having every tool the the world.
cinematic libraries; a UAD Apollo DAW offers is the key that makes Live
Quad interface plus a lot of UAD so intuitive. And every native plug-in How do you use your studio?
plugins; Dynaudio BM12, which in is just amazing: great quality, sharp For music for my project Kooza and
this room sound big and expensive; tools with true sound design. sometimes I write soundtracks for
Empirical Labs Distressor with short movies. I’m working on making
British Mode; TLA 5051, great on Favourite part of the studio? it available for bands or electronic
bass and guitars; Korg TR rack; Definitely the room. It was designed producers who need a simple and
Access Virus B; Nord Lead 2x; by Michele Cucchi, the best engineer smart place to work in.
Yamaha Motif XS7; Hammond l-100 I could have met in my life. He
with original Leslie in the other planned the Radio Deejay studios and Next on your studio shopping list?
room and upright piano; Korg SP-250 Matthew Bellamy’s studio here in I think a second distressor will be the
to record MIDI. For vocal fx a TC Como. Flat response, the longest tail I next friend.
Voicelive 2. Ableton Push is my best have is about 0.32s. That is why I
friend, plus a Novation Nocturne and said the BM12s are like new monitors What is your dream piece of gear?
sometimes Impulse 49. here – I can use them further than 1m I’m afraid it’s not gear but a real
of nearfield. They give you all the orchestra. There’s nothing like one. I
Why do you use Live? bottom end. It’s the best room I’ve cry just thinking about it.
I own Live 9 suite. I discovered Live ever heard and I’m very, very proud.
while trying to leave Logic and One piece of advice?
learning how to use Performer. I How often are you in your studio? If you have the money, build the best
downloaded the demo just for fun Depends. I study psychology in room. If not, try DIY. Spend the
and it blew my mind. The control University and I’m a dancer too. money you have on great monitors,
that it gives you is amazing. No more Every time I have a job or I want to forget headphones. If you are a
endless menu searches, hundreds of produce something I stay all the time genius, you just need something to
bounces in place to edit audio clips. I I need to. I don’t like to ‘just to see if record sounds, you know what to do.
use the Arrangement view just like a something comes out’; it ends in Your studio begins with your ears,
classic sequencer. I’m not the kind of frustration and wastes precious days so give them the best conditions.
MTF38 Show off your studio.indd 100 16/02/2015 10:17

Show off your studio – Live special MTF
GoodLuck Music Movin’ Music

Interviewee: Ben Peters (producer)
Web: www.goodlucklive.com
Academy
Interviewee: Jonny Delaney
E: theboytheycalljonny@gmail.com
Nine singles from one album, five of them

number one. Not a bad start, then…
Movin’ Music Academy’s main
We got in touch with Ben Peters Electro, Korg R8, Roland TD-12 kit, production area…
because he sent an interesting Korg Kaoss pad, Akai APC40, Waves

shot of a desert recording. He plug-ins and our family piano. What are the key components of
replied saying: I am a producer in the studio?
electronic band, GoodLuck. We Why do you use Live? A Mac running Ableton, Logic,
have a wonderful little studio in It has the best workflow and is the Reason and Massive; Focusrite LE
Cape Town where we record our most intuitive. It also allows me to card; Yamaha mixer and S03 synth;
band and other artists, but we work really quickly and twist and Mackie RM8 monitors; Novation
needed to push the boundaries for tweak sounds and loops to do what I Launchkey, MiniNova synth; Jen
our latest record. We were coming want. Such a great team behind the SX-1000 synth; NI Maschine and
off the ninth single from our first brand, too – they listen to feedback Maschine Kontrol; Dave Smith
album, and after five number one and are brilliant with support. Mopho synth; Roland RD-300d
singles (in SA) we were at a loss as digital piano and a bass guitar. DJ
to how to top such a ridiculous Favourite piece of gear and why? gear includes Pioneer CDJ-2000,
start. We needed massive I love my new Eve SC407s – the DJM 800 mixers; iPads with Traktor,
inspiration and that meant stepping definition is astonishing. Kaoss Pad, Kaossilator, Technics DJ
out of the confines of our studio. So turntables and Kontrol X1.
we took the band and a seven- How long do you spend in the studio?
camera crew out into the Namibian Every day from 10am til midnight, Why do you use Ableton Live?
desert, the quietest, most desolate occasionally popping out to go Really because of its flexibility and
place on earth, to record our album. surfing when the waves are good. ability to handle anything I throw at
We packed up a quarter-ton of it. It is also a great program to teach
studio gear, solar power generators Perfect or room for improvement? music production with, even though
and headed out to find inspiration We could improve the mic collection it’s one of the most advanced DAWs
and crazy sounds. and get more outboard gear. on the market.
So interesting is the story that Next on your studio shopping list? Perfect yet?
we’ll feature it in MusicTech soon. I’m improving my skills first, but I The main thing I intend to do is to
But for now, it’s studio time! List am interested in iZotope’s RX4. make sure that all hardware can be
GoodLuck’s key components… reached and used from the DAW.
Eve SC407 monitors, EMES Pink Dream piece of gear? Unfortunately it’s tricky to use some
monitors, Apogee Ensemble and two Thermionic Culture’s Culture Vulture. of the synths comfortably because of
Fireface UFX interfaces for touring, a lack of space in the studio.
AKG C414 mic, matched pair of AKG Any advice to people starting out?
451s, Røde K2, ART ribbon mic, Nord There isn’t one piece of gear that will What is your dream piece of gear
‘make’ your mixes better. Focus on and why?
Recording in the how to get the best out of your gear An RMI harmonic synth – it has a
Namibian desert
and room. Invest in an sE Reflexion really unique sound. It also looks
Filter – a miracle cure for recording pretty incredible!
vocals, and I swear by it. Finally,
remember that you can’t polish a Any advice?
turd. If you’ve recorded a rubbish Take your time and only buy the
take there’s no point trying to fix it in equipment you need to get started.
the mix. Get the artist to nail the Learn how to use it before buying
take. I believe in pushing artists to more otherwise you’ll waste a lot of
perform beyond their expectations. time and money. MTF
MTF38 Show off your studio.indd 101 16/02/2015 10:17

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MTF Reviews Live 9 Suite & Push: the original review
MTF Reviews
Hardware Software Mobile Accessories
For PC
ABLETON & Mac
Live 9 Suite
& Push
To those of you new to
Ableton Live 9 and
Push, here’s Liam Excellence
O’Mullane’s original
MT review…
10/10
A
Details fter an incredibly long wait
Price since version 8’s release, Live to compare them in such a literal way,
Push & Live 9 Intro 9 is finally here, accompanied feature for feature. and for the rest of this review, the
£429 by an Ableton-developed features discussed relate to these
Push & Live 9 £668
Push & Live 9 Suite controller called Push. This is a Making introductions versions only.
£863 controller that Ableton describes as an Live 9 comes in three flavours: Intro, After the 54GB install of Live Suite
Live 9 Intro £69
‘instrument’, which sounds promising as Standard and Suite. As you’d expect, the (Standard is a 12GB install), it’s evident
Live 9 £299
Live 9 Suite £519 Live itself has long been seen as more entry-level Intro has limitations that from browsing the library that version 9
Contact of a creative, compositional tool than an reflect its price. These include a small is more complete than ever (the
Ableton
audio/MIDI workhorse for the studio. number of ‘idea spaces’ in Session View complete package can be installed
+49 302 887 630
Web Live’s primary appeal has always (Scenes), a maximum of 16 audio/MIDI piecemeal if you prefer). Various genre
www.ableton.com been its two distinct approaches to tracks, and just two audio inputs and styles and instrument types are
workflow and the way in which they
interact. For structuring tracks,
Arrangement View enables you to work
from left to right in a linear fashion.
It’s evident when looking
Session View, meanwhile, is a loop-
oriented mode, letting you focus on
through the library that version 9
Key Features
LIVE 9 SUITE
● 54GB of content,
musical ideas or sketches without
needing to think about the arrangement
is more complete than ever
40 effects, 9 stage. It’s very much the reason why
instruments, Max many people turn to Live even if it’s not outputs. However, you do get a perfectly included in Suite – far too many to list
for Live
their primary platform. respectable, though small, production here, see Ableton’s website full details
● Enhanced mixing
devices and new These ‘part-time’ users often believe centre including drum devices and – but they cover most bases and alone
Glue Compressor that Live isn’t up to the task of full track sample-based instruments along with justify the difference in cost between
● Improved creation and mixing, probably because Live’s flexible real-time audio warping. Suite and Standard – and that’s before
Browser layout
and functionality Live has been slow to incorporate The feature set gets we’ve even looked at the other
● 32-/64-bit plug-in certain features that users of other Choice deeper as you move up Suite-only features.
9/10
9
9/10
support DAWs take for granted. For instance, to the next two versions,
● Session View
automation
automation curves have only just A full suite
been added, and you still can’t Audio content aside, there are
PUSH
● Solid build take the classic approach of some other significant
(weight 2.99kg) recording lanes of audio differences between Suite and
● Bright, colourful for compiling together Standard. Standard comes
RGB pads
quickly afterwards. with the same three
● 4-row LCD display
● Touch-sensitive But that’s missing sample-based
encoders the point: Live instrument devices
● Velocity-sensitive isn’t the same as as Intro, but it offers
pads with
aftertouch other DAWs, so much more in terms
it’s wrong to try of factory content.
MT122.review live9 & push.indd 104 11/02/2015 15:59

Live 9 Suite & Push: the original review Reviews MTF
Alternatives
For hardware control of software with visual
feedback on the device itself, both NI’s Maschine
(£483) and AKAI’s MPC Studio (£350) may suit
your needs. These aren’t quite as in-depth in terms
of features and flexibility, though. Live 9 could be
purchased alone and used alongside Novation’s Launchpad S (£150),
AKAI’s APC 20 (£170) or APC 40 (£290). These are all a solid choice for
performance control, but they don’t cater for expressive musical input in
terms of notes. Other comparable software options are FruityLoops
Signature Bundle ($299) from Image-Line and Propellerhead’s Reason
Note Box now has reverse, invert, legato (to modify notes end to end) and duplicate loop, which (£349). These both have very intuitive GUI designs, a healthy library of
doubles the loop brace and its content. These all help speed up workflow and encourage creativity. sounds and instruments, and are easy to pick up and learn.
Suite’s instrument collection, however, uninitiated, Max is a graphical While it’s not a real-time option,
is a lot more comprehensive, programming environment that was Audio to MIDI lets you analyse an audio
comprising analogue-style synth previously a separate purchase from file and turn it into a drum pattern,
sounds from Analog, rich-sounding Live 8. It offers two main advantages to melody or harmonic content for chords.
percussion from Collision, Electric the Live user. The first is access to the The facility to sing an idea into Live or
pianos from Electric and string wealth of Max-created devices already drop in a file recorded on your phone
modelling from Tension. Operator caters in existence; the second is the ability to (perhaps captured during a moment of
for FM synthesis and Sampler offers a create your own devices, limited only by inspiration) is a huge time-saver and
professional level of sampling that can your imagination. enhances workflow a great deal. It’s
accommodate multiple sample The Max for Live library now also useful for adding that human feel
key-mapping and layering. includes some excellent devices to your drum work – record yourself
In terms of processing, Standard has including Convolution Reverb Pro, Note tapping or beatboxing a rhythm and
quite a few more effects than Intro, Echo (for re-creating that classic MIDI turn it into a drum pattern.
though Suite boasts the excellent Amp sequenced effect) and API tools that Other uses could include
and Cabinet devices, which will enable you to map LFOs, envelope transcribing material for covers,
otherwise be add-on purchases. These followers, randomisers and more to any mimicking a part in a track for remixing
provide guitarists with sonic textures on parameter within a Live project. Max for purposes, or taking a drum pattern to
tap, though they can be applied to pretty Live is attractive to technical nerds as make your own. It isn’t a flawless
much any sound in need of a new sonic well as musicians or engineers who just process, but the most unexpected
identity. Corpus is another effect that want to access more practical and results come from the usual suspects
can create something unique as it adds creative tools. of dense, layered or noisy material,
simulated acoustic resonance. which is always difficult for a computer
The newcomers to decipher. In most cases, though, the
Max(imum) benefit Both Suite and Standard have some results are very usable.
While Suite’s comprehensive features other fantastic new features. Highlights Glue Compressor does the job that a
make up at least 50 per cent of its include Audio to MIDI, the Glue good buss compressor should – making
attraction, for us the real deal-sealer is Compressor and some well thought-out individual elements sound cohesive as a
the inclusion of Max for Live. For the overhauls of other mixing devices. whole when processed as a group. We
MTF Navigation Push control ENCODERS NAVIGATION

c All encoders are touch-sensitive, which enhances the LCD
d BUTTONS
AUTOMATION
a Moving an encoder will
screen’s function as it displays relevant material as you work. In Session mode
these let you
override any automation for that navigate around
parameter in a clip. Hit this button to your session, clips
record changes, or combine with and scenes. In Note
[Shift] to revert to clip automation. mode you can move
left/right between
c tracks and up/down
to move between
scenes and launch
them immediately.
a
b
PADS
b The main 8x8
grid of pads are very
firm and take a while to
get used to. Sensitivity d
and velocity curves can
be user-defined.

MTF Reviews Live 9 Suite & Push: the original review
also like its saturation stage, which can input and output levels and thresholds.
Live’s new browser
be used to push the signal into the red if This makes them much easier to set up
layout makes it much
you want to introduce some character. quickly, yet accurately. easier to navigate the
EQ Eight has had its most significant included library. It’s also
easier to move between
overhaul since Live 8, particularly in Streamliner user-defined locations
respect to the new spectral analyser. Before we look at how Push may as they are now situated
We never really got on with Live 8’s redefine how you interact with Live, we’ll on the lower left-hand
side rather than in a
Spectrum device as you had to put an take a moment to cover improvements dropdown menu.
instance on every track if you wanted to to Live 9’s workflow from a
do track-by-track analysis while EQ’ing programming point of view.
a mix. Since you’ll almost certainly use Session and Arrangement Views are
an EQ per track anyway, the finally truly united, with automation
incorporating of a spectral analyser into that works between both Views for
EQ Eight is a welcome practical step. audio and MIDI clips. It may sound
Session and Arrangement

Views are finally truly united with basis. MIDI editing has also had some
automation for audio and MIDI

useful improvements, as mentioned in
the box to the upper left.
Pushing on
Other new additions include an Audition bizarre, but this wasn’t implemented For the second part of this review it’s
mode for helping you to hear the before, which was always counter- time to turn to Ableton’s Push
frequency band you’re working on, and intuitive considering the otherwise instrument, which at first glance
an Adaptive mode that adjusts the EQ close integration between both Views. appears to do much the same things as
filter’s Q width as you change the gain Automation can now be recorded in other Live controllers on the market
amount, resulting in a much more Session View as well and the global – launch clips, control devices and
musical sound. Back To Arrangement button – which generally navigate around Session View.
Two other devices to undergo stopped all Session View clips in order But while Push does offer this type of
updates are Compressor and Gate, to return playback to Arrangement View control, switching to Note Mode allows
which now have graphical feedback on – can now be controlled on a per-track you to create MIDI, audio or return
MTF Power User Q&A Rik Simpson

From Coldplay to Jay Z, Rik has produced and written for an Sun, sea and sound: Rik
working on his own
impressive array of big-name artists. We caught up with him to hear material on the edge of
his verdict on Ableton’s new combo. the Indian Ocean.
MT: Your website describes Live as ‘A DAW that makes you think
differently’. What feature has changed how you work with Live?
RS: Live 9 seems snappier than 8. The new browser is really

speeding up my work flow – it’s much more intuitive than before
and searching for files in the search field is considerably quicker. A
close second favourite new feature would be the visual feedback
you now get from the Compressor, EQ and Gate plug-ins, which also
makes it quicker to get a result.
MT: What in Live 9’s new features represents the biggest sonic
improvement for you? software makes it hard to
RS: That would have to be the oversampling option in the EQ Eight pin down. I’ve got the Live 9 tutorials by MacProVideo which
and Glue plug-ins – they add a lovely fidelity. The Glue plug-in is are great. There’s one I’ve just started on Max For Live so I’m
amazing, by the way. I’ve been using the Cymotic plug-in for a few beginning to ‘break the crust’ so to speak.
years now – it’s great to have it so integrated within Live.
MT: What do you plan to explore next when you have time?
MT: Have you explored any Max For Live devices yet? RS: Push is a game-changer for me. It actually does what so many
RS: To be honest I’ve mainly been playing with the Max For Live other controllers over the years have failed to do: it feels and reacts
presets up until now. I’ve downloaded a few fun devices – like a real instrument. Partly due I think to its tight integration with
ultraGlitcher and The Granulizator by Design the Media, for the software but also because of the feel of the pads which are
example – but haven’t really got in that deep yet. I’m more tactile and responsive. I’ve come up with riffs and shapes that I
interested in eventually making my own stuff but Max has a such a wouldn’t normally gravitate towards – it’s opened up a new area for
steep learning curve. Its very nature as an open-ended piece of me. I’ll definitely be delving deeper over the next few weeks.

Live 9 Suite & Push: the original review Reviews MTF
MTF Power User Q&A Felix Martin

MT: Do you have a favourite sound design tool in 9?
Hotchip member and one half of New Build talks to MT
FM: Now that Max For Live is included in Suite, Live
while he’s on the road away from his own Lanark
functions more like a huge modular synth. I like
Studios, London. We discuss his favourite new Live 9
Felix Martin: getting creative grabbing the Max LFO device and applying it to any
features and how Push opens up new avenues. with Live 9 and Push in very parameter – a simple but textured way to get life and
short order.
MT: What’s the most striking new feature in Live 9? variation to sounds. Functional tools like EQ, Gate and
FM: The Audio To MIDI tool is the first feature that caught my Compressor have improved to the point where I’m not so tempted
attention. I’d always loved this type of function in Melodyne so to use third-party plug-ins. It’s nice that Ableton has put focus on
having it integrated into Live is great. It seems to be part of the these building blocks rather than just cool DJ-friendly features.
ongoing work from Ableton to smooth the interaction between
audio and MIDI – really useful when working between synthetic MT: How have you found Push in terms of workflow?
tones and textures and acoustic ones. As I have no formal musical FM: I’ve been using Live for so long that I’m still unlearning the
training its really handy to transcribe chords or a melody of interest habits I’ve gained. But the concept of being able to turn off the
to then pick apart and analyse. Considering it’s the first screen is brilliant. I’ve put together a couple of tracks with Push
implementation of the tool, I think it works really well. I also love alone in a very short time by creating drum patterns, adding
the improved browser as it’s much quicker to access everything I modulation effects, playing chords and melodies. I like the way it
have, which in turn leads to a more varied approach to arranging functions as a musical keyboard with visual aids when set to
and selecting sounds. I compose by fiddling with MIDI sequences a different chords or scales. This opens up new composition options
lot, so the improved editing tools are also very welcome. to someone who’s pretty ignorant in music theory.
tracks. You can also step-sequence Scales is the most unique aspect of
drum patterns, play in melodic parts via Push, as you may have gathered from
its intuitive Scales interface, add Audio the online promo videos. It’s flexible MTF Verdict
devices for further processing and enough to let you switch keys from
generally shape your sound using the minor to major, and switch between six
LIVE 9 SUITE
+ Excellent value for money
eight encoders and touchstrip for keys immediately so you can jam + Extensive library content
tweaking and automation passes. between them. The choice of scale style + Max for Live
Drum parts can be recorded in using can also be changed via an encoder. + New device enhancements and
the lower-left quarter of 16 pads, We found the learning curve of Push additions really help craft a mix
+ Session and Arrangement Views
step-sequenced using the upper to be incredibly gentle and the Scales better integrated
portion half, or sequenced in real time approach certainly opens up new ideas.
using the Repeat tool. The latter is like Within minutes we were creating Live 9 is an excellent example of
how a company can radically
update its software while retaining
The learning curve is incredibly the familiarity and ease of

workflow that made it so attractive
gentle and the Scales approach

in the first place. The new tools and Method Spot
features certainly improve its When you’ve got a
capabilities and should keep users feel for Live’s new
certainly opens up new ideas happy for a good while to come.
10 /10
go-to mixing tools,
it’s a good idea to
store them as a
default for any new
track you create in
the classic Note Repeat function on musical elements, which are stored as the future. Once you
AKAI’s famous MPCs. The pads are Scenes within Live – and it can all be have an audio or
MTF Verdict MIDI track as you
velocity-sensitive and include done without looking at your computer. would like your
aftertouch, so dynamic parts can be Live 9 builds further on the already PUSH defaults to be,
created with Repeat for elements such solid foundations of Live 8. Push is a + Gentle learning curve right-/[Ctrl]-click
+ Offers true hardware-only (PC/Mac) the title
as hi-hats, or instruments can be great first foray into hardware, though bar of the track and
control during the compositional
modulated while the pad is held down some minor functions have not been stage of music creation select Save As
Default MIDI/Audio
with varying pressure. Parts can be implemented as yet. However, as + Can be powered via USB or mains Track. We’d
quantized and throughout your use of updates are released, we’re sure users’ power supply (included) recommend having
Push, an Undo button gives you the needs will be addressed, and we can all tracks begin
- Not aimed at loop importing and with an EQ for
same flexibility of undoing and redoing see a bright future for the company’s loop-based creativity general frequency
your work, just as you can onscreen. bold move into hardware. MTF - Doesn’t act as a central hub for housekeeping
other controllers (making use of its
new steep low- and
high-pass filters),
A promising start for a well-
then a dynamic
integrated, composition-focused device, another EQ
hardware controller. The heavy for mix-shaping
focus on MIDI doesn’t open up full and a Limiter or
access to Live’s creative Saturator at the
capabilities, but we look forward to end to catch any
new features in the future. stray peaks.
When it comes to mixing, the overhauled EQ Eight, Compressor, Gate and new Glue Compressor
really up Live’s game in terms of mixing and controlling your sound to microscopic levels of detail.
9 /10

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MT144.US subs.1db.indd 5 11/02/2015 09:20

AIR Music Technology The Riser Reviews MTF
Alternatives
If you’re willing to
spend the time you can
program these kinds of
effects using various
different software
synths and your DAW,
though they do take
time to create. You can
also use samples for
transitions but these
will limit how flexibly
you can alter them. The beauty of The Riser is that it’s a dedicated and fully
tweakable transition instrument, so you can quickly change or automate
the level of modulation, the blend of oscillators and the depth of the
effects with just a few clicks.
but you may also want to tweak the

Innovation settings to better suit the particular
track you’re working on. This is really
easy to do, and although there are a fair
few sections, you interact with them all
in much the same fashion, so the
learning curve is quite gentle. There’s
AIR MUSIC TECHNOLOGY Choice some clever stuff to help you out too,
9/10
9
9/10
The Riser
such as a randomizer to generate whole
new patches at the touch of a button
and an Invert mode that instantly
changes the direction of the current
transition to provide you with a ‘down’ to
Tired of programming endless sweeps, and everything in between. It does this your ‘up’, or vice versa. MIDI learn is
by generating sound from its three supported too, so you can map
rises and falls in your electronic tracks? oscillators: sweep, noise and chord, hardware controllers to sections in
Hollin Jones finds out if AIR Music each with multiple editable order to change pulse settings or effect
characteristics. The sweep controls the levels in real time, for example.
Technology has the answer… direction of the transition, the noise Although targeted at the many
oscillator adds texture and grit, and people making uptempo electronic
O
Details ne of the key compositional finally the chord oscillator can be used music, The Riser is an interesting
Price tricks in many kinds of dance to match the synth’s structure to your instrument in its own right. So although
£47.99 and other electronic music is song’s key, or indeed any key you it is perfect for electronic transitions,
Contact
Via website
the use of sweeps, rises and specify. Each also has a configurable you can get even more creative by
Web falls to build up to a change in the filter so you can control the shape of slowing things down and getting a more
www.airmusictech. dynamics of a song. For the producer, the signal as soon as it leaves the ethereal, pulsing sound out of it. Some
com
these are essential to create dynamics oscillator. Three LFOs are available: free people will no doubt ask why they
Needs
Windows 7 or higher within the track and let listeners know running, tempo synced, and ‘Pumper’, would buy a synth that ‘just did
OS X 10.7.5 or higher when the drop is coming. And although with configurable depth and, where transitions’, so the affordability
2GB RAM they can be programmed by hand, it’s applicable, rate controls. definitely helps here, and I’d also
quite fiddly to do over and over again. suggest that it will save producers a lot
Enter The Riser, from German Pump it up of time automating LFOs and pitch-
developer AIR Music Technology. This There’s a second filter stage with 23 bend CCs. MTF
software instrument is similar to a few filter types available and control
we’ve seen recently in that it aims to sections for cutoff and resonance, plus MTF Verdict
give you a shortcut to a type of sound a distortion stage with variable
+ Excellent for all kinds of
that gets used a lot in certain kinds of distortion modes to add crunch and electronic transitions
music, but is based on synthesis and bite to the sound. The effects you tend + Easy to learn, fun to use
not sampling. In this case, it’s described to use most on these kinds of sounds + Saves a load of time
Key Features as a transition designer optimised for are delay and reverb, and there are + Could also be used for sound
● Transition design
electronic music production, scoring, appropriate effects built in, with
designer + Very affordable
● Three editable
and remix work. Although it has a extensive tempo-sync options available + Beefs up your electronic tracks
oscillators complement of fully tweakable controls for the delay section and four reverb
● Three LFOs it also comes with 300 professionally types with controls. You can also vary - It’s best at transitions, so for a
● 23 filter types designed presets grouped by category the effect blend, and these effects help more generalist synth, look
● 300 presets elsewhere
and style such as rises and falls, pitch, the synth sounds to sit comfortably in
● Randomizer
● MIDI learn
mod or atonal character as well as your tracks. Panning and width controls Even if you’re doing experimental
● Onboard delay swells and fades. also let you position the sound more stuff it’s well worth a look for the
and reverb The patches are designed to provide accurately in the stereo field. creative possibilities it offers.
● AU, VST and AAX
formats
various different kinds of transition,
from filtered swells to whooping sirens
You could well find that the bundled
presets contain everything you need,
9/10
MT140.Rev.Riser.indd 109 11/02/2015 14:55

MTF Reviews iZotope RX 4 Advanced
the idea of spectral editing. While this

isn’t entirely unique, the fact that RX
was designed from the ground up as a
spectral audio editor lends it a distinct
Photoshop-like quality to its operation,
where you work with sound both from a
visual and aural perspective.
Rather than selecting and modifying
sound purely based on time, therefore,
RX lets you lasso parts of the audio
spectrum, whether it’s a small breath
noise, or a complete slice of the
frequency range. More than just being a
gimmick, though, the ability to work in
the spectral domain is what makes RX
so effective, enabling you to direct the
correction to a specific segment of the
iZOTOPE audio – both in relation to time and

frequency. By being selective, RX is
RX 4 Advanced
proportionately more transparent than
other non-spectral alternatives, which
in the world of audio restoration makes
a big difference to the quality of the
Choice
end result.
Adding a host of new modules, can iZotope really
improve on the prowess of RX 3? Mark Cousins 9/10
9
9/10 ZX spectrum
With the spectral editing concept in
finds out what version 4 has to offer… place, RX then lets you tweak your
audio using a number of processing
O
ver its last three generations thoughtfully evolved RX in a way that Details modules, including: Declip, Denoise,
iZotope’s RX has developed an closely matches the needs of many Price £729 (RX 4 Dereverb, Time & Pitch, and Spectral
Advanced), £215 (RX 4)
enviable reputation among audio professionals. RX 4 may not be a Repair. As an off-line audio editor,
Contact Time + Space
many sound engineers, game changer, therefore, but it certainly 01837 55200 transformations are rendered to the
especially those working in the field of contains some new treats that you Web audio clip, but thanks to a stepped
post-production. Over the years, there’s won’t want to be without. www.izotope.com undo history (that can even be recalled
been a variety of audio restoration after you’ve saved the file), there’s no
solutions – some in plug-in form, Restoration home need to fear that you’ll permanently
others based on an off-line audio editor As with previous versions of the damage the file in any way.
– but like Native Instruments’ Kontakt application, RX 4 comes in two principle For those that prefer working solely
dominance of sampling, RX seems to flavours – the standard edition, RX 4, in their DAW, RX has always provided a
have become the go-to solution for and a feature-rich version called RX 4 number of plug-ins that replicate many
many audio professionals. Its success Advanced. Before you get too excited, of the key modules used in the
can be explained in a number of ways, though, it’s worth noting that there’s a application. One distinct shift that’s
but the fact that it so effortlessly big difference in the pricing (around come with the introduction of RX 4 is
straddles both plug-in and standalone £500, to be precise), putting RX 4 the new RX Connect plug-in, which
operation has meant RX could fit into a distinctly in the ‘professional tool’ price attempts to provide a direct bridge
variety of different workflows with bracket. While RX 4 lacks some of the between your DAW and RX 4 as a
relative ease. tools of RX 4 Advanced, it’s certainly standalone application. Exact
In truth, it doesn’t seem that long not short on features, so it might be integration varies between DAWs, with
ago since we reviewed RX 3, but with worth a detailed look at the features the system seemingly at its best in Pro
Key Features
the introduction of RX 4 iZotope is keen comparison list before you make your Tools. With the Connect system active,
● Dialogue
to retain RX’s position as an essential choice. For the purposes of the Denoiser
audio regions can be transferred
post-production toolkit. At first glance, review, though, we’ll be concentrating ● Spectral Repair directly to RX 4 (via Pro Tools’
therefore, RX 4 isn’t graced with a on RX 4 Advanced. ● Leveler & Clip AudioSuite menu), either for analysis
dramatic facelift or an endless list of For newcomers it’s well worth noting Gain purposes or as a ‘round trip’ for audio
● Loudness
new and glamorous features that might the key points of RX 4’s design and restoration tasks. Ultimately, it makes
● Ambience Match
grab your attention. Look more closely, workflow. One central philosophy, ● EQ Match
the process of moving between the two
though, and you’ll see that iZotope has defined from its earliest version, was applications more seamless, rather
MT140.Rev.RX4.indd 110 11/02/2015 14:57

iZotope RX 4 Advanced Reviews MTF
Alternatives
If you’re principally interested in audio
restoration using your DAW, then Sonnox’s
Restore (£1,195) is well worth closer
investigation. The suite is comprised of three
plug-ins - DeClicker, DeBuzzer and DeNoiser
– so it doesn’t cover the breadth of RX 4,
especially in relation to the newer dynamics
modules such as Leveler and Loudness. An
than having to choose the plug-in route. (which uses a limiter rather than the alternative for Spectral editing is Steinberg’s
WaveLab 8.5 (£448), which is a good all-round
gain adjustment approach of Leveler), audio editor, including some spectral analysis
New modules EQ Match and Ambience Match. In the and editing features.
As you’d expect, there’s a variety of new case of Ambience Match it’s worth
modules and audio enhancement noting that the ‘Ambience’ isn’t reverb
features introduced in RX 4, including but the residual noise floor between
non-destructive Clip Gain, Leveler, different audio clips. Ultimately, you
Loudness, EQ Match and Ambience can see how many of the new features
Match. One interesting development specifically relate to dialogue
from a workflow perspective is the restoration and editing, although given
non-destructive Clip Gain, which the inherent versatility of RX 4 their
enables you to create a series of nodes application can extend across a wide
to control the amplitude of your audio variety of sonic surgery tasks.
clip. It’s a simple feature, but one that
makes a big difference to the workflow Clean sweep
in RX 4, especially when you’re working RX 4 may not be a gigantic leap on from
with problematic dialogue. the features included in RX 3, but it editing. Even though the standard RX 4
Working in conjunction with Clip does demonstrate iZotope’s intention misses out on many of the new
Gain is the Leveler module that lets you to provide the ultimate fix-it tool for a modules there’s still a wealth of
apply a form of automated gain control, range of audio dilemmas. New features creative and technical possibilities that
much like a compressor or expander. such as the Clip Gain really transform RX 4 has to offer.
The unique slant here, though, is that RX 4’s usefulness, making RX 3 seem Compared to the standard edition,
the output is in the form of a re-drawn surprisingly limited when we stepped RX 4 Advanced is a more significant
Clip Gain curve, letting you tweak and back to compare the older version. The investment, although the addition of
Insight, iZotope’s comprehensive
metering suite plug-in (itself worth
Like Kontakt’s dominance of sampling, £295), certainly makes it all the more
tempting. Knowing just how many
RX seems to have become the go-to professionals have come to use RX’s
powers on an almost daily basis it’s
solution for many audio professionals clear to see that the new improvements
in RX 4 will be a welcome addition to
their workflow. Ultimately, few other
refine the gain changes as you see fit. Leveler also proved to be a real winner tools can rescue irrevocably damaged
Beyond the obvious dialogue and a viable additional means of audio like RX 4 does, and for that fact
applications, it was also interesting to controlling dynamics that contrasts alone it’s a tool few professional users
hear the Leveler applied in a music well with traditional tools such as a will want to be without. MTF
Method Spot
production context, used as a means of compressor and upwards expander.
Differing levels of
balancing out the dynamic range of The hard decision for potential background noise
can cause problems
MTF Verdict
tracks, especially in relation to customers, though, is reconciling the
between dialogue
increasing the levels of quieter parts of price difference between the two + Leveler and Clip Gain really aid
takes. Usually a
the mix. versions. Given the wealth of what’s small amount of workflow
‘wild track’ is + Connect system improves DAW
Other new modules seem largely included in the standard RX 4, it’s clear
recorded to cover integration
directed at the post-production that iZotope has priced the these issues, but in + Perfect for a range of post-
fraternity, including a Loudness module application competitively, making it a situations where production tasks
this isn’t available + Spectral-level precision and
justifiable purchase for those who want
you can use RX 4’s transparency
to dabble in RX’s spectral-based audio Match Ambience to
synthesize new
background noise.
- New modules biased towards RX
Match Ambience 4 Advanced
works in a similar - Connect integration varies
way to Noise between DAWs
Removal, where the
software ‘learns’ a iZotope’s RX 4 continues to lead the
fingerprint from a way as the most versatile audio
source recording. restoration tool around, saving
The Noise
countless damaged audio files from
Fingerprint is
then used to a one-way trip to the bin!
The Dialogue Denoiser is great for cleaning up
vocal takes.
RX 4 can be used in plug-in or standalone
mode, so will fit in well with your workflow.
generate the
required wild track. 9/10
MT140.Rev.RX4.indd 111 11/02/2015 14:57

MTF Reviews Fender Passport Studio
Alternatives
This is one of those rare occasions where we
can’t suggest any direct alternatives because
the product is fairly unique. However, if the
portability aspect is less of a priority and you
don’t mind boxing them up for transportation,
you could consider more conventional monitors
such as the ADAM ARTist 3 (£230 each),
Avantone MixCubes (£387 pair) or Focal Alpha
50 (£200 each). Interestingly the Focal CMS 50
is available in pairs with a dedicated carry bag,
but the bundle costs £870.
switches for frequency adjustment. The

phones socket mutes the speakers and
the aux and left/right inputs can be
used simultaneously. So you could split
the output of a preamp and connect
one side to the Passport Studio’s aux
input for zero-latency monitoring.
Lock and load

The bass end packs a lot of punch and
there’s plenty of it when you consider
Choice
FENDER FOCAL 9/10
9
9/10
that these are medium/small
nearfields. There’s also a pleasing
Passport Studio
absence of port chuffing although some
roll off can be detected below 50Hz
along with a slight lift in the upper bass.
Despite sharing the same tweeter,
Is this monitor system, which can be carried in one hand, the Passport Studio can’t match the
CMS-40 for openness, and the treble
the perfect lightweight solution for engineers on the move? sounds a little muted even with the
Huw Price checks in… treble boost on. Even so, the Passport
Studio system has a smooth and
easy-going sound with full midrange,
T
Details his is the product that would Focal, and the woofers and tweeters get although we did suspect there was a bit
Price £490 (pair) have been perfect back in the 50W and 25W each, respectively. The of resonance around the 1K region.
Contact Fender GBI days of the jobbing freelance literature states that the ‘Passport Judged purely as studio monitors,
01342 331700
sound engineer. Many of us Studio houses a world-renowned Focal the level of detail and solidity of the
Web
www.fender.com would box up our preferred monitors driver’, which seems to suggest that the imaging is certainly commensurate with
and drag them from studio to studio to same drivers are used in other Focal the price point. However, more
get some sense of continuity from an monitors. We contacted Focal to ask for conventional competitors might offer an
endless succession of control rooms. clarification and were told that the extra degree of user adjustment.
These days many pro engineers and woofer was developed by their R&D The defining feature is that Passport
mixers tend to work out of their own team for Fender and it’s an ‘exclusive Studio system can be locked together
studios, but Fender obviously believes technology’. However, the inverted dome and transported without the need to
that enough of us are still nomadic to aluminium/magnesium TNB tweeter is preserve the original packaging or buy a
Key Features justify the development of a fully the same unit that is used in Focal’s flight case. Then you simply split them,
● Frequency portable monitor system. What’s more, CMS range. set them up and they’re good to go. This
response: 50Hz- they have collaborated with one of The 5in woofer does have certain is a cleverly designed, carefully thought
20kHz
● Input: TRS jacks
Europe’s most respected studio monitor Focal features because its Polyglass out and affordable product that fills a
and/or stereo manufacturers to do it. cone is made by applying molten glass niche in the market. MTF
mini jack Like many computer-style monitor microballs onto a cellulose pulp cone to
● Total onboard
power: 75W per
speaker setups, the amplification is combine excellent paper damping with MTF Verdict
channel contained in the left enclosure and the glass rigidity. It’s claimed that the
+ Quick and convenient portability
● Onboard right speaker links up via a TRS jack rigidity index exceeds even that of + Real-world features
equalisation:
cable. The spare space that’s available single-skin Kevlar and is almost ten + Ample power
+1.5 dB at 75Hz
and 7.5KHz in the right enclosure accommodates times superior to polypropylene. + Smooth sound
● Midrange: 5in the power and link cables when the The back panel of the left speaker
Polyglass cone - Slight midrange colouration
speakers are not in use and each accommodates balanced inputs for left - Lacks airiness in the treble
● Tweeter: 1in TNB
inverted dome enclosure gets a rear cover plate that’s and right as well as the link output and
● Dimensions: held in position magnetically. power switch. Protected by a recess An interesting concept that’s well
45.7cm x 35.6cm under the speaker baffle there’s a executed and priced – and they
x 21cm sound pretty good too.
Drive time
9/10
volume control plus two mini jack
● System weight:
8.4kg According to Fender UK the amplifier sockets for auxillary input and
and driver technology comes from headphone output, and three-way
MT138.Rev.Fender Focal.indd 112 11/02/2015 14:29

Akai APC Key 25 Reviews MTF
Alternatively
The most direct competitor is Novation’s
Launchkey Mini at £79. It’s even smaller and
also has 25 keys and eight knobs, though
its 16 pads are aimed more at generic MIDI
control than the APC’s more targeted grid of
Live buttons. It comes with some iOS apps but
not with the software you get with the APC. So
although they are both tiny keyboards, they do
have a different focus.
generic MIDI controller too, though

you’ll want to check with Akai exactly
how well supported your particular
Value choice of third-party software is.
€£$ You get 25 synth action mini keys,

and while you won’t be playing any
AKAI sonatas on these they are perfectly

decent for basslines, melodies and
sustain button for manually entering
sustain values in lieu of a pedal.
APC Key 25
simple chords. Despite being small The keyboard comes with some
they’re well-designed and will certainly software too, including a version of Live
do the job of letting you input clips Lite. There are also two synths, Hybrid 3
accurately, though, as you might expect, by AIR and SONiVOX Twist, to play with,
they’re better suited to synth or and Toolroom artist launch packs
Take two controllers on stage? Not if beat-style playing than anything too available for download after registering
Akai has anything to do with it. complex. There’s enough travel in the online. So even if you have nothing else
keybed that note presses register before buying the Key 25 there’s enough
Hollin Jones streamlines his setup convincingly, and having a keyboard in bundled content that you can be
with the APC Key 25… such a compact unit in addition to all making music quickly without having to
the other controls is a real bonus. The spend more money.
only omission is a sustain pedal input,
A
kai has really gone all out on Details though you do get a sustain button A perfect choice?
its collaboration with Ableton Price £99.99 which kind of takes its place. The APC Key 25 is a really cool little
over the last few years, Distributor InMusic The rest of the front panel is taken controller for Live. It doesn’t have the
Contact Via website
producing a number of up by the Live controls. Most prominent faders of the APC Mini but it does have
Web www.akaipro.
Ableton Performance Controller (APC) com is the 5x8 multicoloured grid that lets eight knobs which can more or less be
hardware units in close co-operation Minimum System you launch clips. As mentioned, the deputised to perform a similar function,
with the software developer. As is Requirements software displays which section of a and crucially it has the keyboard. A lot
Intel Mac with OS X
usually the case, such partnerships are 10.5 or later
project is currently being controlled and of people who use a Live controller will
able to achieve integration that isn’t Windows XP or higher you can move this area around using also have a MIDI keyboard connected,
possible by simply bundling MIDI maps 2GB RAM the arrow keys on the keyboard for so with the Key 25 you’re killing two
USB port
for other people’s software. The better navigation. The three clip status birds with one stone. Even though the
company’s latest is the APC Key 25, the modes (loaded, playing and recording) keys are small they’re still perfectly fine
only APC model with a keyboard. It are displayed using different coloured for synth melodies, basslines and
manages to fit a surprising amount of backlights, and the grid feels just right beats. And its tiny footprint means it’s
functionality in too, so it will certainly be with button sizes and spacing ample also good for those pressed for space,
of interest to Live users. enough that you don’t accidentally hit or for working on the move. MTF
one while aiming for another. You can
Small is beautiful also control rows of clips at a time using MTF Verdict
The first thing to say about the Key 25 is the Scene Launch buttons, and the
+ Incredibly portable
that it is very compact. It’s insanely Shift button provides access to a bunch + Keyboard is surprisingly usable
portable and very light indeed, though of alternate functions for many + No setup required with Live
its all-plastic construction, while solid, controls, greatly expanding the + Excellent Live integration
means you’ll probably not want to throw usefulness of the hardware. + Control sessions remotely
+ Workflow is good
it around too much. There’s a single USB Key Features To the right are eight assignable
+ Decent bundled content
port on the side that you use to connect ● Live controller knobs and you can toggle their function
to your Mac or PC, and it’s class ● 25 mini keys easily between pan, volume, sends and - A sustain pedal port would be a
compliant so no drivers are required. ● Eight assignable device control as well as effect levels, bonus
knobs - Lightweight build means being
Power and MIDI are also handled by this ● 8x5 clip control
filters and more. The knobs are of good
careful when transporting
connection so there’s no need for a grid quality and move fluidly but with just
power supply. ● USB powered the right amount of resistance. Under A surprisingly versatile Live
It’s pre-mapped for Live and you’ll ● Navigate these are some more performance controller considering its extreme
projects and portability. Having a keyboard is a
find that the controls map across record MIDI controls including octave up and down,
great bonus.
beautifully, with red outlines appearing so you can play beyond the physical
8/10
● Bundled
in the software to denote what you’re software and 25-note key range as well as play, pause
samples
currently controlling. It can be used as a and record controls for clips, and a
MT142.Rev APC.indd 113 11/02/2015 15:20

MTF Reviews Modartt Pianoteq 5
you’re up and running quickly, and it Alternatives

works as a standalone application or as Native Instruments
an AU, VST, RTAS or AAX plug-in for Mac makes a range of
Kontakt-based
and PC, plus there’s a Linux version. It’s sampled piano models, ranging from uprights
worth noting that there are three to concert grands, for around £59 each. These
have a somewhat different approach since
versions available at different prices and they do use samples as the basis for their
with different feature sets. We reviewed sound generation, and although they have
the full Pro version, but a detailed sound tweaking controls they’re overall a little
heavier on your system.
feature comparison can be found on the
website and you can use this to decide
which version is right for you. possible to choose mono, stereo or
binaural output for a while, but now
What you get there are 15 mic models available which
All three versions include two can be manipulated more fully. In the
instrument packs of your choice and mic section they can be added or
the bonus Historical Instruments pack, removed, their levels set, and they
and there’s the ability to add more can now be rotated in all three
instrument packs to Pianoteq via online dimensions, attached together, and they
Excellence purchases. They’re not all just pianos even have tweakable polarity and
10/10
either, and as well as some very old proximity effect settings.
models of harpsichord, glockenspiel The idea of virtual mics isn’t new but
and celesta you can also choose vibes, it’s beautifully implemented here, and
xylophones, steel drums, electric the process of mic placement is intuitive
pianos, clavinets and more. Although and powerful. You can expand the view
MODARTT these add slightly to the install size

we’re only talking tens of megabytes, so
too, so it’s possible to place mics some
distance away from the piano and at
Pianoteq 5
it’s still a very lightweight app. different heights. As such it’s easy to add
Each model of piano comes with its or remove intimacy or room ambience
own presets and these sound excellent, with a couple of clicks.
as we have always found with Pianoteq. The other major changes from
Not everyone has space for a massive There’s a level of authenticity and
finesse to the sounds that’s hard to
version 4 are in the physical model and
these are applied across all the
sample library, but Modartt might just square with the resource-light nature of instruments, refining the way the sound
have the solution. Hollin Jones tinkles the app, but it’s a fact nonetheless. The is generated. Given that the upgrade to
interface in the Pro and Standard version 5 of the Standard or Pro models
the virtual ivories of the Pianoteq 5… versions provides you with a number of is just €29, the addition of the
sections for tweaking a patch in tweakable mics seems like enough of a
incredible detail, from tuning through reason to go for it. As a new buyer,
P
Details ianos were among the first hammer hardness, strike points, Pianoteq is an excellent way to get
Price instruments to be accurately soundboard behaviour, string length authentic, playable and configurable
Pianoteq Stage, €99 reproduced in digital format, and many more. You may not need to piano sounds on your computer without
Pianoteq Standard, though this was almost always fiddle with these, in which case the taking up valuable space. MTF
€249
Pianoteq Pro, €399
achieved by using large, multi-gigabyte entry-level version might be your
Upgrade from sample libraries to recreate the preferred option; but if you do want to MTF Verdict
previous version, €29 nuances and playability of a real piano. get in-depth with the Standard or Pro + Excellent piano sounds
Contact Via website Pianoteq came along and changed all version, there’s loads you can achieve.
Web + Very playable and easy to use
www.pianoteq.com that, defining a ‘fourth era’ of piano Under the Output section at the + Great depth of sound
instruments, as the developers put it, base of the window you’ll find tweaking controls
+ New mics section is very useful
with the physically-modelled piano. configurable velocity settings, a
and creative
Key Features Weighing in at just 40MB its footprint is ‘condition’ area that lets you ‘age’ the + Extremely small footprint
● All major formats tiny compared to most other piano piano sound, and separate control + Easy on system resources
● Mac, PC and instruments and, in an age where many sections for action, mallet bounce, EQ + Expandable with more
Linux
people produce music on laptops, this and effects. In the Effects tab are three instruments
● Bundled + Create almost any piano sound
instrument space saving can be very appealing. effect slots plus reverb, all with multiple + Up to 192kHz support in Pro
packs Pianoteq works by modelling the presets. In the reverb section you can version
● Expandable sound of a piano and all the complex even load a WAV impulse to tailor the
● Onboard effects - Entry-level version is relatively
interactions of the resonances of the character of the reverb very precisely.
● Multiple sound feature-limited
tweaking strings and the body in real time. The With all these tweakable controls it’s
controls algorithms behind this are surely possible to do anything, from making Still the best way to get authentic,
● Load external fiendishly complicated, but you needn’t minor tonal changes to altering a piano believable acoustic piano and
reverb impulses
worry about them because it’s very much into something completely alien. A similar sounds on your computer
● Per-note edit in while using hardly any space.
Pro version a musician’s tool with an emphasis on ‘Random’ button helps out here by
Powerful and playable.
10/10
● New playing and sound tweaking rather than dialing in a bunch of settings at random.
microphones
the mechanics of sound generation. New in Pianoteq 5 is an expanded
section
After unlocking the software online configurable mic section. It’s been
MT137.review Pianoteq.2aj.indd 114 11/02/2015 13:00

Focusrite Saffire PRO 26 Reviews MTF
Alternatives
We’ve already mentioned the PRO 24 as being
another compact solution and there are, of
course, many other Saffire configurations to
choose from depending on your connectivity
needs. It’s been around for a while but the
PreSonus FireStudio Project is still available
for the same price (street). It lacks some
connectivity, is not as compact, but does have
more rotary control.
There is enough going on (or, should I slept between sessions which turned
say, in and out) for a smallish project out to be an issue with the (then new)
studio set-up – say, a singer-songwriter Logic Pro X, but after a call to Focusrite’s
with guitars and mics or someone like very good technical support staff the
FOCUSRITE me with a soft synth set-up and one or

two choice hardware synths.
latest version solved the problem.
Now there are no problems
SaffirePRO26
whatsoever and I quickly had PRO 26 up
Easy boy and running and my hardware synths
When you get up and running (now a talking happily to Logic. Front panel
pretty seamless operation) your controls are smooth to use and it’s great
software should, like Logic Pro X with to have total control on my monitoring
A good interface should be reliable me, simply recognise Saffire as a new right next to my laptop rather than
and unobtrusive, so how does interfacing option and instantly bring reaching down to my rack as I have done.
the included Saffire MixControl Am I just getting lazy? Yes.
Focusrite’s new model stand up? software into the frame, which is There’s just room to mention a fine
Andy Jones gets connected… essentially your routing environment. It suite of plug-ins that ships with the
W
enables you to configure which audio unit: Live Lite, Focusrite’s own plug-in
e’re generally very Details tracks on your software are routed to suites, a gig of Loopmasters samples,
positive when it Price £299 which physical ins and outs on the and not forgetting the rather great
comes to Focusrite Telephone interface. If I’m honest, I’ve used it in the original BassStation soft synth – nice.
+44 1494 462246
interfaces. The past and thought it a little, and I’m So we have another fine unit that
Web uk.focusrite.com
company seems to struggling for the correct word here, plugs a gap in the company’s range.
have a sense of what we need in our
studios – often before we do – and
supplies solutions in practical,
cost-effective and non-melodramatic
The interface itself is solid
ways. The Saffire range is largely
FireWire and, the company states,
and compact, and ideal for a
Thunderbolt, although you will need to
buy an adapter for the latter which is a
desktop studio set-up
shame as that’s £25 and a couple of
days’ wait you might not have unnecessary? What it does is PRO 26 is solid, compact and will sit on
accounted for. Key Features something that you should be able to do your desktop unnoticed and quietly
The interface itself is solid and ● 24-bit/96kHz in your DAW – the last thing I need is getting on with its job, just like a good
FireWire
compact – I like the feel and look a lot another layer of complication when it piece of interfacing gear should. MTF
interface
– and it’s ideal for a desktop studio ● Four preamps comes to computer music making…
set-up where space is limited. It’s not ● 18 inputs and But, seeing it from Focusrite’s side, MTF Verdict
rack-mountable but just light enough to eight outputs the company is taking away the main
(four mic/line + Rock solid, sturdy desktop unit
be a usable mobile interface (although pres, two for responsibility of the unit – rock solid + Can be used for both projects and
you might want to consider the PRO 24 high-impedance interfacing – away from the DAW mobile recording (just)
for an even more compact solution). instruments; producer to make sure that it properly + Easy DAW set-up
two headphone
Having used a Saffire interface does what it says on the tin. And if that + Good software bundle
outs, six TRS line
extensively, I’m instantly at home with outputs; eight means using a layer of software in
extra inputs via - You might need to buy a
the 26’s layout – different inputs and addition, then so be it. And it does it Thunderbolt cable
ADAT optical)
outputs on the front and back panels ● 5-Segment LED very well, if a little starkly. It’s easy to - I know why MixControl is needed
with a useful meter display and rotaries meter select and route audio and control but I’m not a huge fan
to control levels. Here there are six ● Software levels, although the latter task is
Bundle includes Versatile, compact, easy and
physical inputs: one and two can be line Ableton Live something you’ll prefer to do on the unit reliable, Saffire PRO 26 feels like a
(at the front) or mic (round the back); Lite, Focusrite’s and largely what those front panel trustworthy old friend coming
three and four are combination mic/ Midnight and rotaries are for. around to your house, sitting down
Scarlett plug- with you, cup of tea in hand, ready to
line/XLRs, while five and six are line-ins. ins, Novation’s One final point of note with
solve any studio interfacing
There are six line outputs plus a couple BassStation MixControl is to make sure you problems you have.
synth plus 1GB
of headphone outs and additional download the latest version (as I write,
inputs by way of an ADAT optical
interface (offering another eight inputs).
of Loopmasters
samples v3.4). I had issues with needing to
reboot my DAW whenever my computer
8/10
MT137.review Saffire.indd 115 11/02/2015 14:17

MTF Reviews sE RF SPACE
Alternatives
There are several alternatives to the sE
Reflexion Filter range, however they are all
simply based around a sheet of acoustic foam
and none have the layers of material and air
gaps that block not only more of the reflections
but also over a wider frequency range. This,
alongside the vertical diffusion pillars, gives the
RF SPACE a huge advantage over competitors.
Choice
9/10
9
9/10
the room was controlled. It still wasn’t
as dry as the controlled room with the
RF SPACE, though, which shows you
sE that even with the filter in place the

room is still going to have an impact.
RF SPACE
However, it did take much of the life
out of the room and would have made
it easy to place as a dry vocal, as
opposed to the obviously live version
without it.
Is sE’s new version of its multi award-winning reflexion filter out of Switching to acoustic guitar, the
this world? Mike Hillier prepares for lift-off… option of being able to angle the RF
SPACE made it easy to place and angle
the mic at the guitar without too much
hassle. We like to use sE’s RNR1
C
Details ontrolling the ambience on a mounting mechanism. The clamp can Rupert Neve ribbon mic on acoustic
Price £299 signal is one of the key jobs of now be tilted and locked at an angle, guitar, which has a figure-of-eight
Contact Sonic any tracking engineer. Even in making it easier to use the SPACE as a polar pattern. With the RF SPACE the
Distribution
0845 500 2500 great-sounding rooms filter around instruments as well as on signal we captured was clean and
Web engineers will likely pull out a bunch of a vertical stand for vocals. clear, with a more direct, focused
www.seelectronics. baffles to control the ambience as they However, because of the nature of sound than without it. Because the
com
are recording. But for many small studio putting the enclosure around the back filter prevents signals from hitting the
owners, having large baffles on hand of the microphone it still works best walls and bouncing back onto the rear
when you need to close down the with side-address mics (which hang of the ribbon, the figure-of-eight
reflections is not an easy option. vertically) rather than end-address capsule sounded more like a cardioid
The original RF Pro sought to ease units, which tend to start poking the but still had all the gorgeous qualities
this problem by creating a portable back of the chamber, especially when we’ve come to love of ribbon mics.
solution that could be quickly set up you add the XLR connector.
and positioned to reduce room The final frontier
reflections while capturing a stunning No-one can hear you scream The RF SPACE does a great job of cutting
clean, dry performance. Now, eight We started our testing with a vocal in down room reflections. We’re often
years later, sE has taken another look at an already fairly well-controlled room. telling you the importance of room
the Reflexion filter and come up with The difference was subtle but still treatment with respect to mixing, but the
the SPACE (Specialised Portable noticeable without any processing on tracking environment is important too
Acoustic Control Environment). the vocal, and it became more – arguably more so. If you record in a
apparent as we started to apply a little project studio where the room
Rocket science compression to the signal. With the RF acoustics are less than perfect this is
The SPACE takes the basic concept of SPACE in place the compressed signal an almost essential purchase. But even
the RF Pro’s multiple layers and air gaps retained its close, dry, intimate in studios with fantastic treatment and
and extends the surface area to envelop emotion; without it, the compressed portable baffles, the ability to quickly
more of the microphone and prevent a signal brought up the room, placing our switch the acoustics makes this a
greater degree of room reflections from vocal just a touch further back. great addition. MTF
reaching the microphone. The design Switching from our treated control
uses ten layers of sE’s patented room to the kitchen – a very live room MTF Verdict
Multi-Layer Air Gap technology material with a tiled floor and plenty of flat
+ Blocks reflections in poorly
with seven vertical pillars. These pillars wooden surfaces – the difference treated rooms
deepen the air gaps, capturing more between recording with the RF SPACE + Improved stand mechanics
low-end material and adding some and without it became more obvious.
Key Features - Not easy to fit end-address
random diffusion. Compare this with The live room sound can be a great
● Ten layers of microphones in the enclosure
Multi-Layer Air many of the alternatives, which usually trick, and we’ve often used it for
Gap technology consist of nothing more than a sheet of exactly that reason, just as we’ve The RF SPACE is an easy-to-use
● Seven vertical solution that will improve poorly
foam, and you can see that sE has really heard of other engineers using
pillars to aid
diffusion put a lot of work into the Reflexion bathrooms or purpose-built stone controlled rooms, but can still find
a use tightening up well-treated
● Newly designed Filter range. rooms for similar effects.
clamp
spaces too.
9/10
In order to make SPACE a more However, with the RF SPACE the
● Three-year
warranty
useful and easy-to-use tool than the room took an altogether different vibe
previous models, sE has redesigned the and we were impressed at how much
MT138.Rev.Space.indd 116 11/02/2015 14:30

Genelec 8010A Reviews MTF
Alternatives
As a tiny speaker with professional audio
quality that can be carried anywhere, the 8010A
occupies a class of its own. Although somewhat
larger, you could check out the Adam A3X (£138
each) or the Focal CMS 40 (£284 each). The CMS
40 also comes with removable mesh grilles for
the woofer and tweeter.
a relief to discover that it get its juice ears. Alternatively the 8010A can be
from the mains rather than a wall wart. mounted on a bracket or stand.
There are no fiddly link cables and each Just like the pictures, the sound
unit has its own Class D amplification belies the actual size. Only this time it’s
and controls. way bigger than you would ever expect.
Admittedly our listening room isn’t
Size matters especially large, but the 8010A filled
The 3in woofer gets 80W of power and the space with crystal clear and wide
the ¾in metal dome tweeter gets 50W. open sound.
This might seem a bit like dropping a V8 Fired up next to a pair of Focal CMS
engine into a Fiat 500, but it’s all about 40s we had to touch the cones on more
headroom rather than sheer volume. than one occasion to determine which
The input connector is a balanced XLR monitors we were listening to. The
input but it can be connected to an Focals were a touch softer and
unbalanced source using a suitable smoother, while the 8010A displayed
GENELEC Excellence adaptor. Another feature is Genelec’s the more airy and open treble that
10/10
Intelligent Signal Sensing (ISS) circuitry, many would associate with Genelec.
8010A
which switches the monitor to standby Granted, the bass extension isn’t
when no audio input is detected. Switch exactly bowel troubling but we have
on takes about half a second, but used monitors with enclosures two or
owners who find this hard to live with three times the size that would struggle
can disable the ISS function. to convey quite as much bass energy.
It may look like the 6010, but with newly Another dipswitch sets the input
sensitivity. The default setting is
When set up as conventional monitors
we felt quite happy mixing on the 8010s
designed amps and XLR inputs the ‘Normal’ – predictably enough – and the right away. It’s also interesting to note
Genelec 8010A promises to be a pro- dipswitch changes this to -10dB.
Genelec advises that you choose the
that the 8010A is compatible with
Genelec’s 7050B subwoofer.
quality monitoring system that you can setting that provides the desired Placed on a desktop either side of a
carry on the bus. Huw Price downsizes. playback level and resolution for your computer screen the results were still
system’s volume control. impressive, but we opted to augment the
Frequency response adjustment is desktop filter with a -4dB bass tilt to
next up. Bass tilt provides three levels tighten the low end (your experience may
A
Details
lthough clearly described as of attenuation: -2dB, -4dB and -6dB at differ depending on the resonance of
Price £259 each
‘extremely compact’ the bijou 100Hz. In addition the Desktop Control your desk). To summarise, the word that
Contact
020 8962 5080 dimensions of the 8010A still switch activates a 4dB cut at 200Hz. springs to mind is ‘extraordinary’. MTF
Web came as something of a The manual includes a very useful chart
www.genelec.com surprise when we took them out of their with suggested settings for various MTF Verdict
packaging. Designed to enable working scenarios. For instance, the
“professionals to work in compact recommended Bass Tilt settings are + Sonically transparent
+ Impressive bass handling
studios and on the move” they’re so -2dB for reverberant rooms, -4dB for
+ Frequency adjustment switches
small that you could probably use them proximity to walls and -6dB if the 8010A + Fiendishly clever swivel mount
in a cupboard. The promotional shots has to be placed in a corner. + Effortlessly practical and
showing a user putting a pair of 8010A portable
Key Features
monitors into a shoulder bag are Full tilt + Versatile placement options
● Max SPL: 96dB + Auto standby
● Frequency entirely plausible. Genelec’s four-cornered rubber base is + Steady off-axis response
response: 67Hz - With that in mind, Genelec protect one of our favourite features. As well as + Genelec carry bag is available
25kHz
the woofer and tweeter with metal providing anti-slip decoupling, a clever
● Power: Bass
covers and all the connections and metal clip attachment enables the - High volume exposes enclosure
25W Class D/
Treble 25W
limitations
switches are tucked neatly out of 8010A to fire upwards and downwards
● 3in bass driver harm’s way. As well as being portable, as well as straight. We started with the A remarkable set of monitors
● ¾in metal dome
tweeter
Genelec also promises that the 8010A 8010A placed on top of our usual that provides a professional
is an accurate monitoring tool, but we’ll monitors and aimed them down. Then quality reference at medium
● Dimensions: 195
x 121 x 116 mm listening levels in an effortlessly
get on to that later. we placed them on our desktop and
● Weight: 1.5kg
portable format.
10/10
Although the 8010A physically aimed them up. It’s a simple and
● Connections:
XLR input
resembles a computer speaker more elegant solution that ensures the
than a conventional studio nearfield, it’s tweeter is always directed towards your
MT139.Rev.Genelec.indd 117 11/02/2015 14:39

MTF Reviews Arturia BeatStep
non-computer based controls such as

CV as well, though it’s easy to make all
the assignments in the software then
use BeatStep in standalone mode.
In MIDI controller mode, as well as
playing beats you can use the pads as
switches or to send program and bank
change messages, and in Step
Excellence Sequence mode you can enter 16-step
10/10
sequences easily, using the knobs to set
pitches and the pads to assign notes on
or off. The scale function also means
you can ensure only the correct notes
ARTURIA some MIDI hardware and then switch

for any given scale are available to you.
It’s best suited to beats or monophonic
BeatStep
modes and use BeatStep to launch parts like basses or synth leads, but the
clips in Live, or control Logic’s transport. addition of the knobs means it’s also
Thanks to the straightforward layout good for synth parameter tweaking and
this is very intuitive to do: simply press DAW control.
the control / sequencer button to toggle BeatStep is an excellent little MIDI
If you thought triggering MIDI hardware between modes and the light scheme controller. For triggering in software it’s
and software meant using two changes too, red for controller and blue intuitive and fun to use, and it also
for sequencing. So you might be using works as a MIDI hardware trigger and
different devices, think again. Hollin the device’s internal sequencer to sequencer via its more old-school
Jones road tests Arturia’s BeatStep… trigger a pattern, but then flip modes to outputs. Best of all these can be used
use the knobs to start tweaking synth concurrently by switching modes on the
parameters. With a bit of practice it’s fly. The setup software is well designed,
A
Details rturia has made a number of easy to pick up. and the unit itself is sturdy and fun to
Price €99 successful inroads into the use. At this price, BeatStep is a great
Contact Via website hardware market after many Look and feel choice for anyone working with
Web www.arturia.com
years of developing its range of The hardware has 16 backlit pads and MIDI-triggered instruments, be they in
Minimum System
Requirements classic synth emulations. Where some 16 knobs, as well as a data dial that can hardware or software form. MTF
Windows 7 or higher of its other hardware has been control both level and rate parameters.
Mac OS X 10.7 or higher physically quite large, the French Underneath this are play and stop Alternatives
2GB RAM company is now going compact with commands, mode switch, external sync Akai’s LPD8 is even more compact with just
Dual core 2GHz CPU or eight pads and knobs and is available for
better hardware synths such as the Micro and button, MIDI channel select, preset
around £35. It does take portability to the
Mini Brutes, and now also the BeatStep store and recall and a shift button extreme, and for that you sacrifice the full
MIDI controller. Designed to cater for which enables access to a secondary complement of pads and dials. Going in the
other direction, NI’s Maschine Mikro for £299
the modern mobile producer, it has a function for all the pads. These are comes with the full Maschine software and
few more tricks up its sleeve than may marked on the faceplate and include is physically larger. It has a MIDI mode too, so
at first be apparent. scale type and playback resolution. it can be used for more generic controlling,
plus there’s the Controller Editor software for
Physically the box itself is small but Sometimes this kind of stuff can be a making assignments.
sturdy and a little heavier than you bit fiddly to use, but Arturia has done a
might have expected, though this good job with the workflow and it’s all
makes it reassuringly stable when in pretty friendly.
use. It has rubber feet and a Kensington Plugged into a Mac, BeatStep was
lock port, and receives power over mini able to control any MIDI instrument I
USB from your Mac or PC, or from an pointed it at including those in Reason, MTF Verdict
optional USB power adaptor if you’re Logic and Live. It’s so small and portable
+ Very sturdy and well designed
Key Features using it in standalone mode. It’s class that it would definitely suit anyone + Gentle learning curve
● Controller or compliant so no drivers are required on making music on the move or with + Control hardware as easily as
sequencer either platform and it also works with limited studio space, and indeed it’s a software
modes
iPads via Apple’s Camera Connection fun and powerful music creation tool in + Use all modes at once
● 16 velocity
+ Tiny footprint
and pressure Kit. When you’re working with a its own right regardless of your working
sensitive pads
+ Flexible setup options via
computer you will be sending MIDI over methods. Although it has no onboard software
● 16 encoders
the USB connection, but there are also display, you can manage all its settings + Class compliant
● Onboard
sequencer outputs for a conventional MIDI jack as and customise templates using the free + Makes MIDI triggering fun
● USB, MIDI, CV well as Gate- and CV-out ports on the MIDI Control Center software. This gives
and Gate outputs - Nothing at this price
side. This means it can work you control over all assignable
● Internal and
independently of a computer, hooked parameters on the hardware and the An excellent MIDI controller that
external clocking
● iPad up to any MIDI-capable instrument as ability to store them as presets. So for unites the worlds of software
compatibility well as more advanced devices that can example you could set up a map for and hardware at a price that’s
● Standalone hard to ignore.
receive control voltage signal. your favourite VST, then another to
operation
possible Interestingly, all the outputs can be
used at once so you could be triggering
control a Logic project and so on, and
switch between them. This applies to
10/10
MT139.Rev.Beatstep.indd 118 11/02/2015 14:38

FabFilter Pro-Q 2 Reviews MTF
Alternatively
EQ matching is starting to become a little
more common with many plug-ins providing
the feature, including Match EQ in Logic and
iZotope’s Ozone. For a slightly different take,
Pro Audio DSM V2 does matching using
dynamic EQ, which allows it to capture not
only the spectrum, but also the dynamics of
each band.
with Natural Phase having the most

pleasing, natural sound. Zero Latency
mode compromises a little smoothness
in the phase response for an EQ that
can be used with no latency issues at
all, while Linear Phase has a huge
latency (around 5,000 samples at
44.1kHz), and some pre-ringing issues
in the low-end, but ensures maximum
FabFilter Excellence phase coherence when working with
10/10 multiple mic’ed sources.
Pro-Q 2
The EQ options have been improved
too. There’s a new Tilt shelving filter,
which boosts at one side of the tilt
point, while cutting the other. And the
FabFilter has quickly become many on any spike in the chart and Pro-Q2
will automatically add a new EQ band
existing filters now have a selection of
shapes from 12dB/oct up to 96dB/oct.
digital engineers’ favourite brand. Mike with the centre-frequency and When applied to a standard bell-
Hillier explores its new plug-in EQ. bandwidth (Q) already set to match that shaped filter, the 96dB/oct option
of the frequency spike. This makes it squares off the response at the bottom
very simple to quickly find and remove of the bell, while sharpening the sides.
W
Details e first used FabFilter Pro-Q unwanted resonances. This has the effect of letting you scoop
Price £124 in early 2010, when we Furthermore you can grab the big chunks out of the frequency
Contact info@ predicted that it would frequency curve from a sidechained spectrum without any processing to the
fabfilter.com
become a staple of our signal and then, using the new EQ signal at either side of the bell.
Web
www.fabfilter.com music production process. Little did we match function, shape your own signal
Minimum System expect that nearly five years later Pro-Q to match that of the incoming one. Desert Island EQ
Requirements is still the first EQ we turn to, for just We used this to match an For all the eye-catching new features in
PC Windows XP, Vista,
7 or 8, AAX, RTAS or
about any task, whether mixing or unmastered instrumental to the Pro-Q2, it’s the ease-of-use, and great
VST host mastering, subtractive or additive. With mastered full version of a track that sounding results that make us keep
Mac Intel processor, such a great EQ already in their was sent to us, leaving only a little coming back to this over many of our
OSX 10.5 or higher, AU,
AAX, RTAS or VST host collection what did FabFilter think compression and limiting for us to do to other EQs. Whether it’s detailed carving
could be done to justify a new version? finish the instrumental master and the out of problematic resonances, or
client unable to tell the difference. It broad brush enhancing, Pro-Q2 is more
Not just a pretty UI could also be used to match signals than up to the task. In Natural Phase
The most striking feature of all from different recording sessions in the mode the bottom end has enough
FabFilter plug-ins has been the same track, or to quickly get to a sound weight to stand up alongside any
incredibly intuitive user interface. you like by matching a sound you Pultec-clone/emulation, while the
Nothing here has been designed to look already have from elsewhere. top-end is so smooth that it is easy to
like an old analogue processor. We have also found the EQ match boost here without much of the
Everything has been done to take full very useful as an educational tool, as it harshness that is often associated with
advantage of the digital plug-in enables budding engineers to see what digital EQs. We have no doubt this time
paradigm and in Pro-Q2 you can even EQ can and cannot achieve, and what that Pro-Q2 is set to be our ‘go-to’ EQ for
change the plug-in size, or jump to bands are important for what task. some time to come. MTF
full-screen mode. Depending on how close you want the
A real-time spectrum analyser is sound to be when matching you can
MTF Verdict
laid underneath the EQ frequency dial in more, or fewer EQ bands, up to
chart, enabling you to quickly see what 24 bands. It is worth noting, however, + Easy-to-use
frequencies are present and how your that the sidechains will be a mono + Great educational tool
+ Powerful EQ options
Key Features EQ decisions impact on that. Adding signal, so you may want to process the
+ Great natural sounding filters
● Up to 24 bands
and altering frequency bands can be left and right sides separately.
● Three latency/ done directly from the frequency chart, In addition to these new usability FabFilter Pro-Q2 is sure to be the
phase modes with more detailed options available features, FabFilter has also updated first plug-in we add to almost every
● Up to 96dB/oct channel on every mix we do for the
from a pop-up window as you click on the EQ algorithms themselves. The new
filters next few years. Absolutely brilliant.
10/10
the icon for each band. In Pro-Q2 version can be set to Linear Phase,
● EQ Match
● Spectrum Grab however you can hover over the Natural Phase or Zero Latency. Each of
frequency chart and freeze it, then click these has a very different response
MT142.Rev Fabfilter.indd 119 11/02/2015 15:25

MTF Reviews APC40 mkII & APC mini
build that we expect from Akai but

they’ve slightly revised the knob style to
a tapered shape. A huge bugbear with
the mkI was its requirement to be run
off mains power, which is now solved as
the mkII is buss powered via USB.
The APC mini’s clip launching grid is
much more compact than Novation’s
Launchpad, which allows space for the
nine faders. These are a welcome
feature as they’re essential for quick
channel level access or expressive
mapping within Live. They are, however,
very short-throw faders and quite
recessed, so it’s more of a ‘finger from
AKAI PROFESSIONAL above to move’ type of situation than a

fader you can grab and rag around. But
APC40 mkII
they’re handy nonetheless and not as
Choice cheap feeling as other low-profile
9/10
9
9/10 faders we’ve experienced in the past.
& APC mini

Like the APC40 mkII, the whole unit is
very low-profile and we can imagine
both units could easily fit into a
expect for the huge difference in price medium-sized laptop bag.
compared with the APC40 mkII, it offers
The iconic APC40 Ableton Live a lower level of control. But it does have Stage presence
controller gets a revamp and gives birth nine low-profile faders, which is Focussing on the APC40 mkII alone
generous for the price. The APC Key 25 there’s some clever revision going on
to new offspring. Liam O’Mullane finds is a keyboard variant of the range, and with how Akai has approached the
out what these have to offer compared as the name suggests it includes 25 design of certain buttons. Buttons you
mini keys for more traditional music really don’t want to accidentally trigger
with other dedicated Live controllers. control, and instead of the mini’s faders
it sports eight knobs.
C
Details ast your memory back to early Throughout the new range the most
Price 2009 and you may not have noticeable difference to the older APC
APC40 mkII, £289.99 been familiar with the 40 and APC 20 is the choice to ditch
APC mini, £77.99
APC Key 25, £99.99 colourful LED grids we are now square clip launching pads and
Contact used to seeing in live electronic and DJ maximise space by going rectangular.
inMusic shows. The original APC40, which both Though the APC’s never had velocity-
01252 896040
Web
Akai and Ableton developed, was the sensitive pads we’ve seen quite a few
www.akaipro.com first of its generation of purpose-built finger drummers using the mkI for
Ableton Live controllers that included performances, so this change in shape
these clip launching grids. There have may exclude them from these newer
since been various competing products products. But the majority of potential
Key Features
released for Live control and each one users will intend to use the pads for just Alternatives
APC40 MKII
● 5 x 8 multi-
takes a slightly different angle with clip launching, and for that purpose The APC mini is most comparable to Novation’s
colour RGB clip their choice of features. they are perfectly fine. Launchpad Mini (£79), which offers a square-
launching pads The APC40 mkI had nine faders, a shaped grid at the cost of having no faders or
● Logical layout other form of continuous, hands-on parameter
crossfader, an 8x5 launch grid and Slick and slender control. There isn’t a huge range of comparative
● Crossfader
assignment various knobs and buttons to navigate At first glance there are many options to the APC40 mkII, as the crossfader
is quite a unique feature alongside a clip
buttons around your session. Still to this day it’s noticeable differences between the launching grid. Existing owners of Live 9 may
● Low profile fader a very good-quality and well thought- APC40 mkII and the mkI; its rectangular want to consider upping their investment for
stems Push (€499), as it offers all the 40’s features
out controller, but times have moved on body shape being one of the biggest.
● Bundled aside from the fader controls and crossfader
software and so have the competition, so the This is due to a new, more logical layout assigning. But if those aren’t an issue, or you
includes Live mkII is a welcome update. Two of track knobs now being in line with can budget for a small fader controller to go
Lite with it, Push offers much more in terms of
other APC products have also been each track. The unit’s height is also now
APC MINI integrated hardware control of Live.
● Nine short-throw released around the same time, one very low-profile, which makes it more
faders being the APC mini, which we’ll also be bag friendly than the mkI (which also
● Tri-colour lit 8 x exploring here. suffered from having easily bendable
8 clip launching
pads
Much like Novation’s response to the fader stems). The mkII has rectified this
● Bundled APC40 with the Launchpad, the mini issue by slightly recessing them. The
software seems to be a very similar product, crossfader feels the same as the mkI
includes Live
offering an 8x8 grid for more clip access with light action and minimal sidewards
Lite
● Compact design at any one time. Sessions can be play for dextrous fader work. Macro and
navigated to some degree, but as you’d track control knobs are the usual solid
MT139.Rev.Akai/2 minis.indd 120 11/02/2015 14:38

APC40 mkII & APC mini Reviews MTF
general, the unit just makes a bit more access to solo, mute, track select and
sense to move around, and the play/ record arm. The first eight faders can
stop button for Live’s transport is now also move from volume control to pan,
on the top of the unit rather than with send and device control.
the mk1 when it was so close to the The new APC range is definitely
crossfader that accidental triggering worth considering and may put Akai
was a potential hazard. back on top of the affordable Ableton
The mini doesn’t feature RGB pads Live control marketplace. We
but it’s just as easy to work with for recommend all APC40 mkI users to
launching clips as its bigger brother, check the mkII out, and for those
even though the pads are smaller. looking at a clip launcher with tactile
These pads feel just as solid as the APC control at a low price, the mini is also
We tested the RGB pad colour against the colour variations in Live and
they matched incredibly well, making it much easier to colour code 40 mkII and shift functionality gives you worth a look. MTF
your sounds for visual clarity in a live situation.
MTF Verdict APC40 mkII MTF Verdict APC mini

in the heat of a gig are recessed, while
all other rubberised pads stand proud + Slimline profile + Slimline profile
of the unit for easy access. It’s a shame + Slick crossfader feel + Very compact considering the
+ RGB pads have great colour feature set
track arm, cross-fader assignment, matching to Live + Great value
track mute and solo buttons aren’t also
recessed as they are also undesirable - Not enough buttons recessed to - Very recessed faders
for accidental triggering. avoid accidental triggering - Rectangular buttons may not suit
- Quite expensive when compared finger drummers
Among the revised layout to fit the
to Push
rectangular body shape, the navigation Lots of features for such a small
control to move around Session View is This is a good example of a and fairly priced device. We
now just above the crossfader for easy follow-up release outdoing the recommend checking this out for
original as it answers most mkI a practical yet highly portable
access (and while on the topic of easy
user’s gripes. Live controller.
8/10 9/10
access the pads now have RGB lighting,
which means they mimic different
colours and shades to clips in Live). In
IK Multimedia Curved Horizon

iLoud Manufacturer Mode Audio
Price £12
Contact Via website
Manufacturer IK Multimedia
Web modeaudio.com
Price €199.99
M
Contact Via website ode Audio has done
something quite unusual
Web www.ikmultimedia.com
here in that it has
W
e’re a bit late to the iLoud programmed some analogue-
party, but we’ve recently sounding presets (well ‘vintage’
been using these in the anyway) for an FM8 synth
Key Features
office and thought they deserved regarded for its warm sheen. The
● 15 pads
a brief review. IK Multimedia is Key Features
sounds on offer are a selection of ● 10 basses
primarily known for mobile-based ● 40W power
pads, basses, synths and chords ● 10 classic
recording peripherals and the ● Bluetooth often with a little bit of ‘analogue’ synth
iLoud ostensibly continues the and stereo variability thrown in. So the ● 5 chord
analogue line presets
trend by being a portable input
basses, for example, might come
● 5 lead synth
Bluetooth studio monitoring ● 10-hour with a bit of phasing movement or ● 5 pluck synth
system for iPad-based mixing. battery time noise. It’s also effective on some of ● 50 MIDI loops
Our go-to tracks for monitor ● iRig input for the leads – the Gamma preset is (bass, synths
guitars and and chords)
testing all sounded great, with dynamic mics particularly good and cuts right
surprising clarity for such a small through in a very in-your-face way.
unit. Bass could be heavier but There are only 50 sounds but it is MTF Verdict
that’s unsurprising given the MTF Verdict only 12 quid, and what is here
If you want to dirty your FM8
small woofer. IK boast of the The iLoud is pretty great, would suit a surprising number of synth up a little and add a bit
iLoud’s ‘studio style’ fidelity and despite a few niggles, and genres from ambient to of vintage warmth this is a
although it’s better than most certainly holds its own against soundtrack, electronic shoe- great preset pack, and it’s
larger mobile speakers. also quite cheap.
mobile speaker systems we’ve gazing music and maybe even
tried it doesn’t quite live up to
that assertion. MTF
8/10 dirty dance. Add in 50 MIDI files
and it’s a fine little collection. MTF
8/10
MT139.Rev.Akai/2 minis.indd 121 11/02/2015 14:38

MTF Reviews Tannoy 402 & 802
Details
Price 402: £99 each,
802: £189 each
Contact TC Group
0800 917 8926
Web www.tannoy.
com
TANNOY
Reveal 402 & 802
Choice
402
Key Features
● Frequency
9/10
9
9/10
response 56Hz-
48kHz
● Max SPL: 101dB The new Tannoy Reveal series comprises active
● Tweeter: ¾in
soft dome monitors of varying size and power levels that can be
● Woofer: 4in
● Total power
used as studio workhorses or convenient computer
output: 50W
● Inputs: balanced
speakers. Huw Price tests the 402 and 802…
XLR, unbalanced
I
¼in jack, aux link
mini t’s not often that the first thing Equalisation adjustment is a fairly rapid roll-off. You may notice a
● HF EQ settings:
-1.5dB HF/
that catches our eye when restricted to a three-way switch with Hi peak around the 120Hz mark, but it’s
Neutral/+1.5dB reviewing a new set of monitors is Boost/Neutral/Hi Cut settings. The 402 pretty much in line with what you would
● Crossover a relatively minor feature. But with has 50W of bi-amp power distributed expect from small, low-budget
frequency:
the new Tannoy Reveals the woofers are evenly between the drive units. The 802 near-fields with front ports. We had
2.8kHz
● Dimensions not only described as being ‘custom has 100W, with 75W going to the woofer expected some wind noise too, but to
(mm): 240 x 147 x high-efficiency’, but they are also ‘poke and 25W to the tweeter. The 802’s Tannoy’s credit they have managed to
212 (HxWxD)
resistant’. Not something that’s usually
a concern of ours, if we’re honest.
The 402 has ample power,
802
● Frequency The idea is that if a blunt object
response: 42Hz- accidentally presses into them they will
43kHz
● Max SPL: 114dB
spring back rather than remain caved
in. We managed to resist the urge to
great looks and impressive
● Tweeter: 1in soft
dome
● Woofer: 8in
test this feature until we had completed
our listening tests, but we can report
sound quality for its price
● Bi-amp output that they function as described.
power: RMS
crossover frequency is 1.8kHz rather engineer out any port chuffing.
● Total power
output: 100W Speak up than 2.8kHz and both monitors have The treble sounds smooth and
● Inputs: balanced Although designed to be used as studio indented volume controls. un-hyped, so we experienced no sense
XLR, unbalanced monitors, the Reveals do have some You know things are getting a bit of fatigue while working with the 402s.
¼in jack, aux link
mini features more commonly associated silly when you can get speakers as good With everything set flat the midrange
● HF EQ settings: with computer speakers. Besides the as the 402s for so little money. Sure you did sound just slightly too fat and
-1.5dB HF/ balanced XLR and unbalanced jack can pick them up on some deficiencies fulsome in our semi-damped listening
neutral/+1.5dB
inputs, there’s a stereo mini jack input here and there if you want to be hyper room, so we decided to try the treble
● Crossover
frequency: for mobile devices. There’s also a critical, but the frequency balance, boost and preferred the result because
1.8kHz monitor link socket and a 16ft cable to imaging and clarity of them create a the midrange sounded clearer and the
● Dimensions join one speaker to the other with a very good overall impression. solidity of the stereo imaging improved.
(mm): 390 x 254 x
300 (HxWxD) position switch to determine which is The bass remains solid and even The only downside worth mentioning
left and right. down to 50Hz or so, below which there’s is a slight sluggishness to the bass.
MT142.Rev Tannoy+minis.indd 122 11/02/2015 15:29

Tannoy 402 & 802 Reviews MTF
Given the diminutive cabinet size it’s slightly vague stereo imaging.
certainly deep and powerful enough, These models represent a lot of
but the upper midrange hump does speaker for the money. The 402 has
seem to slow things down, and very low ample power, great looks and impressive
basslines don’t track quite as well as sound quality for its price point. The 802
they might. Then again, we’re comparing also has much to recommend but it is
the 402’s performance with speakers considerably more expensive, and having
costing two or three times more. a sonic character that is perhaps more
entertaining than it is accurate may not
Big brother suit everybody. MTF
The most obvious differences between
the 402 and the 802 are loads more MTF Verdict
volume and loads more bass. Other
+ Impressive sound quality
than that, there’s no mistaking the fact + Plenty of power
that these speakers come from the + Professional look
same series. Once again we have an + Connectivity options
upper bass hump around 120Hz, + Indented volume control
although it’s slightly less noticeable
- Power switch on back
because the 802’s hump is spread over - No auto standby/power saving
a wider frequency range. - No bass control
Deeper bass goes along with the - Slight upper bass hump
larger cabinet. The roll-off starts around - Soundstage lacks depth
50Hz, or just below, but the slope is far Fine sounding monitors with a
more gradual and the 802s continue to range of connection options and
Alternatives
push air down to around 35Hz. These plenty of power.
402 9/10
The 402 goes up against the Yamaha HS5 (£121 each), Samson Resolv
speakers will effortlessly fill a SE5 (£119 each), PreSonus Eris 5 (£124.99 each) and the KRK RP5 RoKit
small-to-medium-sized room with
802 8/10
G3 (£239 pair). Meanwhile the 802 mixes it up with the Fostex PM 841
(£189 each), Mackie MR8 Mk2 (£195 each), KRK RoKit G3 (£195 each) and
sound, and the extra volume that they
PreSonus Eris 8 (£337 pair).
produce makes it easier to overlook the
VolumeShaper 4 Michael
Publisher Cableguys Schack
Price €30
Hybrid Beats
Session
Contact contact@cableguys.de
Web www.cableguys.de Key Features
● LFO-driven
V
Publisher Loopmasters Key Features
olumeShaper 4 is an volume
modulation ● DnB, dubstep
LFO-driven modulation Price £29.95 and breakbeat
effect, AU & VST
effect that lets you draw up ● 3 Adjustable Contact info@loopmasters.com drums by
Michael Schack
to 40 points on top of an frequency bands
● Up to 40 Web www.loopmasters.com ● Over 1GB of
oscilloscope display, allowing you 24-bit audio
T
to create tempo-synched gates,
point drawable
waveshape
Choice his pack features a mix of ● 488 Loops
9/10
9
9/10
highly-flexible sidechain ducking, ● Cloud preset drum and bass, dubstep plus MIDI, 90 -
sharing 178bpm
and transient shaping. This latest and breakbeat grooves by
● Trigger via ● 98 One-shots
version features a streamlined in-demand drummer Michael and 11 drum kits
MIDI
interface, cloud preset sharing, Schack. You’ll find 18 complete ● Wav, Apple
Loops, Rex, Live
Choice
9/10
9
9/10
plus a new multiband function that be nice to see a dB reduction meter, drum tracks with breaks,
pack & ReFill,
lets you have different volume overall this is a highly useful and variations and fills ranging from plus NNXT,
shapes on up to three bands. You creative tool. MTF fast, jazzy shuffles and spacious EXS24, HALion
and Kontakt
can select the crossover frequency DnB grooves, to slower and more
and slope in the bottom left of the MTF Verdict spacious dubstep and hip hop
GUI, with a spectrum in the
An incredibly useful plug-in for
style patterns. There are also 11 MTF Verdict
background to help your decisions. controlled sidechain ducking kits with accompanying sampler A versatile and expertly
This allows you to do both and more. The new multi- patches, and 488 MIDI files that played pack of blistering drum
frequency specific ducking and band mode offers greater match up to each of the audio loops and superb fills, with
control, or more wild and creative flexibility and the streamlined loops. Every loop here is super the addition of MIDI loops
GUI makes it easier to use adding greatly to the flexibility
effects. You can also take the LFO tight, yet still retains a live feel
than ever. of the package.
9/10 9/10
speed up into the audio realm for through the use of expertly
bit-crushed style distortions, and recorded and processed
trigger via MIDI. Although it would acoustic drums. MTF
MT142.Rev Tannoy+minis.indd 123 11/02/2015 15:29

Six of the best

We continue the MTF Buyer’s Guide where we round up the best
half-dozen products we’ve looked at in recent issues of
MusicTech.. This time we look at a humble but important
studio item: the audio interface…
T
BEST Thunderbolt hunderbolt is the current beau
of connectivity but has, until
Resident
now, been costly. At a shade
under £400 the T4 changes
everything, offering a truly mobile
Audio T4
interface solution for those who don’t
need a ton of I/O. Reviewer Hollin Jones
said: “The T4 is a great solution for
portable recording and performance. It’s Details
Price £119
BEST iPad
well engineered and has some nice
Alesis iO
Reviewed MT141
Details touches such as the secondary Contact InMusic
Price £399 headphone out and Smart Monitoring.” via website
Reviewed MT141 He concluded: “A really solid and Web
www.alesis.com
Dock II
Contact Synthax
Audio on 01727
well-built audio and MIDI interface
821870 that has all the benefits of
Web Thunderbolt in an affordable and
www.synthax.co.uk
portable package.”
T
o be honest there is little to split
this and the Focusrite iTrack
Dock, which is arguably more
future proof and for newer iPad
owners. However, the Alesis does have
its pluses, including 30-pin lightning
connectors, two combo XLR inputs and
the fact that it supports iPads going
back to version 1.
Hollin Jones said: “Considering
what you get, the iO Dock II is
BEST Flexibility competitively priced and it’s certainly
a clever way to expand your iPad into a
Focusrite
more rounded audio and MIDI
environment. A great way to record
Details music on your iPad.”
Saffire PRO 26
Price
£299
Reviewed MT137
Contact
F
+44 1494 462246
ocusrite certainly knows how Web
to put interfaces together and, uk.focusrite.com
in the Saffire range, the

company has just about
something for everyone in the market
for a FireWire unit (plus Thunderbolt for
an additional connector).
Reviewer Andy Jones was
impressed and said: “Versatile,
compact, easy and reliable, Saffire
PRO feels like a trustworthy old friend,
coming round to your house, cup of tea
in hand, ready to solve any interfacing
problems you may have.”

BEST Portable
Steinberg UR44
T
he UR44 looks initially to be outs but also the Class Compliant Details
quite simplistic – a 6x4 USB mode, dual headphone outs, DSP- Price £284
audio and MIDI interface. But powered effects and software Revewed MT133
with both Steinberg and accessible mixer.” Contact Steinberg
via website
Yamaha’s input there’s a lot more going He then concluded: “An excellent
Web
on beneath the surface. Comparing it to interface that is just as suitable for www.steinberg.net
its smaller brother (the UR22) Hollin the studio as the iPad. Great
Jones said: “The UR44 is almost as monitoring and DSP features
portable but offers a lot more in terms combined with top-class sound
of power – not just the extra ins and quality and easy set-up.”
Details
Price Han Solo
£699; Dynamic Duo
£899
BEST Package Reviewed MT135
Contact Source
Distribution on 020
UA Apollo Twin
8962 5080
Web
www.uaudio.com
A
s well as being a great computer’s processing abilities and
interface, Universal Audio’s opens the door to the world of UAD
Apollo Twin offers a suite of plugs. For anyone serious about audio
high quality software. fidelity, it definitely punches above its
Reviewer Hollin Jones said: “This is weight. Excellent recording and
an exquisitely made audio interface monitoring capabilities as well as
that also happens to expand your access to UAD’s plug-in universe.”
BEST Power
RME Fireface 802

D
escribed as a full-blown qualifies as an upgrade from
Details
studio in a 1U space this was entry-level and semi-pro interfaces. It
Price £1,169
Reviewed MT140 always going to be against is a hassle-free 1U audio interface
Contact Synthax its own marketing hype but, offering an impressive number of
Audio on actually, the 802 does the job where it analogue and digital channels,
01727 821870
needs to, as Huw Price says… FireWire 400 and USB 2 connectivity
Web
www.rme-audio.de “It’s thumbs up on the sonic side and sophisticated monitoring
and the RME Fireface 802 certainly software for PC and Mac.” MTF

FIRST WITH REVIEWS
FIRST WITH NEWS
HAVE YOU CLICKED?
Powered by Magazine
www.musictech.net
MT .net ad.indd 1 11/02/2015 09:23
Mini Reviews MTF
Studio Series quite like it. The sound quality is

particularly good with far more warmth
SL600 USB mic

and bottom end than we were
expecting. Like many we baulk at the
sound of our own voices but the SL600
Manufacturer Editors Keys
adds a surprising amount of depth,
Price £199.99 making the results less middle-y,
Contact via website perhaps with a touch of bass
Web www.editorskeys.com enhancement (which in this instance
we preferred over accuracy!).
T
he world of the USB Other useful features include a
microphone has exploded of headphone socket, so there’s no
late with just about every worrying about having to reach around
manufacturer getting in on the the back for your usual connections.
act. Recently we’ve seen the SE X1 There is a gain control on hand and a
scoring well in MusicTech, and everyone rotary for overall input gain. Other
from Audio Technica to Røde offering Choice controls include switches for low cut
models, all price points being catered
for, plus some fairly low-rent models
under £20 (which we’d mostly avoid for
9/10
9
9/10 computer should just pick it up as an
input source automatically, as ours did.
Indeed Logic picked it up straight away
and -10dB sensitivity.
Overall this is a very solid-feeling
mic with a great, warm sound and
serious audio work). and we were very quickly recording our quality feel. At a shade under £200 it’s
Studio Series is relatively new to the vocal tracks. quite an expensive option; but at the
Key Features
pages of MusicTech. The company The mic itself is quite weighty, giving time of writing there’s a whopping £50
● Mac and PC USB
produces a range of audio equipment microphone the feeling of quality and chunkiness, off, making it a steal. MTF
including speakers, vocal booths and ● 34mm gold- and you probably could get away with
three USB mics, the SL600 being the plated diaphragm dropping it on occasion (although we’re MTF Verdict
● Microphone gain
top of the range. not guaranteeing this!). Great USB mic package and
and output control
The mic comes in a compact and ● Headphone jack On power up the mic lights up with a currently an absolute bargain with
sturdy case along with shockmount and ● Low cut and blue glow, especially pleasing against £50 off. Grab it while you can!
USB cable. It’s completely plug ’n’ play
so no software is needed – your
-10dB sensitivity
switches
the unusually orange-coloured grill. It
might be distracting to some but we
9/10
UDG Creator DIGI Finhol Kick Box

hard case Mark III
Manufacturer UDG Manufacturer Finhol
Price €79.95 Price £122.67
Contact via website Web www.thomann.de
Key Features
Web www.udggear.com
T
● Switch for two
here are many advantages to sounds
T
ransporting your gear around being a solo performer, not ● Velocity
sensitive
can be a massive pain but least less organisational
● AC or battery
UDG seem to have solutions stress and ego-management to operated
for pretty much every studio item deal with. But if you’re a singer- ● Anti-slip mat
– you can even search for a hard Key Features songwriter then going out there
case on the company’s website ● Hard case alone can sometimes also be The device can autoplay too,
for most
according to the gear you own. accessories tough, especially without a which enables you to set a basic
We’ve chosen the DIGI hard ● Comes with reliable rhythm section. rhythm it will then follow. We’re
USB interface
case, aimed at owners of any This stompbox from German still getting to grips with blending
● Transport
accessory, which can safely carry interfaces, manufacturer Finhol may be the this with out own compositions so
items including headphones and cables and other solution. It’s a simple to use digital we wouldn’t take it out on the road
audio interfaces. The case comes studio tools unit that comes pre-loaded with just yet; however, we feel when
with a USB interface, and at just two drum sounds (selectable with fully grasped this could be a highly
€79.95 represents great value. MTF Verdict a toggle switch) and an input/ useful little box. MTF
We’re finding that just having a output jack connection.
It’s a mobile case that you
case ‘for all that other stuff’ is
didn’t realise you actually
In tests we found it to be MTF Verdict
worth the money in itself – throw needed. Now you can carry all remarkably straightforward to
Does exactly what it says on
anything in it as it’s pretty much a the bits that don’t go use, and the drum sound was the tin/box: a fine stompbox
portable solution to a problem we anywhere else in a handy, fairly authentic. Particularly the to enhance an acoustic or
didn’t know we had. We’ll look at compact and sturdy case. Cajon sound. It’s velocity sensitive electric set.
the company’s other bespoke
offerings soon. MTF
8/10 as well, making it ideal for those
quieter moments.
9/10
MT142.REV minis99+101.indd 127 11/02/2015 15:26

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on any device,
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MT App ad A4.indd 1 11/02/2015 09:16

Mini Reviews MTF
Korg Cliphit aforementioned desk, to boxes, to

literally anything that you can attach a
croc clip to.
Your annoying office percussionist
will suddenly go from irritating mono
Manufacturer Korg
tapper to annoying full-on drummer (on
Price £99 second thoughts, perhaps this is one
Contact via website person we should keep the Cliphit away
Web www.korg.co.uk from!). There are 11 drum kits to choose
from with a wide variety of sounds, but
T
here do seem to be more the size and nature of Cliphit means
gadgets than ever in the world that you are never going to be playing at
of MusicTech which we love to massive volumes or huge quality.
see, but this is a bit of a Decent enough for busking, though.
different one from Korg. know the fellow: he sits at his desk The kits are good enough, ranging
Here is a company that for years just Innovation thumping away on his thighs, desk and from standard, through rock and pop.
knocked out pretty standard – but very anything else that makes noise. It’s The final EFX kit is a bit annoying and
good – products that did the job; constant beatmaking on anything he we’d have preferred the ability to play
keyboards, synths, the odd guitar can tap. But what he really wants is different sounds by hitting different
products, all great stuff. But for the last this: Korg’s Cliphit. This is what anyone parts of the main unit – perhaps adding
few years Korg seems has gone pretty with too much rhythmic energy in their just a couple of trigger points for kick
bonkers when it comes to new releases. fingers or feet needs. and snare? Otherwise it’s another great
We’re not saying that is a bad thing by Key Features The beauty is that you can beat it curveball from Korg. MTF
any stretch of the imagination, but ● Drum module like a drum, but also attach a (supplied)
we’ve seen and reviewed cheap with four trigger kick trigger for your feet to play the kick MTF Verdict
inputs.
analogue synths, build-your-own ● Three clips plus
drums, and also three (supplied) trigger Love the idea, and we love Korg for
classic synths, Kaotic devices and now footpedal supplied clips which you can attach to any loose coming up with this leftfield gear.
this, a busker’s dream. ● 11 drum kits clothing – or anything else – and hit It’s the ideal device to unleash your
● Headphone jack finger and toe beats.
Korg Cliphit is basically an with any remaining limbs. The ‘anything
egg-shaped electronic drum that is
ideal for your office percussionist. You
● Battery or mains
operated
else’ bit is important here as you can
attach those clips to the
8/10
The Carnival (Barrel music. A ‘melody double’ function is also

available for easy octave doubling.
For authentic sounding music of
Organs, Fairground Treasures) this type The Carnival does a brilliant
job, and playing and shaping a
yourself. If you did the latter, a well- convincing performance is very
Choice used, battered and sometimes straightforward. We particularly liked
9/10
9
9/10
unplayable instrument would be likely the pitchwheel-operated runs function,
to turn up at the studio with a hefty which provides a choice of major, minor,
price tag attached. chromatic, pentatonic major and
Today, just about every instrument pentatonic minor scales. The mod
on earth has been sampled and made wheel-operated major and minor trills
available at a reasonable price. Some, are rather nifty, too.
though, still remain hard to find, but a There are dozens of sampled organs
visit to Sonokinetic’s website will turn around but few will have anything close
up a few rarities. Like the barrel organ. to the authentic fairground sound of
The real thing isn’t a playable The Carnival. Also, having such a unique
instrument but a mechanical device sound, this instrument is good for
Key Features that’s driven either by clockwork, an writing and recording music outside of
Manufacturer Sonokinetic Ltd. ● 470MB sample electric motor or manually with a the obvious genres. With a little
pool; 850 samples handle. Sonokinetic sampled two of experimentation some startlingly
Price €85
● Big and small them, large and small, and created a original sounds can be conjured up with
Contact via website organs, four
registers playable virtual instrument called The this highly enjoyable instrument. MTF
Web www.sonokinetic.net ● Octave doubling Carnival. It runs in the open Kontakt
● Automatic format (4.2.4 or 5) and is not compatible MTF Verdict
B
tempo-synced
ack in the days of purely trills (major and
with the free Kontakt player. A joyful and authentic-sounding
analogue recording if you had minor) In true Sonokinetic style, the recreation of two Dutch barrel
an unfinished track that ● Tempo-synced interface contains all the controls organs. Great fun to play and
required a touch of extra runs, five scales
within a single screen for both organs. perfect for adding a fairground
● Bespoke reverb atmosphere to your compositions.
magic, let’s say an accordion solo, you As well as reverb there are controls for
either employed a session musician or
hired an instrument and played the part
● Sampled
bellows noise bellows and tempo-synced trills and
runs, a typical feature of barrel organ
9/10
MT142.REV minis99+101.indd 129 11/02/2015 15:26

MTF On Your DVD
Ableton Live has gone from strength to strength and

it’s no surprise to regularly see it being used by high-
flying producers and newcomers alike. Whether you’re
just starting out with Live or if you’re more experienced
and trying to find ways to improve your tracks, we’ve
got a massive range of content to help. There’s 3.5
hours of masterclass videos and pro tuition, the latest
software demos, freeware plug-ins, and promotional
videos showing off cutting-edge synths, effects and
controllers. You’ll also find plenty of royalty-free loops
and samples to use in your own productions, plus all
the files you need to follow along with the workshops.
MTF On the disc 3.5 Hours of pro video tuition
GROOVE 3 LIVE-COURSES.COM POINTBLANK MUSIC SCHOOL

01 02 03
Groove3’s massive collection of pro Producertech’s Rob Jones takes a look at Course tutor Anthony Chapman takes a
videos taken from its latest Live 9 courses. It setting up and using sidechain compression. look at a range of mixing tools in Live,
includes chapters on sends, returns and There are also two modules from the Secrets including exclusive racks, automation and
busses, drum rack chains, convolution reverb, Of The Mashup, which see veteran producer sidechain tricks for mixing dance music.
using macro controls and MIDI controllers, Elite Force using effects sends and cymbals to You’ll also find a video on how to program
programming beats and bass. add details to a track. glitchy exponential rhythm patterns.
LOOP+ LOOPMASTERS SAMPLES SAMPLEPHONICS SAMPLES

04 05 06
Loop+ has supplied four Ableton Live A hand-picked library of royalty-free An eclectic mix of high-quality guitars,
related videos. Topics include how to recycle samples in 24-bit WAV format, including beats, synths, strings and beats to use in your
MIDI loops into new material, how to create synths, basses, vocals and more taken from tracks. Samples are taken from Analogue
big rise FX using Live’s native plug-ins, how to David Seaman Electronic Underground, Dope Witchcraft 2, Bleep Bloop Trap, Etch Rave
create complex polyrhythms, and finally, a Ammo & Marvellous Cain DnB Fusion Vol 2, Warfare, Hit Maker’s Paradise, Latin Jazz
look at using Plugin Boutique’s BigKick Dream Vocals Vol 2, Ghetto Funk Hype Vocals, Guitar, Minimal DnB, Smooth RnB Kits, and
instrument to create dubstep kicks. Hip Hop Instrumentals Vol 3, and Zen Ambient. World String Loops.
MTF38.your disc.indd 130 11/02/2015 16:11

On Your DVD MTF
MTF Your Disc

MTF DVD38 Ableton Live 2015
PROMOTIONAL
VIDEOS
We’ve got over 760 MB of
videos showcasing the
latest plug-ins and
hardware including a
range of cutting-edge
hardware synths and
software instruments
from iZotope,
MeldaProduction, Moog, SOFTWARE DEMOS
Native Instruments, If you’re looking to spice
Sonic Faction, Zero-G, up Live with some extra
Niche Audio, and Roland. tools, then why not try
You’ll also find high- out the latest plug-ins?
quality monitors and From innovative synths,
hardware controllers to analogue modelled,
from Tannoy, Akai, and classic processors, we’ve
Novation, plus top of the rounded up a range of
range software effects demo and freeware
and processors from Fab software for you to try.
Filter, Overloud, Sound You’ll find plenty of
Radix, and UA. creative effects,
samplers, filters, synths,
USING OUR EQs, compressors and
WORKSHOPS more to help you
Whether you’re totally compose and fine tune
new to Live or a seasoned your tracks.
pro, we’ve got a host of
Live workshops to help ROYALTY-FREE
you improve your SAMPLES
programming and mixing To help get your
skills, plus genre productions moving,
workshops on creating we’ve rounded up a
heavyweight dubstep top-notch collection of
tracks. Where Royalty-free samples
appropriate you’ll find from Loopmasters,
hi-res images, project Samplephonics, and
files and audio on the Equinox Sounds. You’ll
disc so you can follow find an eclectic mix of
along at home. Be sure to deep synth sounds,
copy all the files to your glitchy beats, dark and
computer before opening dirty basses, thunderous
a project. breaks, live jazz guitars,
chunky drum hits,
smooth strings, and
powerful FX. All files
come in 24-bit WAV
format and are ready
to be imported,
warped, chopped and
manipulated to your
On the disc heart’s content.
YOUR DVD CONTENT FILES Download them to your hard drive and unzip them to endeavour to supply you with a replacement disc
ZIP FILES access the individual files (remembering to eject the DVD immediately. Please note that we’re unable to provide
To maximise the amount of content we can bring you on to prevent your computer from slowing down). technical support for the software on the MTF DVD –
each DVD, the video, tutorial and samples files are please check our website at www.musictech.net for any
supplied compressed (‘zipped’). Mac users should be WHAT IS ROYALTY-FREE? known problems.
able to decompress ZIP files simply by double-clicking on Any MTF DVD content marked ‘royalty-free’ can be used
them; PC users may need to download a utility such as in your own original compositions (even commercial MISSING YOUR DISC?
WinZip (www.winzip.com). ones). You may not, however, resell these samples in any If your disc is missing, contact us at editorial@anthem-
other form. publishing.com with your full postal address and the
TUTORIAL FILES issue number.
The software tutorials that feature in each issue of MTF DEFECTIVE DISCS
are almost always accompanied by files and audio so you In the unlikely event that your disc is defective, please
can work through them on your system. These files are return it to: Disc Returns, Anthem Publishing, Suite 6,
zipped to reduce the space they occupy on the DVD. Piccadilly House, London, Bath BA1 6PL. We will
MTF38.your disc.indd 131 11/02/2015 16:11

Welcome MTF
Welcome … to Ableton Live 2015, the latest Focus

dedicated to (arguably) the world’s finest DAW, and
put together by the Live experts here at MusicTech
magazine. In this special issue we have two very
different, very large and hopefully very useful
workshops to help take your Ableton productions
up a notch. First up, Martin Delaney’s Ultimate
Guide To
Ableton Live
(starting on
p18) takes you on a general Live course, starting at the
We’re focussing on
beginning and then quickly entering the world of basic and
more complex programming. It’s a six-part monster that will
two different and very
be useful if you are either a Live beginner or intermediate user.
Starting on p74, we also have our Build A Track From Scratch
large workshops for all
series of tutorials that takes you on a journey to build a
complete piece of music over 21 tip-packed pages. It might be
users of Live
specific to dubstep but you will pick up essential advice along the way for whatever genre of music
you produce. As usual we have stacks of reviews, general advice features plus tips and tricks and, for
the first time, reveal the studios that your fellow Live users employ!
Enjoy this special issue and keep that music coming…
Andy Jones Senior Editor, MusicTech
andy.jones@anthem-publishing.com
Contributors All content copyright Anthem Publishing Ltd TEXTING

Mark Cousins, Keith Gemmell, Alex Holmes, 2014 and 2015, all rights reserved. While we MUSIC TECH TERMS
Hollin Jones, Huw Price, Liam O’Mullane make every effort to ensure that the factual AND CONDITIONS
content of MusicTech Focus is correct we By entering
MUSICTECH FOCUS MAGAZINE
Art Director Jenny Cook cannot take any responsibility nor be held MusicTech
www.musictech.net competitions you
Anthem Publishing Ltd jenny.cook@anthem-publishing.com accountable for any factual errors printed.
are agreeing to
Suite 6, Piccadilly House Please make every effort to check quoted receive details of
London Road, Bath BA1 6PL Publisher Simon Lewis future promotions
prices and product specifications with
Tel +44 (0) 1225 489984 simon.lewis@anthem-publishing.com from Anthem
manufacturers prior to purchase. No part of
Fax +44 (0) 1225 489980 this publication may be reproduced, stored in Publishing Limited
editorial@anthem-publishing.com Managing Director Jon Bickley a retrieval system or resold without the prior and related third
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Senior Editor Andy Jones information please
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FOCUS Ableton Live 8 Volume 2 | 03
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ABLETON LIVE 9 2015

THE IN-DEPTH GUIDE FOR THE CREATIVE MUSICIAN

132 PAGES OF LIVE 9

THE COMPLETE GUIDE TO

Produce a track from scratch: huge 21-page guide

Music making on a budget – how to produce for less £$€

Compiled by the Ableton Live experts from MusicTech

Welcome … to Ableton Live 2015, the latest Focus

Contributors All content copyright Anthem Publishing Ltd TEXTING

FOCUS Ableton Live 8 Volume 2 | 03

MTF38.welcome.indd 3 18/02/2015 14:54

Issue 38 Ableton Live 2015

MTF38.contents.indd 4 19/02/2015 08:32

MTF38 Live 2015 Full listings

How to produce music The second part includes some of

MTF Feature 034 | Part 4: Producing bass

The 100 Apps 042 | Part 6: Recording vocals

move, revealed right to produce a dubstep track from

Music technology 124 | 6 Of The Best: Interfaces

MTF 6 Of The Best 119 | Fabfilter Pro-Q2 EQ plug-in

The best 122 | Tannoy Reveal monitors

monitors, REGULAR FEATURES

interfaces & 100 | Show Off Your

libraries revealed 130 | On your

MTF38.contents.indd 5 19/02/2015 10:39

MTF Feature Budget music production

6 | Ableton Live 2015 FOCUS

MT143.cover feat.indd 6 11/02/2015 15:31

Get the right kit for the job

rather than the biggest thing

with the most flashing lights

FOCUS Ableton Live 2015 |7

MT143.cover feat.indd 7 11/02/2015 15:31

Choosing recording A solid state drive can

hardware and software

Your recording devices are going to be central to your

Making EDM on a budget

8 | Ableton Live 2015 FOCUS

MT143.cover feat.indd 8 11/02/2015 15:31

be worth checking out such apps if you’re not

MTF Tech term :

(Top right) A mobile DAW can be a surprisingly effective solution if the

The key with using an

FOCUS Ableton Live 2015 |9

MT143.cover feat.indd 9 11/02/2015 15:31

Making the best of your recording space

FreqAnalyst is an excellent and

MTF Tech term – MTF Tech term –

A lot of people who produce music are doing so in a

10 | Ableton Live 2015 FOCUS

MT143.cover feat.indd 10 11/02/2015 15:31

Budget setup for a singer-songwriter

and is perhaps the one thing you really ought to try to

For mixing it’s a

FOCUS Ableton Live 2015 | 11

MT143.cover feat.indd 11 11/02/2015 15:31

Found sounds and field recording

The microphone that’s built

12 | Ableton Live 2015 FOCUS

MT143.cover feat.indd 12 11/02/2015 15:31

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