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H A N N D D M M A D D E E I N B Y Y D E E V V O T T E E D D M A T C T C L A V I A D M D
CHURCH ON SUNDAY MORNINGS, CLUBS ON O N SATURDA SATURDAYY NIGHT N IGHTSS THIRD GENERATION dirty tonewheel leakage model that hisses and
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H A N N D D M M A D D E E I N B Y Y D E E V V O T T E E D D M A T C T C L A V I A D M D
CHURCH ON SUNDAY MORNINGS, CLUBS ON O N SATURDA SATURDAYY NIGHT N IGHTSS THIRD GENERATION dirty tonewheel leakage model that hisses and
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Is your so getting the sque
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4EA>GF7%AI7 Jetro Da Silva: Keyboardist - Whitney Houston 2010 World Tour and Professor - Berklee College of Music
“The Fantom-G is a powerful instrument that conta You're Reading a Preview necessary tools and qualities to create and perform Unlock access with a free trial. music.full For Whitney Houston’s 2010 world tour, the Fan the role of sampler, sample player, synth and workstat absolute to deliver Downloadpower With Free Trial whatever the music calls fo color screen is great, and the editing features are very u
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CONTE
MAY 2010
KEYSPACE 10 ARTISTS Dominique Arcerio of the Lunabelles Gabe Ludovico Einaudi Unsigned Artist of the Month: Douglas King ADVICE Session Sensei Career Counselor Ask Mike COMMUNITY Major Minor Weekend Warrior CD Reviews
PLAY IT! 30
ORGAN Scott Healy on essential B-3 techniques for piano players
FEATURES
22 JAMIE CULLUM This rising — make that risen — British pop s over America . . . and proving he’s the piano You're Reading a Preview millennium. Learn how a fluent jazz vocabula Unlock full access with a freesolid trial.rock sensibility in this exclusive intervie 28 DAVID GRAY
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ARRANGING Lee Musiker on crafting arrangements to fit the singer. THE CHORD DOCTOR Jon Regen on the basic colors of chord extensions.
Download With Free Trial The multi-platinum selling arti st is also
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GEAR
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F R O M T H E E D I TO R
eyb
Click here for Stephen Fortner’s intro to the May 2010 issue, shot from Musikmesse in Germany!
VOL. 36, NO. 5 #410 EXECUTIVE EDITOR: MANAGING EDITOR: EDITORSAT LAR
SENIOR CORRESPON
Brislin, Ed Coury, Michae Scott Healy, Peter Kirn, M Milano, Franics Preve, Er
ART DIRECTOR: Patric MUSIC COPYIST: GROUP PUBLISHER:
Stephen Fortner
[email protected]
EXECUTIVE EDITOR
ADVERTISING DIREC
NORTHEAST, CANADA
WE ARE EVERYWHERE I’m writing this on a plane to Germany,
headed for the gigantic Musikmesse instrument show in Frankfurt. So you might think I’m writing to te ll you to check out all the photos and videos of “hot new gear” at keyboardmag.com. I am, but as Daniel Faraday said on Lost , that’s not my primary objective. Among the keys, cell phone, laptop and other items I threw into the X-ray tray while going through security at SFO airport was a handful of business cards, some of which landed face-up. As every gadget that proves I’m a valid member of society inched down the conveyor, a TSA agent looked down and went, “Oh, Keyboard ! Somebody here work for them?” After a brief wave of paranoia, I realized it was unlikely he knew a thing about “the Amsterdam incident.” (Can’t talk about it per our legal department. Suffice to say it was a good thing I gave my name at the hotel as “A. Bourdain.”) So, I cautiously looked up and nodded. “Great mag, man,” said the TSA, “I’m way into synths. Keep it up!” Now, I always love meeting anyone who plays or is even thinking about playing, and a random stranger being a
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[email protected] No. 6 orange bitters) later, we’re having a full-on PRODUCTION MANAG synth bromance. MUSIC PLAYER The Sunday previous (different bar), I wound VICE PRESIDENT: EDITORIAL DIRECTOR up in conversation with two servers and a cusSENI OR FINANCIAL PRODUCTION DEPAR tomer about the differences between “good Beatrice Kim cheesy” and “bad cheesy” synth pop. One parDIRECTOR OF SALES You're Reading a Preview Lauren Gerber ticipant was married to a classical pianist, one WEB DIR ECTOR: MOTION GRAPHICS D was a producer, one was a drummer, and all Unlock full access with a free trial. MARKETINGDE SIGN knew a lowpass filter — and Keyboard — from SYSTEMS ENGINE ASSOCIATE CONSUM their collective elbow. DIRECTOR: Christopher Download With Free Trial but trust me: Those are just three examples, NEWBAY MEDIA If I leave the house, I seldom fail to talk to at PRESIDENT & CEO: CHIEF FINANCIAL OF least one person who’s a keyboard player or at Paul Mastronardi VP WEB DEVELOPME least synth-curious. I’m continually humbled and CIRCULATION DIRECT honored by the proportion of those folks who HR MANAGER: Ray Vo IT DIRECTOR: Greg To flag Keyboard magazine as an influence, inspiraCONTROLLER: Jack Lie tion, or resource. Sign up to vote on this title SUBSCRIPTIO Since I’m on a movie kick today, maybe it’s 800-289-9919 (in the U.S Useful Not useful keyboardmag@computer Keyboard Magazine, Box like Fight Club. Maybe there’s a vast underground of keyboard players out to save the Find a back issue 800-289-9919 or 978-66 world from hypocrisy, shallowness, and bad DJs.
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Alesis micron se World-famous synth, i a rare blue color — in st ock right now at Sweetwat er!
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LETTERS ®
www.keyboardmag.com
Paul Shaffer
Late Show Keys King
Yamaha
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A NEWBAY MEDIA PUBLICATION MARCH2010
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Mac Snow Leopard have debuted to a lot of fanfare, should you jump on either bandwagon from wherever you are now? If XP is rocking your world, as it continues to for a lot of musicians, the adage “If it ain’t broke, don’t fix it” is good advice. —Stephen Fortner, Executive Editor
WHAT ABOUT WINDOWS XP?
I enjoyed reading your article on operating systems in your March issue. It did an excellent comparison from an audio standpoint as to which PC OS, Vista or Windows 7, is best for musicians. But I wish there had been much more information in the article regarding Windows XP vs. W7. I was, fortunately, one of the PC users who didn’t immediately buy into all the Vista hype. After all, it was going to be the OS of the future . . . right? Wrong. Sales and reviews of Vista were not exciting, and I heard about many compatibility nightmares with upgrades from XP to Vista. I decided to stay with XP Pro, as many others did. Your article primarily focused on the pros and cons of W7 vs. Vista. How about a follow-up regarding the pros and cons of Windows 7 over XP — hopefully emphasizing compatibility of pro audio apps and drivers when crossing over? So far, though, I’ve heard much more positive feedback about Windows 7 than I ever did about Vista. By the way, two great websites for your PC-based readers are techsupportalert.com for some of the very best free programs and tech info on the web, and start6 4.com, for PC users wondering if their programs are supported in a 64-bit environment.
Healy) shows a B natural o over a C7 chord, which wo work since it’s the major se typically not played over a enth chord. I’m assuming t was a C, as written in the s all for dissonance, but I dou what Mr. Healy meant, sinc kind of sound people usua funk . . . is it? Love your ma
SUGGESTION BOX
I’m a subscriber and love your magazine. I Indeed, that first note is su look forward to each new issue. Here are C, like in the second bar some requests for future issues: correctly in the audio exam First, an update of the October 2006 keyboardmag.com/lessons feature devoted to gigging. This time, though, please include comparison ratings our lessons goes through (editorial staff picks, not just tech specs), proofs, but on rare occasio e.g. the hint you dropped regarding looking is so obvious that we all m at the Motion Sound stereo amp versus the the sharp eyes! Roland stereo amp. Also, looking at combo amps vs. P.A. systems (power, frequency response, clarity, etc.) would be greatly appreciated. So many of us “weekend warYou're Reading a Preview riors” out there need help in choosing the best sound buck! WHERE’S THE Unlockfor fullthe access with a free trial. Second, I hate to admit it, but I’m in that WEB STUFF? minority that doesn’t know that much about · Online versions of Keyb Download With Free Trial the technological revolution in music. along with web content Because a large percentage of your magaexamples, videos, or ext zine goes over my head, I really appreciinterviews, go live on ap ated the “Jargon Jockey” notes. Maybe you first day of that issue’s m could devote a feature to catch me up; I · If you’re a subscriber an promise I won’t complain if you give it a received this issue earlie “For Dummies” title. page with just th Sign up to vote onspecial this title —Andrew Berne extras at keyboardmag.c Useful Not useful Great suggestions, Andrew! As it happens, we’re working on a roundup of the latest
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ART
AND
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SCIENCE
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ART
AND
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“Ivory is without a doubt the fnest sampled piano that I have ever played.” —ELECTRONIC MUS
IVORY GRAND PIANOS
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Three glorious grands in one virtual instrument
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IVORY ITALIAN GRAND
A brilliant masterpiece of expression
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Four authentic uprights for an alternative attitude
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A R T I STS , A D V I C E , C O M
DOMINIQUE ARCIERO On Her Nashville State of Mind
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Sign up to vote on this title You might not expect Dominique Arciero of pop/country
sensations the Lunabelles to be a music industry veteran at the ripe old age of 23, but that’s exactly what she is.
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“There was always a country component to o tinues. “We always wanted to be a pop/country ba to Nashville to write and record was absolutely nat
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KEYSP
MORE ON KEYBOARDMAG.COM
3 TOP TECHNO TIPS FROM
GABE Sound: Tech-House, Techno, Trance Webpage: soundcloud.com/gabe Top 3 Studio Tricks:
·
When layering drums, pay attention to track delays. They can help a part sound more real or sit better in a mix. · For hi-hats, use a single track [dance music producers often use many hi-hat tracks] and make sure the sound is perfectly suited to the mix so you don’t need to add new hats later. · Don’t just use sidechaining for bass, but try it on different instruments. It can help your mixes breathe. DAWs: Apple Logic Pro, Ableton Live. Analog synth: Minimoog Voyager. Analog recording gear: Thermionic Culture Phoenix compressor and Fat Bustard all-tube mixer. Audio interface: Apogee Symphony system, Lavry LE-4496. You're Reading a Preview Hardware effects: Eventide H8000FW. Monitors: Adam S5VA Mk.II. Unlock full access with a free trial. Favorite artist: A Brazilian artist called CéU. The new album Vagarosa is wonderful. Influences: Stimming, Michel Cleis, Radio Slave, Christian Smith, Trentemoller, and Martin Buttrich. Download Freetime Trial and wasteWith too much on one track. Sometimes I spend a mo Words of Wisdom: Don’t get stuck on your own loops a day, but if it’s not working out, I just move on to a new track. Francis Preve
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A R T I STS , A D V I C E , C O M
LUDOVICO EINAUDI On Modern Classical Ludovico’s Einaudi’s Nightbook is a
fitting sonic snapshot of the acclaimed Italian pianist and composer. Pulling together elements of acoustic, minimalist composition, electronica, and cinematic soundscapes, the album is at once aurally varied and thematically unified. “I’ve been involved with electronics for a long time,” Einaudi relays from Milan, Italy. “I got interested in computers, and started doing experiments using electronics in my music. You can hear this in my earlier albums as well. In Nightbook, I started working with the electronica artist and percussionist Robert Lippock. We had been working together in live shows, both with my own project and the band White Tree, a trio with Robert and his brother Ronald on drums. So it feels completely natural to work with him in the studio as well as live — we collaborate often.” Einaudi’s multi-dimensional sound is culled from a myriad of influences that literally cover all the musical bases. “My music developed over many years — it really was a process. I grew up listening to a lot of pop and rock music of the time. That was the foundation. But also, my mother was playing classical piano when I was growing up. So I began hearing Chopin and Bach very
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MORE ON KEYBOARDMAG.COM
KEYSP
P A U L
H A G G A R D
Mike McKnight tours with Mariah C ident guru. Email your questions ab ogy, or music biz issues to muso4hi Michael Jackson guitarist Orianthi (shown) and U2 offstage keyboardist Terry Lawless are just two musicians who got their gigs through word-ofmouth referrals from colleagues such as Mike McKnight.
Ask Mike WORD OF MOUTH Mike, You're Reading a Preview I’m sure you’ve been asked this question a lot, but how do people get great gigs like yours? Do you send out résumés? I don’t even know where to begin. Unlock full access with a free trial. Thanks, John
That’s the $64,000 question, and there’s no simple answer. Most gigs like mine are word-of-mouth referrals. Someone will ask, “Who do you know that does this?” and get their number. Here are a few examples. When I moved to L.A. in the ’80s, I did an unpaid internship with renowned programmer Bo Tomlyn. His company, Key Clique, created sounds for the Yamaha DX7 and other keyboards in heavy use at the time. Imagine buying the best sounds
Download Free heard Madonna wasWith looking forTrial players Bearden had also seen pla and programmers, so he threw my name in the gig. [Check out the Or the hat along with his. Based on that referstory in the May ’10 issue ral, I got the programmer/playback gig and and learn all about Bearde worked with her until 2005. It mushroomed Michael Jackson in the Se Keyboard. –Ed.] from there — U2 heard about me from Madonna’s people, then when I left SignU2 upinto vote onSo, thishow titledo you get to t it’s your number people pa 2001, I handpicked Terry Lawless, who’s Useful Not useful someone needs a keyboar still there. I got my Mariah Carey gig in mer, or tech for a tour? Firs 1996 on referral from Madonna’s monitor to the absolute best of you engineer, and am still working with her. I
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A R T I STS , A D V I C E , C O M M
Session Sensei
LIFE IS A CABARET by Scott Healy, keyboardist with Conan O’Brien. I like to think of cabaret as the
dysfunctional cousin of Broadway. Musically, it draws heavily on the American songbook, show tunes, and Tin Pan Alley, but also diverges into pop, rock, world music, and of course, Broadway. A cabaret pianist is expected to know this vast repertoire, play all styles, follow a singer, transpose, come up with intros, interludes, and endings, create arrangements and charts, and go to way too many rehearsals. I don’t do cabaret, but I knew of many gifted pianists who could do it in their sleep, and I’ve seen some of them in action. Literally the day after I lost my TV gig [Conan O’Brien departed NBC after the network’s Tonight Show flip-flop. —Ed .], I got called to do a three-night cabaret gig in
a small club in L.A. I took the gig right away, remembering the mantra “Say yes, think about it later.” I had some time on my hands, so I knew I could put in the necessary woodshedding to pull it off. Plus, I love a challenge, and for the first time in years, I really needed the work. A Cabaret show usually lasts about an hour, and the set depends entirely upon the muse and ever-changing whims of the singer. Some do a revue of different songs to show depth and chops, some do a retrospective of their careers, some go as far as inventing a one-man show around a theme, complete with scripts, lighting cues, video projections, and background vocals. Typically it’s you on a grand piano and
the singer in a gown (or sui room, a situation seemingly make you sweat in front of crowd. The cabaret audienc bunch: friends and exes of formers, Broadway aficionad patrons. There’s a good ch one person in the crowd w almost every composer, lyri ographer you’re presenting They’ve paid a heavy cover want a polished and refined cry from blowing through s tunes in a jazz club. Everyon seriously, so you’d better b As I write this, we open wood. I’ll let you know how
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SIX TIPS TO GET ORGANIZED by Jon Regen, recording artist of critically acclaimed album, Let It Go
Between keeping our chops up and plotting to make money with those chops, musicians often feel like we’re not making progress in either area. In the immortal words of Ferris Bueller, “ Life moves pretty fast. If you don’t stop and look around once in a while, you could miss it.” In that spirit, here are six tips
about having a home b you haven’t set aside time to attack it. Keep a daily log with one column for music. A regular gig giv what you need to practice, and work Sign up to vote onto this titlenew material in another for how much of it you actually while simultaneously bu Useful Not useful get through each day. Slowly but surely, your musical brand. 5. Set a daily goal. the second column will catch up with the first. You can write a song a
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A R T I STS , A D V I C E , C O M
MAJORminor
SCOTT FEINER
Bach Meets Boogie-Woogie
Thirteen-year-old New Yorker Scott Feiner has already had the kind of musical training at an early age that many older musicians would kill for. He studies everything from classical to jazz, and is a talented composer and improviser as well. He’s also sharing what he’s learned with the next generation. “When I was really young, we had a neighbor named Sam Blumenthal,” Feiner s ays. “Sam was a classical pianist and he would sit me on
6, and Kurzweil. I’m pretty l What’s your favorite ma I love to play Fats Waller Waller an boogie-woogie, and I learn watching videos of Dr. John playing Debussy — and Dav Was there a particular te credit with launching yo path? Actually, three: My first tea cia King, who I’ve been stu seven years. She has that m know just what I’m ready to encourages me to compos teacher is Steve Belfer, wh jazz, musical theater, and w sight-reading. He’s always th ways to help me grow as a is Pippa Borisy. She’s the for perfect the pieces I work on, of “Heart and Soul” at the same time — which turned out to be very helpful because best possible touch and tone Do you prefer to read sh it got me started playing stride piano. I also play by ear? remember improvising to the theme song Playing by ear comes more from Local Hero. Hero. To overcome that, part of m Who are your biggest musical heroes is to sight-read fo and influences? Sign up to voteschedule on this title For classical, Vladimir Horowitz. Whenever I Sometimes I read vocal sco Not useful Useful and also easy classical piec play a new piece, I try to find a recording of him playing it. He’s incredible and it’s amaz- What are your ultimate m For now, I like to play to ing what’s available by him on YouTube.
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KEYSP
MORE ON KEYBOARDMAG.COM
WEEKEND WARRIOR
ROBBIE YOUNG Web: theblackdiamondband.com Day job: I work at Siegel’s Jewelry and Loan full time. I’ ve been
there almost 20 years handling musical stuff, tools, and jewelry, as well as store supplies and occasionally building store fixtures. Sunday through Thursday I also work a night job, doing janitorial work in a seven-story office building. In addition to that, I run a 24-track recording studio, and teach music lessons about eight hours every week. How I got started: Music is in my genes. My great grandfather was a founder of the Appalachian Guitar and Mandolin Foundation. I began as a drummer at age seven taking lessons from David Logeman, who ended up playing with Frank Zappa for a time. My father was an English professor in Lincoln, Illinois, in the late ’6 0s, where I met lots of musicians, including the members of R EO Speedwagon. I began playing keyboards, and at 14 I built a PAiA synthesizer from a kit I bought from the old Southwest Technical Products Corporation. Band: Iowa-based, five-piece country variety act Black Diamond. I’ve worked in the band twice, returning after a 13-year hiatus. We play classic and current country, along with rock ’n’ roll. In addition to keybo k eyboards ards,, I take turns at bass bass and and guitar tar in each each show. show. We We actually actu ally have four f our members memb ers who play a little bit of keys keys durin during g a performance. performa nce. Influences: A lot of my inspiration came from Emerson, Lake, and Palmer, Yes, then later, Styx. Boston really got to me with all those guitars and keyboards. When I started playing country, which relies
so much on piano, it was easy for me. I’m a little em proud to say that most of the ballad piano skills I listening to a ton of Barry Manilow! I learned rock ’ tening to Jerry Lee Lewis, Keith Emerson, Rick Wa Dennis DeYoung of Styx. Why I play: I feel that God gave me a gift, and it w if I didn’t share it. Although it’s nice to get paid for don’t believe I’ll ever think of it as work. It’s just as broke, and to have someone walk up at the end of they love to come and see you perform. Ed Coury Sign up to vote on this title
Useful
useful Not The Black Diamond Band’s
shares keyboard duties wi bers. “There are two rigs o
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A R T I STS , A D V I C E , C O M
CD RE REV VIE IEW WS JAVELIN
MARIZANE
No Más
Cosmosis
If LCD Soundsystem got a regular gig as the house band on Pee-Wee’s Playhouse, then brought the mock-sunny influences of that whimsical sanctum to a moonlighting gig scoring French New Wave cinema circa 1981, 19 81, the result might sound something like Javelin. And if duo Tom Van Buskirk and George Langford sound like they scour the thrift stores of Brooklyn for dusty Casios and drum machines on which to reconstruct grooves inspired by equally dusty vinyl, it’s because they do. Layering lush, sampled choral swells over chewy synth bass, the opener “Vibrationz” skews towards the user-friendly chillout side of what you’re about to hear. The debut single “Oh! Centra” combines Mario-nostalgia synths with a chipmunk-processed rap lauding Centra’s amorous prowess, whoever she is — blink and you’ll miss the Salt ’n’ Pepa quote. “On It On It” is what Thomas Dolby would cook up if he were 21 and spinning Ableton in a San Francisco Mission hipster hive. Despite an undeniable underground feel, the album never fails to be accessible and, well, pretty , from beginning to end. Even if you don’t like No Más, you definitely won’t feel like it wasted your time. Stephen Fortner (Luaka Bop, B op, mypsace.com/hotjamzofjavelin) mypsace.com/hotjamzofjavelin)
Three words: steampunk renfaire rock. In case you’ve eaten too many Hater Tots, Tots, I’m not saying that’s a bad thing. In the hands of keyboardist Debbie Shair (her main gig is with sister act Heart) on piano and synths, and her Todd Jaeger on vocals and guitar, it’s very good as comparing bands to other bands ever does we’re talking about a morph between the Dicke of Jethro Tull (“Kon Tiki Parabola”) and Ziggy-er (“The Rock Song”). Really, though, Marizane’s s described in terms of the fant astical realms wh they’d gig if they could: This is the band that w prom at Hogwarts, then fly their dirigible throug riff to play at a soiree hosted by Mrs. Coulter in Pullman’s Golden Compass universe, then ente ghostly clientele of Miyazaki’s Spirited Away afternoon tea the next day. A bit geeky? Maybe melodic, full of great musicianship, and guiltily f Stephen Fortner (Marizane, myspace.com/marizanemus myspace.com/marizanemus
THE WHISPERING
GREG LASWELL
THE N
TREE
Take a Bow
TRIO
Go Call the Captain
Largely dark but tinged with playfulness, Go Call the Captain tastily combines wistful folk, mellow rock, and pinches of gypsy jazz and bluegrass into a compelling compilation of tightly written tunes. Anchored by Elie Brangbour’s lithe bass, Eleanor Kleiner’s voice floats above
Here C Producer and Nice G songwriter Greg Laswell’s third solo The Bay A album is a strong one, delivering the sort Trio makes music that defie accord of open, soaring pop and rock made by nimble Sign up to voteAnchored on this title famous by Coldplay and U2. Sounding and featuring bassist Danie Useful Not useful vocally a bit like a more gruff, baritone trumpeter Darren Johnston, John Legend, Greg opens “My Fight (For potent pot of originals and j You)” with a pulsating, classicallylatest release, Here Comes
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NEW GEAR
ROLAND SH-01 GAIA GODDESS OF VIRTUAL ANALOG
Compact and wicked-fun synth named after the ancient Greeks’ version of Mother Nature. THE BIG DEAL Each of the three “oscillators” is actually a complete synth — think of stacking three massively-upgraded Junos and you get the idea. Up to 64-voice polyphony and five effects at once. Phrase recorder and audio input. WE THINK Roland let us play a prototype in early March, and true to its name, it’s a mother. Check out our video keyboardmag.com. $739 list, rolandconnect.com THE PITCH
BLUE MIKEY 2 WE LIKEY MIKEY!
Blue’s stereo iPhone/iPod mic gets an upgrade and a facelift. THE PITCH Makes a realtime duplicate of your recordTHE BIG DEAL Improved You're Reading a Preview ing file, at an adjustably lower sound quality. New 1/8" input level, so you have a backup if for recording Unlock full access with a free trial.line sources. your source blows you away with Comes with optimized edition volume. of Audiofile Engineering’s FiRe Download With Free Trial recording app, plus headphone THE BIG DEAL Dual recording can also capture two extension cable for remote sets of inputs at once, e.g., the monitoring. WE THINK We loved the onboard mics plus a mixer feed at your gig. Variable speed doesn’t affect pitch — great for learning new tunes. one-two punch of the original Mikey with FiRe when we reviewed it in Nov. ’09, s WE THINK So many handheld stereo recorders have hit in the last two years that it’s hard to keep track, but this were gladSign to see thevote relationship made official. up to on this title one’s features make it stand out. $99, bluemic.com Useful Not useful $449 list/approx. $300 street, tascam.com TASCAM DR-2D
SPLIT PERSONALITY
THE PITCH
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NEW G CASIO PX-3 PRO PRIVIA
Casio’s first digital stage piano without built-in speakers, intended for stage and studio use. THE BIG DEAL Sounds, including main piano, are upgraded from already-awesome PX-330 (reviewed Oct. ’09). Tweakable parameters include filter, envelope, LFO, and effects. New DSP effects including two-speed rotary. Splits and layers. WE THINK You’re gonna see “Casio” from the back of so many keyboard stands that you may actually believe it’s the ’80s. If listening to the PX-3’s modern sounds doesn’t get you back to the present, try fitting into your Cavaricci pants. . . . Approx. $800 street, casio.com THE PITCH
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AKAI SYNTHSTATION 25
TOONTRACK BEATSTATION
Unlock full access with a REAL free trial. KEYS FOR YOUR iPHON
Controller for iPhone/iPod T dock, 25 mini-keys, and RCA line outs. THE PITCH An open, sample-based, groovebox-like Download With Free Trial soft synth that puts pad-based drum sequencing and playTHE BIG DEAL Plays SynthStation Stu ing of melodic parts side by side. which has three virtual analog synths, an MP machine, sequencing with file export, and mi THE BIG DEAL Handles audio files, REX files, MIDI grooves, and even audio recording for making custom samas USB MIDI controller for a computer (Mac ples. Extensive drag-and-drop implementation. charge iPhone/iPod when plugged into AC; batteries or USB power. WE THINK It does for groove-oriented production what as iPho WE THINK This is as full-featured EZdrummer did for sequencing linear drum tracks: Sounds Sign up to vote on this title duction gets. great, puts everything right in front of you, and makes it all Useful Not useful a lot of fun. SynthStation 25 controller: $99; SynthStatio $TBD, beatstation.com $9.99 at iTunes App Store, akaipro.com THE BEAT GOES ON
THE PITCH
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JAMIE CULLUM
On The Pursuit o Jazz-Pop Perfectio You're Reading a Preview
by J
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Jamie Cullum is a musical contradiction. One minute he’s chan
Download With Free Trialsinging pop covers o Art Tatum and Thelonious Monk; the next, he’s deep-pocketed R&B grooves while riffing on a road-worn Rhodes. T year-old British piano phenom has carved out a remarkable niche, se over 4,000,000 albums, and building a devoted fan base that’s simp Sign up to vote on this title for his singular brand of jazz-infused, hip-hop-ified fare. useful Useful pop Not On The Pursuit (out now on Verve Records), Cullum brazenly blen
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JAMIE CULLUM Years ago, you said something to the effect of, “I respect the jazz tradition, but it’s not my tradition .” You like, and write, and cover songs that come from a myriad of musical styles, from jazz, to pop, to R&B and beyond.
You should be answering my questions for me! [Laughs.] Yeah, you really nailed it. I think my tradition comes from rock ’n’ roll bands. It comes from going to parties, and bars, and discos, and from electronic music. It comes from playing in piano bars, and playing people’s weddings. And it comes from discovering a little jazz as well. So, as much as I’m sitting up here at Town Hall in New York, with the Steinway and the double bass, tapping into that traditional jazz route, I’m drawing on all these other disciplines as well. I obviously am associated with and know a lot of people from very different traditions, one that involves being steeped in the jazz tradition — going to music school and studying bebop licks and so on. And I’ve done that. I’ve spent a lot of time picking apart Herbie Hancock’s stuff. There’s an interesting balance on the new album. You play a ton of jazz, but you also emote a pop sensibility that understands how to get a song or solo across in four minutes, not 40.
Yeah, it’s true. When I was playing in rock bands when I was younger, I loved so much of it. I got into the imprecision, and the presentation, of it. All the things you kind of celebrate when you’re in a rock band. When I first got into jazz, I remember thinking to myself about the band, “Man, you guys didn’t even think about what you’re going to wear , did you?” Or the whole kind of gabbing with each
One of the things that I took away from The Pur suit is how much you seem to be guided by songwriting. “Wheels,” for example, starts with a great piano lick, but doesn’t become a prisoner of it.
Well, I think that’s a great argument for having jazz in what you do. Part of the reason that I stepped away from just wanting to be a straightforward jazz musician was that I was a songwriter — and I didn’t really connect with the way jazz guys wrote songs. You know, “Let’s write a head.” [Jazz musicians refer to the song’s melody as the head. —Ed.] I never felt a desperate need to write a tricky head. My inspiration for writing songs always comes from an idea for a lyric, or just something I want to express. You're Reading a Preview I never really connected with the jazz way of not trial. that Unlock fullwriting accesssongs, with a free there’s anything wrong with it. And so, when I took that kind of singer/songwriter Download With Free Trialas this mentality to the table of jazz, it acted enormous springboard. In a world of being a singer/songwriter, jazz is a tram poline,
Well, that’s partly the reaso much time to make this alb was a very obvious point w make a statement of inten way, that was embracing kind of do covers pretty w mean to sound like I’m sa at it, but interpreting othe songs is one of my streng Sign up to voteembracing on this titlethe idea that y songwriter, but you can be Not useful Useful well. In the singer/songwrit do too many covers, they th write your own songs. The
In a world of being a singer/songwriter, jazz is a
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Your song “You and Me Are Gone” is a great example of how you mix many different styles. It’s an effortless combination of New Orleans grooves, bluesy piano riffs, and an almost rockabilly sense. How did that song come about?
It’s interesting for me to tell you the background story to that song, because initially it was a real kind of Blue Note Records, blues-and-groove kind of thing. I was thinking of it as kind of [trumpeter] Blue Mitchell, [jazz pianist] Duke Pearson kind of groove. [Cullum sings a walking bass line.] I ended up trying it out with two musicians who aren’t really jazz guys. One was a drummer called Matt Chamberlain, who’s played with everybody from Pearl Jam to Brad Mehldau. The other was a bassist who plays in the hip-hop soul band Soul Coughing, whose name is Sebastian Steinberg. And they brought this kind of raucous rock thing to it, but still had my original groove in their minds. We also recorded it in the studio where the soundtrack to The Jungle Book had been recorded. So, I like to
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give things a story and set the scene. I think if you’ve got a story to tell, you work out how you’ll communicate it. That song has a lot of gutbucket, bluesy piano playing and soloing. Who are some players that influenced your playing in that direction?
It’s that kind of raucous stuff. I probably got that more from Ben Folds than anyone else. That just started to happen one day. I started to assimilate the way I played guitar with the way I played piano. In the song “If I Ruled the World,” in the middle of wh at sounds like a very modern, emotive pop song, you take a piano solo that comes straight out of [late Swedish jazz pianist] Esbjörn Svensson’s playbook. It’s like a synthesis of pop, hip-hop, and Nordic Jazz!
It’s great that you’re saying that, You're Reading a Preview because you obviously hear it in Unlock full access with a free trial.
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JAMIE CULLUM musician terms. That’s it exactly. That one wasn’t recorded in a live setting — it’s very much a layered song. There was this space for a piano solo, and I was thinking of getting [famed jazz saxophonist] Wayne Shorter to do it first. But in the end, I wanted to play it. I was very much thinking about Esbjörn Svensson, and that whole Scandinavian jazz sound. Also, I think I was channeling a bit of the score to Eyes Wide Shut . The song “Mixtape” marries memorable piano riffs with R&B grooves, over an almost visually descriptive story. . . .
That song, in a way, was designed to cover a lot of different bases. I wanted it to feel like the different segments of a mix tape throughout the song. It goes back to the fact that when you know what story you want to tell, you can do very eclectic things in a song, if the intention is clear. You know that whole “telling a stor y within the song” type of song? That comes 100% from my having done a film degree. I never get the chance to talk about it, but in film school, they’d make you write two essays before you could touch a camera — your statement of intent. That really made a huge impact on how I approached my music. It became about setting the scene and deciding what I wanted to say. There was also a definite intention on the new record to make each song tell a different story. On my previous records, we set up the instruments, set up the microphones, and just recorded and mixed them to the best of our ability. And it yielded results I was happy with. This time, we set the scene differently with every song. We used dif-
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Twelve Yamaha MG-Series mixer models offer from 8 to 32 inputs, with feature combinations that satisfy the broadest array of applications. Features include single-knob input compressors, SPX digital effects, USB connectivity, channel inserts, and ultra-quiet mic preamps...just to name a few. Add in premium components throughout and...the result...great sound and exceptional reliability. So, regardless of the mixer size you need, Yamaha quality remains consistently superior. Check yamaha.com/livesound for all the specifics.
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David Gray’s place in the pop music landscape is not unlike his music itself: not “in your face,” but quit Gray is currently touring the world in support of his latest release Draw the Line. With over 12 million albums worldwide, to develop his signature sound, which first caught America’s attention with “Babylon” in 2000. An envy of many a songw
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you’ve got it working one way, then great, but always be aware that there might be another way and it could be better. So don’t dismiss things or be all protective like it’s some sort of sacred thing you’ve created. It’s just music. You can do it in some other way, and someone else’s idea might be a good one — “Oh, elongate that chord three times as long, or we could miss a beat here, which kicks it into the next verse better. . . .” It could be a tiny little adjustment no one would really notice unless they know about that kind of thing, or it could be a really major one. For Draw the Line, did you take this material out live before you recorded it?
A few of the songs were played live, but not many. And it’s not like they got radically altered by doing that. They pretty much remained the same, actually. The arrangements and structures of this record seemed very strong. You obviously take some trouble to try and get them right in the first place. So, no, most of this record, I’m only starting to play it now. What songs on Draw the Line were written on piano?
“Jackdaw,” “Kathleen,” “Full Steam Ahead,” and “Transformation.” What about “Stella the Artist”?
That was actually written on the piano as well. That was a hard-compressed piano sound through a tremolo, so it sounded massive in my head when we were doing it. That very much came out of the sound. The other thing I love about the piano — which that song illustrates well, actually — is like, the way you can move the bass note but keep the chord the same. So, the chorus is
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Once you come off the road, stop making a fool of yourself and calm down. You’re making a record now. actually quite straightforward, but the bass note on the piano keeps changing each time. So, you come back to a C chord, but this time you’re playing an E underneath it, and the time before you were playing a G or whatever, so you’re sort of suspending the chords in different ways, and it makes it more interesting. There are so many things an aspiring artist can focus on: songwriting skills, learning more about the studio, playing live, promoting themselves, and so on. What was the driving force that helped you become established in the You're Reading a Preview music world?
You can just turn the fader u one of the big things to learn vocal, the quieter, the better soms into the mic and onto that . . . the harder you hit it you push the sound away. becomes a mighty thing. It’s you’re recording a piano: Th piano is just glorious if you ju gently and they’re allowed to the harder you hit it, the mor trying to force down through mic. It just becomes a strug
Do you bring any portab gear on the road with yo develop new ideas?
I actually carry a Dictapho me in case I get an idea, s it. There’s a [Sony] Minidis lying around in the studio an idea in there before eve up. But I don’t have a port rig outside of that; I find th partmentalize when I’m wo road promoting or touring I just wait until I get home head clear, then I start to a seasonal thing, like farm land go fallow, and hopefu will come up when you sta a couple of years.
It’s all Unlock a learning mean, I didn’t full curve. access Iwith a free trial. really have a clue about any of it: the business, the studio, playing live. I was just a bull in a Download Free Trial china shop. Over theWith course of getting along for 20 years, I’ve learned what musiA Selected Davi cians in the ’60s learned in four or five. You Discography know, because there was more playing and Albums: more sort of nurturing; there was a system there of musicianship, and you had to be able to cut it. So, I think it’s takenSign me aup long to vote on this title time to learn all the different disciplines of it. Useful Not useful Draw the Line But really, they’re all equally important, they all feed into each other. Playing live is
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PLAY IT!
HAMMOND B-3 BASICS FOR PIANISTS
Session Sensei columnist Scott Healy joins us this month f organ primer. Healy is a gifted multitasker of a musician w his burning keyboard work with Conan O’Brien since 19 bluedogmusic.com. Jon Regen
by Scott Healy Even accomplished keyboardists
sometimes struggle when playing the mighty Hammond B-3 organ — especially if they were trained on piano. It’s not velocitysensitive, has no sustain pedal, and can get louder than heck. Many traditional piano and chord voicing techniques don’t apply on the B-3, so you’ll need to start thinking
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about playing in a completely different way. Here are seven tips with to help you develop Unlock full access a free trial. your organ technique. I’ll focus on how to inject expression and dynamics into your Download With Free lines, and how to connect your Trial chord parts together using legato phrasing. Essential songs to help you better understand the B3 organ include “Green Onions” by Booker
T. and the MGs and “Every Everything” by Santana. I’ll bar settings for each exam to experiment with them on That’s what organ players d Hear audio of this lesson at keyboardmag.com/lessons.
Ex. 1. Here are some ways to play a single-note repeating organ pattern, using one or two fingers,Sign or even handson (asthis if you are uptwo to vote title playing a percussion part). Remember to “flick” the short note so that the key bounces right back and the note cuts off. The articu Useful Not useful lation should sound like this: DO-dat, dat-DO-dat, and so on. Try it with the first two drawbars out, a setting of 88 0000 000.
4
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PLA
Ex. 3. Playing over a left-hand repeating bass line is a great way to practice your organ soloing. Start with a drawbar setting of 88 8000 000, and ad If you want more grit in the sound, pull out the fourth drawbar (4') for a setting of 88 8300 000. F7
4 4 4 4 3
5
2
1
Ex. 4. An effective organ part seamlessly links chords and melodies together. Since the Hammond doesn’t have a sustain pedal, it’s up to your finge Many times, the B-3’s organ sound is rich enough that just a single-note line is all you need. Try this one with the “first four out” drawbar setting:
44 D
A
B
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Ex. 5. This example starts with a slide or “rake” up to a sustainedUnlock high E ,full andaccess illustrates organ technique of playing a moving line under witha acommon free trial. grace note is played smoothly and on the beat, and all fingers play legato. When you get to the B in bar 2, start it with your index finger, then quic finger and hold it. This is one way to keep your parts connected without using a sustain pedal. Drawbar setting: 82 8001 212.
Download With Free Trial
44 D
5
(2-3)
A
4
B
3
(2-5)
2
3
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Ex. 6. Here, we add more notes and chord tones, and experiment with moving fills. In the final bar, notice how the thumb is held down while the upp Useful Not useful connect the line. The voicing expands from two to three notes, but all parts are still played in a connected manner. Drawbar setting: 41 5121 246, à Hudson of the Band.
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PLAY IT!
ARR
DYNAMIC ACCOMPANIMENT by Lee Musiker
“My Funny Valentine” is a staple of the
American songbook, and a song I’ve performed countless times during my professional career. Composed by Richard Rodgers and Lorenz Hart (and taken from their 1937 musical Babes In Arms), it’s an excellent vehicle to demonstrate what I call “dynamic accompaniment.” This means that a piano part is crafted around a song’s essential elements, including its melody, lyrics, harmony, and bass line — all from its original sheet music. Going back to a song’s truest form lets you make informed musical choices that defer to the composer’s inte ntio ns, while also
providing a strong foundation for your own arranging explorations. I’ll use the first eight bars of “My Funny Valentine” to demonstrate how I’d craft an arrangement for accompanying a singer. It starts with the very simplest of forms, then becomes harmonically and dynamically more adventurous. Always remember to let the melody be your guide – your accompaniment shouldn’t overshadow it. In the words of the great Tony Bennett, “Support, support, support!” Hear audio of this lesson at keyboardmag.com/lessons.
World-renowned pianist, conducto Musiker (first profiled in our Feb. everything from conducting the monic to accompanying singers su Renée Fleming, and legendary cro with whom he tours currently.
Ex. 1. Let’s start with a simple, four-voice or chorale style arrangement of the song’s first eight bars. I’m building an effective piano part by using essential chord tones (roots, thirds, fifths, and sevenths), with chords taken from the original sheet music You're Reading a Preview harmony. Notice the descending chromatic line in the inner voices — a simple way to give your arrangements some color.
44 4 4 1
Cm
Cm7 Unlock full access with a freeCm6( trial.7)
Bdim7/C
Download With Free Trial
A
A /G
Fm11
Fm/E
E maj7
D
G7
G7
5
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PLAY IT!
ARR
Ex. 3. Here I introduce the vocal line to illustrate how I always arrange with the melody in mind. This example expands on the simple harmonic structure of Example 1, adding new voicing colors to the arrangement. (Note the C minor 2 chord in bar 1, which adds the colorful major second, a.ka. ninth). This added harmonic color continues in bar 7 with the appearance of the D bmaj7 chord, and in bar 8 with two G7 chords that contain colorful D b and E b major triads, derived from the G dominant altered scale. Note how I add interplay around the melody in bars 2 and 4 for increased drama. Cm2
Bdim/C
Cm9
G2/C
44 4 4 4 4 1
My
fun
-
ny
va
-
len - tine,
sweet
co
-
mic
va
-
len - tine.
()
A maj9
E maj7/G
Fm11
Fm/E
make
smile
with
D maj7
G7 5 9
G7 5 9
5
You
me
my
heart. _____________________________________________________
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Ex. 4. Here we have a fully-realized piano accompaniment based on the harmonic structure of Example 3. Note the new chord voicing colors (bars 4 and 7), arpeggiated chord tones (bars 5–6), and interplay around the melody throughout the entire arrangement. We have now crafted a true musical dialogue between the vocalist and piano!
44 4 Cm2
1
G7 9/B
E maj7/B
Am11
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0 7 6 N J
Sheet Music
. p r o C s c i n o r t c e l E & o t o F H & B 0 1 0 2 ©
COMPUTERS
INTERFACES
SOFTWARE
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When it comes to the B&H sales staf, knowledge and experience are a given.
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PLAY IT!
THE CHORD D
COLOR YOUR WORLD by Jon Regen
Keyboard September 2013
Editor at Large Jon Regen has made a name for himself i
musical settings, from straight-ahead jazz to pop singer album
Let It Go features
Andy Summers of the Police and
Regen is currently recording its follow-up, and tours Eur Visit him at jonregen.com.
It doesn’t take an encyclopedic
knowledge of music theory to add new depth to your chord voicings. My mentor, the great jazz pianist Kenny Barron, would often respond to questions about his commanding chord palette by saying, “It’s all about knowing what colors are available,
and knowing how to use them.” That simple concept, of thinking about chord extensions in a visual way, made a lasting impact on me and my music. Here are a few simple “colors,” and accompanying You're Reading a Preview sample voicings, that will go a long way towards deepening your voicing Unlock full access with a free chops. trial.
Many times, the addition o can be the difference betw table voicing and one that punch. What a difference a
Hear audio of this lesson at keyboardmag.com/lessons.
Download Free TrialC major chord. I’m doubling the root, and addin Ex. 1. Sometimes the simplest voicings can be the most effective. This first voicingWith is a close position fifth. Especially when I’m writing pop songs, I like the deceptively simple sound that an open voicing like this can impart. It leads the listener in, and foundation to build on. Cmaj
4 4 4 4 3 1
5
1
= middle C Sign up to vote on this title
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PLA Ex. 3. This simple B b major chord is voiced similarly to the C in Example 1, except here, we’re doubling the fifth instead of the root. It’s lean, mean, and muscular-sounding.
4 4 4 4 B maj
5
3
5
1
Ex. 4. Here we have a B b major chord again, but by moving just two notes, we create a sound that seems to hang in mid-air. This is the B b6/9 chord how the inclusion of the interval of the major second (between the C and D ), totally changes the character. Also, the use here of the sixth ( G ), instea (F ), further colors the sound.
4 4 4 4 B maj6/9
3 9
6
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1
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Ex. 5. Here’s a standard, root-position Amin7 chord, voiced simply with the root, seventh, minor third, and fifth. This voicing is compact, and effective for it’s stark and plaintive sound. Am7
4 4 4 4 5 3
7
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DO IT!
ELECTRO BASS LINES by Francis Preve Starting in the underground and now
sound is one reason that artists like Wolfgang
raw bass lines using the synth
infecting hip-hop and mainstream pop, the genre
Gartner and deadmau5 sell out massive clubs
Reason, plus your DAW of ch
called electro combines elements of greasy funk and
and work the main stage at Coachella. Here’s
grimy synths. This booty-shaking, floor-stomping
how you can whip up electro’s signature wobbly,
Hear audio examples at keyboard
Step 1. Start by making the classic electro ba
generally a sawtooth with a bit of added subs
open. Starting with the Init patch on Reason’s
turn on both oscillators and set the filter and a
tain to maximum. Set oscillator 1 to a sawtoot
to a sine wave one octave lower. Then, adjust to the right blend of sizzle and subs.
You're Reading a Preview Unlock full access with a free trial.
Download With Free Trial Step 2. Make a simple two- or three-note bass sequence. Use quarter-
Step 3. Choose a single note from your original sequenc
or half-notes, and don’t worry at all about the rhythm — we’ll deal with
sequence that’s a sustained four-measure drone on that n
that in step 4. Just get the notes recorded, render the sequence as
to a triangle wave controlling both oscillators, and create
audio, and save it some place where you can easily locate it.
Experiment with different rates, like eighth- or quarter-not
to match Reason’s tempo to that of your audio track — 12
track of electro tracks. thethis audio and keep SignAgain, up torender vote on title
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Step 4. Now we’re ready to make the ba
both files into your DAW and place them
track. Using your DAW’s editing tools, sn
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Can a music program create professiona real-sounding arrangements and solos for songs from only a chord progression?
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2010 for Windows & Macintosh ®
®
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with RealTracks Useful
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Type in the chords to any song using standard chord symbols like C, Fm7 or Gm7b5/Db; choose a style and Band-in-a-Box does the rest… Generating a professional
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DO IT!
HOW TO RESCUE OLD STEREO MIXES by Jim Aikin
Mixing in a home studio can be
hazardous to your music. Over the past few years, I’ve finished and mixed a number of synth instrumentals, but I never took the essential step of burning them to a CD and listening to them on other playback systems. Big mistake. Recently I decided to put all that music on a CD. I expect to sell no more than 100 copies, but even so, I want it to sound as good as possible. By now, the original sequence files were long gone, so remixing isn’t an option. Even if I had the files, the older pieces use hardware synthesizers I no longer own. All I had were the 16-bit stereo masters. When I burned a test CD (using the nicely-designed Project page in PreSonus Studio One) and listened to it on the stereo in my living room, I noticed two things. First,
the bass and kick were oppressively loud the mix while muting and u for anything other than electronic dance aux send channel where I’d music. Second, the mids had a boxed-in, ambience plug-in. I wanted claustrophobic quality — they didn’t breathe. open up in a pleasant way EQ’ing the lows down would be easy, but channel was unmuted, with was there some way I could open up the thick or blurry. Now that I’ve learned th rest of the mix and give it some air? I loaded I’m using it in new compos the first tune into Image-Line FL Studio 9 room ambience on an aux (reviewed Apr. ’10) and tried adding a bit of You're Reading a Preview hand-percussion loops and room ambience — but only to the mids and blend in, for instance. I’m li highs, Unlock not to the adjustfull lows. accessWith withcareful a free trial. low end more critically, too ment, I got pretty good-sounding results. Of In future, I plan to make course, it’s easier to add reverb than to take Download With Free Trial it away. If your mixes have too much reverb, es) of my new music while the techniques I used won’t help. This is extra work, but it’s g I also didn’t want to smother the mix in I should need to change an ambience. The goal was to produce an effect later, on a different compute so subtle that listeners wouldn’t even notice far away. For now, here’s ho it, though they would notice if it were steps if you too need to bre missing. To test the settings, I listened “legacy” Sign uptoto voteinto on athis title stereo audio
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DO
Step 2. In an aux send channel, use a multi-band EQ to get rid
of the low frequencies. FL Studio’s seven-band parametric does the job nicely.
Step 3. Add a reverb to the send channel. Set it to 100% wet, and dia
back to less than a second. The idea is to go for room ambience, not co Experiment with adding a tiny bit of pre-delay.
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Step 4. Assign the audio clip to its
your DAW doesn’t do this automatically. new channels directly to the mixer’s ma is a separate step.) Then raise the send channel until the meter in the aux chann
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DO IT!
STEAL THIS
Arturia J was rele
DURAN DURAN’S “HUNGRY LIKE THE WOL by Mitchell Sigman
Duran Duran were the poster children
of the ’80s with a string of MTV-era hits that still rock the clubs today. Nick Rhodes’ mix of swirling atmospherics and percolating
arpeggios went a long way toward establishing the band’s hitmaking sound. Let’s make the signature arpeggio of “Hungry Like The You're Reading a Preview Wolf,” originally played on a Roland Jupiter-8
and recreated here using Ar soft synth. Almost any virtua will work, as long as it has a with a “random” note order
Unlock full access with a free trial.
Step 1. We’ll use two oscillators, both
With Free Trial set to squareDownload waves. Oscillators should be tuned in unison with the fine-tune knob at about one o’ clock — enough so a bit of chorusing happens.
Step 2. The Source M
be smack in the middle blend of each oscillato
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Step 3. The highpass filter (HPF) isn’t used, so turn its
slider off. Cutoff is mostly closed down, because we’ll use the filter envelope to control the frequency. Set the
Useful
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shown: A = ze S = zero, and
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Your Perfect Performance Partner The newS Series combines thesounds of theMotif XS,a handcrafted S6 piano and theeaseof useof Featuressuch as Balanced Hammeraction, combo input jack foradding vocalsand guitars, andUSB
make it perfect for stage or studio. The compact designof ar Signthe88up to and76-note vote on thisweightedversions title
road-ready. The S70 XS/S90 XS also lets you quickly create your own Performances with the am
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Performance Creator feature.With extensive Controllerfunctions, it’s also the perfect companion foryo music production system.
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GEAR
ROLAND AX
8
7
ROLAND AX-SYN
High-Powered Synth by Michael Gallant
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HANDS-ON 1 These buttons can jump octaves, scroll through tone variations, or tran steps. 2 Slide pitches around with the ribbon strip touch controller. 3 The modulation bar is sensitive to how far down you push it, ach wheel-like range of intensity. 4 Roland’s famous D-Beam lets you sweep pitch, filter, or assignable with a wave of your hand. 5 The keyboard doesn’t send aftertouch, but you can do so from the 6 Choose from 304 preset sounds, including four of Roland’s impressive Su You're Reading a Preview grouped into eight families here. 7 Stereo are here. To feed wireless audio transmitters that re Unlock full access with a1/4" freeouts trial. signals, flip the ATT switch to cut the output volume. 8 Multiple strap points help you get a comfortable playing position, ev Download With Free Trial performance.
Some things will always inspire debate: health ca
4
regulatory reform, and mobile shoulder-strap keyboard last one may not have as much social import as the ot bit as divisive among musicians. Are “synth-tars” legiti instruments toSign be played withon guts up to vote thisand titlepride? Or are make keyboardists look like lame guitarist wannabes? Useful Not useful where you stand, Roland’s AX-Synth is an instrument and if you’re a dissenter, it may just convert you. A sle younger sibling of the AX-7 MI DI controller, the AX-Sy
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G PROS
Loads of fun to play. Sleek design. Onboard sound engine with high-quality, very playable sounds. Lead guitar and synth sounds are particularly impressive. Neck controls allow a high level of expression. Easy to learn and navigate. Lightweight. CONS
Keyboard doesn’t transmit aftertouch, though you can do so from the neck. Multi-function buttons make it impossible to quickly transpose octaves and switch tones from the neck alone. No “patch remain.” INFO
$1,349 list/approx. $1,200 street, rolandus.com Figure 1 on page 46) is impressive. Structurally, the AX-Synth is solid and durable. Though it’s impressively light, the keys, buttons, and molded plastic casings all feel reassuringly resilient, even under rapid-fire, two-handed percussive assaults. It took some trial and error to get the keyboard to sit right for my hand position and stature, but multiple points to hook on the shoulder strap were a big help in getting a comfortable feel, and also made playing the 49-key keyboard with two hands easy to achieve. Once I had the synth adjusted (surprisingly, at an angle similar to what low-slung punk guitarists do), I was ready to rock. SOUNDS
The onboard sound engine features 128voice polyphony and 304 tones (256 “regular” sounds and eight “special”
NEED TO KNOW Metallica’s “Enter Sandman,” while 14 made me whip out the opening riff from Why don’t they call it Guns ’n’ Roses “Sweet Child of Mine.” pervasive as that term is, Other lead guitar tones are more suited to trademarked a la “Kleene prog, blues, or Boston-style classic rock, to describe the Williams but regardless of the tone, it’s just plain which piano-like keys pus guitar-like strings. fun to crank up the AX-Synth and wail. One showmanship tip: End a long riff Does it have more tha with a loud note, sustain it with the Hold value? Wide-ranging ar button on the back of the neck, then use Justin Timberlake, Lady the right hand to play with the D-Beam Hancock, Chick Corea, and/or pitch ribbon. Who says guitarists and Dream Theater hav have all the fun? keyboards to great effe Also strong are the synth lead and serious tool with signific bass sounds. Though you can’t tweak and musicmaking poten filter or envelope knobs directly on the sight gag. AX-Synth, I found the presets to be hot, How much does it we inspiring, highly playable, and thoughtunder nine pounds — it’s fully programmed; tone 10 in the Synth able throughout a long s Lead 1 family has just enough bite to cut than many guitars and b through a mix, and the modulation bar Does it run on batteri adds a tasty amount of slightly detuned AA. Roland’s claim of six chorus. While the bass sounds go from proved accurate in our te You're Reading a Preview smooth, dark, and Minimoog-esque to check the charge you ha wonderfully andwith noisy, Roland a power-saving sleep mo Unlock grindy full access a free trial. also threw in some quality acoustic and Does it have wireless electric bass patches for when you don’t MIDI? You’ll need to su Download With Free Trial want to sound like you’re playing a wireless audio or M IDI synth. Nice. go completely cable-free Though this isn’t the first time we’ve seen Roland’s multi-articulation “Supercates with the axe over US Natural” tones, the four in the AX-Synth — 2 on page 46). trombone, cello, violin, and shakuhachi — are amongst the most realistic and Sign up to voteIN on USE this title organic imitations I’ve heard come out of I first unboxed the AX-Syn Useful Not useful any keyboard. The factory-programmed studio, hooked it up to my Lite audio interface, and s pitchbend for the trombone, which lets ing guitar-ish riffs into Log you slide up and down a fourth authenti-
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GEAR
ROLAND AX
Fig. 1. The neck’s hidden underbelly, left to right: Master volume, aftertouch knob, Portamento on/off, Bender Mode button for tweaking the behavior of the ribbon controller, and sustainpedal-in-a-button Hold switch. The three buttons’ recesses each have a slightly different shape, so they’re easy to find by feel.
Fig. 2. Want to tweak a rus, or modulation setti Editor software (Mac or patches over USB, or bu the ground up, and expo itself performance. to record several cues for a live theater gig and, given how successful and satisfying I found it to be, plan to continue using it for this. Given my affinity for the leads on Roland’s V-Synth, I wanted to lean into some notes, applying aftertouch for extra grit, vibrato, or filtering — but the AXSynth doesn’t generate aftertouch from its keyboard. Roland says they didn’t feel the vertical playing position was conducive to aftertouch — but I still want it. Anyway, between the modulation bar, pitchbend ribbon, Hold button, and DBeam, you can squeeze a great deal of
You're Reading a Preview
neck or body. Setup was quick and easy, power, audio out, and MID and I relied neck buttons to go apart along the lower edge Unlockon fullthe access with a free trial. from one variation to another, so I wouldn’t found it difficult to feel as m have to take my right hand off the keys have liked in the studio, giv Download With Free Trial ing off from three different and my eyes off the audience to change bleshot by bringing the cab sounds mid-performance. Again, playing close to the audio outs as this way is just plain fun. binding them with zip ties, The AX-Synth doesn’t seem to allow impromptu snake. Onstage “patch remain.” When trying to let a big you’d more likely run on ba guitar chord ring out while switching so th transmitters, back to piano, the tone vanished theup to votewireless Sign on this title an issue. instant I hit the Variation button, instead Useful Not useful of continuing to sound on the original CONCLUSIONS patch as long as the keys were If you’re even slightly open depressed. It’s a bit puzzling that my
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GEAR
ACOUSTICA MIXC
ACOUSTICA MIXCRAFT 5
Should I Buy 15 Mocha Lattes, or a Cool DAW?
HANDS-ON
by Craig Anderton
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You're Reading a Preview
You can see the video track b resizeable video window. The Details section can be Choose between piano roll an Choose between piano-roll here. The resizable controller strip MIDI controller at a time. An automation lane is availa can show any automatable Clip automation can be used i junction with, track automatio The effects selector makes i effects chains, as well as ch selected effects. Tabs bring up different wind section.
Unlock full access with a free trial. 8
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In a world where entire countries are
going bankrupt, money’s tighter than James
Useful
around the question “So, does the end user really, really need this?” Wrap this
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Track. Choose a color and
track freeze, duplicate a tra
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G PROS
Outstanding value. Better than expected video support. Several decent virtual instruments. Now includes a dockable mixer view, track and clip automation, and unlimited sends. Built-in per-clip noise reduction. Can burn Red Book CDs. Notation editing and printing. Considerable free content is available via downloading. Lets you play notes from a QWERTY keyboard. CONS
MIDI editing, included effects plug-ins, and mixer channel EQ are basic. No support for REX files or ReWire. No MIDI plug-ins. No control surface support. Can see only one track of notation at a time. INFO
$74.95 download, $14.95 for 60-day license (just enough to record your CD). acoustica.com like the Media Bay. Content is organized as 50 sound kits, but you can search for content based on criteria like tempo, key, mood, and the like. The Details section can be undocked, so you can create more space for the track view — this is particularly useful with dualdisplay systems. Or, you can keep the single-window interface when laptopping. VIRTUAL INSTRUMENTS
Mixcraft 5 carries over the instruments from V4 (Impulse synth, Minimogue virtual analog synth, VB3 organ, and Acoustica Instruments) but adds the Messiah polysynth, a lite version of Applied Acoustics Lounge Lizard electric piano, G-Sonique’s Alien 303 bass synth, and Acoustica Expanded
destinations and sources are fixed). I even like the presets, and this is a fine addition to the package. The name Alien 303 tells you what to expect, and it doesn’t disappoint if you want acid-house bass lines — I can see the smiley faces now. Like the original Acoustica Instruments, the Expanded Instruments — 66 in all — can’t be edited; you call up the preset, play, and use it if you like. The new instruments fill in some of the gaps not accommodated by the original set, and many — if not most — of these sounds are very useable. And I’m picky about presets. The one instrument that’s missing is a good drum module where you can create your own kits, although the GM drum sets and other kits are actually quite good. Then again, with the money you save, you can probably afford Toontrack EZ Drummer, FXpansion BFD Eco, or something similar. EFFECTS
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NEED TO KNOW
C’mon, what can I exp A lot. Just remember you an efficient, capable cor a big bundle of effects p Will Mixcraft 5 work w puter? Yes, if it’s a Win or XP machine — includ run Windows via BootC fine with a 1GHz proce of RAM. Can you actually do a the video track? You c clips and do crossfades shorten clips (similarly to stretch audio within the well as export movies as files. Realistically, Mixcra solid video support for a video editing. What are the biggest tures? MIDI editing is b find features like drum m editors, or MIDI plug-ins REX or ReWire support you can bring in Acidized can’t edit the transient m there’s no support for co What kind of plug-ins craft 5 accept? VST Acoustica’s own plug-in
Micraft bundles several of its own effects: chorus,Unlock compressor, delay, full access with distortion, a free trial. EQ, flanger, and reverb. These are basic; don’t expect sidechaining or sync-to-tempo. Also Download Free Trial included: Kjaerhus’sWith nine classic freeware effects (whose delay does sync to tempo). Yes, they’re freeware, but they’re good. You also get the Shred amp simulator, Voxengo Boogex Amp Simulator, and Voxengo Pultronic EQ-110P, which and expensive Pultec tube SPAN Spectrum Analyzer. Though EQ in the mixer itself is minimal, plug-ins include most Sign up to vote onAs this titleeffects are free two graphic EQs and G-Sonique’s way-fun Acoustica effects are fairly Useful Not useful
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GEAR one obvious factor in the low price. However, given the plethora of freeware plugins and the low cost of many commercial versions, I’d rather see a low price than pay more for plug-ins I may or may not use. That said, you’ll probably want to spring for a better reverb than what’s included. NOTATION
While you can’t expect engraving-quality printing from Mixcraft — and you can only see one track’s worth of notation at a time — musical notation is implemented very cleverly. Each note is superimposed on a grayed rectangle, like what you’d find in a piano-roll editor. You can change the rectangle’s duration (which also changes the corresponding note’s rhythmic value onscreen), as well as move the rectangle around to change pitch or start time. It’s also possible to snap to particular rhythmic values, “tidy up” notes to try and make a performance more notationfriendly, and print out the notated track. This is an interesting way to edit, as it
Keyboard September 2013
ACOUSTICA MIXC
VIDEO SUPPORT
Video used to be considered a relatively specialized feature found in hig but that was before YouTube. Adding video to a program isn’t trivial, bu does it well: You can import or drag-and-drop AVI and WMV files, which video and audio track. (Although Acoustica says you may be able to imp formats if you have a suitable codec on your machine, I didn’t have any Flash, MOV, or MPG files. It would also be cool if version 6 could rende iPod/iPhone format.) Once loaded, you can open a resizable video window, split clips (ye part between songs where the guitarist is tuning up), trim beginnings an stretch video, and even crossfade between clips. After creating the sou can save the video by itself or with the soundtrack; and Mixcraft simplifi rendering process by letting you simply move a slider to choose quality you’re savvy, you can open up a separate window for WMV compressio (video bit rate, encoding type, audio quality, dimensions, etc.) or basic A This is very impressive in a sub-$100 audio program. bridges standard notation and MIDI piano-roll notation. BALANCE IN THE FORCE
As you work with the program, you’ll find little things you didn’t expect, as well as You're Reading a Preview features that are missing from other
programs. For example, alt drag-and-drop clips, you ca MIDI notes in the piano rol have to cut/copy, then pas ing, your only curve option have preferred equal-powe and out, either in the track
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GEAR
Keyboard September 2013
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ACOUSTICA MIXC
Fig. 2. You can show and edit MI DI notes using a standard piano-roll screen, or choose per-track notation.
Fig. 3. The included Pultronic EQ emulates a four-band Pultec, and adds character to your sound in a way that more conventional, surgical parametric EQs can’t.
piano roll editor, you can use the + and – buttons or a mouse wheel (very handy), though there aren’t click-and-drag or “spinner” zoom controls. I also couldn’t figure out any way to hook up a control surface
Keyboard Magazine
(e.g., Mackie Control), or do custom keyboard commands. And, not supporting REX files is an issue: These days, sample libraries often include REX files as the primary timestretchable format. On the other hand, the noise reduction feature works like ones you find in dedicated digital audio editors: It finds a space that’s blank except for the noise, “learns” the noise, then removes anything from the file that matches that sample’s “noise print.” Marker implementation is also cool, as markers can not only serve as navigation references, but also indicate changes in tempo, key, or time signature in a manner similar to Acid. Furthermore, Mixcraft can record at sample rates up to 192kHz.
CONCLUSIONS
Some might see Mixcraft as a reaction against bloatware, but I think that with much music software, the bloatware tag is unfair. You're Reading a Preview Some people really do use most of what a
DAW offers, and different pe ent features. One feature se adequate for everyone. Even so, Mixcraft convin modates the world of straig recording, MIDI-based com ing, and beat-matching — e The essential features you music are there, the interfa ous, and the virtual instrum you make music out of the bargain in this context. Thr downloadable content libra a very complete package. Mixcraft is a likable prog friendliness, value, and a re set. While there are some I doubt anyone would dispu 5 offers exceptional value fo But don’t take our word for downloadable demo, and y yourself what the program h Although there’s never bee tion of budget programs, M extra mile in several crucial that, wins our Key Buy awa
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GEAR
U-
U-HE ACE
Monster Analog Sound from a Soft Synth by Jim Aikin
1
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G
HANDS-ON 1
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Tuning, glide, pitchbend depth, and other global parameters are here. The dual LFOs go into the audio range, and can be used as extra oscillators. Oscillator 2 can be s oft-synced or cross-modulated. The mixer has three modulation inputs for hardwired signals, plus an extra signal input at the bottom. Each filter has both lowpass and highpass/bandpass/notch outputs. These “mults” are for mixing signals and modulating their depth. The ADSR envelopes can treat the sustain portion as a rising or falling slope, with adjustable rate. Panning can be modulated in the dual output modules. Here’s where you patch in modulation sources such as breath control and aftertouch.
of your host DAW. The downside: ACE is something of a CPU hog. The benefit: You can jam an LFO up into the audio range and use it as a third oscillator, or use it to frequency- or amplitude-modulate one of the other oscillators or a filter. Hence the acronym: ACE stands for Any Cable Everywhere. OVERVIEW
Installing ACE on my new Windows 7 computer was painless, and it ran without problems in both Steinberg Cubase 5 and Image-Line FL Studio 9. The factory presets, created by well-known sound designers Howard Scarr, Skippy Lehmkuhl, and others, are plentiful, varied, and high-quality. Basses, leads, keys,
NEED TO KNOW
rate). A “draft” rate saves on CPU cycles, but may sound audibly thinner or have What types of synthe aliasing. Three knobs you don’t usually do? Modeled analog, in see are for slop, crosstalk, and even simuand AM. lated capacitor failure in the oscillators. Most unusual features These all add to the analog instability of modulation, mapping ge the tone (and yes, like ACE’s other knobs, lator soft sync, duophon they respond to MIDI control). These response, dual glide mo knobs are on a second panel, called How are the effects? Tweak. This panel is also where the mapYou get a chorus/phaser ping generator lives — see the “Mapper” line, and treble/bass EQ section on page 56. Do you get pulse wid For fat sounds, up to eight voices can tion or oscillator sync be stacked and detuned to produce choHow about microtuni rusing or one-finger chords. (The voices loads Scala files for high can’t be panned separately, however.) On tom tunings. my system, using more than four voices Formats and compute sometimes caused the signal to suffer a AU, and RTAS. Window short delay or breakup during its initial 10.4 or later. Intel Core2 attack, even with a very simple patch — but processor recommende since you can produce 16 -note chords Copy protection: Seria with four voices, this is not a big problem. Downloadable demo? ACE has two glide controls: VCO1 You're Reading a Preview and VCF1 can glide at a different rate the LFOs are full-range aud what you’re really looking a from VCO2 VCF2.with With patches Unlockand full access a free trial. that lators, each of which has d use oscillator sync or filter overdrive, this They have five frequency m can add some nice bite to the attacks of Download With Free Trial tone, partial, subharmonic, notes that are more than a whole-step sync. In the first three mod apart, as the two oscillators will be soundkeyboard. These modes int ing different pitches for a brief moment. unusually flexible fine-tune Also available is an ARP-style duophonic keyboard mode, in which VCO1 tracks the four modes — multiply, cen beats. (Multiply mode can lowest note you play and VCO2 the highest note. Duophonic mode opens upup to votebecause you canset it to z Sign on this title some unusual possibilities, especially if turn the oscillator off.) Ther Useful Not useful VCO2 is soft-synced. oscillator, which always tra The factory presets (several hundred of frequency of VCO1. them) are incredibly varied. A couple of VCO2 can sync to VCO
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GEAR
U-
Fig. 1. The Tweak panel has knobs for stacked voice tuning and analog circuit emulation, but the main attraction is the mapping generator (center), a flexible sequencer-like device with up to 128 steps.
LFO1 has only one waveform (sine), but it also has an input for sample-andhold effects. LFO2 has five waveforms. The LFOs can run in gate mode, in which each new note starts its own LFO at a point determined by the phase knob, or in free-run mode, in which all voices share one LFO. Not enough LFOs to suit you? Use the ramp generator. This has no inputs or waveform selections, but it can either loop, producing a repeating waveshape, or trigger once and then stop to produce an attack transient. Its up, hold, and down knobs can sync to quarter-notes or whole-notes — or to decimal fractions thereof, so if you need, say, a five-against-four cross-rhythm, just set a knob to 20 and you’re in business. This feature is also available with LFO rates. The filters each have two simultane-
Keyboard September 2013
The mapper provides u definable steps, which are cally on a nice big display. one of four modes. In Alte moves to a new step each a key. In Key mode, each M a step in the mapper, whic can have a different outpu each key on the keyboard Map Smooth and Map Qu accepts a signal input and of this signal onto an outp smooth or stepped fashion for setting up a nonlinear v response curve, for creatin output from an LFO, and s commands let the data in randomized or quantized t certain number of discrete eight, for instance). When the input is a rep from the ramp generator, t put produces a regular useful for step sequencing output can also be used a for LFO 2.
rate knob is in the ADS R, while the fall/rise amount is tucked away on the Tweak page.) Envelope output can be controlled via velocity. In addition, knobs for level and rate control can accept inputs from various You're Reading a Preview MIDI sources. Near the bottom of the two Unlock full access withpanel a freeare trial. multiples. In a hardware synth, these would often be needed to split a signal to several Download With Free Trialpatch CONCLUSIONS outputs, but ACE can stack multiple There are two main reaso cords on any output. The multiples are It’s highly patchable, and used to mix signals before sending them to analog. Make that three — inputs, and also to modulate their amounts very modest price. Patchi in various ways, including crossfading. (even when you do it with The row of output jacks along the bottom more gives quick access to ten useful signals, Sign up to votemuch on this titlefun than dialin a number-filled matrix. Wh including MIDI key number, velocity, noise, Useful Not useful looks simple, with everyth mod wheel, and aftertouch. At the other end ble on the surface, the vo of the signal chain, ACE has dual output packed with unusual optio VCAs, which can be panned separately.
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GEAR
Keyboard Magazine
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NEO I NSTRUM ENTS VENT
NEO INSTRUMENTS VENTILATOR
Best Rotary Stompbox Yet by Avi Hersh
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G HANDS-ON 1
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Speed knob varies both the slow and fast speeds slightly. Acceleration varies the transition time between slow and fast speeds. Mix the high and low rotor volumes here; crossover point is 800Hz like the real thing. Emulation of tube overdrive is warm and crunchy. Less virtual mic distance gets you more tremolo (amplitude modulation). In “Keys” mode, the Ventilator models the frequency response of a Leslie 122 cabinet. In “Git” (guitar) mode, you get rotary without the cabinet modeling. You get stereo outs, but mono input only. That’d be true if you were using a preamp and miking up a real Leslie, though, so it’s not a “con.” Lo/Hi switch adds a pad so you can still get nice overdrive with keyboards that don’t have a very hot output — the original Nord Electro is one example.
PROS
Spot-on modeling of a miked Leslie 122. Small enough to carry in my manpurse. Convincing overdrive circuit. Plugand-play. Well built. CONS
Bypass switch can be mistaken for speed switch during performance. INFO
$450 plus shipping from Germany, neo-instruments.de The buzz about the Ventilator has been
so overwhelmingly positive that I’d been obsessing about trying one. As a card-carrying member of the clonewheel-through-areal-Leslie club, I had to see if the Ventilator
VENTILATOR VS. BUI LT-IN
If you have a clonewheel organ, it almost certainly has rotary simulatio the Ventilator enough of an improvement to justify its $450 price? On original-model Hammond XK-3, it was a night-and-day difference. In th Studio, I A/B’ed it with the built-in rotary effects on a newer Hammond recent-model Korg CX-3, my gig-worn Nord Electro 2, a new Nord VK-8, and the KB3 organ emulation mode in Kurzweil’s PC3 workstati story short: The Nord C2 was the only organ where the improvement less than dramatic — but it was still noticeable. On all organs, the sens and of sound moving around you in a circle, as opposed to just at you from you again, was markedly better with the Ventilator — especially w drawbars engaged, which is where most electronic simulations begin thin. If you’re using an older clonewheel, and especially if you’re playin general-purpose keyboard, the Ventilator will up your game more than possible. That makes the price a bargain compared to buying a new d clonewheel instrument. Stephen Fortner
You're Reading a Preview
to use the Ventilator on som XK-3 for an immediate test drive. It sounded . It had none oftrial. the than organ.) real Unlock full access with a free unwanted phasing or FM artifacts of previThe next night was bigg ous electronic simulators and was quite with my Tom Petty tribute b Download With Free Trial convincing in the garage. I took it to a tons of organ on this gig, a rehearsal that evening and ran just the XK-3 hear the Ventilator in this 8 run through direct boxes in and Ventilator directly in to the P.A. — in of-house P.A. Again, it deliv mono, no less. Again, it was great, and sat notable on this gig was ho just right in the mix. I tweaked the drive, lator helped the XK-3 blend distance, balance, speed, and acceleration for th yettitle cut through to taste, and I was in hog heaven.Sign up to voteparts, on this solos — just like it should! The real test would be my weekend Useful Not useful I did hit the bypass foo gigs. The first was a classic rock cover than the speed switch a f band in a smallish lounge. Only vocals because they’re close tog went through the P.A., so it’d be just my rig
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GEAR
PUREMAGNETIK
Sounds by Subscription by Francis Preve
PROS
Huge variety of electronic and vintage synth sounds, including rare and underrepresented synths. Subscription model offers exceptional value. CONS
Some back-catalog libraries work only with Ableton Live. INFO
$5.75 monthly or $60 yearly, puremagnetik.com Puremagnetik has staked out some
really cool territory in downloadable soundware. Initially they focused exclusively on Ableton Live, but newer releases over the past year or so add versions compatible with Native Instruments Kontakt and Apple Logic. What’s most interesting about their model is that, in addition to a la carte “Micropaks” for $12, you can subscribe to the website for $5.75 monthly or $60 yearly, and get unlimited downloads of all current releases. This is a remarkable value in light of the breadth of material. An all-access pass to their extensive back catalog is $198. We downloaded a bunch of their latest, along with a few older Micropaks for good measure. Here are a few of our favorites. Analog Drums
This title contains five drum kits with a few variations. The samples were taken from modular synths sporting modules by Doepfer, LiveWire, and MFB, and sound much more complex and textural than your usual TR-808-style fare. Overall, the vibe
they’re decidedly digital in library. Fortunately, Puremagnetik makes ’80s way. There’s even a b two great ones. Percussives includes over 650 24-bit from the legendary Casio V tor — er, synthesizer. This s sounds that, like Analog Drums, ably demonstrate the sonic range of a killer on quite a few new wave c Buchla rig. You’re not going to find notably Trio’s “Da Da Da.” anything run-of-the-mill here. Instead, you’ll feast on modular insanity with all the trimWaveframe While PPG was first out of mings. With so many samples arranged wavetable synthesis, Enson into ten kits, there’s something for every hardcore electronica producer if you’re will- envelope in the ’80s, culmin You're Reading a Preview ing to sift through the data. A bunch of Live final all-original synth, the Fi goes beyond sampling vario clips with macros and effects helptrial. speed Unlock full access with a free patches, adding 30 Instrum this process, as you can always edit these Fizmo emulations, each set clips into something that suits your needs. Download With Free Trial Basses & Leads includes 24 nicely patch. For some users, this a trifle taxing on CPU resou designed patches that range from buttery, the flexibility will be a godse warm basses to “WTF” leads impossible delivers the Fizmo sound qu to describe in words. Many patches with the Phazeform Micropa include essential synth macros like cutoff, resonance, drive, and basic effects such as love it or hate it, as it’s extre echo and overdrive. After playingSign withup thisto voteThat said,title $12 is a steal for on this collection with a good buddy of mine, we ation of a bit of synthesis his Useful Not useful were both solidly impressed with its usefulness for a wide variety of musical applicaUpright Upright (bass, not piano) w tions. It’s definitely a keeper.
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BUY THE SOFTWARE YOU USE
o
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PRODUCT SPOTLIGHT
Special Advertisi
Amp Modeler Pro Studio Devil Now Available
Studio Devil AMP combines breakthrough tube amp realism, cabinet impulse modeling, tone-shaping EQ, and studio effects into one, straight ahead amp modeling plug-in. Dial in the professional guitar tone you expect into your next recording project without the fuss. Demo versions available online for guitar and bass. SRP: $149
Radial ProD2 Phase Accurate Compact S
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[email protected]
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Radial Engineering Now Available
From the DI pro’s at Radial, a stereo Direct Box that’s perfect for keyboards. The ProD2’s custom audio transformers are engineered for high signal level, linearity and the phase accuracy so importan for solid bottom. USD SRP: $160
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CLASSIFI Categories
Education & Tutorial
Pianos & Organs Sounds, Sequences, & Software Talent and Employement Education & Tutorial Acoustic Products & Services Mixing and Mastering Studio Furnishings
Buying or selling instruments through our Classified Ads offers you convenience, a big marketplace, and a
Mixing and Mastering
Learn Piano Tuning, Repairing, And Regulating, taught by Craftsman technicians. Complete correspondence course includes written and video tape training material, Apprentice Training Manual, much more. Licensed by Departmentof Education. www.pianotuning.com. Randy Potter School of Piano Technology, 61592 Orion Dr., Bend, OR 97702. (541) 382-5411.
Finger Fitness Exercises improve HAND strength, coordination and speed. Exercise anytime anyplace. New DVD combo now shipping! www.HandHealth.com P.O. Box 13359 Hamilton OH. 888-868-HAND (4263)
Learn jazz piano on the internet at www.JazzPianoOnline.com
wide range of instruments and prices. However, buying mail-order does have its drawbacks, too. Keyboard Magazine suggests the following guidelines to help the buyer and the seller in these transactions: 1) Get a written description of the instrument, which should include the serial number. 2) Get front and back photos of the instrument. 3) Get a written purchase agreement, with a 24-hour approval clause allowing the buyer to return the instrument for a full refund if it does not meet his/her reasonable expectations.
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www.MusiciansContact.com. Paying jobs online. Sign up to vote on this title Thousands of satisfied members since 1969. (818) 888-7879 Useful Not useful
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G E E K O UT
SUPER S
’TOON TRACKS
If you’ve ever stayed up too late watching Cartoon Network, you’ve heard music from the enviable man-cave of Drew Ne its range from the original Aeon Flux series that debuted on MTV’s Liquid Television in 1991, to The Grim Adventures of today. Visit Drew online at droomusic.com, and see an interview with Drew, plus a detailed gear list, at keyboardmag.com
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Foreground left : Mac-based Digital Performer rig with Mackie 8-Bus mixer and M-Audio KeyStation Pro 88 controller. Island : Arturia Origin and Enso atop rack with (left to right ) two Oberheim SEMs, Studio Electronics Omega-8, and MIDIMini synths. Keyboards on rear wall , left to right : Nord Lead atop Alesis Andromeda, Yamaha VL-1 atop Waldorf Wave. Foreground right : Pair of Minimoog Voyagers
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. l o r t n o c n o s d n a h t n . I I k M L S o t d e p p a m y l l a c i t a m o t u a e r a s n i - g u l p X F d n a s t n e m u r
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c i g o L g n i l l o r t n o c n o e v i t c e p s r e p w
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