Fall 2012 - Sweetwater.com

Transcription

SweetNotes
FALL 2012 Issue | Vol. 99
®
(800) 222–4700 | Sweetwater.com
inside this issue
from the editor
From the Editor.........................................................1
Hands On: MOTU Track16.........................................8
Gibson’s Les Paul Standard 2012............................1
Nektar Panarama P4.................................................8
Summer NAMM.....................................................2-4
Hands On: sE Electronic Egg 150.............................9
Hands On: Orange Micro Terror................................5
Hands On: JoeMeek Q2 Series.................................9
Hands On: Propellerhead Balance & Reason 6.5.....5
Customer Profile: Ron Vento.....................................9
Hands On: Planet Waves American Stage Cables...5
Inside the Sweetwater Difference..........................10
iOS Update................................................................6
Hands On: Radial Engineering Workhorse Cube....10
Sweetwater Welcomes Westone..............................6
Hands On: RJM Music Technologies Tone Saver...10
Inside Sweetwater....................................................7
Steven Slate Digital Virtual Tape Machines ..........11
PRS P22.....................................................................7
Discmakers: Satisfaction and Success ................10
Hands On: tc electronic BG250 and BH250..............7
Meet Brandon Eden ...............................................10
Synth Tricks: MIDI Solutions....................................8
Mitch Gallagher
I’m just back from the Summer NAMM show
in Nashville (read our full report starting on
page 2) and I’m incredibly excited about
the state of the art in music making. The
Summer NAMM show is a more intimate
show than the huge Winter NAMM show that
takes place in Anaheim in January each year,
but in my opinion, that allows more quality
time checking out the manufacturer booths
for cool new gear. Plus, a trip to Music City
always gets me stoked to make music!
On top of that, I’ve been doing a new series
of videos for Sweetwater called the iOS
[email protected]
Update that spotlight using the iPad, iPhone,
and iPod touch for music making (check it
out on YouTube and visit our “Making Music with iOS” page at Sweetwater.com). The possibilities are
so exciting and inpiring — for a taste, check out my “iOS Update” column on page 6 of this issue.
Editorial Director
We live in such an amazing time as musicians, engineers, and producers — the tools we have
available remove any excuses for not making music no matter where you are or what you do! Here’s
hoping you’re as inspired as I am to put your gear to work making music and playing out!
Gibson’s Les Paul Standard 2012
Legendary Tones and
New Tonal Twists
How do you improve upon an iconic, time-tested guitar design that arguably set the bar for electric axes? The folks at Gibson know what’s great about the Les
Paul Standard. They also know that players are evolving and demanding more and more out of their instruments. The Les Paul Standard 2012 gives you
everything you crave in a Les Paul: rich tonality, beautiful sustain, midrange character, and classic lines. But Gibson has added enhancements to make the Les
Paul Standard 2012 a perfect performer for modern players.
Pick it up and you’ll know right away that the Les Paul Standard 2012 is true to its heritage. You get that fantastic combination of a mahogany body, a carved
maple top, and the tried-and-true dual-humbucker/4-control layout. But, pull on those control knobs, and you get a nice surprise. This Les Paul features
coil-tapping electronics that let you dial in both humbucking and single-coil-style tones from the BurstBucker pickups. You can also pull up on the neck tone
control and reverse the neck pickup’s phase, for even more tonal variety. Want that lead part to cut through the mix? Just pull up on the bridge pickup’s tone
control and bypass the tone/volume circuit completely! Add these great extras to the classic 2-volume/2-tone/3-way selector, and you have a one-stop tone
machine packed into a classic axe!
Gibson also upped the ante on this Les Paul’s playability. Whether you’re chording down low or soloing high on the neck, you’ll love this guitar’s feel. Gibson
gave the Les Paul Standard 2012 a compound-radius fingerboard, so it’s totally comfortable for both
> >Gibson Les Paul Standard (Blue Mist)
roles. You get it all from one guitar: classic tones and iconic looks plus the improved feel and tonal
Sweetwater price $2499.00
control you need to play all kinds of styles. Call your Sweetwater Sales Engineer and experience the
www.sweetwater.com/lpnstdbmch
incredible Les Paul Standard 2012 for yourself!
SWEETNOTES | FALL 2012 | PAGE 2
This year’s Summer NAMM in soggy Nashville (the weekend was punctuated by frequent thunderstorms) was a blast. There were, of course, plenty of exciting
new stringed instruments on display, but the latest technology was also on hand to even things out for us techno-gearheads. Here’s our report:
ART MX821
Simplify your mixing rig with the ART MX821 eight-channel line mixer. With eight
channels of XLR/1/4" input plus individually switchable phantom power, the MX821 is perfect for mixing drum set
mics, keyboard rigs, and more. This self-contained mixer has a built-in power supply, level and tone controls for
each channel, and a balanced 1/4" output — all in a 1U rack space.
Blackstar ID Series
Years of research and development have culminated in the release of the Blackstar ID Series amps. The patentapplied-for True Valve Power offers six distinctly different power tube responses for your amp: EL84, 6V6, EL34,
KT66, 6L6, and KT88. USB connectivity allows users to easily edit and record with the ID amplifiers. With your
choice of six amplifier voicings, built-in studio-quality effects, and the famed Blackstar ISF control, you can create
your dream sound with a Blackstar ID Series amp.
Blackstar Gus G. Blackfire 200
Blackstar and Ozzy guitarist Gus G. have joined
forces to create the limited-edition Blackfire
200 amplifier head. Based on Blackstar’s
Series One 200 amp, this amp has been
voiced to Gus’s demanding requirements. Four
footswitchable channels give you tons of tones,
including a Clean channel with Warm and
Bright modes, a Crunch channel with Crunch
and Super Crunch modes, and Fire and Fury
overdrive channels.
BOSS eBand JS-10
BOSS has made practicing as easy as
possible, with the eBand JS-10. No more
having to hook up amps and effects to
practice along with your stereo system.
The BOSS eBand JS-10 is a self-contained
personal trainer loaded with amp modeling,
effects, and much more. Load up your
favorite tunes via USB thumb drives or SD
cards — and start jamming along!
Cordoba GK Pro
Cordoba presents an enhanced version of their popular GK Studio
guitar, with the GK Pro. The GK Pro sports a solid European spruce
top and a solid cypress back and sides. Its upgraded Fishman
Prefix ProBlend system features a powerful 3-band EQ for tailoring
your sound to any situation. An extended cutaway gives you
access to the entire fretboard.
Electro-Harmonix Talking Pedal
Make your guitar talk with the Electro-Harmonix Talking Pedal.
Part of the Next Step series, the Talking Pedal incorporates a
variable filter that emulates the sound of vowels (a, e, i, o, u). It
operates just like a traditional wah, but with a unique sound. The
Talking Pedal also has a built-in fuzz effect
that you can blend into the original sound.
Electro-Harmonix Tone Tattoo
The Tone Tattoo is Electro-Harmonix’s first multi-effects pedal. Three classic and essential E-H pedals — Metal
Muff Distortion, Neo Clone Chorus, and Memory Toy Analog Delay — have been combined into a single pedal.
Each effects unit has its own footswitch and controls, so you can tweak it to taste. A defeatable noise gate is also
built in.
Fishman Loudbox Performer
The redesigned Fishman Loudbox
Performer offers more power and
features in a lighter amp. The Loudbox
Performer boasts two channels (with
XLR and 1/4" inputs), 180 watts of
bi-amped power, a 3-way speaker
design, feedback controls, and a new
effects section. The 3-band EQ has a
dedicated midrange control to enhance
detail and note definition.
Get tech support 24/7 at Sweetwater.com/sweetcare.
intellitouch Freedom One
Get precise, fast tuning in a compact wireless unit, with the new
intellitouch Freedom One. This high-quality digital wireless unit’s
receiver is a pedal-sized tuner that fits right on your pedalboard.
The compact transmitter plugs into the jack of your guitar or
bass — no wires or beltpacks to mess with. With a range of 30
feet, the Freedom One is perfect for both performance stages and
rehearsal rooms.
JBL STX Series
JBL showed off their impressive STX Series of passive
loudspeakers, which pack tour-quality sound into compact
enclosures. Comprising four different speakers and two subwoofers, the
STX Series boasts high power handling for big sound, multi-ply birch/
poplar cabinets for low resonance, and a sleek look suited for any stage.
Korg Kronos X
The “X” in Korg’s new Kronos X stands for “expanded.” With 2GB of
RAM and a 62GB solid-state drive, it can handle both sample-intensive
programs and Combis with ease. In addition, signature sounds created by
top musicians are included, as is sophisticated KARMA technology. And all
of that is on top of the Kronos X’s nine synth engines, 16-part Combis, 16
simultaneous effects, and tons of enhanced capabilities.
M-Audio Axiom A.I.R.
M-Audio revealed their brand-new
Axiom A.I.R. controller series at
the Summer NAMM show. The ultramobile Mini 32 is perfect for musicians on
the go, with 32 keys, eight trigger pads, and assignable
knobs. The 25-, 49-, and 61-key controllers feature backlit drum
pads and knobs, faders, and much more. Each keyboard controller comes
with M-Audio’s HyperControl automatic control mapping technology as well
as the new Ignite software, M-Audio’s new music creation software that lets
you create music in an organic fashion.
Pigtronix Philosopher’s Rock
Pigtronix introduced the Philosopher’s Rock, which is based on their awardwinning Philosopher’s Tone. Utilizing a unique optical circuit, this compressor
provides transparent compression plus tons of sustain. A grit switch kicks in a
dose of harmonic germanium distortion to push your amp over the edge. The
Philosopher’s Rock boasts four times the range of
compression tones as its predecessor does.
PreSonus ADL 700
The full-featured PreSonus ADL 700 channel strip gives you a superb-sounding Class A tube preamp, together
with a fully variable FET-based compressor and a 4-band semi-parametric EQ. You get three inputs for mic, line,
and instrument, along with variable mic input impedance that lets you introduce subtle colorations into the signal
before engaging the ADL 700’s powerful and eminently musical-sounding equalization. The compressor sports a
full complement of controls and is capable of very fast attack. If you’re in the market for a high-end channel strip,
the PreSonus ADL 700 will put gloriously musical sound in your rack.
PreSonus Studio One/Nimbit
If you’re a musician (and if you’re reading SweetNotes, you probably are), we’ve got great news! PreSonus has
acquired Nimbit and integrated its technology right into the Studio One 2 DAW. The free Nimbit Extension for
Studio One 2.0.6 (and later) Artist, Producer, and Professional will let you instantly sell and promote your music
as soon as you’ve created it. Sell MP3s, CDs, merchandise, and even event tickets through stylish stores on your
Facebook page, on your website, or on NimbitMusic.com, as well as through services such as Jango, FanBridge,
and PledgeMusic. You can even understand your fans better and grow your fan base by using Nimbit’s detailed
analytics and sales reporting. Is this the future of the music business? Sure looks like it!
Roland GA Series
Not just another rehash of vintage amp
tones, Roland’s GA Series modeling
amplifiers let you create your own
unique amplifier. Using Roland’s
COSM modeling technology, GA Series
amps boast 100 watts of tube-style
expression, with the advantage of
digital processing. A simple control set
and Roland’s Progressive Amp model let
you create your dream amp. Available
as a 1 x 12" or 2 x 12" combo amp.
Rupert Neve Designs 5059 Satellite
Working inside the box? Rupert Neve Designs 5059 Satellite summing
mixer is for you. If you record and mix straight into your DAW, you’re
missing out on using high-quality analog outboard gear. Enter the 5059
Satellite. The 5059 gives you 16 channels, each with individual level and pan, plus an insert. You get two stereo
buses (assignable per channel) with master texture controls, giving you effortless integration with outboard
equipment, total control for two separate stem mixes, and the ability to dial in analog mojo in two distinct flavors.
If you work inside the box, you need the Rupert Neve Designs 5059 Satellite!
Discover the Sweetwater Difference — call (800) 222–4700 or visit Sweetwater.com.
Samson Carbon 61
The Samson Carbon 61 USB MIDI controller boosts your musical productivity with its 61 velocity-sensitive keys
and versatile, easy-to-use feature set. Its great-feeling semi-weighted keybed is perfect for portable and home
studios. The Carbon 61 is ready to use with your favorite iPad apps, and it
features a built-in iPad stand.
Voodoo Lab Pedal Power 4x4
Are you mixing high-current digital effects boxes with old-school analog
stompboxes on your pedalboard? If so, you’re not alone. Voodoo Lab comes to
the rescue with the Pedal Power 4x4. The Pedal Power 4x4 powers up to four
high-current devices along with up to four analog pedals. Voodoo Lab applied
their engineering expertise to keep the 4x4’s chassis at a manageable size, while
making sure it didn’t generate excessive heat — which can be an issue when
powering high-current devices. The Voodoo Lab Pedal Power 4x4 is the power
supply for the modern guitarist and bassist.
Maple Lake by Wechter DN-2411CE
Maple Lake by Wechter brings an affordable, well-appointed
guitar to the market, with the DN-2411CE. Sporting a solid
spruce top, a laminate mahogany back and sides,
and a Wechter AW-1 pickup system, the
DN-2411CE is a rugged, gig-ready guitar.
This dreadnought-shaped cutaway acoustic
boasts a rosewood fretboard and a bone
nut and saddle.
SKB 3i Cases
SKB’s ultra-rugged 3i cases have been expanded to keyboards and the PreSonus
StudioLive mixer line. Each case features custom foam padding and is constructed
of molded high-strength polypropylene copolymer resin. The SKB 3i cases are also
completely watertight, and they even feature an automatic
ambient-pressure equalization valve. So, if you travel by air or
by sea, your gear will be well protected.
Sony DWZ Series Wireless Systems
Perfect for small and midsized wireless applications, Sony’s DWZ Series wireless microphone systems give you
ease of use, superb RF transmission, reliability, and excellent sound quality. The 2.4GHz DWZ Series offers four
affordable sets: guitar, vocal/speech, headset/lavalier, and handheld (with an interchangeable capsule design that
supports Sony and third-party mic capsules). Each set offers outstanding performance in a sleek, contemporary
package. The series features 24-bit linear PCM digital audio transmission, two modes of frequency selection,
rackmount receivers with an integrated color LCD, and built-in digital EQ, as well as balanced and unbalanced
audio outputs.
Yamaha P-105
The Yamaha P-105 digital piano has an 88-note
Graded Hammer Standard weighted-action keyboard
that feels like the keys of an acoustic piano. The sound
of Yamaha’s famous CFIIIS concert grand piano is
created using Yamaha’s PureCF sound engine. The
Intelligent Acoustic Control provides full, balanced
sound that adapts to your volume setting. A built-in
USB connection lets you use the keyboard with a
computer or an iPad.
Studio Projects CS1000 Recording Package
Start your next recording session with the Studio Projects
CS1000 Recording Package. Capture great audio with the
CS1 large-capsule cardioid microphone. With its four selectable
pads, four highpass filters, and four lowpass filters, you’ll get
a tailored, clear, full response. The CS1000 bundle includes an
XLR cable, a windscreen, a shockmount, a handy pouch, and
the CS1 manual.
TC-Helicon VoiceTone Mic Mechanic
Take top-quality vocal effects and add a dash of reverb and delay, adaptive
EQ, and pitch correction — and you have the TC-Helicon VoiceTone
Mic Mechanic. The stompbox-sized preamp is perfect for the singer
on the go. All the essential needs of any vocalist are consolidated in
a single, powerful preamp that will fit in a coat pocket.
Zoom G3X
The latest Zoom multi-effects pedal is the G3X.
This evolution of the popular G3 features a builtin expression pedal for added tone manipulation.
Three large LCD displays and footswitches
give you a genuine stompbox experience, and
individual controls for effects and amp modeling
make the G3X a valuable live tool.
Zoom MS-50G
Zoom introduces a single-effect stompbox: the MS-50G. This easy-to-use
pedal features a single LCD, a footswitch, three parameter knobs/buttons,
and four effects-chain selector buttons. The MS-50G gives you control
over some of the world’s most popular guitar pedals, amp models, and
processors — all in a single pedal!
Check out our exclusive videos, features, and hands-on reviews at Sweetwater.com/expert-center.
Hands On
Propellerhead Balance and Reason 6.5
By Mitch Gallagher
With Reason 6, the Propellerhead Software turned their super-popular music creation
software into a full-featured DAW with integrated multitrack recording capabilities and a powerful built-in mixer that emulates a million-dollar
big-studio mixing console. With all of its included synthesizers, samplers, audio processors, mixers, routing capabilities, and more, Reason is
the soup-to-nuts music production program of choice for many musicians and composers.
But even with all the major additions to the software, Reason still lacked one thing: it was closed to third-party plug-ins. The only way for new
features to be added to the program was for the Prop-heads themselves to put them there. Now that’s not necessarily a bad thing. With a
closed program such as Reason, the company could maintain tight control, which resulted in a very robust, stable system.
This Tiny Amp
Head Delivers
Pure Orange Tone
You might be tempted to write off a mini guitar amplifier head that costs under $150
as a cute toy — that is, until you plug into the Orange Micro Terror! Forget about its
size. You just have to take one look at this classy hybrid tube head to know it’s a real
Orange amp. So, when huge, rich, and iconic British boutique tone comes pouring out of
whatever cabinet you hook your Micro Terror up to, you won’t be caught completely off
guard. But you will be impressed!
But now, with Reason 6.5, the Propellerheads have opened up Reason with Rack Extensions — and they’ve done it without compromising
stability! Similar in concept to plug-ins, Rack Extensions can be created by third-party developers and can be either instruments or
audio processors. The advantage is that the Propellerheads tightly control the Rack Extension technology, which eliminates many of
the inconsistencies and instabilities of traditional plug-ins. Plus, when you purchase and download a Rack Extension from the online
Propellerhead store, it downloads and installs automatically, with no authorization, no registration, and no complex installation process
required — the authorization is placed on your Reason Ignition key, seamlessly. Nice!
Rack Extensions are a huge addition to Reason. Not only is the program now a full DAW, but it also has its own “plug-in” format. Reason 6.5
is an amazing solution for just about any music production application.
BALANCE
Up until recently, the Propellerheads have stayed firmly in the software camp. But it was inevitable, with their success there, that they would
want to create hardware. And that’s just what they’ve done with Balance, a new USB interface for Mac and Windows — but, of course, it’s
the Prop-heads, so it’s not just any interface. Balance lets you hook all your gear up and then switch what’s feeding into the interface via
front-panel switches. There are two XLR mic inputs, two guitar inputs, and two stereo line inputs.
And two inputs can be used simultaneously. There are also two outputs that can be routed to
your monitors as well as headphone outputs; the monitors and headphones each have their own
volume control.
The beautiful thing about Balance? You plug it in, and it just works! It may be the simplest
interface I’ve ever had the pleasure to use — and I mean that in a good way. Plus, by using
Balance with Reason, you get an amazing extra: Clip Safe, which protects you from clipping
tracks when you’re recording. Clip Safe invisibly records a backup track at a lower level, along
with the track that you’re recording. It’s a cool feature that you’ll appreciate the first time you’re
able to save a once-in-a-lifetime take that otherwise would have been ruined by clipping.
What’s remarkable about the Orange Micro Terror is that it takes a formula many amp
makers have followed before, with varying results (a 12AX7 tube-based preamp and a
solid-state power amp), and provides you with dynamic and unmistakably Orange tone.
Three controls (volume, tone, and gain) let you dial in sparkling cleans, meaty crunch,
and pummeling overdrive, and it’s amazing how loud this little 20-watt amp can get
when you pair it up with the right cabinet. A stereo 1/8" input lets you plug in your iPod,
and a headphone output lets you practice in silence. From the bedroom to the back
line, your Orange Micro Terror head
> >Orange Micro Terror
will deliver the British amp tones
you love.
Balance isn’t limited to use with Reason. It supports any Core Audio, WDM, or ASIO software. It
comes bundled with Reason Essentials to get you started. Balance is flexible enough to be
the hub for a studio rig, and it’s portable enough to take on the go. It sounds great,
and it’s easy to use. And that’s a winning combination.
> >Propellerhead Balance
Sweetwater.com/Balance
> >Propellerhead Reason 6.5
Sweetwater.com/Reason6
Sweetwater.com/MicroTerror
Hands On
Planet Waves American Stage Cables
By Mitch Gallagher
Think that the guitar cables you use don’t affect your sound? Think again! There can be significant interaction between your guitar’s passive
electronics (pickups, volume and tone controls) and the cable you use to connect to your amp or effects. With a less-than-stellar cable, you
may lose high end, you might lose signal, or you might pick up airborne hum and noise.
But those problems are a thing of the past with the Planet Waves American Stage series cables. These cables, available in 10-, 15-, 20-, and
30-foot lengths, are made from the finest materials — including custom-designed “GeoTip” Neutrik 1/4" plugs for better conductivity and a more
positive connection — to maximize signal flow and minimize signal degradation.
I’ve been using an American Stage cable in my rig for some time now, and I find that it provides an excellent hi-fi rendition of my guitar signal. The cable is
solid and durable, and I’ve had zero problems with it, even with hard use. Don’t use any old guitar cable that’s just lying around. An American Stage cable will
give you excellent tone transfer and years of use — and that’s what it’s all about.
> >Planet Waves American Stage Cables (10', 15', 20', 30')
Sweetwater price from $24.99 to $39.99
Sweetwater.com/PWASGtr10
Check out our exclusive videos, features, and hands-on reviews at Sweetwater.com/expert-center.
iOS Update
By Mitch Gallagher
The further I venture into the world of iOS, the more I am amazed at what
we, as musicians, engineers, composers, DJs, and songwriters can
do with our iPhones, iPod touches, and iPads! This time around, I’ve
got two items for you to check out, both of which will allow you to
take your iOS device a big step forward in music-making power.
Apogee MiC
I use a number of different guitar and mic interfaces and docks for getting
audio in and out of my iOS devices, but sometimes I just want a microphone that will let me plug in and instantly record, whether I’m tracking
electric guitar, acoustic guitar, voice, or other instruments. Recently I’ve
been relying on the Apogee MiC, and I’ve found it to be ideal, not only for
its convenience and brain-dead, easy-to-use factor, but also because it
captures great-sounding tracks.
The MiC is a compact but high-quality condenser microphone that
features built-in Apogee conversion with 24-bit resolution. In my tests, I’ve
found it to be a natural-sounding microphone that delivers excellent sonic
detail with a rich, full sound. In fact, I’ve heard multitrack sessions that
were captured solely using the MiC, then mixed down by a big-name mix
engineer, and there’s no way you could tell those tracks weren’t captured
in a commercial studio.
The cool thing about the MiC, aside from the great sound quality and
compact size, is that it comes with two cables. One can be used to
connect the MiC directly into your Mac computer via USB — a super-easy
and super-fast way to track to your DAW of choice. The second cable has
an iOS dock connector on it for direct connection to your iPad, iPhone, or
iPod touch. Using this connector, the MiC shows up as an audio input in
whatever audio recording program you’re using — Garageband, 4-Track,
Auria (we’ll talk more about Auria later in this article), or your iOS audio
app of choice. It also includes a tripod stand for easy placement in front of
an amp or on a desk.
Using the MiC couldn’t be simpler. When you plug it in, a status LED tells
you when you’re connected and ready to go. There’s an input gain control
Want more?
on the side of the MiC for setting the level. That’s it — put it down in front
of your source and start making music!
By the way, I highly recommend the upcoming Apogee MiC Accessories
Kit to go along with your mic. It includes a mic stand adapter, longer
cables, and a hardshell case that has room for both the MiC and its tripod
stand. Perfect for recording on the go to your iPhone or iPad.
WaveMachine Labs Auria
At Winter NAMM, back in January, I was completely blown away by an app
that WaveMachine Labs (best known for their popular Drumagog drumreplacement software) had running on an iPad in their booth: Auria. I just
got my hands on the official-release version of Auria, and I’m even more
blown away now that I’ve used it!
So, what is Auria? It’s a 48-track (mono or stereo) full-featured DAW that
can record up to 24 inputs simultaneously at up to 24-bit/96kHz resolution
— and it can do it on your iPad! Plus, the app runs a version of VST and
comes with a selection of plug-ins, including vocal tuning and convolution
reverb. It allows automation, audio editing, snap to grid, AAF import and
export with DAW software on your computer, and optional video support.
Each channel has a full-featured channel strip with EQ, dynamics, dual
aux sends, assignments to one of eight subgroups, and more! Auria is
compatible with any class-compliant USB audio interface, so getting mono
or stereo signals in and out is easy, and with its Class 2-compliant USB
audio interface, you can get up to 24 ins and outs at once!
Auria is an amazing accomplishment. Who’d have thought that you could
use your iPad as a 24-input, 48-track recorder? Edit, process, and mix
tracks, then export either the files or a finished stereo mix to a DAW on
your computer or to SoundCloud.
Auria is on the expensive side for an app, but on the very inexpensive side
for a DAW. In my opinion, this one is a must-have for your iPad, regardless
of the price. Pair it up with a compliant audio interface (for grab-it-and-go
ease, use the Apogee MiC) and a set of headphones or monitors — and
you’re recording. Big kudos to WaveMachine Labs for this exciting
accomplishment. Now, with the example of this amazing app to follow,
I have a feeling this is going to inspire developers to unleash a flood of
high-powered audio apps for iOS — and that’s great for all of us!
Check out Sweetwater’s iOS Update videos, hosted by Mitch Gallagher, at Sweetwater.com/iOSUpdate.
A Warm Sweetwater
Welcome to Westone
Westone is one of those ever-present names in the pro-audio industry that every serious engineer and performer comes across, often in the context of
hearing protection. In fact, many of us at Sweetwater have been using custom Westone products for years, both to protect our hearing and to hear more
easily onstage. Despite this familiarity, when Westone recently became a member of the Sweetwater family, we were pleasantly surprised to discover the
full range of truly excellent in-ear monitors they have to offer, as well as the amazing technology that makes these headphones sound so good.
Whether you’re casually listening to your favorite tunes or monitoring your personal mix onstage, the quality of the in-ears you use absolutely defines
your world. When you choose a pair of Westone in-ears, the selections range from universal-fit earbuds, which eclipse the best that most earphone
manufacturers have to offer, to custom-molded multidriver models that deliver details so clearly that it defies the imagination. Those are pretty good
options to have.
With two basic styles to choose from, each ranging from single-driver models to models sporting as many as four drivers per ear, Westone’s universal-fit
in-ears easily hold their own. But where Westone really shines is with their custom-molded in-ear monitors. They require a trip to your local audiologist
to have a set of ear impressions made, but absolutely nothing beats the fit and isolation you’ll get from a pair of cold-poured acrylic earpieces perfectly
shaped to fit your ear. And the best part is that we’ve arranged a direct line of communication with Westone. So, if you’re interested in picking up a pair of
the best earphones available today, all you have to do is give your Sales Engineer a call, and we’ll be happy to guide you through the rest.
Check out exclusive videos, features, and hands-on reviews at www.sweetwater.com/expert-center.
Inside
By Chuck Surack
We’re growing again! It’s so humbling to say those words. Thanks to your
amazing support — for which we are eternally grateful — Sweetwater has
managed to keep growing at a rapid pace right through the worst of the
recession. In fact, we’ve grown so much, we find ourselves faced with a
need to expand yet again. When we completed the facility we’re in now in
2008, our projections showed that the company would be comfortable in this
space for perhaps a decade or more. But now, just a few years later, we find
ourselves busting at the seams again.
I just can’t tell you how grateful I am to all of you and to all of the incredibly
hardworking people here at Sweetwater. From Sales to Reception to Shipping
to Support to Service, our staff never stops working to ensure that you
receive the best shopping experience possible anywhere every time you pick
up the phone and call us or visit us at Sweetwater.com.
The problem is, we’ve almost reached the limit of what we can do within
the confines of our current space. The last thing we want is for the level of
Electric and
Acoustic —
One Guitar!
Paul Reed Smith Guitars have added a sweet new solidbody guitar to their
2012 lineup, and it packs an amazingly versatile sonic palette. Meet the
P22, the first piezo-equipped solidbody electric guitar from PRS. The P22’s
foundation is based on the quality tonewoods you’d expect from PRS —
a figured maple top, mahogany back, mahogany neck, and a 22-fret
rosewood fingerboard. But it’s the addition of a redesigned PRS/L.R.
Baggs piezo system that takes the P22 into new tonal territory. PRS and L.R. Baggs have partnered in the past to bring naturalsounding piezo electronics to the PRS hollowbody electric guitars. For
the P22, PRS and L.R. Baggs went back to the drawing board, and
came up with a redesigned set of electronics that is 60% smaller than
the previous designs — and compact enough to fit
in a solidbody electric guitar. With rich acoustic tones, and a wide range of
electric versatility too, thanks to uncovered 53/10
pickups, the P22 is ready to perform in virtually any
style. And with high-quality details such as Phase III
locking tuners, the smooth-playing Pattern Regular
neck profile, and the gorgeous V12 finish, you
will quickly find the P22 to be your first-call
guitar for any project or gig.
service that we deliver to you to drop in any way — no matter how small,
any reduction in service to you is simply unacceptable. You deserve the best,
each and every time you order from us, and we’re determined to deliver the
best each and every time.
So, this fall we’ll be embarking on yet another expansion to our facilities,
adding over 110,000 square feet of space. The vast majority of the new
space will be dedicated to room for more Sales Engineers and to increased
warehouse space so that we can serve you more quickly and efficiently, and
meet our goal of shipping your orders as quickly as we can.
It’s an exciting time here at Sweetwater, and we are well aware that we owe
all of our success and continuing growth to you, our friends and customers.
Thank you very much!
With the new addition to our facility, we promise to continue to provide you
with the best customer service in the industry.
Hands On
tc electronic BG250 and BH250
By Mitch Gallagher
For years, bassists suffered immensely, forced to haul
around massive cabinets and heavy amp heads in
order to get the tone and volume they required. But
today, that’s all changed. Using modern technology,
manufacturers are making bass amps and cabs
that are both super light and super toneful. Witness
the BG250 combo amp and BH250 head from TC
Electronic: weighing in at a featherweight 35 pounds for
the combo (with a 15-inch speaker, no less) and a barely
noticeable four pounds(!) for the head, these amps each
crank out an astounding 250 watts of wall-shaking power.
These are full-featured amps with gain and output
controls, intelligent contouring three-band EQ, a builtin tuner, a headphone out and an aux in (for your MP3
player), and more. Both amps feature TC’s unique TonePrint
technology, which lets you download effects presets into
the amp using your iPhone or Android — need a chorus for
one gig and an octave effect for the next? No problem, you can load up
whatever effect you want in an instant from your phone (or computer using USB).
We took the BH250 onstage for a gig with The Mitch Gallagher Band playing heavy
blues-rock, pairing it with a TC RS212 2x12 cabinet. Despite competing with high
stage volumes from two guitars, keys, drums, and vocals, the TC amps had no problem keeping up, staying clean and
clear even when pushed hard. The built-in DI output made it a snap to connect the head into the PA.
I’ll close with a quote from Chris Faith, our bass player (and Sweetwater’s Print Product Manager), who was needless to
say, enthusiastic: “The BH250 head is nothing short of a miracle! It can absolutely keep up with a band for anything short
of a stadium gig. It’s clean, simple to use, and sounds great. Did I mention that it weighs four pounds and can fit in a gig
bag? Where was this when I was lugging around 60-pound heads? It’s
> >tc electronic BG250
loud, musical, affordable, and portable. If you need a great head that
won’t break your back or your wallet, this is the amp for you!”
www.sweetwater.com/BG250
> >PRS P22 (Blue Crab Blue)
www.sweetwater.com/p22flbcb
Load effects into your amp using your smartphone!
See it in action:
Sweetwater.com/BG250
Hands On
MOTU Track16
Synth
tricks
By Daniel Fisher
In these modern times of USB and bluetooth connections, the power of the 30-year
old 5-pin MIDI connecter may have faded from your idea factory.
But there are still many powerful tricks that only MIDI can offer. One of the great
guardians of MIDI is a company called MIDI Solutions, a name that perfectly
describes its mission statement. They make little black boxes and single-space rack
units that are the perfect solution to countless MIDI quandaries.
For example, if you’re into groove making, you may have lots of drum machines,
table-top synths, and sequencers that have MIDI ins and outs, but no thru jacks.
This is a problem if you want all your groove boxes to play in sync by following a
single MIDI clock. The solution? Thru, Quadra Thru, and T8, which allow you to
split your MIDI signal to two, four, or eight outputs respectively. Now, all your gear
can get the MIDI clock at the same time instead of being slightly staggered by
daisy-chaining from unit to unit.
If you own a powerful keyboard or rack synth that is multitimbral (can respond to
multiple MIDI channels) you may have wondered if multiple musicians could all
play the same synth by combining all their controllers (using different MIDI channels) which makes it very easy to call up everyone’s sound at once. The solution?
Merger, Quadra Merge, and M8, will combine two, four, or up to eight (respectively) MIDI souces and safely send them down a single MIDI cable to your synth.
By Mitch Gallagher
A lot of different audio interfaces make their way through my studio, and
they all have great features and capabilities to recommend them. But
I’ve always found MOTU’s interfaces to be among my favorites for their
intelligent blend of features, price, usability, and sound quality. Recently,
I’ve been using the new Track16 desktop interface and it absolutely
lives up to all the great things I’ve come to expect from MOTU!
The Track16 is a compact unit that’s designed to sit on your desktop within easy
reach. It’s a hybrid interface (USB 2.0 or FireWire) with up to 16 inputs and 14 outputs. The
Track16 has 10 front-panel buttons and a single large knob for controlling all the basic parameters you
might need to access: monitor level, headphone level, mic gain, phantom power, and so on. The front panel also
sports eight nice LED meters. The unit itself has a guitar in, two headphone outs, a stereo line input, and optical I/O
(eight-channel ADAT or stereo S/DPIF). The rest of the connections are on the included breakout cable: mic inputs,
line outputs, MIDI I/O, another guitar in, and more.
MOTU’s CueMix software is included, which takes advantage of the Track16’s hidden secret: onboard DSP. CueMix allows for latency-free
monitoring with effects during tracking: EQ, dynamics, even reverb. You can set up a variety of mixes for your monitors and headphones, and
it’s all easy to configure and operate.
In use, the Track16 sounds great. Pristine but not sterile. It has two pro-level mic preamps, plus you can run your external preamps into the
line inputs for more mic channels. There are separate monitor, stereo line, and headphone outs for routing at mixdown. And it’s all a snap to
control from either the front panel or CueMix. Whatever software I chose to use (Track16
is Mac and Windows compatible) the interface was rock solid and performed perfectly.
> > MOTU Track16
I like the Track16 a lot, and it has become one my go-to interfaces. The form factor is
great, and the quality and compatibility are spot on. Highly recommended!
www.sweetwater.com/Track16
Another MIDI solution for ideas you’ve only dreamed about comes from the
Footswitch Controller and F8, which allow you to plug in an ordinary sustaintype footswitch (eight footswitches on the F8) and use it to send any MIDI message
of your choice including: any MIDI note, start/stop, tap tempo, any controller, and
more. Think of it as a way to add any kind of pedal you wish your equipment came
with (but didn’t) such as: Leslie speed, portamento on, mono/poly mode, sostenuto,
loop start... pretty much anything. As a bonus, it can also be used to transpose your
notes or change their MIDI channels on the fly.
Conversely, the Relay and R8 can receive a specified MIDI message and turn it into
a contact closure on a 1/4" jack (eight jacks on the R8). Now you’ll have a way to
use MIDI to activate footswitch jacks on your amps, effects pedals, lighting relays,
stage props; almost anything that responds to a switch closure.
All of the above MIDI Solutions pedals are easy to use and easy to program (in the
case of the Relay and Footswitch Controller).
The last MIDI Solutions boxes I’ll talk about are the Event Processor and the
Event Processor Plus. These are Swiss-Army-knife dream tools for ultra-geek
musicians who get wild ideas for their equipment. These two boxes will take any
kind of MIDI message and convert it into any other kind of MIDI message. Or they
can scale the values of specific MIDI messages. They can even generate a preset
sysex message when you send it a specific note or controller. The Event Processor
can store up to 10 settings and the Plus can store up to 32 settings at once, allowing you to map, filter, scale, trigger, toggle, crossfade, and transpose MIDI events.
Clearly, the MIDI Solutions boxes empower you with the ability to redesign the
functions of your keyboards, pads, controllers, pedals, and sequencers to meet your
exact needs. And they all get their power directly from the MIDI cable.
Contact your Sweetwater Sales Engineer to learn more about these staggeringly
convenient tools.
Nektar Panorama P4
Using the Nektar Panorama P4 keyboard controller with Propellerheads’ Reason 6 software is so fluid and intuitive that you’ll wonder how you
ever got along without it. You get 49 semi-weighted keys, 93 realtime controls, and a 100mm ALPS motorized fader for writing automation and
other mixing tasks. There’s even a 3.5" color display that shows what you’re controlling in Reason — you can focus on the Panorama P4 instead
of your computer screen, giving you the feel of working with hardware instead of software.
While there are plenty of keyboard controllers available these days, the purpose-built integration with Reason software makes using the Nektar
Panorama P4 a very rewarding experience. You have access to every channel strip in Reason’s mixer, including dynamics, EQ, inserts, sends, and
more. A complete set of transport controls makes it easy to navigate your projects. A set of 12 velocity-sensitive pads are ready to trigger drums,
loops, samples, and more. And even though it gives you complete control over Reason right out of the box, the USB and MIDI connections make
it an ideal controller for the rest of your software and hardware too.
One of the coolest features of the Nektar Panorama P4 is the ability to assign keyboard shortcuts to the buttons on the controller. Just like
any computer program, Reason makes good use of key commands — such as command-s to save your project, or using the tab key to flip
Reason’s rack around. You can assign any QWERTY keyboard command to the multi-function keys on the Panorama P4, giving you one more
reason to stay focused on your music and not your computer. With comprehensive control,
> >Nektar Panorama P4
out-of-the-box integration, and a powerfully intuitive workflow, it’s hard not to be creative
when you’re working with the Nektar Panorama P4 keyboard controller and Reason music
www.sweetwater.com/PanoramaP4
production software.
Moving? Moved? Want more than one copy? Call, fax, or e-mail us your new address and don’t miss an issue of SweetNotes!
Hands On
sE Electronics Egg 150
Hands On
Joemeek Q2 Series
By Mitch Gallagher
Studio monitor design is an exercise in compromise, since there are so many variables. One example is the
cabinet that houses the monitor. The materials that comprise the cabinet make a difference, and the physical
shape of the monitor makes a difference. Parallel surfaces within the cabinet create resonances, edges on the
exterior can create diffraction, and on and on. Theoretically, an ideal monitor would be a perfect sphere, with no
edges and no parallel surfaces. Now, sE Electronics, working with acclaimed acoustician and monitor designer
Andrew Munro, have come up with a design that approaches that perfect ideal with the new Egg 150 monitors.
The Eggs (as you might guess from the name) are egg-shaped, which is a very good compromise between
eliminating parallel surfaces but still being practical. They’re made from a very lightweight synthetic material
and feature integral stands. There’s a port on the lower front of the cabinet. Onboard electronics would interfere
with the interior acoustics of the cabinets, so all of the
electronics are housed in an external rackmountable
unit that offers dual inputs and subtle mid-shaping
EQ control. As a nice feature, the Eggs have
built-in LEDs that make proper setup for ideal
listening a snap. (You can turn the aiming
LEDs off so they aren’t shining in your eyes
all the time.)
In use, I was impressed with three
aspects of the Eggs: First, for this size
of monitor (6.5-inch woofer, 1-inch
tweeter), they have astounding lowfrequency output. The bass is tight, solid,
and full, and extends quite low. Second,
the midrange clarity. The Eggs are revealing
without sounding sterile. Third, how loud they
play while retaining clarity. There’s plenty of juice
here for “visceral” listening!
> > sE Electronics Munro Egg 150
Sweetwater price $2499.00 (pair)
www.sweetwater.com/TheEggM
Some may be inclined to write off the Eggs as a
gimmick, but I can tell you that these monitors
deliver on all that is promised. I found them a
breeze to both track and mix on, and was loath
to let them go from my studio! Once you hear these
monitors, you’ll be convinced that Eggs are the way to go.
By Mitch Gallagher
I’ve always tried to live my
audio life by Joe Meek’s ca
1964 motto: “If it sounds right,
it is right.” Words to live by,
indeed, in this time when we have so many options and different ways of creating music and doing things.
The Joemeek company lives up to the lofty aspirations of their namesake with their gear, too. Case in point,
the new, completely re-engineered Q2 Series channel strips. There are three units in the series, the SixQ2, the
TwinQ2, and the OneQ2. I received all three units for review.
The SixQ2 is a single-channel unit, with a mic preamp, optical compressor, three-band EQ, and analog and
digital outputs. The TwinQ2 doubles this to two channels. The OneQ2 takes it over the top with a four-band
EQ and the addition of an enhancer and a de-esser. All three units can accept mic, line, or instrument inputs,
and include 48-volt phantom power, polarity reverse, and highpass filtering. All three also allow a Cinemag
transformer to be switched into the circuit for additional tonal flavor. Digital connectivity includes AES/EBU out
on XLR, S/PDIF on RCA and optical, word clock I/O on BNC, and sample rate selection. On the single-channel
models, a second, external analog input may be routed through the onboard analog-to-digital converters — a
handy feature. There is also a post-preamp/pre-compressor analog insert point, and two single-channel units
can be linked for stereo compressor operation. We’re talking a full array of features here!
Joemeek gear has always been known for having “character,” and these units are no exception. They have a
big, full, rich, aggressive tonality that works well. If you want the full-on Joemeek experience, the OneQ2 is the
unit to get. I loved it for vocals because with the EQ and enhancer, you can get exactly the high-end brilliance
and articulation you want while still controlling sibilants with the de-esser. But all three Q2s handle their job
admirably well. In fact, I didn’t find a situation or an application where I couldn’t get the sound I wanted from
any of the three Q2s — they’re that powerful. Having the digital outputs is handy, and the comprehensive
feature list allows all three to cover a ton of ground in the studio.
If you’re looking for maximum channel-strip power in affordable packages with a nice dollop of flavor and
character added on top, check out the all-new Joemeek Q2 series.
> > Joemeek SixQ2
> > Joemeek TwinQ2
> > Joemeek OneQ2
www.sweetwater.com/SixQ2 www.sweetwater.com/TwinQ2 www.sweetwater.com/OneQ2
Customer Profile
Ron Vento
Located just southeast of Washington, DC in Waldorf, Maryland,
Ron Vento's Nightsky Studios complex does brisk business — and
they place a premium on providing top-notch service. “We try to
maintain high-level work for every artist with just about any budget,” says Vento. “We give every client the same respect that we
would would show a major-label artist.” Nightsky’s focus is on
music, but they also do commercials and a bit of voiceover work.
Says Vento, “We definitely specialize in music and we cover all
genres. We get a ton of work from around the world from all genres but I would say mostly with metal and rock bands.”
Nightsky Studios
Nightsky has been operating at its current location for nine years, and they’ve stayed busy with bookings for local, regional, and national acts
throughout that time span. Vento points out that the proximity to DC definitely helps. “It’s a superb area for all genres and we have tons of
talent here. We pride ourselves on our outboard gear selection, as well as having tons of instruments available. As for me, I’ve been involved in
music and the music industry for over 20 years.” In addition to his studio duties at Nightsky, he teaches courses in live sound and recording at
the College of Southern Maryland.
What go-to gear does Vento swear by? “That changes over the years, but right now it’s my combo of the Rupert Neve Designs Portico 5012 preamp and 5043 compressor,” he says. “The Neve that
was recommended to us by [Sweetwater Sales Engineer] Paul Allen has turned out to be a real ‘everyday’ type piece. If we are going for a smoother round sound, you can’t beat it. For some of the heavier type stuff, nothing beats
the API and [Empirical Labs] Distressor combo. We recently acquired an A Designs [HM2EQ] Hammer tube EQ from Sweetwater.”
Vento values his relationship with Sweetwater and his Sales Engineer. “Paul was there from day one to take care of us. He asked me to let him earn my business and by all means he did.” Vento adds, ”I would never dream about
going anywhere else for any of our gear needs. Paul has suggested some of the gear that we have purchased over the years and he hits the nail right on the head every single time. His experience and expertise cannot be replaced.”
What does the future hold for Ron and Nightsky? “We would just like to keep growing and expanding. I’d eventually like to get a new facility but keep it in our same general location. We’d like to add some additional rooms and just
keep putting out high quality recordings. One thing is for sure: when we do, Paul will be hearing from us.”
Sweetwater is well known for having a huge internet presence and a strong
mail-order focus that connect our customers with our very well-educated and
professional (hey, I have to get in a plug here, this is my gang after all!) team
of Sales Engineers (SEs). What many of our customers and even some of our
vendors don’t realize is that we also have a large, full-service retail store that
serves our local customers; and by “local” I mean “any customer who is willing
to make the trip to visit us in Fort Wayne” — which actually includes a pretty
large piece of geography!
Inside the
The store really serves two primary purposes. It functions as a great standalone, traditional brick-and-mortar location that has become a destination for
many Midwest-region (and beyond) musicians. It also serves as a well-stocked
and fully functional demo room for our phone-based Sales Engineers where
they can get their hands and ears on gear. The store has hundreds of pieces
of musical gear on display, which allows our SEs to become intimately familiar
with the products they are discussing and to offer a better buying experience
for their clients.
Beyond the gear, we do a lot to promote and support the local music community
of all ages with open jams featuring blues, rock, jazz and folk music. We also host
many vendor workshops in our state-of-the-art Performance Theatre featuring
artists such as Joe Satriani, John 5, Bill Bruford, Stanley Clark, Victor Wooten and
Adrian Belew; famous recording engineers and producers such as Keith Olsen,
Chris Lord-Alge, Eddie Kramer, Jack Joseph Puig, Ken Scott, and Tony Maserati;
and key manufacturer movers and shakers such as Bob Taylor and Paul Smith.
An extension of the store is the Sweetwater Academy of Music, offering private
and group lessons for guitar, bass, drums, keyboards, piano, vocals, live sound and
recording. The Academy offers a number of summer camps, including the very
successful Rock Camp.
Jeff Radke
Finally, it’s important to note that our local customers have full walk-in access to
our Service Department as well as the Guitar Shop, where we repair pretty much
everything we sell in-house instead of sending it back to a manufacturer. We have
an advanced team of guitar repair technicians that can handle everything from
simple setups to neck resets and major structural repairs. We also offer guitar mods as well as amp mods.
Of course, customers who visit the store in person still have access to our vast inventory. If it’s not on display in
the store, we can make it available to any of our visiting customers. Our local sales team has many decades of
experience and is well equipped to assist you in getting just the right product(s) for your application.
Bottom line, there is a lot going on with our “local” business and store. If you happen to be in the area or just
passing through (Indiana’s nickname is “The Crossroads of America” for good reason) please be sure to stop in
for a look around!
Plus, we are the local authorized Yamaha piano dealer and have a full-line piano store to serve our local
customers (pianos are available only to a territory defined by Yamaha). There is also a large dedicated Apple
area where you can find the full line of iPads, iPods, MacBooks, and tower and desktop computers all set up
and ready to go.
Rock and Roll!
Jeff Radke
Executive Vice President of Sales
Chief Sales Officer
Hands On
Radial Engineering Workhorse Cube
Hands On
RJM Music Technology Tone Saver
By Mitch Gallagher
Maintaining your
guitar tone in the face
of the harsh environment of a loaded
pedalboard and long
cable runs can be a
challenge. While one
long cable may not
trash your sound, and one pedal — even a poorly designed
one — may not pull you under a tonal blanket, add a few more
pedals, interconnect cables, and another long cable run or two,
and you’ll start to hear it.
By Mitch Gallagher
The 500 Series format for mic preamps and audio processors has
exploded in popularity — and for good reason! The 500 Series allows
you to mix and match together small hardware modules from various
manufacturers into a chassis. What I love about the 500 Series is that
there are so many modules available from so many manufacturers that
you can assemble exactly the tonal palette you want without using racks
and racks of space the way you would with “full-size” audio gear.
For 500 Series gear to work, you have to mount the modules into a
chassis. I recently had the pleasure of checking out the Radial Engineering Workhorse Cube, which can hold up to three modules. I/O includes
XLR, ¼-inch TRS, and an Omniport, which module manufacturers can
use for proprietary input or output purposes — for example, a compressor
module might use the Omniport for a key input. Other features include the ability
to cascade one module’s output into another’s input. This is nice for setting up the Cube
as a channel strip by loading it with preamp, compressor, and EQ modules. There is switchable
linking for two modules, for example, linking a pair of compressor modules for stereo operation.
Opinions vary as to how you should handle this. Some guitarists prefer to go
with all true-bypass pedals, others rely on low-capacitance cables to protect
their sound, and some use buffered pedals, which have built-in electronics to
protect your signal from harm. But the quality of built-in buffers is often less
than stellar.
RJM Music Technologies has another solution: the Tone Saver. The Tone
Saver is a purpose-designed, high-quality buffer amp designed to condition
your signal to deal with pedals and long cable runs. The Tone Saver couldn’t
be simpler: plug it into your signal chain, and enjoy pristine top end, plenty of
headroom, and gain adjustment to compensate for losses due to pedals and
cables. There’s also a transformer-isolated split so you can route your signal to
a second amp without hum or buzz problems.
The Workhorse Cube comes with a carrying handle to turn it into a portable unit, or there are options for mounting it
flush or at an angle. It’s a simple box; slide in your modules, fasten them down with two screws, turn on the power, and get to work.
The Cube is awesome for assembling the portable channel strip of your dreams — choose your favorite preamp, compressor, and EQ modules;
install them; and start recording! Radial supplied me with their PowerPre 500 mic preamp, Komit 500 compressor, and Q3 Coil Equalizer
modules. (These modules will work in any 500 Series chassis, but they’re ideal in the Cube because they use the Omniport for extra features.)
The preamp is clean and clear, with three tonal settings for vocal use (“Breath,” “Linear,” and “Punch”), a highpass filter, 15dB pad, polarity invert, and phantom power — all the features you expect and need from a preamp. The Komit offers compression and your choice of a brickwall
limiter for digital recording or a “Clipper” for warming up a signal with extra harmonics or distortion. You can stereo link two Komits, and the
Omniport provides a key input. The Q3 is a unique EQ. Rather than traditional EQ controls, its high boost, mid cut, and low boost each select
among 12 different preset response curves using passive coil circuitry. Shift controls for each band change the amplitude and slope. According
to Radial, this allows for more than 12,000 different EQ response curves. While I didn’t try them all, it was super easy to simply twist the knobs
until I found a curve I liked. It’s fast and effective — and you use your ears to select, which is the way to do it!
Radial has provided an excellent 500 Series chassis solution with the Workhorse Cube.
And their ever-expanding range of 500 Series modules keeps getting better and better. The
PowerPre 500, Komit 500, and Q3 Coil Equalizer were all definite winners!
> > Radial Engineering Workhorse Cube
www.sweetwater.com/Cube500
Easy to use and effective — that’s the way I like my music tools. And the Tone
Saver qualifies. You’ll be surprised how much of a difference it can make in
your rig.
Why not build your guiter/effects system from the ground up based on a solid,
robust signal? Unless you’re running a 10-foot cable from your guitar straight
to your amp, you
need the Tone Saver!
Tech support 24/7 at www.sweetwater.com/sweetcare
> > RJM Music Technologies, Inc. Tone Saver
www.sweetwater.com/ToneSaver
Satisfaction and Success
By Andre Calilhanna
You can find plenty of advice on how to be successful, but satisfaction is more difficult
to quantify. One step toward increasing success and satisfaction from your music
career may be adjusting your thinking and methodology.
RECOGNIZE SUCCESS FOR WHAT IT IS
To achieve your goals, you need to define them and write them out. But the road to satisfaction requires
you break things down into smaller objectives in pursuit of the big one. After all, if you have a stated goal
to play Madison Square Garden one day, you’ll need to set up some road marks along the way to keep
you on target. If you are moving toward your defined goals while working hard at something you enjoy,
there’s satisfaction to be gained in the pursuit of those goals.
Virtual Tape Machines
LEVERAGE YOUR PASSIONS AND FIND A NICHE
Putting your unique assortment of skills and
interests to work is another step, and if you have
songs that speak to a group with similar interests,
you can creatively develop a lucrative niche by
promoting your music through channels (press,
internet, etc.) that speak directly to that group.
Authors Randy Chertkow and Jason Feehan call it
“The Standing-Out Strategy.”
Slate Digital aims to add the mojo of analog recording to your digital DAW, with the Virtual Tape Machines tape
emulation plug-in. There’s an undeniable richness and depth when you record to analog tape that’s nearly impossible
to attain any other way. Tape reacts to the dynamics of your signals — set the level just right, and you’ve got natural
compression and saturation that makes snare drums pop, vocals come alive, and instruments glow. With today’s digital
gear, almost anyone can make a great recording, but there’s no doubt that something is different with tape recordings.
So that’s why Slate Digital spent more than a year listening to and modeling different tape machines. The Virtual Tape
Machines plug-in gives you the sound of either a 2", 16-track tape machine or a 1/2" mastering deck. You get two
modeled tape formulations, modeled at two different tape speeds. Whether you use it on individual tracks, or across your
whole mix, you’ll hear the analog goodness being worked into your music.
The old analog versus digital argument is stale — they both have their pros and cons, and
it’s up to you as an engineer to decide how to best balance those. Slate Digital’s Virtual
Tape Machines strikes a great balance. The sound is convincing, and you have way more
flexibility (and way less maintenance) than you would if you
were working with an old tape deck. If your projects need
> >Steven Slate Digital Virtual Tape Machines
a little something extra, you’ll definitely want to try Virtual
Tape Machines on your next recording.
www.sweetwater.com/VirtTape
“Instead of focusing on music publications and
media,” they advise, “think in terms of audiences.
If your music is in a particular genre, targeting the
people that like that kind of music represents only
one, highly competitive channel for your music. If
you put your music where there usually isn’t any, it
will get noticed.”
http://blog.discmakers.com/2009/12/seven-effective-strategies-to-get-your-music-noticed/
Andre Calilhanna is a musician, writer, and editor with way too many years experience in concert production and performing, and in music marketing at Disc Makers.
Brandon Eden
What was your occupation before coming to
Sweetwater? Salesman at Fry’s Electronics.
How would your boss describe you? Quiet.
Why did you first apply for a job at Sweetwater?
I wanted to get a better job in my field of interest.
What did you dream about doing for a living when you were growing up? Film score composer
Technical strengths: Post-production audio and MIDI
composing, including synth usage.
Describe the most dramatic situation in which you provided the
Sweetwater Difference for a customer, or the most unusual/creative solution to a customer’s problem: Probably the 500-point patch
bay I designed for a customer in one hour. I treat all my customers like I
wish I would be treated and they appreciate it.
Instruments you play: Piano, violin, bagpipes
Name: Brandon Eden
Gear you own: Apple Mac Pro, MOTU Digital Performer,
Apogee Ensemble, M-Audio DSM3, PreSonus Eureka,
tons of sound libraries and plug-ins
Position at Sweetwater: Sales Engineer
Family info: Married with one daughter and two dogs.
Start date: Sept 14, 2009
Other stuff we should know about you (hobbies, talents, interests,
etc.): I read a lot of books, and enjoy composing, painting, and sculpting.
I am also an Eagle Scout.
Hired as: Sales Engineer
Education: 15 years classical piano and music theory. BA in music with
an emphasis in sound recording.
Where are you from originally? I moved over a dozen times growing
up, mostly around the Midwest.
Personal motto: Genius is 10% inspiration and 90% perspiration.
Real-life hero: My wife.
Guilty pleasure of choice: I play Magic: The Gathering.
How would your best friend describe you? Dependable.
What in your life best prepared you for the work you do here at
Sweetwater? I was a competitive gymnast and pianist. Both of which
require tons of dedication, hard work, and self motivation.
What do you enjoy most about being part of the Sweetwater
team? Working around people who care about what they do and how they
do it.
What is the most important thing you’ve learned at Sweetwater?
How to be more confident.
PRSRT STD
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Summer NAMM Special Report
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SweetNotes
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(800) 222–4700 | Sweetwater.com
Inside This Issue:
Summer NAMM Special Report
sE Electronic Egg 150
Gibson Les Paul Standard 2012
...and much more

Fall 2012 - Sweetwater.com

Transcription

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