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Issue 169 April 2017

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Issue 169
April 2017

CRE ATE AN AMA ZING

$TUDIO ON A BUDG£T
The magazine for producers, engineers and recording musicians

The best dance, acoustic, band and

soundtrack setups revealed for all budgets

www.musictech.net

REVIEWED

14 iconic drum
machines in 1!
6 of the best modular fx
WORKSHOPS

Perfect vocal recording

Master metering in Logic
Create Sine vibes in Live
www.musictech.net


April 2017
Issue 169
£5.99

       

MT169.cover.indd 1 02/03/2017 10:20

 Welcome MT

Expert Panel
Studio Hardware John Pickford
A studio engineer for over 25 years, John’s
a keen sound-recording historian who has a
passion for valve-driven analogue equipment
and classic recording techniques.

Mixing/Mastering/Logic Mark Cousins

Mark specialises in sound design and
cinematic productions. He’s recorded with
orchestras across Europe and is heavily
involved in soundtrack composition.

Production Matthew Mann

Matthew Mann is a keyboardist, composer,
singer, writer and educator who spends much In very nearly 50 issues
of his time doing voiceover work, composing of MusicTech the
original electronic music and fronting an 80s
tribute band. question I have been
Digital/Composition Andy Price
asked the most is: “I
With a Masters in songwriting and a vast want to make such-and-
interest in music history and recording
techniques, Andy works daily on MusicTech.net
such type of music –
and is currently heading up our songwriting and what gear do I need to
Cubase series.
get?” After wondering if
Recording & Guitar Tech Huw Price “such-and-such” is
A recording engineer since 1987, Huw has
worked with the likes of David Bowie, My some crazy new genre I’ve not heard of from South Korea, I
Bloody Valentine, Primal Scream, Depeche
Mode, Nick Cave, Heidi Berry and Fad Gadget.
usually respond with: “what’s your budget?” and then we
go from there (until I mention my consultancy fee and then
Ableton Live Martin Delaney they usually leg it)…
Martin was one of the first UK Ableton-Certified Now I’m combining all of those conversations into one huge feature – minus the
Trainers. He’s taught everyone from musicians
to psychiatric patients and written three books consultancy bit, as this is free of charge (OK, free bar the price of the magazine) –
about Live. Martin also designed the Kenton starting in a couple of page’s time. In it we take four types of musician and suggest
Killamix Mini USB MIDI controller and is now what they might use to create or record within their chosen areas and over three
the editor of Ableton Live Expert.
budget levels. It’s designed to take every aspect of music production into account
for all pockets. There’s even some advice on how to make music for free.
Synthesisers/Modular Dave Gale
Dave is an award-winning media composer, Just time to mention the main interview as well. We’ve chatted to Petri Alanko
orchestrator and producer, with a passion for briefly in the magazine before, but discovered the over matter from that amounted
synths and modulars in all their forms, whether
software, hardware, vintage or contemporary.
to the most revealing insight into music production that I have ever read. So rather
than edit it again, we’ve run the whole darn thing – it’s quite an incredible read.
Electronic Music Alex Holmes See you next time and enjoy the issue…
Alex has been a computer musician for 15 Andy Jones Senior Editor
years, having a keen passion for beats, bass Email andy.jones@anthem-publishing.com
and all forms of electronic music. He’s currently
involved in three different dance-music projects. Facebook: www.facebook.com/MusicTechMag Twitter @AndyJonesMT
Instagram: musictech_official Tumblr: musictechofficial.tumblr.com
Pro Tools Mike Hillier
Mike spent five years at Metropolis Studios,
working alongside some of the best-known
mix and mastering engineers in the world.
He now works out of his own studio in London.

New to Music Tech?

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MT169.p003.indd 3 01/03/2017 15:11

 MT Contents

MT Contents
Issue 169 April 2017

STUDIO ON
A BUDGET P6
FREE SAMPLES! P114
REVIEWS P70
WORKSHOPS P52
MT Cover Feature MT Interview

Petri Alanko
The guru of game music

MT Studio

FROM STUDIO TO
RELEASE PART 3
How to record vocals
YOUR STUDIOS
You send ’em in, we showcase ’em here

4 | April 2017 MAGAZINE

MT169.contents.indd 4 01/03/2017 14:53

 Contents MT

MT Issue 169 Full listings…

006 | Cover: Studio On A Budget
Studio setups for various budgets
The Latest Reviews and musicians: from dance
producers to band engineers

SPITFIRE AUDIO
Melda, Cableguys, TC Electronic, Apogee, Audified, UVI,
FEATURE
024 | From Studio To Release Pt. 3
Mike Hillier’s studio-tips series
IK Multimedia, Waves, Tiptop, Oeksound, sE and more… concludes with vocal recording
INTERVIEW
040 | Petri Alanko
Game soundtrack guru
TECHNIQUE
053 | MT Modular Monthly
Hi-Q percussion in Eurorack
056 | Ableton Live In Depth
Using Sine waves in productions
062 | Logic In Depth
Technique And Tutorials Using Logic’s metering plug-ins
SUBSCRIBE

53 MT Modular
096 | …for a great offer
REVIEWS
070 | Spitfire Audio Spitfire

Create those Kraftwerk perkussion sounds Symphonic Orchestra

A major new symphony of samples

56 Lazy Guide To Live

076 | Melda MPhatik
Dynamic shaping and more
078 | Cableguys ShaperBox
Five individual FX in one
Using Sine waves in your productions 081 | TC Electronic Clarity M

62 Logic In Depth
Pro desktop audio meter with
impressive radar screen
082 | Apogee Element 24
Audio interface for Mac

Master Logic’s suite of metering plug-ins 084 | Audified U73b

V2 of Telefunken plug-in
086 | UVI Falcon
A powerful new soft synth…
091 | IK Multimedia Modo Bass
MT 6 of the best Groundbreaking bass instrument

1111 Modular effects

098 | Waves Alchemy Revolution
14 classic drum machines in one
098 | Tiptop Audio QuantiZer
Quantiser module for Eurorack
102 | Oeksound Soothe
Frequency control plug-in
104 | sE Electronics V3 and V7
New, affordable dynamic mics
107 | Mini Reviews
Bite-size musical morsels
111 | 6 Of The Best
Recent modular/Eurorack effects
114 | On your MT DVD

MAGAZINE April 2017 |5

MT169.contents.indd 5 01/03/2017 14:53

 MT Feature Create a studio on a budget

MT Feature Create a studio on a budget

Create a studio
on a budget
Want to create a recording studio? Have limited funds – or even
unlimited funds? In this special feature, we reveal studio options
at different budget levels for several different types of producer…

6 | April 2017 MAGAZINE

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 Create a studio on a budget Feature MT

This studio was created for a

slightly larger budget than
we discuss here and is
owned by More Accurate
Consultants who we will be
interviewing next month in
Show Off Your Studio…

I
t is probably the question we get asked the most: I MusicTech and, of course, these are not set in stone.
have £XX amount of cash, and I want to make XX Where we recommend one DAW, for example, many
type of music, so what do I need to buy? The answer, more will do the job – this is just general advice based
of course, can vary, but we think we have narrowed on a wealth of experience from our team of writers, so
down some pretty good ideas of studio setups for don’t go throwing your music tech out of the pram
various types of producers, with varying amounts of because your favourite gear is not here (but by all
funds to spend. means, write in and vent if you wish!).
Over the following pages, we’ll look at these Secondly, we are assuming you have a computer – or,
different musicians – dance-music producers, singer/ at the cheaper end of the scale, some kind of mobile/iOS
songwriters, soundtrack composers, band recordists, device. We’re therefore concentrating on the key extras
mobile musicians and more – and reveal the best that you’ll need: an interface, a microphone, something
current setup for producers within those areas. A to make sound, and some speakers to hear it back.
couple of caveats, of course. Our recommendations only So, without further ado, we’ll start with that most
include products that we have actually reviewed here at current of genres, the electronic music producer…

MAGAZINE April 2017 |7

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 Create a studio on a budget Feature MT

1
The Dance Music you can on them. We think, however, that we have the

Producer ideal compromise here with the IK Multimedia iLoud

Micro monitors, which boast being the smallest
studio monitors in the
You will want electronic sounds, decent world, so they give you
speakers and simple interfaces. You might that compact feel,
start at a budget level on an iPad, but with but do sound
more cash in your back pocket, you will opt great for their
for a ‘proper’ synth. Here are three size. When we
compared
options for producing electronic them to
dance music at three very monitors
different budget costing three
points… times as
much, we
concluded:
OPTION 1: £500 OR LESS “Where the
SOFTWARE: Korg Gadget more
£38.99 expensive
Gadget put iOS electronic music making on the map monitors won
with its superb touch sequencing and vast array of out was in the
synths and drum machines. It is, quite simply, one of upper mids and
the best DAWs out there and now available for Macs tops
– look out for a review of that soon. Gadget allows department,
you to quickly create tunes from a great array of where the
virtual instruments – mostly electronic in nature. Bottom left: Korg Gadget shimmer wasn’t
If you want to start making dance music, there is no Top: IK Multimedia iLoud Micro quite there on the IKs. Yet, often, we would compare
better or cheaper way. Simple as. track-by-track across both and question which was
www.korg.com playing what – they are that good for their size and
money. So we approached this review almost wanting
SPEAKERS: IK Multimedia iLoud Micro to knock the Micro Monitors because of ‘that’ claim,
£240 but we really can’t. They’re great.”
There’s an argument to say that with an iPad you Other options: Yamaha HS5, Samson Resolv SE5 and
could be using headphones to monitor – and we Fostex PM series.
explore this option later on in this feature, with a www.ikmultimedia.com
section on headphones. However, we’d always
suggest ‘proper’ monitors and to spend as much as SOME OTHER IDEAS…
We’re not even at £400 of our budget yet – dance
music really is that easy and cheap to make. For
the remainder, consider a tonne of apps,
including synths from Arturia (iSEM and iMini)
and the Props’ Thor plus the Yonac Magellan. We’d
also highly recommend the Teenage Engineering
Pocket Operator series of calculator-style gadgets
(£50 a pop) and for the remainder of this budget,
you could get two of them!
We said: “these units sound fantastic, they
are incredibly fun and, more importantly than
anything else, they are as cheap as silicon chips.”
Other options: Korg Volca range
www.teenageengineering.com
www.korg.com

MAGAZINE April 2017 |9

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 MT Feature Create a studio on a budget

SPEAKERS: Dynaudio LYD 5

£800
Monitors at this price range are many and varied, so
we’ve taken the easy way out and chosen
our Gear Of The Year winners, the

2 3
Dynaudio LYDs. The 5s are the
smallest in the range and
perhaps lack some bass, so if
you have the budget, then do go
one better for the excellent 7s.
INTERFACE/MIXER: However, even at this level, they
Focusrite iTrack Dock offer an excellent response,
£129 brilliant separation and superb
If you use ‘proper’ speakers – rather than mids and tops.
headphones – you’ll need to interface your iPad to We said: “These are great-
them and one great solution is this. We said: “In use sounding speakers – I was very
the iTrack Dock is excellent, though. Your sounds impressed with what I heard
from those many musical apps you’ve been meaning on mixes from similar priced
to get around to using simply come alive when and more expensive monitors
played through proper speakers, and iTrack Dock is and could make all sorts of
the perfect way to get them there.” improvements, and at lower
itrack.focusrite.com levels. Yet the flexibility from
all these extras makes the
OPTION 2: £1,500 OR LESS LYDs suitable for all sorts of
SOFTWARE: Ableton Live studio situations.”
£339 Other options: Pioneer RM Series
There’s no doubting that Ableton Live is the software www.dynaudio.com
of choice for the desktop or laptop dance-music www.pioneerproaudio.com
maker. Since its release more than a decade ago, it
has become the go-to DAW for EDM producers and,
with Ableton Link and Push 2, has become the first
There’s no doubt Ableton Live is
choice and core product of today’s cutting-edge
software and hardware studio. For the sheer number
the software of choice for the desk
of instruments and effects – plus the simple way you
can create ideas, while adding beats and basses
or laptop dance-music maker
– there is simply nothing better for dance musicians.
www.ableton.com Above: Focusrite iTrack Dock, INTERFACE/MIXER: iConnectivity iConnect Audio4+
Dynaudio LYD 5 £279
Left: Ableton Live 9 Again, there are all sorts of interfacing options at
Below: iConnectivity iConnect this level but we’ve chosen this option, as it not only
Audio4+ allows you to expand, but to easily bring in the lower
cost dance-music options from your iOS devices into
your mid-priced rig. “The iConnectAudio4+ is a
must-have device for any musician or engineer who
wants to integrate their iPad with their professional
studio equipment, incorporating it with an existing
interface to get the best of both worlds. But more
than that, if you are just starting out in audio, the
iConnectAudio4+ could make a great first interface
to link all your studio gear without even needing
another interface at all.”
www.iconnectivity.com

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 Create a studio on a budget Feature MT

SOME OTHER IDEAS…

Novation Circuit £299
Now this is the dance-musician’s dream piece of

3
gear. Not only does it work standalone – you don’t
need a computer – it works pretty much straight
away. We reckon you’ll be making decent tunes
with it within minutes of switching it on and
recent updates have transformed it from our
original review – so expect a new update review
in MusicTech soon. However, even in our original
piece we said: “It is without a doubt about the We said:
most musical fun you can have with one box and “You just feel you
no computer, and I haven’t made music so quickly can trust it to go pretty much anywhere
in 20-odd years of reviewing gear.” with you. It also ticks the right boxes in a world
where we’ve gone looks-mad, but its
design is also thankfully about
OPTION 3: £1,500 OR MORE being practical. So while it looks
SOFTWARE: Ableton Live and sounds the part, it’s also
£339 aimed at the real world.”
Do we need to say it again? Even at the www.synthax.co.uk
high end of dance-music production, we’d www.rme-audio.de
say ‘get Ableton Live’ – it’s simply matured
into the software for electronic composers to use, SOME OTHER IDEAS…
whatever their budgets. DSI OB-6 £2,500 & Ableton Push 2 £599
www.ableton.com Now then, money’s not tight at this level, so we’re
pushing the boat out firstly with a Dave Smith
SPEAKERS: Unity Audio The Rock MKII Instruments OB-6 synth and then Push 2 from
£2,200 Ableton. The latter is the ideal accompaniment to
You’ll want something with punch and accuracy and Ableton Live and is in itself more an instrument
these are great monitors for that – just ask a long list than performance object – although it does that,
of big-name producers who have also opted for The too. Push has transformed the way that many
Rocks. We said: “We weren’t struggling to hear details, people work with Live and while it was initially
so we found ourselves monitoring at slightly lower perhaps seen just a hardware trigger for the
levels than usual – good news if you work long hours. software part, it’s now more about how it
The depth of the soundstage is something special. interacts with the software and it works in
After some experimentation with toe-in, we found perfect harmony with it.
the left/right imaging impressive, too. These are Above: RME Babyface Pro A full-on analogue-hardware synth is a must for
no-compromise nearfields that slotted straight Below: Unity Audio dance heads with money to spend and, of course,
into our setup. They are loud, detailed and The Rock MKII there are many to choose from now. We have
gorgeous-sounding monitors.” plenty of recommendations, including Novation’s
www.unityaudioproducts.co.uk BassStation 2, Moog’s SUB-37, Roland’s SYSTEM-8
(not analogue but as good as) and Korg’s
INTERFACE/MIXER: RME Babyface Pro minilogue. But our current favourite is the OB-6
£579 from DSI. Blame Brexit for its price – but we
Dance musicians could (whisper) reckon you’ll think every penny is worth it when
probably get away without an interface you hear its sound.
and do everything on their computers or www.ableton.com
iPads, but if you have some cash to www.davesmithinstruments.com
splash, you’ll want a decent synth – so
will need a decent interface to plug it
into. They don’t come much cooler or
sturdier than the RME Babyface Pro. It’s
a fine unit; not the cheapest interface
around, but it can be used with a
computer, iPad or standalone. It also
screams quality in terms of components,
flexibility, sound, routing and physicality.

MAGAZINE April 2017 | 11

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 MT Feature Create a studio on a budget

The Singer-

1
volume that they produce makes it easier to overlook

Songwriter the slightly vague stereo imaging. These models

represent a lot of speaker for the money. The 402 has
ample power, great looks and impressive sound
As a singer-songwriter, you will want a mic quality for its price point. Fine-sounding monitors
and somewhere to plug your guitar or piano for the money.”
into. The following setups go from simple Other options: Yamaha HS5, Samson Resolv SE5,
iOS-based ones to a full-on songwriter’s IK Multimedia iLoud Micro monitors and the Fostex
dream studio… PM series
www.tannoy.com

INTERFACE/MIXER: Focusrite iTrack Dock or

IK Multimedia iRig Pro
£129 or £150
With GarageBand as your core software,
you could go for the same interface we
OPTION 1: £500 OR LESS recommended for dance musicians on a low
SOFTWARE: GarageBand budget: the Focusrite iTrack Dock (see two
£2.99 pages back), but we’d also highlight the new
The price for an app of this complexity and iRig Pro as a contender for singers and
flexibility is ridiculous, but that’s Apple for you: songwriters, as you can plug pretty much any
cheap software to sell expensive hardware – you instrument into it, and therefore your iPad
know the score. GarageBand was an introduction for for recording. “It’s designed for all your gear
many people to the joys of making music on a – studio mics, vocal mics, guitars, basses,
computer, but when it came out on the iPad, people keyboards, sound modules, MIDI controllers
suddenly realised that iOS music making had come – you name it. At its core, iRig Pro I/O
of age. The app now comes jam-packed with features 24-bit A/D and D/A converters, and a
instruments and guitar amps, which you can play 96kHz sample rate for professional-quality
through simply by plugging in your guitar. There are audio on the go.”
loads of effects and so much more. “At the ridiculous itrack.focusrite.com
price of £2.99 for everything, you really can’t go www.ikmultimedia.com
wrong,” we said. “And this still remains one of the
best apps for music making.” MICROPHONE: Shure MOTIV MV88
www.apple.com £135
Above: Shure MOTIV MV88 What better for an iOS-based setup than a
Left: Apple GarageBand microphone that connects directly to your phone?
The MV88 is a stereo condenser that can be plugged
Below: Tannoy’s Reveal 402s
directly into an iPhone, as well as various iPods and
iPads. We reviewed it and concluded: “It coped with
instruments and vocals with equal aplomb, and the
compression effect can get pretty radical. All in all,
this is a serious recording device with the added
benefit of optional sound processing. The sound and
build quality of the MOTIV range of microphones

You singer-songwriters have only

spent £2.99 on software – you can
SPEAKERS: Tannoy Reveal 402
£198

nudge the price up for speakers

Again, the budget market for monitors is varied and
crowded, but as you singers and
songwriters have only
spent £2.99 on your
software, we think impresses, and you get some vintage Shure vibe, too.”
you can nudge the www.shure.co.uk
price up slightly for
your speakers, so OPTION 2: £1,500 OR LESS
we’ve gone for the SOFTWARE: Steinberg Cubase 9
Reveal 402s from £480
Tannoy. “These We think that of all the DAWs out there, Cubase still
speakers will offers the singer-songwriter the most in terms of
effortlessly fill a flexibility, effects and usability. There’s an excellent
small-to-medium- iOS version but here, we’re talking about the full
sized room with desktop/laptop version for Mac or PC. Steinberg has
sound, and the extra been producing Cubase since the 80s and it’s been

12 | April 2017 MAGAZINE

MT169.Studio on a budget.indd 12 01/03/2017 09:45

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 MT Feature Create a studio on a budget

2
through more
incarnations than Doctor
Who. But while it had
its forgettable Peter
Davison/Colin Baker
period, Cubase Pro 9 is
up there with Eccleston,
Baker, Tennant and
Smith. We’ll stop the Who
thing now… “Steinberg
has managed to improve
both usability and
performance, markedly
in the case of the latter.
A comprehensive and
beautifully executed
update to one of the best
DAWs. Worthy of the Pro
name, Steinberg brings
powerful new features
and refinements to this
excellent package.”
www.steinberg.net

A low-budget set of monitors

the Alpha
really wins out. The

that deliver the goods across a

clarity, accuracy and sheer audio quality
this monitor provides is rare indeed at this

range of low price points

price point.”
www.scvdistribution.co.uk

INTERFACE/MIXER: Audient iD22 USB

SPEAKERS: Focal Alpha range £350
£269 The iD22 is a great
Focal has a great name in monitoring multi-purpose
but hasn’t always been the interface for the
cheapest of brands. The Alpha singer-songwriter
range is the company’s budget and one that excels in
set of speakers, but don’t think simply getting great
these are low in quality… signals in and out
We said: “Focal has one of the – what an interface
best names in studio monitors, should do well.
but has resisted the cheap We said: “Overall,
monitor route until now. With we’d say that the iD22
the Alpha range, it has used has classy converters
its considerable expertise to that impart no
produce a low-budget set of obvious colouration
monitors that deliver the goods or sonic signature –
across a range of low price which is exactly how
points. Critical listening is where digital converters
should be. The mic pres
COMPLETELY MOBILE? were even more impressive.
The mobile musician has plenty of choices these days and we’ve covered a lot of Compared to more expensive
them in these pages, particularly with the low-budget iOS production options and interfaces, the iD22 produced less hiss and, once
in the Band Recording section. Again, we thoroughly recommend the Genelec again, the high frequencies sounded detailed but
8010A monitors for a mobile setup – you wouldn’t use them on a bus as they need more refined. The bass was also marginally more
power, but they’re great if you’re moving from hotel room to hotel room, as if you’re
solid and overall, the iD22 just had the edge.”
on the run or something. For true mobile bus production (the vehicle that is, not
the mix bus), check out all the iPad options we’ve discussed – and also complete www.audient.com
music-making hardware options from Teenage Engineering (PO series) and Korg
(Volca) plus the headphone choices we also discuss on these pages. Finally, one MICROPHONE: RØDE to Sennheiser
great gadget for the mobile user that we’ve reviewed recently is the Teenage £129 to £690
Engineering OP-1. It’s not cheap at £799 and has a learning curve, but boy does it We’ve blown most of the budget on the DAW,
sound great. We concluded: “A wonderful piece of music technology that might
interface and speakers here, but there are plenty of
demand a lot of cash, but delivers spades of goodness in return.”
www.soundtech.co.uk options for microphones, too. If you want to splash
out, go for a Sennheiser MK 8, a mic equally suited to

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 3
Create a studio on a budget Feature MT

SOME OTHER IDEAS:

Nord Piano 3
£2,200
Singer-songwriters need a great piano, right? Well,
one of the finest and most recently reviewed is
this, the Nord Piano 3, so great that it is still in the
MusicTech test studio (and isn’t going anywhere
fast). “Like no other Nord, Piano 3 is a player’s
keyboard. The finesse and sensitivity Nord has
implemented will be best enjoyed by those who
can play. The ultimate piano, bar the real thing.
It plays beautifully and sounds incredible, simple
as that. Possibly the best piano you can buy that
isn’t made of wood.”
vocals, acoustic guitars, guitar amplifiers, grand www.soundtech.co.uk
piano, strings, wind instruments, drums and
percussion – ideal for a singer-songwriter, then.
At the low-price end, you might consider a RØDE
NT1. “Sound-wise, the mic punches well above its
weight, as you’d expect with ‘RØDE’ written on it.
With vocals, there’s a pleasing presence at the
bottom end. It has a great tone, offering an air of
authority and a ‘BBC’ feel.
“A great package with a superb, quality feel. INTERFACE/MIXER:
It will give your recordings a pro sound for a RME Fireface 802
non-pro price.” £1,169
en-uk.sennheiser.com It’s described as a ‘full-
www.rode.com blown studio in a 1U rack’
which isn’t too far off
OPTION 3: £1,500 OR MORE the mark,
SOFTWARE: Steinberg Cubase considering what
£468 you get for quite
Even with plenty of money, we’d opt for Cubase an outlay. With 30
– see the sub-£1,500 category for why… input and output channels, plus loads of effects and
www.steinberg.net TotalMix software to run it all, it’s probably overkill
for a single singer-songwriter, but great for one
SPEAKERS: PMC twotwo.6 wanting to bring in other musicians to the recording
£4,192 process. As we said: “It’s a thumbs-up on the sonic
PMC makes some of the best speakers known to side, and the RME Fireface 802 certainly qualifies as
man and woman and has them in many of the best an upgrade from entry-level and semi-pro interfaces.
studios in the world – we’ve listened to their £50k It’s a hassle-free 1U audio interface that offers an
ones at Metropolis Studios and the experience was impressive number of analogue and digital channels,
astonishing. For slightly less cash, we’ve monitored Firewire and USB connectivity, and sophisticated
with these twotwo.6s a lot and thoroughly monitoring software for Mac and PC.”
recommend them for acoustic musicians – the detail www.rme-audio.de
is extraordinary. Facing page: Cubase and
We said: “If you prefer listening to your speakers Focal’s Alpha monitors MICROPHONE: Neumann U 47 FET
rather than listening to the music, these may not be Top: Audient iD22 £2,928
for you. But if you want a clear and neutral window You want a great mic and money is coming through
Above: Sennheiser MK 8
into what’s going on with your mix, the twotwo.6s your door thick and fast? Well, go for this one, then.
deliver everything you could ask for.” Right: Neumann U 47 Neumann was reluctant to reissue this classic,
www.pmc-speakers.com Below: RME Fireface 802 despite lots requests for them to do so, but the
company finally relented
and the old and new specs
are identical. We said:
“Neumann has done a
proper job and the
results are superb.
It looks and sounds like
the real deal – because it
is. Rather than thinking
of this as a reissue,
consider it more of a
resumption of production.”

MAGAZINE April 2017 | 15

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 MT Feature Create a studio on a budget

1
The Soundtrack ORCHESTRAL PRODUCTION
Composer If you are into your orchestral-music production,
your options at all budget levels have exploded in
recent years. There’s a feature right there, in fact, so
You want sounds, plenty of them – we’ll get orchestral maestro Dave Gale on the case
and atmosphere. How the heck are you to do just that. But right now, we can point you in the
going to get all of that for less than 500 direction of this Soundtrack section for the
hardware options that you could make at different
quid? Here’s how… budgets. Then simply replace the more atmospheric
software recommendations with anything from
Orchestral Tools, Spitfire Audio and Sonokinetic. You
should also check out Time+Space’s website for a
host of library and sample companies who do
orchestration at any budget.
www.timespace.com
http://orchestraltools.com
www.spitfireaudio.com
www.sonokinetic.net
OPTION 1: £500
OR LESS
SOFTWARE: Apple Logic SPEAKERS: Focal Alpha 50 or 65 £269
£149 We are constantly waxing lyrical about these, but
Okay, we admit it, for most they really are great monitors for a wide variety of
production needs we could just genres, and as you get most of your soundtrack buck
recommend Logic Pro as the from Logic, you can afford these (the 50s anyway)
software of choice and then within your £500 budget.
leave it there. The software “The clarity, accuracy and sheer audio quality
comes with so many this monitor provides is rare indeed at this price
instruments, audio content, point,” we concluded.
effects and other gubbins, it‘ll do the job for every Above: Apple Logic X “Both of these models have much to recommend
category here, but the sheer wealth of what you get Below: KRK Series 4 them, but for high-quality studio monitoring, the
means it’s especially suited to soundtrack composers Alpha 50 is the one we’d choose.”
who may do an orchestral arrangement one day, and www.scvdistribution.co.uk
a dance soundtrack the next. For what you get versus
the price you pay, it’s stunning. Don’t get us talking OPTION 2: £1,500 OR LESS
about the price of the new MacBooks, mind you… SOFTWARE: Apple Logic
www.apple.com £149
For this ‘less than £1,500’ category, we’re going to
SOME OTHER IDEAS: up the sophistication of the speaker, but not the
Output Signal software. Even if you have more money to burn, at
£159 this level, Logic is still your DAW of choice – so
You won’t be needing much of an interface as so splash out that £149 and get
much of your soundtrack production at this level ready to download all of
will be done ‘in-the-box’ so why not throw some of that content.
your budget at a decent software library, and www.apple.com
they don’t get much better than Output’s Signal.
“The Pulse Engine is the key feature that brings SPEAKERS: KRK V
Signal’s presets to life, adding various forms of Series 4 S4
movement and development within the patch. £798
From the imaginative, carefully-curated sound With the cash
sources through to the intricacies and flexibility you’ve saved with
of this engine, Signal is an instrument that’s Logic, it’s time to
designed to deliver a wealth of inspiring and upgrade your
intriguing sounds. It is a thoroughly inventive speakers – and you
instrument packed full of distinctive sounds.” could do a lot
www.outputsounds.com worse than these
new KRK Series 4
S4s. They are the
low price, smaller-
sized speaker in the
Series 4 range and
unlike other KRK
monitors – which
add a little colour T
– these are all M
about accuracy and
exactly what you N

16 | April 2017 MAGAZINE

Halfp
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 2
Create a studio on a budget Feature MT

Above: Audient’s iD14 interface

SOME OTHER IDEAS:
Heavyocity Gravity
£379
With a cheap sequencer (Logic) and interface, you
have some money to burn, and what better than a
great atmospheric library/instrument that will lift
your soundtracks that bit higher? Gravity is an
amazing plug-in with more hands-on tweaking
and customising tools available than your
average collection. “It is a superb collection, made
need when it comes to scoring for picture. “The even better by the extra control. You might have to
unquestionable results that you do get are accuracy invest more money, but put the time in and, with
and a stereo picture that you might otherwise have Gravity on your side, you could be streets ahead
to spend a lot more to achieve. There’s a separation of – or above – the competition. There are enough
here across both upper and lower ranges that features here to take sounds into a new
explodes your mix into the parts that you want to dimension. Both inspirational and effective.”
hear, enabling the precision engineering you lust www.heavyocity.com
after when mixing – honing in by frequency or
timbre to make adjustments in EQ and level is
therefore that much easier.”
We’d say go for the bigger 8s if you have a big
space, but the 4s are great for smaller rooms.
www.krksys.com

INTERFACE/MIXER: Audient iD14

£190
At this price, you don’t really want to be relying on
your Mac output signal, so your interfacing needs a
step up – and the Audient iD14 is a great interface to

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| 17
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Halfpg_DPX_Feb2017.indd 1 30/01/2017 11:14

MT169.Studio on a budget.indd 17 01/03/2017 09:45
 MT Feature Create a studio on a budget

3
FREEWARE OPTIONS – MUSIC AT NO BUDGET
It is possible to make music for free. Completely free, that is (well, assuming you
already have a computer or iOS device). The amount of music-production freeware
out there is incredible and there is something for all tastes and genres, all
methods of production and instrumentation. You might think that there is a
MusicTech feature right there and you’d be correct. It’s something we round up
every year and for our latest thoughts on freeware, check out issue 163 – back
issues from www.musictech.net

Left: Avid’s Pro Tools – many a SPEAKERS: Adam S3-X

professional’s choice £4,000
Below: Adam S3-X monitors Okay, we’re assuming budget isn’t an issue here, so
we’ve gone with a mega set of speakers. But it’s the
detail that these monitors will give you which makes
do just that. It is one of Audient’s entry-level models, the cash you spend on them worth it.
but features the same Class-A microphone preamp As we said in our review: “Ultimately, these
circuit as used in its consoles. In our review, we said: Adams deliver the forensic detail, imaging accuracy,
“The preamps sound clean, transparent and classy. transient response, wide frequency range and
Noise levels are commendably low and we think they flexibility needed for top-end professional
can hold their own with most mid-priced standalone monitoring. They’re also commendably quiet,
solid-state preamps. The DI is impressive, too. With considering the sheer power of the amplifiers, and
electric guitar, it produced a detailed and full- they can go extremely loud – but, most importantly,
frequency tone with natural playing dynamics and they’re very enjoyable to listen to,” said reviewer
no sterility. The iD14 isn’t lacking anything essential. Huw Price before concluding: “They have an
Audient has concentrated on audio quality rather extremely transparent sound. You have every right to
than gimmicks and the result is attractive, sonically expect stellar sound given the price, but the S3X-H
impressive and fiendishly useful. A classy interface ticks every box, and won’t disappoint.”
featuring all the quality you’d expect from Audient at www.adam-audio.com
a very affordable price.”
www.audient.com

OPTION 3: £1,500 OR MORE

SOFTWARE: Avid Pro Tools Audient’s iD4 interface is
attractive, sonically impressive
£1,599 (includes Apogee interface)
We’ve included Pro Tools as, when it comes to music

and a fiendishly usefuloption

to picture, it’s the still the DAW of choice and if your
budget is high, then go for it. We’d stress, though,
that pretty much every other DAW on the market will
give you similarly pro results – it’s just that most
pros in movie land tend to use this one. SOME OTHER
Your £1,600 gets you an Apogee interface in this IDEAS:
bundled deal, which will sort out all of your The Eduardo
interfacing needs should you wish to bring external Tarilonte
instruments into your score mix. Collection
Indeed, there are a host of Pro Tools bundles, We’ve never made
subscriptions and options that we could probably any secret of the
dedicate an entire magazine to – it is a little fact that we love
complicated – but suffice to say, whatever you the libraries that
choose, the quality will be top-notch. Eduardo Tarilonte
www.avid.com produces – we’ve
even interviewed
him in the
magazine. If you
are a soundtrack
composer, we’d recommend pretty much filling
your hard-drive space with Tarilonte’s work,
particularly Era II, Shevannai, Kwaya, Forest
Kingdom II, Cantus and Mystica. These are
fantastical, worldly, atmospheric, vocal and
instrument collections that will not only ‘sound
your tracks’ but inspire and delight at every turn.
They cost between €159 and €259, but are worth
every cent. Fill your hard drives up now!
www.bestservice.de

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 Create a studio on a budget Feature MT

1
The Band/
Band Engineer SOME OTHER IDEAS:
We’re going mobile on this one and assuming you
as a band want to get some ideas down on the
You’ll need multitrack recording move – so we’ll continue the theme with Auria Pro
(eventually), some tough kit for the road, (£39), probably the best recording app out there.
microphones and mobile options. Can you “Auria Pro is the best-specified iPad DAW around,
really do all of that for £500 or less? with a featurelist worthy of any computer DAW
Yes, you can! – recording up to 24 tracks of audio
simultaneously (there’s no theoretical project
track limit), audio warping, transient slicing,
waveform editing, sample rates of 44.1, 48, and
96kHz, and 24-bit audio,” we said.
If you have a PC tablet, we’d recommend you
blow the budget on Bitwig Studio (now v2). It’s
the best touch experience we’ve had in music
OPTION 1: £500 OR LESS production. It would be £350 of your £500 budget,
SOFTWARE: GarageBand but still leave you with enough for a mic…
£2.99 www.bitwig.com
Yes, it’s GarageBand again – see p12 for the full www.wavemachinelabs.com (Auria pro)
reason why!
www.apple.com

SPEAKERS: Presonus Eris 4.5

£150
With a band on the road, we’d probably recommend
headphones for production, especially if your iPad is
the centre of it all – so check the headphones box for
recommendations – but, again, for this end of the
budget, there are plenty of proper monitoring
options. We’d suggest these from Presonus for your
budding band or engineer. When we reviewed them,
we said: “We hadn’t expected that much from the
Eris 4.5s because they most closely resemble
computer speakers and are priced accordingly.
“Given those caveats, the sound quality was For an iOS studio, there’s no
absolutely remarkable. Although they have all the
tone-shaping controls of their bigger brothers we better way to get vocals or
felt less inclined to tweak them because the 4.5s
sounded so good straight out of the box.” instruments in than an iOS mic
Other options: Yamaha HS5, Samson Resolv SE5,
IK Multimedia iLoud Micro, Fostex PM series
www.presonus.com MICROPHONE: Shure MOTIV MV88
www.sourcedistribution.co.uk Below: Presonus Eris 4.5 £135
Again, when it comes to an iOS studio, there’s no
better way to get your vocals or instruments in than
a dedicated iOS mic. So the MV88 is an obvious
option – it’s great for both singing and playing into.
As we said in our review: “This is a serious
recording device with the added benefit of optional
sound processing.”
www.shure.co.uk

INTERFACE AND MICROPHONE Apogee ONE

£300
You might not need an interface if you’re monitoring
on headphones, but if you insist on proper monitors
you’ll need something a bit better. And for mobile
iOS needs, this is a great choice and includes a mic
so you can just get this and the Presonus speakers
within your £500 budget.
In our review, we said: “Apogee is best known for
its high-end studio electronics, but in recent years,
has been adding iOS compatibility to its more
portable models. The ONE is a 2×2 USB audio-and-

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 MT Feature Create a studio on a budget

ONE PIECE OF KIT TO RULE THEM ALL?

Conspicuous by its absence here (or should that be Konspicuous?) is Native
Instruments’ Komplete Kontrol system, a hardware and software bundle that,
well, does everything. We could have lazily suggested it as an option in every
category, because if you go for an S Series keyboard, you’ll get an essential
selection of plug-ins that covers most of your needs. Go for Komplete Ultimate,
and you literally get every plug-in you will ever need (plus several you won’t!). It
obviously demands hard-drive space, but Native Instruments’ Service Centre
actual size. Only this time, it’s way bigger than you
allows you to pick and choose and tailor it to your needs. We can’t recommend it
enough, whatever music you make. would ever expect. Admittedly, our listening room
Komplete 11 Ultimate: £959 isn’t especially large, but the 8010A filled the space
Komplete Kontrol: £299 to £799 depending on keyboard size (includes Komplete with crystal clear and wide-open sound. A
Select bundle) remarkable set of monitors that provides a

2
www.native-instruments.com professional quality reference in an effortlessly
portable format.”
mic interface with top-quality www.genelec.com
circuitry that will give you ww.sourcedistribution.co.uk
proper I/O via a mic input,
headphone out and also a INTERFACE/MIXER: Soundcraft Ui16
built-in omnidirectional £499
condenser mic.” Although we’re not so much a magazine for the live
www.apogeedigital.com musician, we can certainly see the benefits to bands
of a great piece of technology like this mixer from
OPTION 2: £1,500 Soundcraft. You do all of the actual mixing on your
OR LESS computer, while the interfacing for your band is
SOFTWARE: Apple Logic taken care of in the hardware. It’s as solid as a rock
£149 Above, right: Audio Technica’s – you could probably drive your tour bus over it
We’ve upgraded you to Logic for this price range. AE2300 mic (don’t try that at or away from home, though) – and
Again, for the band, there is so much onboard in Left: Genelec 8010A there are loads of inputs for it to work seamlessly
Logic that you’d be almost stupid not to take Below: Soundcraft Ui16 with your DAW. We said: “On the road, the
advantage of it. We’re pairing it up with a decent possibilities are many and varied. Small venues can
interface, too, so you can record

For their size and price,

multiple instruments in and
use Logic’s many and

we described the Genelec 8010A

varied plug-in effects
to process signals –

monitors as ‘extraordinary’
guitars, vocals and so
on – as you record or
afterwards. Bang for
buck, for any
musician or band, have a mixer that anyone can plug into and use,
Logic is hard to beat… and bands have something they are used to taking
www.apple.com anywhere, which can easily plumb into a venue’s PA.
But the best bit is to see new tech being used in such
SPEAKERS: Genelec a zero-fuss and downright useful way. Top marks go
8010A to the designers, as it’s hi-tech, practical and easy –
£520 not always ingredients that mix so well.”
Portable monitors don’t www.soundtech.co.uk
get any better than
these and if you have MICROPHONE: Audio Technica AE2300
Logic running on your £249
laptop, you can easily By our maths, you only have about £300 of your
take a Mac output and plug budget left for a good microphone, so we’ve chosen
these in. this versatile mic from
For their size and price, Audio Technica. The
we described them as AE2300 has been voiced
‘extraordinary’, so they’re a as a more flexible
great set to take on the road ‘instrument’ mic, which
for a spot of hotel recording Audio-Technica claims
inspiration. In our review, we “excels on guitar cabinets,
said: “The promotional shots brass and percussion”.
showing a user putting a pair We agreed with the claim:
of 8010A monitors into a “The AE2300 is
shoulder bag are entirely particularly versatile, and
plausible. Just like the the addition of the
pictures, the sound belies the switchable low-pass roll

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 STUDIO MONITOR SYSTEMS

The Neumann Monitor Line

Believe what you hear.

KH 80 DSP KH 120 A/D KH 310 A/D KH 420 KH 805 / 810 KH 870 www.neumann.com
 MT Feature Create a studio on a budget

3
off makes it a perfect candidate for
THE HEADPHONE OPTION
guitar cabinets. The mic is going to be We’re not snobby here and while monitoring is ideally
hard to replace, and might find its way done with proper speakers, we do realise that there
to the front of the queue for guitars in are cost and noise implications for many producers
our studio from now on. It has the that mean headphone monitoring is the better
makings of a modern classic.” option. Luckily, we’ve looked at loads of them over
www.audio-technica.com the years. Current recommendations? Well,
obviously our Gear Of The Year winners the
Beyerdynamic DT1770 Pro (€599) get a
OPTION 3: £1,500 recommendation as do the company’s DT 1990 Pro
OR MORE (€599). At the cheaper end, you could do a lot worse
SOFTWARE: Avid Pro Tools than the Fostex TR Series (£159), and the KRK KNS
£550 8400 (£150). A little more expensive option is the
If you’ve got the cash, you may as well Audio Technica M-70x (£299) while right at the top of
the budget, the king of studio headphones the AKG
blow it on Pro Tools. There are those
K812 (£1200) take some beating (and cash).
who say it’s the best software for www.audio-technica.com
mixing and recording and still has the www.krksys.com (KRK)
best plug-ins for doing such actions. www.soundtech.co.uk (AKG)
We’d probably argue that you can get www.scvdistribution.co.uk (Fostex)
as good from cheaper alternatives but, europe.beyerdynamic.com or www.polaraudio.co.uk
(Beyerdynamic)
hey, we don’t have time and you’ve got
money burning a hole in your pocket.
www.avid.com

SPEAKERS: EVE SC3010

If you’ve got the cash, you may as
£5,000
Now we’re talking. Okay, at this level, we’re not
well blow it on Pro Tools. Many say
talking mobile music making for a band – this is
quite definitely the recording engineer’s studio in
it’s best for mixing and recording
which the band are recording their next opus. And
that engineer is doing very well career-wise, as these Above: Eve SC3010 the QU-24 in the MusicTech studio and it is pretty
are an expensive – but great – option. Right: Shure KSM8 amazing, with a host of effects, flexibility and great
We said: “A versatile and extremely capable software control and iPad support. “The
Below: Allen & Heath Qu-24
full-scale monitoring system able to honestly Qu-24 is an incredible desk and one we
present your work for lengthy periods of time hope find its way into small- to medium-
without causing listener fatigue. At just shy of five sized venues. It’s not as intuitive as an
grand, the EVE SC3010s offer outstanding value for analogue console, but all the extra
money, giving you so much in terms of advanced features and the fairly fast learning curve
technology, thoughtful design and, above all else, mean that it will be a huge improvement
superb sound reproduction. A superb choice for in the sonic quality of performances in
those lucky enough to have a large mixing room.” these sized venues.”
www.eve-audio.com www.audio-technica.com

INTERFACE/MIXER: Allen & Heath Qu-24 MICROPHONES: From AT to Shure

£2,199 £417 to £2,399
This engineer who is doing rather well career-wise You’ll need some good mics to record all of
and who can afford those Eves probably needs a those instruments and we have a couple of
mixer with plenty of inputs for the various bands options here. For vocals, the Shure KSM8
they are recording (and making so much money looks as good as the company’s legendary
from)… and one of the best is the QU series. We use SM58. “Vocal microphones are very much a
personal thing, and every professional
vocalist should try out several before picking
the one they want to use. And even if that is
just an SM58, you should still purchase and
tour with your own – you don’t want to know
what’s been up close to the venue mic in the
past. With the KSM8 now battling for your
attention, you owe it to your voice to give it a try.”
For multi-instrument tasks, you could do far worse
than a couple of Audio Technica AT-5045s. “If we had
a pair they’d be amongst a handful of our go-to
microphones. An outstanding all-round instrument
recording mic that shows how Audio Technica is now
making some of the world’s finest mics.”
www.audio-technica.com
www.shure.co.uk MT

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T+S_GI4.indd 1 28/02/2017 10:19
 MT Feature Recording A Band – Part 3

MT Feature Recording A Band – Part 3

FROM STUDIO TO RELEASE

Recording
A Band

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 Recording A Band – Part 3 Feature MT

Part 3

Recording Vocals
In this latest instalment of our Studio To Release series,
we’re going to be looking at the final piece of the recording stage
of the project – capturing vocals. Mike Hillier holds the mic…

MAGAZINE April 2017 | 25

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 MT Feature Recording A Band – Part 3

A
s with the previous two features – and
don’t worry, you needn’t have read those
to understand this one – we’re focusing
on the recording of two songs. The first
is Fade Out, an electro-rock track by
Lock, which features two female vocalists, Edie and
Gita Langley, sharing lead and backing vocal duties
equally. The second track is called Shore, by Reptile,
which has a single male lead vocalist, Luke Cloherty,
who is joined by additional backing vocals from Bill
Gough and guest female vocalists Nat Mortimer (The
Buffalo Cartel) and Morgan Sas.

MIND OVER MATTER

Vocals are usually the final part of the recording
process, as it is important for the vocalist to have The vocal is usually left to the
both a steady timing to sing along to, provided by
the drums, as well as a well-structured harmonic end for psychological reasons –
progression provided by the rest of the
instrumentation. It would, of course, be possible to to help get the best performance
record the vocals once the primary rhythm section
(in the case of these two songs, that would be the the producer/engineer to tease out their best
drums, bass and guitar) is recorded; especially if the performance by massaging their egos, while others
other instrumentation has to find space around the will require a completely different treatment. Some
vocal. But even in these cases, the vocal is usually Top right: Mike Hillier is our musicians take criticism well, taking everything on
engineer – does he need to
left to the end for psychological reasons – to help get board and responding with better performances,
massage the band’s egos to
the best performance from the vocalist – while a get the best from them? while others need to be gently nudged in the
guide vocal is used to help build the arrangement. direction of a better performance. The art of
Below: You should record the
Psychology and mood play an important role vocals once the drums and production lies in knowing how to deal with each
throughout recording, with some musicians needing guitar are recorded musician individually. This applies doubly so to

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 Recording A Band – Part 3 Feature MT

vocalists, and having a great-sounding backing track

to sing along to can be the difference between a dull
and lifeless take and the performance of a lifetime.
Consequently, some producers try to set the mood by
dimming the lights and bringing in props such as
candles and incense to try and create a comfortable
place for the vocalist to perform in.

VOCALS ARE AN INSTRUMENT, TOO

When setting the mood, it is also important to
consider the vocalist as an instrument that must be
cared for. Just as temperature or humidity changes
can stretch or compress the material of an acoustic
instrument (changing its acoustic properties and
sometimes even its tuning), your singer’s vocal
chords can be similarly affected – not only by
FAIRCHILD 660
The Fairchild 660 is the mono sibling to the famous
atmospheric conditions in the studio, but also by the Fairchild 670, designed by Rein Narma at Les Paul’s
diet of the vocalist. request and licensed to Fairchild, and as such is one
Dairy products, such as milky tea or coffee, of, if not in this case simply the most, highly revered
should be avoided, as dairy will cause the vocal folds and sought-after compressors in the world. They
to become coated in phlegm, therefore requiring don’t change hands very often, and when they do,
the price tag is five figures, even in poor condition.
more air pressure to make them vibrate. Soy milk
The 660 at Hackney Road Studios has been my
has the same problems, but almond milk can be a secret weapon for vocals from the moment I
suitable alternative. Ideally, the caffeine in tea or stepped into the studio for my first session there.
coffee should also be avoided, as this is a diuretic There’s not a single vocal I’ve recorded that hasn’t
and will therefore result in a dry throat. Similarly, benefitted from the extra colouration the 12 tubes
and perhaps more so, alcohol should be avoided, as and eight transformers in the 660 circuit (although it
it, too, is a diuretic. is worth nothing that not all of these are in the audio
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MT169.Studio to release pt3.indd 27 01/03/2017 09:51

 MT Feature Recording A Band – Part 3

EDITS
Rather than leaving everything to strictly delineated
HEADPHONE MIX
phases, I will often edit as I go along. I’ll create a With the vocalist’s mind
playlist track called ‘COMP’ in which I paste any and body suitably
phrases that I like from each vocal take as we go catered for, we can
along. This way, I don’t have to try and remember start to consider the
which were my favourite bits each time. I’ll also technical aspects
take quick notes on a pad of paper for each pass,
of the vocal take.
with what I did and didn’t like, so when it comes to
editing, I don’t have to listen several times to all of The first thing to
each take. consider is the
headphone mix.
Give the artist your
for vocalists, and are actually better at keeping the best set of closed-back
vocal chords hydrated than just water, as they will headphones – most studios
cause the salivary glands in the throat to lubricate will have a selection of
the vocal folds. Although you should avoid too much Beyerdynamic DT 100
sugar, so perhaps try watering down the juice a little. headphones and while
Some vocalists also swear by hot water and honey, these will work fine, I find
which is doubly beneficial, as the you get more confidence
warmth will help to open the from the vocalist with a more
throat. Just as an athlete accurate set of cans. So I carry a
will stretch their set of Sennheiser HD 280s with me
muscles before for vocalists and only resort to using the studio cans
competing, so a when recording more than one vocalist at a time.
warm larynx will In larger studios, you might have access to
aid a vocalist to The Beyerdynamic DT 100 and individual monitoring systems, enabling each
Sennheiser HD 280s are great
perform better. headphones to monitor your
musician to create their own unique headphone mix,
As well as vocals with but in most smaller studios, you’ll be creating the
having to consider headphone mixes using aux outputs from the
the drinks on-hand console. Even in this case, though, it’s good to be
during a session, it’s able to give everyone their own headphone amp,
important to consider rather than simply using passive splitters, as this
what food is being eaten. will let everyone set their own headphone volume.
A large dinner just before This is especially true when using different
a vocal session is likely headphones for each musician, as different
to result in the singer’s headphones can reproduce considerably different
diaphragm having to push sound-pressure levels from the same signal,
harder against the stomach, particularly if the different headphones have
which at best, is uncomfortable and different impedances.
at worst, can cause cramp. I also find it useful to have a set of headphones in
A healthy meal one or two hours before a vocal the control room with me – ideally of the same type
performance is ultimately the best preparation, Fancy a big curry? Of course as the artist – so I can listen to the headphone mix
you do. But if you want to sing
avoiding anything dairy-based or containing a lot of well then avoid it, as it’s both as I dial it in. This makes it much easier for me to
salt or spice. spicy and overly filling… hear which sounds may be masking the vocal in the

28 | April 2017 MAGAZINE

MT169.Studio to release pt3.indd 28 01/03/2017 09:51

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 MT Feature Recording A Band – Part 3

mix and dial these back, rather than always opting For Fade Out by Lock, Edie afraid of compressing, or even de-essing the reverb
to turn the vocals up. and Gita used AKG and send to prevent any particular notes or sibilance
Neumann mics
I also like to give the artist some reverb or delay from swamping the headphone mix.
– or frequently both – in the headphone mix, so
they’re not hearing themselves completely dry. The MIC AUDITIONING
dry mic’ed up signal is very different to what we For Fade Out by Lock, Edie and Gita had in mind a
hear when we listen to ourselves sing and, especially very wet vocal sound and had given me some
for inexperienced vocalists, listening to this dry Warpaint tracks to listen to in advance as a reference
vocal can be unsettling. So, a little reverb can go a for the vocal. With this in mind, I dialled in two
long way to helping the vocalist ease into their instances of Waves’ Renaissance Reverb on auxiliary
performance. It’s not too important to dial in the sends, one with a fairly quick mono plate and the
perfect reverb at this stage, so I tend to just use Avid other with a slightly longer, wide stereo hall.
I then set up a selection of microphones with the

A dry vocal can be unsettling. capsules as closely aligned as I could get, with the
Pop Audio Pop Filter as a target for Edie and Gita to

A bit of reverb can really help a sing to. I then had them take turns singing into each
mic. Hackney Road Studios has an enviable selection

vocalist ease into a performance of microphones, but I choose to narrow this down to
my favourite three large-diaphragm condensers; an
AKG C12 VR, Neumann U47 and a Sony C-800G. Each
D-Verb as it is built into every Pro Tools system, is of these three mics has a unique character, and I
DSP efficient, and very quick to dial in – in fact, I’ll wanted to pick out the one which most matched the
often just use the ‘Medium Hall’ or ‘Vocal Plate’ voice of the vocalist. With two vocalists, I felt it was
presets. For tracks which need drier vocals, I often important to try and capture something different
use a quick ping-pong delay, dialled in subtly to give from each, to enhance the sonic difference between
the singer some dimension to what they’re listening the two sisters. So after listening and comparing
back to, without flooding the vocal in reverb. each of the microphones on each of the singers, we
Be careful not to dial in too much ambience in the also listened to the two singers together, comparing
headphones and keep any modulation off, as this can the mic pairing with the voice and how it worked
lead to the singer pitching slightly out. Use your own with and against the other voice.
judgement in your own headphones to pull the In the end, we opted for the AKG C12 VR for Edie’s
reverb back if it becomes noticeable, and don’t be vocal and the Neumann U47 for Gita. The C12 VR is a

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 Recording A Band – Part 3 Feature MT

dark-sounding microphone, especially compared to These AKG and Neumann fun as it can be in the studio to try out every
mics (below) are great choices
original C12s, with a smooth, even-sounding conceivable configuration, I find that this only gets
for vocals
midrange, and a warm, enhanced low-end. Edie’s in the way of the musician making music. And I’ve
vocal has a lower resonance to it than Gita’s vocal, The NV73 500-series (bottom) always relied on the principle that I’d rather capture
is our preamp, along with
and the C12 VR enhanced that, while at the top it other outboard
a perfect take imperfectly, than an imperfect take
perfectly. Put another way, I’d much rather record a

Trying out every conceivable great vocal with an SM58 into an old Mbox, than a
poor vocal with a million-pound signal chain. Sure,

configuration only gets in the way it helps to have the great signal chain, too, but every
minute you waste getting the artist to do another

of the musician making music take just to test the gear is a minute wasted in
search of the perfect take.
The studio only has one each of the Pultec and
took out a slight edginess that the C-800G brought Fairchild, so these were repatched between each
into focus. vocalist’s take – and as they’re situated in the
For Gita’s vocal, we used the Neumann U47. I second control room in the studio, which
particularly liked how this microphone contrasted thankfully wasn’t being used that day, I had my
the C12 VR on Edie’s vocal, still warm sounding in assistant Indi run to the other room each time to
the low end, but with more presence in the midrange. adjust the threshold on the Fairchild if required.
Both microphones were routed into a pair of Don I wasn’t doing much processing with either unit,
Classics NV73 preamps, a 500-series clone of the using both more for colouration than EQ or
Neve 1073, then patched into a Pultec EQH-2 – a compression. I did use a little boost at 5kHz on
similar passive EQ to the more well known EQP-1A, the Pultec, while the Fairchild was set at the
with both boost and attenuation on the high end second-slowest time-constant and with the
(where the EQP-1A has only boost) – and then into a threshold set to only tickle the louder sections
Fairchild 660 compressor. of the vocal – with Indi keeping a close eye that
I tend to patch things quite quickly when the gain reduction meter didn’t ever leap past
recording, relying on my knowledge of each piece of around 3dB.
gear from previous trials, rather than testing each The vocal booth at Hackney Road Studios is
preamp, EQ and compressor on each vocal. As much attached to the second control room, and we

MAGAZINE April 2017 | 31

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L O N D O N C O N T E M P O R A RY O R C H E S T R A S T R I N G S

P OW E R F U L N E W T E C H N I Q U E S A N D P E R F O R M A N C E S

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 Recording A Band – Part 3 Feature MT

wanted quite dense vocals, so I made sure that we

captured multiple good takes of each pass, to use for
double-tracking.
As the session progressed, I was constantly
keeping a running rough mix going on the studio’s
SSL E-Series 4024 console. This enabled us to all
listen in context and try to decide if anything else
needed to be added, without waiting until halfway
through the mix to decide to overdub some
additional vocals. In this instance, Edie and Gita
wanted to try an ad-libbed vocal during the
middle-eight section. The idea was for both of them
to add some spoken-word softly underneath the
weren’t able to use that on the day. So, rather than Above: For the session, the mix instrumental mix. Rather than send them back into
was run through the studio’s
try and blanket my way into a fake vocal booth in the the live room one at a time to record this section, I
SSL E-Series 4024 console
live room, I decided to use the room to my advantage. decided the ad-libs would probably work better if
Since the vocal was going to end up quite ambient Above right: Now it’s time for they were able to jam off each other in the live room.
Reptile’s vocal session and
anyway, I decided to leave up the room mics from the it’s a completely different
So I set up both mics at 180 degrees to each other,
earlier drum and instrumental recordings. This isn’t recording setup and had the girls perform live together. This meant
something I often do, but it can help to give the vocal that Edie’s vocal mic wasn’t being processed by the
an open, realistic quality, unlike the more in-your- Pultec and Fairchild, but for the middle-eight ad-libs
face sound of a close mic in a dry vocal booth.
With all of these considerations taken into
account in advance, the actual process of recording
the vocal takes themselves becomes quite quick and
Using the room mics from earlier
painless and the preparation enables me to focus on
the details of the vocal itself. Are we getting the right
recording sessions can help to give
emotion into each word? Are the words clear? Is the
melody strong enough and does it develop the
the vocal an open, realistic quality
harmony of the song? These can become my focus,
rather than having to worry about any technical that’s something I could live with, knowing I could
issues which may be holding us back. always process them through this signal chain later,
The structure for the track is for Gita to sing the or even use plug-ins emulating it in the mix.
first verse, and Edie to sing the second, with the
backing vocal parts being done in reverse, with Edie ROUGH AND READY
singing backing over Gita’s verse, and vice versa. The most expensive is not always the most useful.
Then, during the chorus parts, the two voices would For the vocal on Reptile’s track, Shore, I wanted a
sing lead together. vocal sound that a had more of a rough-around-the-
With the Warpaint tracks as a reference, as well edges grit to it than the layered, reverb drenched,
as listening to some of Lock’s other releases, I knew I vocals of Fade Out. So, rather than set up several

MAGAZINE April 2017 | 33

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 MT Feature Recording A Band – Part 3

expensive large-diaphragm condenser microphones,

I instead opted for the humble Electro-Voice RE-20, a I opted for a less grandiose and
dynamic cardioid mic, which incidentally meant the
only condenser mics used on this entire track would slightly more aggressive-sounding
be the two Neumann KM 84s on the piano.
The RE-20 has less of an expanded, hyped signal chain for Luke’s vocals
top-end than a large-diaphragm condenser, and the
dynamic capsule means that the signal benefits from than the RE-20, this kind of track doesn’t require
a little compression on the way in, too. While a that kind of detail on the vocal and a more simple
large-diaphragm condenser will have more nuance dynamic mic will sit more readily in the track.
As with Lock, I gave Luke a rough mix in his
headphones, as well as adding a small amount of
plate reverb from Waves’ Renaissance Reverb before
asking him to perform. We already had several takes
of him singing along with the live performances in
the control room with a Shure SM58 and I have
nothing at all against using those takes if the
performance was there. Neither the bleed from the
studio monitors nor the use of the SM58 without any
pop filter would be enough to stop me from using
these takes if I thought the performance was worth
it – but in this instance, I knew we could get a more
powerful performance with a little coaxing in the
live room.
Rather than the Pultec and Fairchild signal chain
I’d used with Lock, I opted for a less grandiose and
slightly more aggressive-sounding signal chain for
Luke’s vocal. The RE-20 was patched into the same
Don Classics NV73 preamp, and from that out into a
Neve 33135 EQ, and a Universal Audio 1176LN at a

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 Recording A Band – Part 3 Feature MT

4:1 ratio. The Neve 33135 EQ was developed as a

broadcast EQ, and many were used by the BBC in its BREAKING OUT THE TRICKS
Many engineers treat vocals as a pure recording,
Neve consoles. Since the BBC stopped using these
simply trying to capture the performance and
consoles, many of these modules have been picked nothing more. But for many tracks, I’ve found all
up by studios and converted to be used as rackmount sorts of additional tricks to be useful. If the vocalist
mic-preamps/EQs. The output of the original models is tapping their feet along to the rhythm, try placing
was unbalanced, as the balancing transformer was an SM57 down by their feet to capture the additional
built into the console rather than the EQ. However, percussion part.
For distorted vocals, don’t simply process the
most studio models, including these, have additional
vocal after the fact – try recording the singer with an
amplifier in the room with them. Plug a dynamic mic

For distorted vocals, try

straight into the guitar amp, and then use a second
mic, either on the cabinet itself: or I’ll often put a
second mic by the vocalist to capture the direct

recording the singer with an vocal as well as the ambience from the amp.

amplifier in the room with them opted to record these two different parts to
different channels, enabling me to more easily EQ
and compress them differently later on. This also
Marinair transformers on the output, adding further gave us the option of using both registers in the
weight to the signal. I find the EQ itself to be more middle section, by layering the two over each other.
useful than the EQ on the more popular 1073,
particularly as it has high- and low-pass filters IN THE TOYBOX
switchable from 27 to 270Hz (high pass) and 18kHz While at the studio and waiting for our guest
to 3.9kHz (low pass), in addition to high and low vocalists to show up, I managed to find a little time
shelves and a superb-sounding single mid-band. to quickly edit the main vocal. This meant I was able
However, while I prefer the EQ on these modules to to process the vocal through some of the studio’s
Above left: Again, the NV73
the 1073 EQ, I still prefer the preamp stage of a 1073, outboard as colouration options for when it comes
was a big outboard factor
so opted to use the line-inputs only on the 33135s, in the Reptile recording, to the mix. This is a process I do a lot of as part of
along with the Don Classics NV73. while the Brennel Mk5.M my mix-preparation phase, and I’ve collected a
tape amp was another key
Luke’s vocal starts in his lower register, before piece of outboard gear reasonable selection of outboard colouration tools
switching to a higher register towards the end. So, I for this purpose – but while in the studio, it’s always

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 MT Feature Recording A Band – Part 3

handy to be able to try out a few of the ones

available there.
Hackney Road has two such units I’ve found
useful in the past; a Federal AM-864 compressor/
limiter and a Brenell Mk.5M Series 3 tape amp.
The Federal AM-864 was designed by the Federal
Television Corporation for the US Army and Air Force
as an AM radio broadcast limiter. It is essentially a
vari-mu valve compressor, with a very strong vintage
vibe, and it can do magic with guitars, bass and
vocals. The Brenell was once a reel-to-reel tape
machine, but has been modified for use as a valve
line amp, without the need to print to tape. There are
a number of ways of running through this circuitry
and it has a wonderful lo-fi edge to it which can help
to push the midrange of a vocal or guitar forward in
the mix.
I ran the recorded and edited vocal out from Pro
Tools into both of these units and brought them back
up on the console ready to print back in, solo-ing
each in turn while I tried to find a particularly
exciting setting on each. The Federal ended up being
a little noisy for my liking, and I decided to only
record back the Brenell on this occasion.

LESS CONTROL, MORE FEEL

The final piece of the puzzle for this track was the
addition of backing vocals. The band wanted to use
female vocalists, to bring a different timbre to the Depending on the character
of the Auto-Tune you’re after,
AUTO-TUNE VOCALS
backing vocals, rather than simply layer up their If you’re going for an overly affected Auto-Tune
you need to decide whether
own vocals. In order to do this, they brought in two your vocalist hears the effect in effect, like the T-Pain sound, it’s important to use
guests, Nat Mortimer and Morgan Sas, to sing the their headphones or not the effect in real time with the vocalist getting
backing parts. The first backing-vocal part was plenty of the auto-tuned vocal in their headphones.
This can help them to pitch the notes off in such a
simply an echo of one of the lyrics: “Aspirations, like
way that Auto-Tune has to work hard to bring it back
the waves, are knee-high”, for which I was only going into line. For more natural tuning, though, it’s best to
to use the two female voices, while the bulk of the keep pitch-correction well out of the way and work
backing vocals was a simple repeating pattern of with the vocalist to get a better performance in the
“Aahs”, for which I also wanted Luke and Bill from room, as any auto pitch correction added to the
the band to join in. headphones is likely to put off their natural pitching.
When working with grouped backing vocals like
this, there are two ways of approaching the
everyone at once. This method offers me less control

By putting everyone in the

over individual balance, pitch and timing, but by
putting everyone in the room together, I anticipated a

room together, I anticipated a

more feel-based performance.
Working with the performers as a group does take

more feel-based performance

a little more time to get right and we did a whole
load of practice takes so that Nat and Morgan, who
hadn’t heard the track before, could learn their parts.
For the final “Aahs”, I ended up stood in the live room
recording. Firstly, there’s the option of recording with the four vocalists, conducting the performance,
each vocalist individually, which takes the most while Indi took over the control room – as the timing,
time, but gives you individual control over the especially the slow down towards the end, was
balance, pitch and timing of each singer. After proving a little tricky.
editing, this method can sound incredibly tight, but All the files for all the vocal recordings for both
it can also sound overly forced. It’s perfect for R’n’B songs, including the pass through the Brenell tape
or pop vocals, where this super-tight, over-produced, amp, are included on the cover disc, for you to hear
backing vocal is the order of the day – but for a track exactly how the recordings sounded straight out
in which we’d deliberately avoided use of a click of the studio. In the next part of this series, we’ll
track and were pushing a more rough and less be looking at the mix-preparation stage for the
polished vibe, I felt it wasn’t going to suit our recordings: including all the simple tasks like
production. Instead, I set up a pair of Coles 4038s in adding markers, creating groups, routing channels,
ORTF arrangement (with the two capsules 17cm colouring all the various channels and clips, as well
apart and angled at 110 degrees to each other), and as what editing and processing I perform – all before
stood all our vocalists around the mics to capture I consider anything mix-related. MT

36 | April 2017 MAGAZINE

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 MT Industry Guru Petri Alanko

PETRI ALANKO
GAMING GURU
We interviewed Petri Alanko as part of our Pro Special a few months back, but so
good were his answers, we felt it was scandalous to only offer you a fraction of what
he told us. Here then, is literally EVERYTHING you ever wanted to know about scoring
for video games in one of the most revealing interviews we have ever published…
40 | April 2017 MAGAZINE

MT169.INT Petri Alanko.indd 40 24/02/2017 11:31

 Petri Alanko Industry Guru MT

P
etri Alanko is one of the most
colourful characters in video-
game music production, with a
healthy perspective on his craft.
As we discovered a few issues
back, he is a prolific composer and has
scored video games including Alan Wake
and Quantum Break. He has also
performed with the Helsinki Philharmonic
Orchestra, and released music across
countless genres. We didn’t have nearly
enough room to get geeky with him last
The Macbeth M5 modular
time around as he uses some extraordinary
synth – the tip of the
gear and processes in his productions. Alanki Gear Iceberg
This, then, is Petri Alanko Part 2: The Geek
Edit! So, a warning: this gets deep, but it’s with Jean-Michel Jarre, Tangerine Dream,
also one of the most revealing features we Klaus Schulze, Kraftwerk, Isao Tomita and
have ever run in MusicTech – you WILL the post-punk new-wave bands with their
learn a lot about the art of video-game rock attitude and synths. Gary Numan was
music production. Read on and weep… and IS awesome. David Bowie wasn’t
exactly a synth hero, but definitely my
MusicTech: How did you discover you had hero. Then came Ultravox, Soft Cell, New
musical leanings? Order, OMD, Duran Duran, Depeche Mode,
Petri Alanko: My grandmother and I were Japan, John Foxx and lots of others. Pretty
visiting an acquaintance of hers who soon after my first Kraftwerk dose, I knew
owned a nice collection of vinyl, mostly I wanted a synthesiser, and I saved and
classical. A Maria Callas album was on, saved to get a second-hand synth – a
and as La Callas hit the high notes I tried Roland SH-5, from a friend of a friend of
to reach them with a piano next to the my father’s. We sold our Yamaha electronic
turntable. I hit the correct note and kept organ to get a Roland Juno-6 and a guitar
pounding the key down and when the diva amp. I connected both synths to it via a
descended down, I traced those notes, too. Y-lead, and with certain settings, the
My grandmother’s friend apparently urged sound was rather good – and some settings
my family to get me some ‘professional provided lots of saturation and distortion.
help’, and they were first rather shocked, The leftover money went on a Boss DR-55
until they realised ‘a music education’ drum machine. It was all really nice.
would’ve been a bit more appropriate and “My gear lust pretty soon got out of
less worrying way to put it! hand. At some point, after having moved
“Anyway, soon after that, they took me out of my parents’ house, I had a huge
to piano lessons. I loved playing the piano modular System-100m and SH-101, MC-202
right from the start. I loved taking the and Yamaha CS-30 and CS-15 synths, Korg
information in. I was five then. My purely Wavestation, Korg M1R EX, Cheetah MS6,
classical education received a serious dent Yamaha TX16W and Ensoniq Mirage
when I heard Kraftwerk’s The Robots on samplers, Roland cheapo digi-sequencers
the radio. Mother told me later she could (both MSQ and CSQ stuff, for modular
see I was mortified, frozen: I just stared at and MIDI machines)… among other
the radio when the bassline began, and my instruments. But no food in the fridge, not
little feet started picking the beat, and even a light – so I had to go work in a music
when the vocoded vocals came on, I stared shop to get some money and continue my
at my mother, my eyes wide open, full of stumbling university studies.
enthusiasm and questions – now what the “One day, a guy walked in and we
hell was THAT? I picked up a word from started talking about music and he offered
the DJ’s babbling, it was ‘synthesiser’. The me a job – production and songwriting. He
very next day, we visited the music library had a studio, I had lots of synths, so after
in my hometown in Finland and tried to 20 minutes, I quit the shop! I ended up
find out as much about synthesisers as we gigging a lot. I did some big gigs to
possibly could, which was practically zero. 20,000-plus people in Finland.
Then, a short while later, a book written in “My involvement with mainstream
Finnish, Osmo Lindeman’s Elektroninen pop songwriting and the dance genre
Musiikki was published. I think I tore it to continued until the late 90s and early
pieces by just reading it. Something from 2000s, which is when I was introduced to
the book’s avant-garde attitude echoes in the Helsinki clubbing scene. That led me
me, even today. even further into the trance and club scene
“The classical repertoire was pushed and, with quite a few lucky coincidences,
slightly away, and my world was filled brought me in contact with DJ Orkidea,

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 MT Industry Guru Petri Alanko

were alive, with a believable history

and story. I’m willing to say those two
long-term projects have affected me more
than anything else in my music career, and
each note, each second in them is exactly
how I wanted them to be in the first place.
Alan Wake was my first big calling card,
and it brought me a lot of work in the years
since, and its soundtrack, again, was very
carefully put together.
“Sometimes the composer has to
introduce the player to something that
hasn’t even arrived yet, to alter his/her
moods and modes into what’s upcoming,
and it’s a bit mesmerising, really – you’re

Gear for game music playing with the emotions and the feelings
sometimes before the exact reason is there.
MT: Is there any gear that lends itself with the gaming industry. It’s really easy I’m not saying this is for games only; the
specifically to game production? to take a facsimile of your larger setup same applies to movies as well, but
PA: “I can’t exactly put my finger on why, with slightly less ‘oomph’ to a client and controlling it in a tightly set game-audio
but my Korg MS-20 has been used more do a few sketches and drafts there, some playback system makes it even more
for game projects than regular music. sound design, et cetera. challenging due to the modular nature of
Although it’s a very simple synth, very “I don’t really separate my gear as game music.
approachable, there’s a certain playful ‘this and that’ and I don’t really separate “In short, my job is to support the story,
colour in its voice and I can’t really take the projects, either. If I’m doing music naturally, but I must do it so that the
the machine seriously, no matter how for games, it’s a serious business… player connects with those the emotions,
hard it’s screeching. It’s a chihuahua, it’s really got to sound great if some appreciating the past and the future at the
sort of. To be honest, I wouldn’t have my 100-plus million people are going to same time.”
smaller setup at all if I wasn’t involved hear your handiwork.”
MT: What special challenges do you think
that game-music producers have over,
with whom I’ve been collaborating a lot on acid, house, techno, the whole rave culture: say, film or TV composers?
his albums Metaverse, 20 and Harmonia they share one thing: energy and how to PA: “Oh, the modularity, that’s for sure! It’s
among several remixes. I was lucky to meet administer it. Speaking of which: I tend to something film/TV people never encounter
the trance duo Slusnik Luna, with whom I use a huge amount of dynamics within a and one could say they’re lucky that way:
collaborated and some of those people song and lately, as I’ve tried to make more they just score to the picture, and they’re
eventually began happy ever after. TV
working with gaming
companies and other “It’s not action all the time. Allowing and movies are linear
media: nothing ever
new-media industries.
Subsequently, after breathing space makes everything changes, the DVD
stays the same all the
my name had been
circulating around for more human and approachable” way to the umpteenth
viewing, whereas
a while, the gigs with some luck, some
started to appear more frequently and open mixes, the dynamics matter even games can never be played exactly in the
then, one day, came the call that changed more – and while the dynamics are there, same way. Dynamic-versus-linear creates
my life forever: ‘Hello, this is Petri so are the frequencies, too. I’m not afraid some challenges, yes, but the current
Järvilehto from Remedy Entertainment… of using the whole spectrum as long as the playback engines (WWise and FMOD being
got a minute?’ They needed a composer.” individual tracks are carefully carved: the most popular) offer some modularity,
if a tracks needs to have an HPF, I’ll put
MT: Describe your ‘sound’? it there.”
PA: “I think it’s a mixture of my youth
favourites, the synth gods, spliced with my MT: How do you define the role of game
obsession with indie rock – how most of music composer?
them treat harmonies and melodic lines PA: “I’d like to think my duty with
rings a bell from the post-new wave bands Quantum Break was to carry the story,
of the 80s and the synth pop groups. There to make it meander and flow as events
are some flavours and influences from unfold; the screenplay connected with me
various composers, a diverse bunch of immediately, and I felt I had lots of room
styles: Satie, Pierné, Bartók, Reich, Glass. to play with. Of course, it’s not action-
Somehow, I’ve managed to melt them into action-action all the time. Allowing some
something recognisable as ‘me’, or at least breathing space makes everything more
that’s what my clients and friends say. human and approachable.
Towards the end of my teenage years and “I treated characters in Alan Wake and Petri’s SE-1X, ARP Odyssey
and SE Omega 8
early adulthood, I was totally taken by Quantum Break as real people, as if they

42 | April 2017 MAGAZINE

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 MT Industry Guru Petri Alanko

Petri’s DX7 Centennial

and are able to alter the playback

according to onscreen actions and the
player’s decisions.
“I feel pity for the audio integrators who
have to deal with those issues. I could do it
myself, too, but the UIs of both FMOD and
WWise leave much to be desired, in my Modular gaming
opinion. They have more in common with MT: Tell us more about your modular was to smear and smudge the sound a
engineering rather than music – it should synth setup… little bit during the tracking phase of
all be about emotions and feelings, there’s PA: “I’m using Expert Sleepers’ hardware each song – not to overly destroy, just
very little room for exciting the creative and software and it’s phenomenal – give it a hint of character – but if you’re
flow. Even the smallest interruptions can really, really good! It was involved in careless, you’ll end up with a wall of
affect the quality and each workflow everything [on Quantum Break]. I know distortion. I’m a big fan of saturation
stumble seriously slows you down. it through and through and the machine and harmonic distortion, tape machines,
“What most of us game composers functions really well as an entity or as a analogue delays and so on. I think this
have developed is an understanding, a divided instrument. I would say the dates back to my early days with synths.
conception of the whole picture. Because majority of the tracks recorded went “As a controller, I’m using an old CME
of the modular nature of game music, through it at some point during the UF80, Haken Continuum and ROLI
composers need to have a ‘memory print’ soundtrack’s development. Seaboard. And four iPads. The modular
of what they’re doing and I picture mine as “I started each cue as a totally plug-in synth sits in here always, so it’s more or
a 3D field rather than a linear line (i.e. project file, and the first to go were less a regular in each production,
dynamic/modular versus linear media), a Logic’s internal plug-ins in most cases but I’m using it for various tasks,
bit like having a huge layered Excel sheet (excluding Space Designer and Alchemy). not only as an instrument but as an
in your mind and you’re thinking: ‘this When I was sure about the structure and effect/processing monster, too. Its name,
stem part fits with a1p3, this with a3p2’ the pieces needed, I started replacing Mörkö – a bogeyman – tells all.
and so on. The more there are of those them with Mörkö (modular) and my other “Right now, it’s got about 16 VCOs and
natural-sounding transitions, the better equipment. Sometimes, it went the other at least the same amount of different
the results. way, as I ended up replacing my Matrix-12 character VCFs. For VCAs, I’m using
“Also, I noticed towards the end of tracks with Arturia’s Matrix plug-in. Intellijel stuff, but some other low-end
Quantum Break soundtrack that I was “Each external synth got a bit of love ones as well – I think there’s no room for
able to totally detach myself from the from Neve preamps or whatnot. The idea hi-fi snobbery here.”
surrounding world. A bookshelf collapsed
next to me and I didn’t notice it. I had no
headphones on and the listening volume through time could be 13, 16, 20, even 40 something that’s unique for that particular
wasn’t spectacular, but the intense hours or so. A lot of music and audio assets project only and never recycled with
concentration locked the outside world are required, and the number has been others. The longer I can spend with the
away. That’s something I’ve developed increasing throughout the past years. library/sound design process, the better
throughout the past 10 or so years, “For instance, in Alan Wake I wrote the final outcome, the clearer the
and it allows me to work under difficult 243 minutes of music, in Quantum Break, fingerprint. I’d love to think I’m a fine-arts
circumstances. Another challenge, by the we had exceeded that amount already in carpenter rather than some guy putting
way, is the huge amount of data produced early 2013. I really have no idea how much together an IKEA chair with an IKEA key.
during a, say, four-plus-year-long there is, but… it’s a lot! And backups. And One has to have a craftsman’s pride: this is
development phase. Hard drives are oozing the backup of backups, too.” mine, I did this, I did this really well.
data after a short while and all the Music and production must have substance
iterations and multiple versions and stem MT: How does the studio technology help to live and to gain the longevity I’m always
files plus all the audio library data… If overcome these challenges? [Get ready after, and I’m willing to invest a lot of
you’re not careful, it’ll drive you crazy. A gear geeks – MusicTech Ed]… time, effort and love into achieving it.
two-hour movie could have two hours of PA: In every case, I create a library of “Also, creating a smooth workflow helps
music at most, whereas a game’s play- sounds from scratch for the project, a lot. It pays off to hone your libraries and

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 MT Industry Guru Petri Alanko

A view of the mix of modular,

in-the-box and analogue
tools at Petri’s disposal

each containing a suitable set of sounds

and plug-ins. Also, each synth had its own
categories for different uses. This meant a
lot of bookkeeping.”

MT: Do you have a stance on studio

technology: old versus new, analogue
versus digital?
PA: “I’m using a lot of old-ish gear, but I’m
not an analogue devotee. I do what it takes
to get the sound in my head, and I’m not
stubborn in analogue-synth ways.
Sometimes, people get really mixed up
with what they’re hearing – such as when
something they’ve thought of as being an
analogue synth is actually something
Petri’s Roland AIRA System-1M quite different. It’s not too long ago, when
and Doepfer modules
a bass sound I used was described as a
“fat analogue sound reminiscent of a
start-up templates into a top-notch Kyma – and while the processor speeds MiniMoog” and it was done on a DX7,
condition. Sometimes, when watching a have gone up, my Kyma usage has recorded through a set of Neve EQ
cinematic for the first time, I’ll write some somewhat decreased, but there are some and preamp.
memos, mark down important time things it can do so incredibly well – and “For Quantum Break, I recorded a lot of
stamps, and sometimes triangulate (or some things only Kyma can do. stringed instruments played by numerous
estimate) the tempos and meters with an “During the production of Quantum different vibrating instruments, Lego
SMPTE calculator, or do it by ear. I prefer Break, I created about 550 to 600 presets motors, nail files, rasp, toothbrushes, sand
trusting my ear for timing and tuning as for Logic, both channel and instrument paper – lots of different stuff. The cello and
well as possible speed up/slow down settings that were tied to a particular acoustic guitar were especially generous
passages. Sometimes, I record a click track person or event, location or action. That and flexible tonally. I used a lot of that
by just clicking my fingers – I’m really old was something that really enabled me to material as a basis for my pads and some
school that way. I’ve gotten into this habit conquer the tight schedules, but despite really odd effects. For instance, I separated
of closing my eyes and ‘seeing’ a grid of the preset settings, some adjustments were the noise and tonal components from each
tune or time, and trusting it. done in each cue. Also, using huge start-up other using iZotope RX, and combined
“However, where technology really templates provided me enough room to them later in Kontakt or Reaktor; for the
helps is with the sound libraries and do just about anything with the latter, I used grain-cloud oscillators and
software instruments. Now, since I’m a bit instrumentation. These were great, but the results were very acoustic-sounding,
of a geek thanks to my theoretical physics nasty to load. Sometimes, my Macs were yet they had a certain unknown vibe to
background, I love using all sorts of literally frozen when they kept loading the them. I take multi-sampling very seriously,
esoteric plug-ins and hardware, and it’s no start-ups. I had several different templates and I tend to use many randomly cycling
secret I’m totally in love with Reaktor and for certain events and different persons, keygroups to provide enough variations so

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 Petri Alanko Industry Guru MT

that the results keep their unexpected,

‘natural’ complexity. Nothing’s worse
than a machine-gun effect with too few
samples, it’s repetitious and boring.
“I think it comes down to harmony,
voicing, myriads of layers, movement and
bespoke libraries that define my sound.
None of those is actually easily explainable
as some things, I just… do. Naturally,
without even thinking, really. In the
studio, I’m totally immersed all the time,
and it sometimes worries me a bit, since
I see or hear nothing. Hours disappear.”

MT: Talk us through the main

components of your studio…
PA: “It was formed when I bought the house
I live in. It’s nothing fancy: a utility room,
not a showroom and I rarely bring clients
here. If you’re stepping through my door,
you’re considered as a friend. So, my three
Macs work in conjunction: the large system
has two UAD Apollos chained together, the
smaller setup that I sometimes take to the
client’s office has one Apollo. Both systems Soundtrack selection
have identical drive systems, RAIDs and MT: Which soundtracks do you admire “Now that I’ve mentioned movies, I
libraries, and they’re mirrored once per by other composers and why? must add the exact point when I started
day. The larger setup has currently three PA: “Something that moved me to believe in quality game soundtracks –
displays, one 4K, two ‘normal’, the smaller thoroughly was Interstellar. That was a when Quake featured Reznor’s score. It
has one 4K display. brilliant piece of music as a whole, and really made me think about my possible
“I would consider those plus my speaker how the music was used in the movie. career moves, but the game industry’s
systems as ‘the main components’ and There are scores from other modern quantum leaps were still years to come.
everything else (synths, outboard) as composers: Cliff Martinez’s Solaris and It seems there’s something in fearlessness
extra. The main room isn’t too large, Contagion, Reznor-Ross’s Gone Girl, that moves me. Each aforementioned
and I’m not a fan of recording rooms or Sakamoto’s The Revenant – oh gods, piece of art was really that: fearless, like
vocal booths, never have been. For pop that’s one nice piece of art, and as a a figurative middle finger to otherwise
productions, I’ve recorded all vocals in the young boy, I liked his Merry Christmas, bland movie (and game) scores. I tend to
control room and never had problems with Mr. Lawrence score a lot. Tangerine dislike the usual ‘let’s underline the
spillage or leaks. Sometimes, when a Dream’s The Sorcerer was a turning point action with war elephant drum squadron
vocalist has had trouble expressing the when it came out. What’s common for and spiccato low strings and
emotions, I’ve held his or her hand to those I mentioned seems to be this – BRAAAAAHM too’ approach. It’s more
provide physical feedback and I can ‘low-key emotional stream’ that bursts noise or sound effects than music,
heartily recommend that. out every now and then and throws actually, and leaves me a bit cold. And
“For taming the reflections, I’ve got a everything at you in a way you can’t it doesn’t really move me emotionally,
few curved portable booths that I place really avoid. without a picture, if even then.”
behind the mics during tracking. I like to
keep things simple and uncomplicated.
“All gear is interfaced through the via lightpipe and ethernet (and Vienna much confirmed what I had done by ear in
Apollos, ethernet, lightpipe and via the Ensemble Pro). There were a few cues the first place. However, making the shift
Neve 8816 summing mixer, and I’ve had where all three machines were used, from Logic 9 into Logic X compromised
no clocking trouble or other issues since just in case, but I don’t think I maxed some of the workflow, and I still think that
putting this together. anything out, not even close. If I had used the Apple guys are really inventing some
“In the storage room there are my Sub 5.1 or 7.1 all the time, that surely would’ve of the stuff just to annoy us… Now that the
37, Minimoog Voyager… er, Studio happened, but luckily, only stereo stems latest update arrived, they changed the
Electronics Omega 8, along with DX7 were needed. However, there are 5.1 mixes toolkit shortcuts. Why do they insist on
Centennial, Korg MS-20. My father grabbed of each important cue and some 7.1 as well constantly messing with my system? At
back my Yamaha electronic organ, a for a select few.” least give us the option to eliminate it
three-manual D-85, and my Macbeth is myself… and give us the freely selectable
causing me a bit of grey hair.” MT: You were a big Logic fan… but not colour palette back!
any more? “Although I had been an avid Logic fan
MT: Tell us a bit more about that PA: “When I started receiving the first, for, well, forever, actually, since version 1
three-Mac setup… more advanced cinematic drafts, I placed when there were no audio capabilities, I
PA: “There’s a fully loaded Mac Pro as a markers on the timeline, locked them, and decided to jump the Logic train and check
master, another identical as a slave, plus a begun fiddling with Logic X’s tempo and out Cubase. I used it before moving over to
MacBook Pro as a spare one, all connected metering – and to my surprise, this pretty Notator SL back in the Atari days, and I’ve

MAGAZINE April 2017 | 47

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 MT Industry Guru Petri Alanko

heard lots of love from surprising there are a few things I really, really love: our successful KLF remix was balanced
sources about Cubase’s development and Zynaptiq, DMG Audio, iZotope, Valhalla with them, so never underestimate the
dedication to listen to their user base. It’ll DSP, Audio Damage… and I’ve used power of cheap crap. There’s no price in
take some time to be as quick as I was with numerous Kontakt 5 and Reaktor 5 creativity, so why NOT use cheap crap?”
Logic 9, but I’m known for putting myself plug-ins. Instrument-wise, U-He’s synth
into difficult situations, changing from plug-ins were heavily prominent MT: What is on your wishlist, studio wise?
right-handed to leftie, disabling plug-ins everywhere. Madrona Labs and PA: “Hmm. More space and a DSI Oberheim
and forcing my brain to compensate the Glitchmachines were also here and there OB-6 would be nice. I’m not lusting over
missing tools with others. Hocus pocus for – and iZotope’s Iris 2. I used BreakTweaker any antique compressors or EQs or mixing
some, venting brains for me.” for some funny basslines, but it was a bit consoles, I’ve tried that game already, so
of a bitch to program to do tonal and I’ve lost my appetite. However, I’m
MT: Can you tell us a little about your harmonic stuff (it could use an overhaul constantly reaching for a tighter workflow
signal chain? and thus sell more). And with Plogue and have spent a lot of effort and resources
PA: “Pretty much all channels had a Neve Bidule, I was able to use my trusty old into getting things rolling. I’m hoping to
EQ insert somewhere, and most of the Neuron VS! I tend to ‘abuse’ both the find people able to code stuff, so I could
things were recorded through a Neve plug-ins and the synths.” make a part of my software-based
preamp/EQ. In the beginning, I had some workflow slightly more fluid.
marvellous 8086 series input channels MT: What about your monitoring setup? “Oh, and I’d love to get myself a
modified and racked (I used them as PA: “I’m currently using a two-speaker Synclavier, as I’m a fan of resynthesis and
summing channels), but since they were setup system in my studio, a pair of FM. I’ve been close to ordering one of the
from an old mixer frame, and the original Genelec 8260A speakers and Amphion’s refurbished systems, but my sanity has
owner was a bit always won. They
carefree, they weren’t
exactly in the best “We’ll soon be able to put a man on aren’t exactly the
quietest systems
possible condition…
so I decided to sell Mars, but we still don’t have an I’ve heard, and the
interfacing isn’t the
them back to where
they came from. interchangeable format for audio” smoothest. But, if
they ever come
Spending about 1,000 across with a
Euros each year just to maintain the thing? One12 – and if needed, I’ve got a Genelec G machine that’s in a rack and interfacing is
No thanks. So, I got rid of it and acquired Two and sub 5.1 system and quite a few done via a regular AU plug-in, data
a Neve Summing Mixer (8816) to do the others in the storage room, too, but the through Thunderbolt, then I’m all in.
job, and I’ve been happy ever since. Finns seem to make the best systems so It’s safe to say that’s never going to happen
Everything had to be more or less far. I go through each track one by one – timpani roll – or is it?
recallable quite easily, so the first year with 8260s and, especially with a large “Some of my work is heavily affected by
into the project involved a lot of honing amount of tracks – say, 200 and over – I’ll different file formats, not just audio or
and tweaking the workflow.” turn to Amphions. They’ve got that NS10 video, but also application-wise. Now,
vibe to them, but their frequency response OMF and AAF don’t really work, but pretty
MT: And dare we ask, what about is a lot more humane. I used to have a much all software companies in the DAW
plug-ins? phase when I did the final mixes on a pair business seem to have a similar way to
PA: “I think I’ve got enough plug-ins for a of 1999-ish Sony multimedia speakers that treat their project files: there are audio
few lifetimes, so don’t get me started – but I bought for 8.41 Euros… for a pair! And tracks, there are instrument tracks, there
are buses and sends and outputs and
inputs. Now, we’ll soon be able to put a
man on Mars and brains and lungs have
been transplanted to a living human being,
but we still don’t have an interchangeable
file format for audio projects, with inserts
and sends and automation. I’ve tested
some ‘converter’ software for different
DAW platforms, but they more or less feel
like no-thank-you. A lot of fuss. How hard
can it be?”

MORE PROCESS
MT: What about some of your sound
sculpting and editing – you must do a
lot of sound design?
PA: “I used Melodyne to make tonal sounds
slightly more uneasy at times (emphasis on
the word ‘slightly’), pitching the higher
harmonics more and more off. Sometimes,
This monster modular I just killed the tuning changes of a few
system offers what Petri calls upper harmonics to add some artificial-
‘molecular’ control over sound
like steadiness to, say, strings or piano-

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 Petri Alanko Industry Guru MT

Petri has recently migrated

to Cubase from Logic 9

based effects. Revoicing the ringing reverb randomisation, something I’d like to call
tails, for instance, to keep the space, but ‘humanisation’, not overly exaggerated,
to avoid the dissonances. I did that also zero-to-100-per-cent stuff. I very seldom
in real time with PitchMap. Pretty much use any choruses or ensemble effects;
each noise atmosphere I used got some love sometimes, I’ll add something from
from PitchMap, as it’s really easy to round Eventide to provide some smooth-pitch
a few frequencies to a certain note pitch, randomisation, but my time with heavy
to provide just a bit of order in the chaos. choruses ran out in 1982, when chorus
“I also built a nice small string section setting II was 24/7/365 on my Juno-6,
pad, where each note had one very lightly I think. I’m usually putting each layer
played, almost whispering violin/viola/ through its own convolution, used as It is he who decides whether
Alanko’s output is acceptable
cello and the starting point was an insert, and for Quantum Break, I
randomised each time the key went down recorded numerous suitable files and also
– nothing spectacular there, just a string incorporated material from Remedy’s interview, so how do you look back
pad – but combined with just about any audio team, who provided me with very at the time you spent on the Quantum
synthetic pad-like sound, it provided a interesting files: cracking windscreens, Break soundtrack?
mysterious amount of movement and life very tiny glass shards falling on the floor, PA: “It was in the making for over four
to an otherwise dull sound, as long as the metal canisters, etc. I made time-corrected years, and there’s a lot of thought put into
components were at an equal volume. If (or quantised) and tempo-tied versions of it. Not only thought – but all the love, hate,
the synth pad lived too much, I’d put a these, so that each layer would have this disappointment, anger, rage and payback
Waves Vocal Rider on the string channel. really strange-sounding, diffused, as well that I could ever find within the
It’s a matter of abusing your plug-ins… delay-like effect. Also, I created lots of storyline and its characters.
“Oh, this deserves a special mention: filtered white-noise burst sequences here “What appealed to me as a story was its
at some point, I knew Toto’s Africa would and there, and used those as convolutions. emotional content, which was even more
start playing during a scene, so I started I used Diego Stocco’s Rhythmic powerful than the action itself, and thus
morphing the piano ostinato into the Convolutions and time-corrected some of demanded to be told out loud. There are
Africa intro drum loop with Zynaptiq’s those. Go and buy his Convolutions, they’re the action cues, too, but the whole
Morph 2.0; the cue was in the same key really well-executed libraries.” soundtrack is put together with much
and tempo. Unfortunately, I’m not yet thought, and there are no fillers
far enough in Quantum Break to find MT: Any specific mix plug-ins? whatsoever. Hopefully, it should have
out whether my trick was implemented PA: “I developed a certain master-insert longevity and lots of chills-down-your-
or ditched. The Morph 2.0 plug-in was used habit towards the end of Quantum Break’s spine moments to carry your thoughts
heavily elsewhere, too, but its role wasn’t soundtrack mixing. There’s always at least away from your daily business.
that obvious.” three tools involved: iZotope Ozone 7’s “Even if you don’t appreciate or play
Vintage EQ, Vintage Limiter and Universal games, you can enjoy the soundtrack. A
MT: That’s an amazing insight – what Audio Ampex ATR-102. Others will come friend described it as ‘not your average
other tricks can you reveal? and go, but those will stick there from now date album, but boy, did I score after the
PA: “I think it all begins with layers, really on. They remind me of my youth and gear last song had ended’.” MT
– simple layers with slow movement on which I learned to develop my music.” Thanks to Roland for permission to use
that’s under control. I like controlled MT: We’re nearly at the end of our some of the pictures in this feature.

MAGAZINE April 2017 | 49

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MusicTech.indd 1 27.02.2017 15:13:13
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 Hi-Q sounds in Eurorack Technique MT

MT Modular Monthly Hi-Q sounds

Numbers by Kraftwerk took
the Hi-Q concept to great heights –
played here by the mannequins
photographed in the Kling Klang
Studio for Computer World

Hi-Q sounds
in Eurorack
There’s a sound that’s synonymous with electronic percussion,
and it’s often referred to as Hi-Q. Dave Gale shows you how to
recreate it using your Eurorack modular…
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 MT Technique Hi-Q sounds in Eurorack

W
e’ve all heard sounds on records, CDs The 4075 filter from Studio
Electronics offers a classic
and downloads and wondered how ARP-style Hi-Q, and so much
they were created. One of my all-time more besides…
favourites has a rather illustrious
pedigree… Back in the 80s, once I’d
managed to shake off the lure of the more traditional
pop scene, I very proudly bought my very first album,
which turned out to be a classic.
Clasping my hard-earned fiver, I walked into a branch
of Our Price records (remember them?) and purchased
a copy of the Computer World album by techno
godfathers, Kraftwerk. What awaited me was a sonic
feast that still remains one of my favourite albums
today – only heightened now by a large dose of
smugness that my first album purchase turned out to
be such a seminal classic. If only my musical tastes
since were as cool.

Un, deux… trois

As anyone who knows Computer World will doubtless
agree, certain tracks had a rather far-reaching influence
– and none more so than Numbers, with its innovative

You’ll need a good envelope

with a very snappy front end in
the attack and decay phases
and huge-sounding drums, which played a role in the
rise of hip-hop. However, the one element of that track
that was particularly influential was the pseudo ‘click’
or ‘hi-hat’ sound. Actually, it sounds nothing like a
hi-hat, but within the context of Numbers, it takes up a
very similar 16th-note role to an acoustic hi-hat, so you
can understand the connection. But what exactly is this
sound and how do we make it?
It was around the late 80s that I started to come
across drum machines that gave more than a passing
nod to this sound, and in doing so, there needed to be a Hi-Q sound – the most important of which will be a
description – so, in a literal way, that’s how the sound self-oscillating low-pass filter. Now, we’ve been here
became known as Hi-Q. before when we’ve discussed other drum sounds, and
certainly the one that is closest to the concept of Hi-Q
Mensa method is the bass drum.
Starting with the basic concept and, a little like a recipe, As with our previous excursions into creating drums,
you’re going to need a couple of things to make a good there are some great filters which are ideal for the task
here. One of my favourites is the MMG from Make Noise,
but while any good self-oscillating filter will do the job,
HI-Q in stereo it will require CV control of the frequency. Next, you’re
One of the appeals of the use of Hi-Q on Numbers is the fact that going to need a good envelope, and one that can offer a
there are two timbres in play, panned left and right. To add further to
the overall effect, each element is played live by Wolfgang Flür and very snappy front end, in both the attack and decay
Karl Bartos, both of whom were the percussionists and part of the phases. Many Eurorack envelopes offer a switch from
technical Krew in Kraftwerk at that time (despite being written out
of credits of all kind since). The percussion break that comes in
about two-thirds of the way into the tune (at around 2:20) is the Favoured filters
most prominent use of this Hi-Q setting in Numbers. It’s a wonderful
With such an overwhelming number of filters available, in order to
‘call and response’ scenario as both players jam it up, presumably
get that Hi-Q, you just need to make sure that your LPF whistles as
while hitting their now-legendary tea trays with wired-up knitting
you push the res to the max. As mentioned already, the Make Noise
needles. It would be easy to pull off a similar stunt in Eurorack,
MMG is a great tool for the task, but there are other options to
which will require two passes into a DAW or two patches on your
consider. The DSM01 from Dave Smith Instruments is a basic Curtis
modular – but for extra effect, change the Hi-Q timbre a little on the
filter, as seen on the likes of the Pro One, and has a rather helpful
second pass, to avoid the sounds being too similar. It’ll have much
Boost button that will give even more oomph to your Hi-Q sounds.
greater effect and sound excellent. Similarly, if you work via your
Keeping in line with the classics of yesteryear, the Studio
DAW and are tempted to hit the ‘quantize’ button, it might sound a
Electronics Boomstar 4075 Filter is based on the classic ARP 4072
bit too good to be true if both sounds are completely locked
filter design and is one of the classiest filters out there today (it’s a
together; so try delaying one of the tracks against the other, or add
particular fave of mine, for many reasons). The resonance is pure
some ‘humanise’ to proceedings. Even better still, leave them
and crisp, and again, is perfect for the required task.
entirely unquantised for that truly human element.

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 Hi-Q sounds in Eurorack Technique MT

slower to faster phases, so be sure to keep it very firmly A basic patch chart for creating
in the fast mode.
a tasty Hi-Q. Insert a second The originators
filter (HPF) to limit overspill Apart from the Eurorack approach to creating the Hi-Q, there have
You’ll also need the obligatory VCA to amplify your of the bottom end
been many former classic synths that have lent themselves to the
signal and something to trigger the envelope, although Hi-Q sound. Kraftwerk always favoured the likes of the MiniMoog
musically, you might prefer to keep your Hi-Q to two/ and ARP Odyssey, both of which offer whistling filters and fast
envelopes suited to the task, with the ARP debatably being the best
four, rather than a pattern that’s more akin to a hi-hat. machine for the job, as its envelopes are seriously snappy. However,
So – starting with the filter, crank up the Resonance, another classic which was favoured by other synth gurus such as
Vince Clarke was the SCI Pro-One. Thanks to its fully dual ADSR
probably to somewhere nearing maximum, if not all arrangement, it’s perfect for the task. Another reboot, from Korg, is
the way. When you start to move the Cutoff frequency the MS-20, in either Mini or full-size kit form. This also offers a
control, you’ll start to hear the sinusoidal tones of the sharp, whistling low-pass filter, coupled with extremely fast AHDSR
envelopes, which can Hi-Q to your heart’s content. So there are
filter self-oscillating. Now, turn the Cutoff down, so that plenty of options for creating those great percussive timbres
the resonance is inaudible. Next step is to patch the elsewhere, if you want to apply your Eurorack to other duties.
envelope output into the CV control of the Cutoff on the
filter. When triggered, you should begin to hear in the lower mids, so there are two ways to approach
something that sounds like a laser blast, but you’ll want this. In a more conventional fashion, you could just use
some sort of EQ shelf to eliminate the bottom end. This
is clearly easy to apply in your DAW; or, if you have an EQ
Ride the Cutoff manually, for in your Eurorack, then you could apply it there. The other
method simply involves the use of a high-pass filter
a more human quality while from within the Eurorack. It’s impossible to like
everything you have, and I have filters which are, shall
your Hi-Q is being triggered we say, more ‘utilitarian’ in their use – ideal for the task
of just eliminating low end. So, you could consider
taking the output of your primary filter and running it
to keep the attack and decay phases exceptionally into a second filter in order to HPF the low end out.
short, and make the sustain and release phases The last part of the patch equation is to simply
non-existent. The exact setting you use from here on amplify the signal via a VCA. But as there’s no VCA
will largely be dictated by the speed of your envelope, so gate-triggering in effect here, there will be no need to
it’s time to experiment. The overall effect that we want feed the envelope to the VCA; you’ll just need to ‘play
here is something very, very short and snappy – through’ the VCA to hear it.
although you can obviously adjust to personal taste,
according to the kind of production you are working on. DIY Hi-Q
So there it is, your own Hi-Q – do with it what you will.
The bottom end Adding other factors might make this unique timbre
A problem often encountered with creating Hi-Q sounds even more individual. Ride the Cutoff manually, to
is that you might end up with a little bit too much create a little bit of a human quality while your Hi-Q is
low-end rumble, which you can’t get rid of without being triggered, or try running the Hi-Q through a phaser
turning to further components to help. After all, if you or flanger to thicken it up and give it some movement.
want something to take the place of a hi-hat, the last Who’d have thought you could do so much with a sound
thing you’re going to want is something rumbling around that’s so short? MT

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 MT Technique Using the Sine in Live

Technique Ableton Live In Depth On the disc

Accompanying
project file included
on the DVD

The Sine wave and

how you can use it
inside Ableton Live
The humble Sine wave is the most vanilla of all raw synthesiser
waveforms, but it’s incredibly versatile and effective, and appears
throughout Live. Martin Delaney explores ways to get creative with it…

W
aveforms are the fundamental building – you could build a whole composition, a proper viable
blocks of synthesis, whether you’re using production, using only Sines as a sound source. That would
software or hardware, and the Sine wave is be a great creative challenge, and a great way to learn
arguably the most fundamental of those; more about synthesis, Operator, and Live. Hmm, I’m going
it’s definitely the most basic. Waveforms to try that project myself!
are found within oscillators, and that means LFOs – low- Inside Live itself, you’ll find Sines in the Operator and
frequency oscillators – are also dependent on waveform Analog synths, and any device with an LFO, including audio
selection for their character, including the Sine. I’m not a effects such as Auto Filter and Auto Pan. Thanks to the
deeply techy person – and neither should you be, you’ve expansion opportunities provided by Max For Live, there’s
got music to make, after all – but it’s worth getting a an audio LFO device and a MIDI LFO device available,
handle on some synthesis basics. The Sine is a totally and again, both of these include Sine waves (they’re in
‘vanilla’ sound, but it’s incredibly useful. We’ll talk about the free Max For Live Essentials pack, downloadable
some examples of how to use this flat tone to create far from www.ableton.com).
more interesting sounds. I’ve provided a Live set which contains some audio
The classic synthesiser waveforms are Sine, Saw, examples of what we’re talking about, as well as some
Square, and Triangle. Each of these has a distinctive sound, beats and other sounds to play along with. You’ll need
although there are many possible variations. Inside Operator to follow the exact steps in the tutorial – I won’t
Operator, for example, there are three Sines, eight Saws, apologise for using this pay-synth for a tutorial, because
eight Squares, and just one Triangle. Hardware synths it’s so good, and as I’ve said previously, it’s the only Live
don’t necessarily feature Sine waves: for example, the Korg add-on that I recommend for every user. If you load the
MS-20 uses Triangle, Sawtooth, Square, and white noise. In default Operator setting, you’re hearing a Sine wave.
FM (frequency modulation) synthesis, the Sine wave is very Operator has four oscillators – four opportunities to create
important, and that’s partly how we’re using it in our waveforms, and you can turn each on or off – but if you
tutorial here – Operator is at heart an FM synth, even the turn them all off, you won’t hear anything. By default,
name comes from that – an ‘operator’ is what an oscillator they’re all activated, but only A has its Level control raised,
is called in FM synthesis, and an oscillator is the part of
the synth that produces the waveforms. Sine waves are
used for drums, bass, keyboards, pads, everything , in fact

HARDWARE OR SOFTWARE SYNTHS?

You can use hardware or software synthesisers – both have pros and
cons, and I guess budget is a major consideration for most of us. You
can do it all with software, although it isn’t as glamorous as those
dust-attracting hardware boxes. I used to divide the tasks; for analogue
synth sounds, I’d use real hardware analogue synths; for more
experimental and digital sounds, I’d use software – that’s why I bought
an Analog Keys instead of a Virus. These days, I’m back to software,
mostly – hardware selection is more about the user experience, looking
for something with character to create a certain vibe.

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 Using the Sine in Live Technique MT

MT Step-by-Step It’s a Sine

We’re going to explore Sine waves inside Live. Open our example This tutorial is nearly entirely based around Ableton’s Operator
01 Live set – it has a few clips you can play along with, as well as
02 synth, which is included in the Live 9 Suite, and also available as
some ‘after’ examples of Sine-wave practice. Everything’s labelled. a separate purchase – highly recommended (by me) for all Live users!

If you don’t own Operator already, try it inside the Live 9 demo, So, assuming you have Operator one way or the other, let’s begin.
03 which includes Operator and all of the other Live 9 Suite
04 The default sound’s what we want – just a basic Sine wave. Play
instruments and effects, such as Analog, another very cool synth. it from a keyboard, Push, or Live’s virtual MIDI keyboard.

It’s a straightforward sound. Select the Oscillator A tab in When you play the Sine, you might notice a ‘glitch’ at the start
05 Operator and in the darker central area, you can choose
06 and end of notes… that’s how it is with Sines, and there are little
other waveforms, including variations on the Sine. Try those, too. tricks to conceal that – see our main text.

the others aren’t having any effect. As we raise the Level level affects the tonal character of the original. That’s the
control for B, the sound changes drastically, even though very short explanation! Through this process, we get
this is just another Sine wave being brought into play. something much more dynamic and interesting, especially
You’re not hearing the sound of two Sine waves playing if we keep the Level control moving, adjusting it in real
alongside each other, rather, Operator is using frequency time, or automating its movement. That’s only with
modulation, traditionally (but not always) based on Sines, oscillators A and B, so of course, you can introduce C and D
where one oscillator has an effect on another – when one as well. If you look near the bottom-right of Operator’s
waveform is applied to another in this way, changing the central panel, you’ll see a little graphic with four coloured

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 MT Technique Using the Sine in Live

MT Step-by-Step It’s a Sine (cont’d)

A combination of Sines can produce textures far richer than you’d We can go further with this by introducing C and D as well.
07 expect. While triggering some notes, raise the Level for Oscillator
08 Personally, I rarely use all four oscillators, but that’s up to you.
B – that’s just another Sine, but the sound changes dramatically. This is based on FM synthesis – for more info, see our main text.

Introduce dynamics by using velocity to change the oscillator Another thing you can do with two or more active oscillators is to
09 levels. Select an oscillator, then set a ‘Vel’ value, and it’ll respond.
10 change the default algorithms (the little boxes at the bottom), to
You’ll need to set an initial level other that 0, otherwise it won’t work. recombine the Sines in different orders. This can make big changes.

If you really want to impress me, use clip envelopes to automate Sines are surprisingly effective for playing simple melodies –
11 12 I (over)use them a lot. Add some Ping Pong Delay, play something
switching between algorithms as your music plays. This can
create some interesting ‘stepped’ changes in your basic synth sound. in a minor scale, ideally over an 808 beat, and you’re laughing.

boxes, corresponding to the colours of oscillators A to D. options for automation or manual changes during a
Click there and you can choose different arrangements of performance or recording.
these different algorithms that affect how the oscillators Sines can have an audible ‘bump’ at the beginning and
interact with each other. One of these does, in fact, ‘undo’ end of notes. The Sine wave is a smooth shape, and note
the modulation and play the oscillators side-by-side, so on/off actions create a glitch, because there’s no clear zero
you should try that, just for comparison purposes. The point where there’s nothing happening. Sometimes in a mix
algorithms are MIDI-selectable, which opens up a lot of fun this isn’t noticeable, so don’t stress too much if you can

58 | April 2017 MAGAZINE

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THE PLACE FOR MUSIC PLUGINS

 MT Technique Using the Sine in Live

MT Step-by-Step It’s a Sine (cont’d)

Sines are great for kick drums. Experiment with the attack if you Use your Sine kick on its own, or layer it under another kick to
13 need to soften it a bit, and have fun with the release, giving it
14 fatten things up. Automate the release as the song progresses,
more or less of a tail. Add a compressor. this can help to clean up your mix a lot.

The Sine is, of course also effective as a sub-bass source, Put your Operator Sine sub in an instrument rack with your
15 precisely because of that ‘vanilla’ quality – it adds low
16 primary bass sound, so they’re both triggered at the same time.
frequencies without adding much tone to affect your existing palette. Use EQ, and the rack’s mixing controls, to balance them out.

I also use Sines for electric pianos. You can achieve some really Finally, every LFO in Live (and there are quite a few) has a Sine
17 super-clean cheesy piano tones, or add audio and MIDI effects to
18 option. Load Auto Filter and try it with our example audio clips
create darker, more complex custom presets. – choosing different waveforms for the LFO can make a difference.

hear it solo’d, but not with everything else playing. In some Surreal Machines, which is designed to deal with exactly
situations, you can edit the attack and release of the notes this type of problem, and I’ve found it very effective.
to smooth that off with longer fade-ins and tails. Hopefully, this has been a good excuse to learn a little
There have been times when I’ve flattened the Sine about FM synthesis in general, and Operator in particular.
wave MIDI part to an audio clip, and then automated a clip As I said, don’t be put off if you don’t use Operator yet.
envelope to take the edge off it. More recently, I’ve been It’s absolutely worth the time (and the very modest asking
using the Transient Machines Max For Live device from price), so try the demo. MT

60 | April 2017 MAGAZINE

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 THE BOUTIQUE
STORE FOR
YOUR BOUTIQUE
STUDIO TOOLS

STAY IN TOUCH /WESTENDPRODUCTION @WESTENDPRO

 MT Technique Metering plug-ins

Technique Logic In Depth Powered by

Master your meters

Using Logic Pro X’s new suite of metering plug-ins and increased headroom can transform
your mixing. Mark Cousins shows you how to improve your signal flow…

I
magine if there was a suite of plug-ins, held deep With respect to Logic, poorly configured software
within Logic Pro X, which could radically transform On the disc meters in the channel mixer further compounded this
not only the sonic effectiveness of your mixing, but ‘close to the line’ approach. The scaling of the meters,
also your ability to navigate the mixing process. for example, often defaulted to an Exponential display,
Accompanying
Where previously you might have struggled to project file included
which gave extra resolution in the higher end of the
achieve punch and precision in your mixes, suddenly, on the DVD meter range but also meant that a mix looked ‘quiet’,
your music takes on a new life – with an ability to even when levels were well within an acceptable range.
breathe, conveying the full depth and dimension of the By contrast, a newly introduced Sectional-dB linear
sounds within it. While this might seem too good to be scaling gives a better view of signal levels across a wide
true, there are some simple workflow solutions, dynamic range – arguably making you more relaxed
alongside a set of associated plug-ins, which can
improve any mix produced in Logic Pro X.
So, what are these elusive tools for a perfect mix? Logic has simple workflow
Well, the answer lies with a delve into Logic Pro X’s new
sample-accurate metering plug-ins: combined, of solutions and a set of plug-ins
course, with a revised approach to mixing. In truth,
many Logic users have got used to a shoddy method of which can improve any mix
working, partly defined by the deficiencies and
problems of working in the digital domain, but also about quieter signal levels and less fixated on the last
because Logic Pro’s old metering really didn’t help the 12dB of headroom.
process of mixing. The new plug-ins, however, are
clearer to use, sample-accurate, and most important, New generation
have ‘good practice’ hardwired into their DNA. Arguably the biggest improvement in metering, though,
has come from Logic’s redesigned and expanded set of
Parking meter sample-accurate metering plug-ins. The first significant
For a better understanding of why the improved difference is the fact that the plug-ins are fully scalable.
metering in Logic Pro X helps, we need to take a quick Rather than trying to mix using tiny channel-strip
look at the bad practices that have developed with meters, therefore, you can use a super-large Level
DAW-based mixing, and how Logic’s old meters didn’t Meter plug-in, ideally running on a second monitor. The
really help with this. On a traditional analogue console, combination of both Peak and RMS metering modes
engineers made deliberate use of headroom, with also means that you can accurately track both transient
meters calibrated to ensure headroom was left in the levels as well averaged signal levels that are closer to
equation at all stages of the mixing process. Yet in the your ear’s response. The meters are also calibrated so
digital domain we’ve got used to sailing ‘close the line’ that -12dBFS works as the reference point, rather than
– mixing right up to 0dBFS, with little or no headroom to simply try to ‘avoid any overs’!
play with. The approach is akin to producing mixes that Of course, new shiny meters are one thing, but it’s
sound like masters, but in actuality contain a poor how you use them that really counts. The walkthrough,
balance of their constituent parts. therefore, illustrates an improved workflow and how
clearer metering can improve your mix; both in terms of
POINT OF COMPARISON levels, but also for stereo dimensionality and the
Monitoring your mixes against commercially released mixes is a balance of frequencies. What’s worth outlining here,
thorny issue. If you’re mixing with extra headroom, you’ll at least though, is the overall methodology and thinking behind
need to ensure the level of the reference track is reduced to match
the perceived loudness of your existing mix (the Loudness Meter the practice and how it can improve your mixing.
comes in useful here). The added compression and limiting will also
change the reference track’s presentation, so avoid picking reference
tracks that are too heavily mastered, as you won’t be able to identify
Finding headroom
what compression is used in the mix and what’s been added after the The key point here is headroom – leaving space over
mix. Older CD releases (pre 1990) are often interesting, as they’ve been and above the top of your mix, so you’re not constantly
mastered before the loudness war and will often be closer to the
dynamic of the final mix.
struggling with overs, and instead, you’re thinking more
about the balance of instruments within the mix.

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 Metering plug-ins Technique MT

MT Step-by-Step Meter smarter

Meter preferences for the mixer can be found under Logic Pro X > Something that you might want to toggle is Pre-Fader Metering,
01 Preferences > Display under the Mixer tab. Check the scale is set
02 found as an option in the Mix menu. Pre-Fader is useful to see
to Sectional dB-linear (rather than Exponential) so that your channel the levels entering the mixer’s input, especially if an instrument is
meters look reassuringly ‘hot’! outputting at a level that exceeds an average of -12dBFS.

If an instrument or audio track is particularly hot, you can If you’re working with an instrument, you can choose to simply
03 consider reducing its level at the first plug-in insert point. This
04 lower its output volume as means of restoring headroom.
will also ensure that any subsequent processing (like a modelled Once you’re happy with all your inputs, you might want to restore
analogue compressor) has enough operational headroom. Post-Fader metering to see a fader’s output levels.

The most important meter in your Logic project is the main You can change the meter so that it works vertically, which
05 output level. Inserting the Level Meter plug-in across the Main
06 makes more sense given the existing vertical channel meters.
Output, therefore, will given a clearer representation of your final mix If you have the screen space on a second monitor, you could also
level and how much headroom you have. consider Level Meter plug-ins for any submix elements.

Leaving headroom doesn’t mean you can’t use Of course, there are some pros and cons of working with
compression. It just means the compression adds more headroom in your mixing. Most significantly, of
character, body and energy, rather than just acting as a tool course, your mix will sound proportionately quieter than
to stay clear of an unwanted over. When you’re sitting an the commercial recordings you’re referencing – although of
instrument into the mix, therefore, either use -12dBFS as course, this can be rectified with some marginal level
the reference point (which tallies with the colour-grading offsets on the reference track. What you will find, however,
on Logic’s mixer) or work even lower, at -18dBFS. is that the track you’re mixing will get more from the

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 MT Technique Metering plug-ins

mastering process. Residual transient peaks will be quickly Ears and eyes
and transparently ironed out with a dose of limiting, While any good engineer should be able to produce a good
leaving a track that has a much more reasoned balance mix just using their ears, it’s interesting to note how many
of instruments. Equally, many of your favorite ‘analogue good engineers rely on informative and clear metering to
modelled’ plug-ins will be dealing with signal levels they’d help fully understand what they’re hearing. They’ll
expect to encounter in the real world, producing a clearer intuitively understand their ears, of course, but metering
mix with less distortion. will make the path from session takes to mix that little bit

MT Step-by-Step Meter smarter

You can switch between Peak and RMS metering, or a Logic’s meters are calibrated to around -12dBFS. If you’re sitting
07 combination of the both. Peak is the absolute level, and useful
08 the kick, for example, place it at this level and mix around this
to check that you don’t exceed 0dBFS, whereas RMS creates an point. The increased headroom makes it easier to manage a growing
averaged reading that’s much closer to the perceived signal level. mix and leaves plenty of headroom for transients.

As well as Level Meters, there are some other essential metering The mother of all metering plug-ins is the MultiMeter, which is
09 plug-ins that help you keep track of the mix. The Correlation
10 good for forensic-level analysis. As well as level and correlation
meter checks the phase integrity between the left and right channels. metering, you also get a handy Spectrum analyser, which shows the
Phase-invert a channel to see what bad correlation looks like! relative volume of different frequency bands in the mix.

The MultiMeter’s Goniometer is a great way of understanding Remove the mono assignment and the Goniometer display
11 the stereo image. Try mono’ing a track, viewing it in the
12 appears to ‘dance’, with a greater amount of stereo information
Goniometer and then panning slowly from left to right. As the channel creating a wider movement. You can still see the pan, though, with the
is mono we see a straight line, with the pan setting its relative angle. relative positioning and angling of the movement.

64 | April 2017 MAGAZINE

MT169.TUT Logic.indd 64 24/02/2017 12:30

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 MT Technique Metering plug-ins

easier to navigate. Rather than simply sailing close to This tutorial is endorsed by Point Blank Music School, which
0dBFS, therefore, use Logic Pro X’s improved metering to specialises in courses on production, sound engineering, the music
make every decibel count, across the full dynamic range business, singing, radio production, DJ skills and film production, all
that your recordings can exist over. Don’t limit yourself, or run by top British music producers and media professionals, with
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that your mix can work over. MT

MT Step-by-Step Meter smarter

Bounce the mix if you’re happy with it, although the added For mixes that need to be auditioned alongside mastered tracks,
13 headroom means you might not hit 0dBFS. Don’t worry about
14 consider printing a ‘reference’ version with limiting. Logic’s
this, though, because 24-bit recordings have a wide dynamic range Adaptive Limiter will iron out small transient peaks that could
and mastering engineers appreciate a few extra decibels to play with. otherwise determine the overall mix level.

Increase the Gain control on the Adaptive Limiter to achieve the If you want to conform to internationally recognised loudness
15 desired amount of loudness. 2-6dB will probably be okay, given
16 levels, you can use the Loudness Meter to accurately set the
that you preserved a degree of headroom in the mix, with the ideal amount of Gain Reduction in respect to LUFS levels. Increase or lower
amount of gain reduction being no more than a few decibels. the Adaptive Limiter Gain to meet the desired LUFS.

Use the Out Ceiling control sets the final programme level. With the Adaptive Limiter set up for the desired loudness, print
17 Reducing the Out Ceiling to around -0.3dB will provide a small
18 another version of the mix. You might want to consider adding
amount of headroom to allow for any inter-sample peaks, which can some form of postfix to the file name (like _ref, for example) to
create distortion on cheap D/A converters. indicate the mix has been limited and shouldn’t be used for mastering.

66 | April 2017 MAGAZINE

MT169.TUT Logic.indd 66 24/02/2017 12:30

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 MT Reviews Spitfire Audio Spitfire Symphony Orchestra

MT Lead Review
Hardware Software Mobile Tech Accessories

SPITFIRE AUDIO
Spitfire
Symphony Excellence

10/10
Orchestra
Straight out
of the box,
Spitfire Symphony
Orchestra is a highly
versatile, class act

With a rousing sense of recapitulation, Dave Gale takes a look at the

latest large-scale symphonic offering from Spitfire Audio…

O
rchestral samples have come additions, most notably with its very healthy contingent of Doubling
a very long way over the last superb Albion series and Spitfire instruments, and some of them are
10 years or so, partly thanks Symphony Orchestra makes a further quite obscure – with Alto Flute, Bass
to the technology that is now move towards this more immediate Flute, Bass Clarinet, Contrabass
available, but also via the innovation modus operandi. Clarinet, Contrabassoon, Cor Anglais
Details
that is now on offer from companies and Piccolo.
Manufacturer
Spitfire Audio such as Spitfire Audio. But what sets Contents, en masse By any standards, that’s about as
Price £1,599 +VAT Spitfire apart from others is two fold. Pointing out the rather obvious, this comprehensive as a Woodwind section
Contact Spitfire Audio Firstly, the operation was set up by two is very much an orchestral library and is can be, and even Stravinsky would be
via website
Web www. media composers, who have a thorough designed specifically for musicians happy with that bewildering collection,
spitfireaudio.com understanding of the requirements of and composers who need orchestral although Michael Tippett often liked a
industry musicians, but also the model sounds. Unlike some other Spitfire Bass Oboe, which is omitted – no real
Key Features that has been established for paying libraries, you’ll not find any percussion harm there!
● Full String, the sampled players royalties, thus
Wind and

The ‘Masse’ ensemble offers

safeguarding future musicians’ talents
Brass section
orchestral for further developments in this arena.

one-stop, large-scale patches

library It’s all very commendable, but what of
● Includes a
the actual library? Well, much of this
multitude

for instantly gratifying results

of Doubling library is actually a reworking of existing
instruments Spitfire libraries – it represents
● Key switching Symphonic String, Wind and Brass
available
throughout sections, but now with an additional
● Huge ‘Masse’ ensemble element, offering here, just full sections of Strings, The Brass section here is the
dynamic and one-stop, large-scale patches for Wind and Brass – although some exact-same package as the Symphonic
performance
control immediately gratifying results. instruments offer solo patches, as one Brass library reviewed in MT165, so
● Requires One criticism often levelled at the might expect from a full orchestra. we’ll not repeat ourselves unnecessarily
Kontakt/ older-style Spitfire libraries was that it The String section construct is very here – however, I will just mention how
Kontakt player
was debatably more complicated than much ensemble-based, and symphony truly outstanding it is, once again. As a
● Compatible
with NI’s it might be to access the samples – orchestra-sized, offering 16 1st Violins, brass player myself, I continually find
NKS standard they’d often have to be loaded via 14 2nd Violins, 12 Violas, 10 Cellos and brass samples falling very short, but
● 385.9GB of Kontakt’s ‘file’ architecture, rather eight Double Basses. this is about the best I have heard to
uncompressed
samples than via the more gratifying ‘Library’ The Woodwind section is also date. The ‘a2 legato trumpet’ is an
● Future mic architecture. Spitfire has made a symphonic in size, but offering both absolute patch of joy, that would even
expansion packs conscious shift towards the latter ‘a2’ (two player) versions of patches put a smile on Aaron Copland’s face,
available shortly
method with its more recent library alongside solo patches. There’s also a were he around to hear it.

70 | April 2017 MAGAZINE

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 Spitfire Audio Spitfire Symphony Orchestra Reviews MT

And finally, we have an entirely new

offering in the shape of ‘Masse’, which
is, as you can probably deduce, the
instantaneous ‘en masse’ ensemble
instrument. In true ‘best patch first’
style, your first entrée to Masse is
called ‘Tutti’, which very much offers a
full-on form, in either long or short
articulations. Not surprisingly, it’s very
epic in volume and size and a perfect
out-of-the-box way to get some
immediate inspiration. However, a short
meander though the patches which
follow it reveals even more useful
ensembles, particularly in the shape
of Strings, Wind and Brass on their own.
Theoretically, it would be possible to
bring up a patch of each, and get
stuck in with a composition, but for my
money, I’ve always liked bringing up an
ensemble string patch to thrash out a
basic compositional idea, before
heading for individual instruments in a
more conventional way.
However, it’s good to see both Brass
and Woodwind ensembles represented
here, as this fills what could be argued
was a hole in some of Spitfire’s previous
products, where you might have had to
pay more to get an ensemble version.
Just bringing up an ensemble brass
patch immediately entices you to play
something chorale-like; inspiring from
the off, and that’s a wonderful thing.

The finer details

Turning our attentions back to the
stringed elements, taking a wander Three string patches,
through the options is bewildering but covering all 1st-violin here how difficult Legato patches are to
bases. You can’t really
equally satisfying. As this is largely a ask for more options create. It is the Holy Grail for fast-and-
repackaging of Mural Symphonic epic string-sample libraries and, in my possibly want, it’s here… Long notes,
Strings, from a previous product view, Spitfire has taken it as far as it short notes, pizzicatos, and numerous
incarnation, we’ve all come to expect can go right now, but I bet the company techniques to do with the placement of
how good this will be sonically. Sure also has boffins working on new ways the bow. It all adds up to a vast sum of
enough, there is no disappointment – to get it even better. The usual control parts, which is coupled with the ability
in fact, the ability to easily access just is available, for total flexibility in to change ambience easily. Thanks to
what you want, either manually or by expression, vibrato and other handy the close/far control, samples are
key-switching, is elegant. For any pro, a

It really does sound amazingly

handful of Kontakt patches will have a
palette which will cater for everything

good right out of the box, and it’s

you can possibly require. There is a
sense that certain patches have been

quicker than ever to get going

amalgamated (certainly from what I
could see in the Legato bowing section),
and here, the legato felt just a shade
lumpy, which may well have been in part
to my playing. elements such as swiftness of release; loaded according to how ‘up close and
Often these things can be but by and large, it really does sound personal’ you would like the library to
straightened out with a bit of clever amazingly good right out of the box, and sound. It’s quick and easy and offers a
editing, but that aside, Spitfire has with the new streamlined interface, it’s swift solution without the need to visit
included Legacy patches, from the quicker than ever to get going. the extensive mic’ing options that can
Mural string collection, meaning that also be made available, if required; if
with a couple of clicks, I was looking at The long and short of it you’re a bit OCD, you might feel you
the Legato patching which I was more And so, to the vastness of the must see exactly how things are
familiar with. It’s important to stress articulations. Whatever you could balanced. For most, I imagine the basic

MAGAZINE April 2017 | 71

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 MT Reviews Spitfire Audio Spitfire Symphony Orchestra

Alternatives
There are a number of companies across the
pond, such as EastWest and Cinesamples,
who have some excellent orchestral packages
available, but I find they can be quite bright
and they won’t be to the taste of everyone.
So, for my money, the closest competitor
to Spitfire – in terms of sonority, attention
to detail and sheer class – is Germany’s
Orchestral Tools, which offers its own Berlin
orchestral series. OT has a very similar
outlook and model to Spitfire, and in truth, it
comes down to whether you want to drive an
Aston Martin or a Porsche (neither of which I
drive myself, I hasten to add)! They both have
an astonishing number of strengths, in all
departments, with similarly well-recorded
and produced sample libraries. However, the
OT packages are slightly more fragmented,
which you could argue gives you more control
over what you need. I like the bundle idea that
Spitfire offers here, even though it’s lacking
orchestral percussion.

sequencer. The concept here is to allow

the user to enter note/rhythm
information in step time, and then have
it play back, at the press of a note.
I’m not sure that many professionals
will find themselves drawn to this, as
you could arguably just play back the
notes manually into your DAW. But
certainly there is an appeal to the
stereo-mix configuration will be more feature if you’re going to find yourself
than enough, as it is easy to access, repeating notes, especially if they’re in
economic with sample RAM and frankly, in this sort of playing style. There are Altogether now! quick succession. Think Mars, The
it sounds excellent. no such delays perceivable in the The first ‘Tutti’ Bringer Of War from The Planets, and
patch sounds grand
So, with the String section receiving shortened articulations, but it’s also and exciting – ripe you could happily program up the 5/4
a large and healthy tick, it’s time to turn worth mentioning that I’ve auditioned for inspiration rhythm to play automatically… and with
to the Woodwinds. These are also these instruments in a solo context. As triplets in fast succession, you can sort
largely a repackage of many different we all know, there’s a certain ear-magic of see the appeal, for some.
libraries that Spitfire used to make that occurs once there’s some context
available, but with the welcome around the solo instrument, as the ear Conclusion, in breadth
addition of some new articulations. somehow makes it far more believable. I have to confess that I largely knew
Here, a majority of the patches are The restyling of the interface again what to expect when taking on this
‘solo’ in nature, with the main four wind feels very similar to the Brass, with the library to review, mainly because I have
instruments also being available in same options for far/close mic’ing. It’s been a user of many of the Spitfire
two-player incarnations (a2). It feels beautiful to use, offering everything you libraries that have predated Spitfire
very similar to the Brass library need with a sense of immediacy – and Symphony Orchestra. I truly believe that
previously mentioned, in the sense that if you need more control, then this is Spitfire, along with a very small handful
of other library companies, has led the
charge for improving the quality of

Unlike some libraries , there’s a orchestral samples, but unlike some

libraries that you’ll hear from across the

certain ‘British’, even European, pond, there is a certain ‘British’, even

European, sonority which is slightly

sonority that’s more modest more modest, and this is a very good
thing indeed.
British string sections are the envy of
the world, and it’s partly down to the
there is a similar set of articulations available through individual patches. school of playing that we have in this
and options, with obvious slants It’s comprehensive and beautifully put country. Sonically, for whatever reason,
towards instrumental capabilities. The together – what more could you need to my ears, it’s not as harsh or bright as
Legato patches are excellent, with in a Wind library? elsewhere in the world and you’ll just
particular praise reserved for the Alto want to employ that silkiness wherever
Flute, which is completely sublime. The Re-repeat you can.
Oboe, in legato form, feels a shade One welcome feature to be found The sheer volume of articulation
sluggish in note production, possibly within all sections is the ‘Ostinatum’ options, coupled with the immense
because of the nature of the way that element – which amounts to Spitfire’s control of tone, is excellent. Depending
the instrument speaks when employed answer to some form of onboard on the line you play, you might still have

72 | April 2017 MAGAZINE

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 MT Reviews Spitfire Audio Spitfire Symphony Orchestra

The Winds offer such an extensive

INSTRUMENT LINE-UP
selection of instruments that this really
There’s a very comprehensive line-up of instruments available within this could be the one-stop-shop for all your
package, so here’s an extended list of what’s on offer: woodwind needs. If I’m truly honest, I
found the vibrato control to be a little
STRING SECTION bit ‘on’ or ‘off’ with some patches,
● 1st Violins – 16 players notably the Solo Oboe, but the
● 2nd Violins – 14 players classiness of its woodwind colleagues
● Violas – 12 players almost makes up for it. In a soloistic
● Cellos – 10 players sense, I’ve always preferred the lower
● Double Basses – eight players pitched Cor Anglais, which seems to be
mellower and less harsh in use.
Articulations include (main elements): So, when you take all elements into
Legato (bowed, fast, fingered, runs, etc) account, and throw in the new ‘Masse’
Long notes (normale, flautando, con sord, sul ponte, marcato, etc) instrument, this really is an excellent
Short notes (spiccato, pizzicato, con sord, brushed, harmonics, 0.5/1.0s note collection for all your non-percussive
lengths, etc) orchestral needs. All of the elements
Trills (major and minor 2nds/3rds) are available as separate items, but
Tremolos and various FX with the appeal of a 35 per cent saving
overall, if purchased within the full
WOODWIND SECTION bundle, this really does represent
● Piccolo, Flute (solo & a2), Alto Flute, Bass Flute excellent value.
● Oboe (solo & a2), Cor Anglais Yes, it’s a lot of money. But all
● Clarinet (solo & a2), Bass Clarinet, Contrabass Clarinet orchestral libraries are expensive to
● Bassoon (solo & a2), Contrabassoon produce, and as I’ve found out to my
own cost, you get what you pay for –
Articulations include (vary across instruments) :- and what you’re paying for here is one of
Long notes – normal, legato, flutter, harmonics, overblown, trills, etc the best that you can currently buy. MT
Short notes – marcato, staccato, tenuto, sforzando, etc
Do I really need this?
Also included are FX patches and more, at a ‘per instrument’ level There’s no point in buying a library like this if
you’re making and producing electronic styles
of music, as you will probably not need all of it.
BRASS SECTION It might have its place – in fact, you might just
● Trumpet (solo, a2 & a6) like to use certain elements – in which case,
you would be advised to look at the individual
● French Horn (solo, a2 & a6)
sections, rather than fork out for the whole
● Tenor Trombone (solo & a2) kit and caboodle. But if you’re a composer
● Bass Trombone (solo) working in a more classical or filmic/media-
based genre, this is an absolute gem of a
● Trombones (section a6) package to consider. Its strength in so many
● Tuba (solo) areas makes it hard to beat, and you might
find it replaces whole swathes of libraries that
● Contrabass Tuba (solo)
one might employ to add up to a sum of parts.
● Cimbasso (solo and a2) In my usage, it’s largely replaced much of what
I used to use, with better results and with
better ease of use – and this is in part thanks
Articulations include (vary across instruments) :- to the redesigned interface.
Long notes – normal, legato, flutter tongue, rip, falls, trills, cuivre, etc
Short notes – staccato, marcato, tenuto, etc
MT Verdict
Also included are muted (con sord), FX patches and more, at a
+ Excellent quality, in all sections
‘per instrument’ level + Comprehensive articulations,
across the board
+ Beautifully simple interface
+ The sonic quality

Yes, it’s a lot of cash. But these

+ British sonority, particularly
in the strings
+ Instant ensemble patches
libraries are expensive to create available, via Masse

and you get what you pay for

- Some instruments feel a
little lumpy in legato phrasing
- No included
orchestral percussion
the odd moment where the Legato You could say the same of the Wind
phrasing requires some help, but with and Brass. There’s a similar sonority to This is a very fine volume of work,
that will perform in all areas. It
some clever programming, possibly these too, particularly in the Brass represents one of the finest in
with smoke and mirrors, you would be where there is no abrasiveness – at its class available today.
hard pushed to know that you hadn’t
visited Air Studios, which is of course
least unless you want there to be, in
which case, Symphonic’s Brass can rip 10/10
exactly where this library was recorded. with the best of the them.

74 | April 2017 MAGAZINE

MT169.REV Spitfire Audio.indd 74 24/02/2017 11:55

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 MT Reviews MeldaProduction MPhatik

MELDAPRODUCTION
MPhatik
If your music is lacking character and
dynamics, MeldaProduction’s MPhatik Choice
may be able to help. Bill Francis takes
a look…
9/10

I
Details f you’ve ever used a saturation functionality. This will then allow the
Alternatives
Manufacturer plug-in to beef up a drum loop or dynamics of the dry signal to be applied
MeldaProduction SPL’s Transient Designer Plus ($199) is the
maybe a bass-guitar recording, after any third-party effects you wish to new and improved version of its classic
Price $108
Contact info@
you’ll know how effective this kind add. Not satisfied with MPhatik’s amp transient-shaper plug-in, which offers a
meldaproduction. of effect can be at adding warmth and simulator? Pop your favourite distortion soft-clip limiter in conjunction with simple but
com effective transient-sculpting controls. Also
character. You also may have noticed plug-in before MPhatik in your effects great for bringing extra punch to a recording is
Web www.
meldaproduction.
how this kind of processing can suck chain and feed it the dry signal via Softube’s Transient Shaper plug-in ($99) which
combines two bands of transient shaping with
com the dynamics out of your material when sidechain and voila, you have your
a rather cool, retro GUI.
Minimum system used liberally. So, imagine you wanted a dynamics back, post-distortion. You can
requirements
heavily saturated sound from your then combine this with the inbuilt
Mac OS X 10.6
32-/64-bit VST/VST3/ drum mix, but when played in the effects, or any other of your favourite you’ll find a mind-boggling array of
AU/AAX host context of the whole track, the drums effect plug-ins, if desired. It’s a little additional settings for modulation and
Windows XP/
sound flat and are buried amongst the confusing at first, but many potential LFO functions, which the 134-page(!)
Vista/7/8/10
32-/64-bit VST/VST3/ other instruments. This is where you applications spring to mind once you manual describes as “extremely
AAX host might want to consider MPhatik, as it get your head around this function. advanced”. It can be as simple or as
allows you to restore the dynamics of complex as you’d like it to be, sounding
the original recording, after effects have Pleased as punch great either way.
been added. Sometimes, it’s best not to question MPhatik is a strange beast, but
why a plug-in has been designed a there’s no denying that it gets results
Pick ’n’ mix certain way and to just get on and use that you wouldn’t get from any other
Prague-based MeldaProduction’s it, and once you start messing around plug-in. At $108, it wouldn’t be terrible
MPhatik is quite a strange plug-in, with some of the included impulse value if it only offered convolution
in that it’s quite difficult to work out responses in conjunction with the reverb, so combine this with everything
where its focus lies – It provides dynamics restoration, you’ll be making else that it offers, and you have a tool
convolution reverb, amp simulation and great sounds in no time. It takes that is definitely worth recommending
compression alongside its unique seconds to bring a tired drum loop back for producers, mix engineers and
method of dynamics restoration. to life with some short reverb and certainly sound designers. MT
This makes it difficult to pigeonhole saturation, combined with some
MPhatik, as the convolution reverb dynamics enhancement, in a way that’s MT Verdict
section is strong in its own right, with more accurate than using a traditional
+ Unique dynamic shaping
lots of interesting impulse responses, transient shaper. + Good value
yet the amp-simulation portion The selection of impulse responses + Excellent choice of
provides only minimal options. The included in the reverb section is impulse responses
Key Features thinking behind this combination of excellent, covering everything from hall + Clear, bold interface
● Multi-effect + Comprehensive set of
effects, it seems, is they’re commonly reverb, to guitar cabs, to mics, and also
plug-in extended settings
● Restores used by producers and sound designers some more experimental sound
dynamics and all have the potential to reduce design-oriented options such as Glass - Amp-sim parameters are limited
● M/S, mono, dynamics in a recording. Bowl. The amp sim is fairly basic, only
stereo and This is a unique plug-in, which
Where it gets really interesting is providing three models – Vintage 1,
surround has an almost endless list of
processing when you bypass the inbuilt effects and Vintage 2 and Modern – with just two potential applications for
● Sidechain use MPhatik’s dynamics restoration in adjustable parameters: however, it production and sound design.

9/10
function
sidechain mode. Once you’ve enabled sounds decent enough.
● Convolution
reverb this mode, you need to send a dry signal The plug-in looks relatively simple,
to the plug-in via your DAW’s sidechain but dive into the extended menus and

76 | April 2017 MAGAZINE

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 MT Reviews Cableguys ShaperBox

Innovation Value

€£$

CABLEGUYS
ShaperBox
ShaperBox puts five LFO-based
effects into a single plug-in.
Alex Holmes opens the lid
to see what’s inside…

W
Alternatives
Details e’ve been using All Shapers also have a range of
Image Line’s Gross Beat (€89) is similar to
Manufacturer Cableguys’ VolumeShaper preset curves and a new MIDI Trigger TimeShaper and has more performance
Cableguys plug-in for quite some section, which allows you to quick-load options, but lacks the multiband operation.
Price
time as a means to get up to nine specific curves into specific Alternatively, Sugar Bytes Looperator (€119)
€94 (with all effects)
has filter FX, scratch FX and lots more, with
€39 (just TimeShaper) precise, multiband ducking on certain modules, via MIDI notes. This is a an easy-to-use GUI but less control over the
Contact mix elements. Fast becoming known as welcome performance touch, although actual curves.
www.cableguys.com
masters of the curve, all Cableguys it’s a shame it works on individual
Minimum system
requirements plug-ins share clean GUIs with effects and you can’t jump between a snare on a certain beat, have a synth
Windows: 2 GHz CPU easy-to-use drawing tools for inputing nine complete racks. slowly swell over time, or pump the
with SSE2 support,
and editing complex LFO shapes. With stereo width in time with the beat, while
Windows 7 or later,
VST host sequencer, the release of ShaperBox, there’s now a Bending time leaving the low-end untouched.
32- or 64-bit simple effects rack that can host up to As VolumeShaper and PanShaper have
Mac: 2 GHz Intel CPU,
Mac OS X 10.8 or later, five individual effects, including new been updated fairly recently, their Unified front
VST or AU host versions of VolumeShaper, PanShaper upgrades are mostly just cosmetic, with As a package, ShaperBox is a fun and
sequencer, and FilterShaper – plus brand-new PanShaper now running horizontally cohesive collection with a nice, clean
32- or 64-bit
WidthShaper and TimeShaper effects. instead of vertically. FilterShaper Core GUI. The only things we’d like to see are
You can opt to buy single Shapers is essentially a cutdown version of some sort of offset/range dial to quickly
that are hosted within ShaperBox and FilterShaper 3 and includes 18 clean edit and perform the overall placement
add the others at a later date, or to buy and Sallen-Key, analogue-sounding of the curve, especially for FilterShaper,
the whole bundle in one. The order of filter types. All three can be used for and a final volume/makeup gain
the effects can be easily rearranged, or sidechain pumping, adding stereo control, as using the effects stacked
individual modules bypassed, with a movement and for squelchy filter together often loses volume. MT
master wet/dry mix control and an sequences, but what about the new
extensive, well-catalogued preset kids on the block? TimeShaper is an MT Verdict
Key Features
system that contains single and mixed exciting effect that places the timeline + Clean and simple-to-use GUI
● New ShaperBox
plug-in hosts 5 presets. The beauty of having all the on a diagonal curve, and then lets you + Can draw complex curves
individual FX effects in one shell is that they share bend, speed up, slow down, reverse, and + Unified design and broad scope
● TimeShaper for GUI layouts, so everything quickly chop sections of your audio depending + Excellent presets and
buffer, stutter preset system
and pitch effects becomes intuitive as you move between on how you draw. It’s a little hard to get
● Also modules. Each has a grid in the centre your head around how it works at first, - No overall output to rebalance
VolumeShaper, where you can click and drag nodes to and fine-tuning pitch changes can be volume changes
FilterShaper, - Hard to change overall cutoff
PanShaper
build up complex curves, with various fiddly, but there are some great presets
with FilterShaper
and new drawing tools and a randomise button. to get you going. You can create glitches,
- MIDI Trigger limited to
WidthShaper There’s also a zoom to fill the GUI with rearrange breaks, and add tape-stops individual modules
● Large preset
library that
the grid for more precise edits and and DJ scratches, all in multiband. We - Tricky to program specific pitches
combines various keyboard modifiers give you initially found using certain sounds into TimeShaper
multiple FX different amounts of control and a snap resulted in clicks at the step points, but
● MIDI trigger An innovative, flexible and highly
function. With the exception of Cableguys has just released an update editable toolbox of creative effects
system for
switching curves FilterShaper, all FX can be split into that greatly reduces this. that can be used for anything from
on the fly three frequency bands, which greatly Finally, there’s WidthShaper, which utility mixing jobs to out-and-out
● Sync to host
increases the creative potential, and offers unprecedented control over the crazy glitching.
BPM, run free, or
trigger with MIDI helps pinpoint or exclude certain
elements in the audio.
width of your tracks. You could draw in a
specific shape to target the midrange of
8/10
78 | April 2017 MAGAZINE

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 TC Electronic Clarity M Desktop Audio Meter Reviews MT

TC ELECTRONIC
CLARITY M
Desktop
Audio 9/10 Choice

Meter
Not only does this audio toolbox make crucial mix and mastering
decisions a breeze, says Marc JB, it also makes you feel you’re the
captain of a submarine with a sophisticated radar system…

L
Details oudness has become an definitely the coolest music tech in my true-peak meter to identify clipping, a
Manufacturer industry buzzword studio. The Clarity M is a standalone stereo downmix compliance meter to
TC Electronic
synonymous with a race to device that takes a digital audio feed make sure the mix will sound mixed
Price £592
Contact make masters ever louder and from your DAW or interface and gives down in stereo or mono. Underneath
via website more distorted – mastering engineers you real-time, industry-standard that is a correlation meter, to check for
Web have a daily headache thinking about information on your loudness levels. phase issues.
www.tcelectronic.
com this as they consider the loss in quality The Clarity M has metering for Apart from looking super-cool, the
as a master is pushed to its maximum. stereo and 5.1 audio sources, a Clarity M provides essential loudness
As a master gets louder, the recording seven-inch high-resolution display for metering to help set mixes at optimal
loses its dynamic impact. Unfortunately, precision metering and can accept a levels and create industry-standard
clients simply want their masters as variety of sources from AES, Optical masters for sale and broadcast. MT
loud as similar songs – so they don’t (ADAT) or USB which connects to a
Key Features sound quiet in comparison. Many plugin (VST, AU and AAX) within your Alternatives
TC Electronic itself provides LMn loudness
● Stereo and 5.1 mastering engineers are having to go DAW – particularly useful for checking
plug-ins, running natively in Pro Tools and
audio meter for against their principles to satisfy out busses or individual tracks. other major DAWs. LM2n is $149. iZotope’s
mixing, mastering
requirements and stay in business. The most striking feature on the Insight, with real-time 3D spectrogram, is
and post
$499, offering “ visual intelligence” for mixing
● 7", high- The mastering bible, which is next to left of the Clarity M screen is the radar and mastering. Waves’ WLM Plus Loudness
resolution display me as I write this, is called Mastering display, which shows short-term Meter ($399) is another pro-level option.
for precision
metering Audio: The Art And The Science, by Bob loudness history and momentary
● USB connection Katz – it’s a pretty intense read. Bob loudness. This helps visualise the
for seamless describes the TC sound as “impeccable” dynamics of the mix and is adjustable MT Verdict
plug-in metering
and quotes the company’s expertise to different mastering standards using + Frees up valuable screen space
● Stereo downmix
compliance meter and research in the field of loudness— the built-in presets. The display can + Intuitive and ergonomic
● Surround there can be no finer recommendation also be changed to a 1/3 Octave RTA + Makes you feel important!
True-Peak meter + Mastering loudness made easy
than this. TC has been at the forefront high-accuracy real-time analyser with
● Statistical
overview for of loudness research, so its products individual-band zoom (oooh!). - There are cheaper
key loudness are built upon a great legacy – enter the In the centre are detailed statistics software options
parameters Clarity M, described as “the perfect giving a real-time overview for all key - Does not come with submarine
● Radar loudness
audio toolbox for music creation that loudness parameters. The most useful
meter shows As a standalone unit, the Clarity M
short-term helps you make those crucial mix and I found was the sliding 10 sec LUFS frees up valuable screen space,
loudness history mastering decisions.” meter for checking the levels at loud making both the mixing
and momentary
Since I’ve had the unit in for review, parts of the mix – to set the level of the and mastering processes
loudness
clients have been walking into the mastering maximiser. More or fewer more accessible.

9/10
● Seamless
intergation with studio, immediately drawn to the stats can be shown. On the right is a
DAW workflow
Clarity M, asking what it does. It is most state-of-the-art stereo and surround

MAGAZINE April 2017 | 81

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 MT Reviews Apogee Element 24

APOGEE Alternatives
The Element 24 has a similar configuration

Element 24
as the Apogee Duet, at a similar price, and
the Duet has greater portability and does
come with physical controls built-in.
However, the Duet uses USB rather than
Thunderbolt, and doesn’t have the same
two-stage microphone preamps as the
Element 24. Apogee are keen to stress that
Apogee has refined audio down to its core elements. the Element is a step-up in sound quality
from the Duet/Quartet.
Mike Hillier tries his hand at alchemy…

T
Details he Apogee Element series is I/O as well, you could create a variety of one trick up its sleeve. The Element
Manufacturer an intriguing new take on custom mixes for different purposes, Control Remote is a USB control
Apogee audio interfacing, removing all perhaps tying in external effects such surface, available separately, with eight
Price £549
Contact Sound
physical controls from the as reverb for monitoring – all the while configurable buttons, and a control
Technology interface itself and putting everything in recording only the dry performance. knob. This box has been designed
Web www. software – with either a Mac or an iOS This same software also scales up the specifically for the Element series in
apogeedigital.com
application, or direct from the mixer in Element range, for the larger Element order to provide an alternative to the
Minimum system
requirements Logic Pro X. This seems like a very 46 and 88 models. OS X or iOS app for control. In practice,
Mac Thunderbolt- smart move –software is more easily this means that even if you enjoy the
equipped Mac,
OS X 10.10, 4GB RAM
recallable, and putting the controls An element of comparison precision and ease of use the apps,
at your reach from the mouse and The preamps in the Element series use it could still be a useful addition to your
keyboard should speed up the workflow a two-stage design, using the first stage setup for handling simple tasks, such
for most small and project studio… for low-gain settings and switching in as setting the monitor levels, and
although the lack of any physical the second stage when higher gain is muting inputs/outputs.
controls at all might be sufficient to required. This design allows the With Word Clock inputs and outputs,
put off some of the old guard. Element preamps to be extremely quiet, and the same convertor technology as
The unit itself is just over a half-rack as each stage can be tuned to perform Apogee’s flagship Symphony, as well as
width, and is thin enough to be placed at its best over a more limited range. being a great standalone interface, the
on a rack shelf; but doesn’t come with Comparing the Element 24 with Element 24 could be useful as the
any rack ears for mounting directly. other mic preamps, using the line input centre of a larger setup – with
Key Features Instead, it is designed as a desktop unit of the Element 24 to rule out any additional external interfaces clocked
● 10x12 with two combo TRS/XLR inputs and a conversion differences revealed the from the Element 24, at up to 192kHz.
Thunderbolt 1/4-inch headphone output on the preamps to be very flat and neutral. The With only two of its own preamps,
audio interface
● Two analogue
front, while the back houses two XLR Element preamps were much cleaner however, the Element 24 is limited to
Mic/Hi-Z/Line ports for the main analogue outputs, than either our UA LA-610 – itself very smaller setups unless it’s used with
Combi XLR/ optical I/O, Word Clock I/O, a clean for a valve preamp – or our CAPI external ADAT interfaces, which would
TRS inputs
● Two analogue
Thunderbolt port and a DC power VP28s, which had a more present be enough to convince us to consider
XLR outputs socket. And that’s it. There are no midrange and began to cook the signal the step up to one of the larger
● TRS headphone screens, no buttons and no pots when driven hard. interfaces in the Element range. MT
output
whatsoever on the unit itself. In contrast, the Element’s preamps
● ADAT/SMUX/
SPDIF optical I/O To use the Element 24, then, we stayed crystal clear all the way up until MT Verdict
● Word Clock I/O had to first install Apogee’s Element we began clipping the convertors.
+ Two-stage, very
● 24-bit / Control software. This software is fairly Using the two preamps for a stereo low-noise preamps
192kHz AD/DA
comprehensive, with options to control recording, we used the digital control + Digital control
conversion
● No physical each of the inputs and outputs, software to exactly match the gain of
controls changing the inputs from Mic to Line, each input for a precise stereo image - No physical controls
● Element Control - Limited analogue I/O
setting the gain and Phantom Power, with a perfectly centred focal point.
software for
Mac/iOS
and to create custom mixes for the Coupled with the superbly clean The Element 24 is an intriguing take
● Logic Pro X headphones and main outputs. preamps, we achieved a beautifully on interfacing. Placing everything
integration Even with only two analogue inputs detailed classical guitar recording. in your computer means you can
● Works with spend more time at the screen and
and two pairs of analogue outputs on
optional less time toying with the hardware.
The element of surprise
8/10
Apogee Control the Element 24, this software can prove
hardware useful for zero-latency monitor mixing; If putting everything in software isn’t for
but should you make use of the ADAT you, the Apogee Element 24 still has

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 MT Reviews Audified U73b Compressor Version 2

Choice

9/10
9
9/10
AUDIFIED
U73b
Compressor
Version 2
Audified has recreated the rare Telefunken U73b compressor
in software form, but has it done justice to a legend with
its second version? Bill Francis takes it to the limit…

M
Details ost producers and mix As is the case with the original U73b U is for unique
Manufacturer engineers already have compressor, there’s no ratio control, but Simply put, this compressor sounds
Audified a good selection of the soft-knee characteristics present like nothing else we’ve tested. It’s not
Price $149
compressor plug-ins at here mean the compression ratio slowly always the most predictable tool, but it
Contact
+420 516 454 769 their fingertips, so if a new one comes increases as the level of the incoming certainly offers bags of character and
Web along, it needs to offer something a bit audio rises, offering plenty of flexibility. individuality. When subtly used across
www.audified.com different to attract any real attention. It The plug-in has a limiter mode as the master bus, it has an overall
System requirements
OS X 10.9 to 10.12
makes sense then, that Czech company well as compression mode, which gives thickening effect on your track
32-bit or 64-bit AU, Audified chose to painstakingly model you the option of a higher threshold and and seems to push midrange sounds
VST 2/3, or AAX host the circuitry of the rare and highly higher ratio while keeping a smooth, forward, creating an almost three-
Windows 7 to 10
32-bit or 64-bit VST sought-after Telefunken U73b tube
2/3 or AAX host compressor, designed in Germany
iLok Account (no USB
dongle required)
in the late 1950s. It was originally
designed to keep levels consistent
Audified has painstakingly
and protect against overloads in FM
broadcasts, but during the 60s, 70s
modelled the sought-after
and 80s, the U73b was used as a
compressor for vinyl mastering. It has
Telefunken U73b compressor
since become something of a legend
among engineers due to its unique soft-knee compression sound. dimensional effect. When pushed too
characteristics and can now be found There’s also a release, output-level hard, the U73b reduces your track to a
Key Features on sale for well in excess of £4,000. auto-matching, input/output level series of short pops and clicks and
● Modelled on parameters and a meter so you can sounds very unnatural. However,
vintage U73b Keeping it real select between input level, gain crushing tracks into oblivion is
compressor
● Updated GUI for
We took a look at Version 2 of Audified’s reduction and output-level metering. obviously not what this compressor
Version 2 compressor plug-in which, from Version Input/output level controls and was designed for. It also really shines
● Sidechain 1, offers an updated GUI, sidechain metering weren’t part of the original when used on individual tracks, as it
support
functionality, automatic output levelling U73b hardware, but they were usually seemed great for adding life to drum
● 2 licences
included and English labelling text – the previous added alongside the unit when used in loops and smoothing out bass-guitar
● VST, VST3, version only offered authentic recording studio setups, and are recordings. Even when ‘bypass’ mode is
Audio Units and German-language labels similar to therefore a welcome addition to selected, the plug-in has a very subtle
AAX formats
those on the original hardware unit. Audified’s plug-in. tightening and focusing effect on your

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 Audified U73b Compressor Version 2 Reviews MT

Alternatives broadcast compressor – however, out there. It’s not a tool you’d want to
It’s been around for a few years now and is we found that it removed a significant use for every application, but if you’re
included as a stock plug-in within Ableton amount of low end when left engaged. looking for a warm, punchy, thickening
Live, but Cytomic’s The Glue compressor ($99) We didn’t think of this as a negative effect on individual tracks or your full
still does a stellar job of modelling SSL’s
classic 80s E-series bus compressor. Also point, though, as these are the kinds mix, the U73b is ideal. Just when you
worth a look if you need some vintage flavour of quirks one should expect to find think you’ve heard every flavour of
on your master bus is the PuigChild
when using a faithful model of a piece compressor possible, something
Compressor from Waves ($349). While not
being a budget option, this plug-in is fantastic of vintage gear. When the high-pass different comes along. The U73b is
at bringing life and colour to in-the-box mixes. effect is switched off, everything everything you could ask for in a vintage
performs as expected and your low end analogue emulation… characterful,
sound, as the signal is still being remains intact. warm and sometimes unpredictable. MT
passed through the virtual circuitry. It’s also worth mentioning that if
The more eagle-eyed will have you’re pleased with the sound of the
MT Verdict
noticed the high-pass (HPF) button at U73b, then Audified has also just
+ A unique-sounding compressor
+ Warm and thick

For warm, punchy, thickening

+ Welcome improvements
from Version 1
+ Attractive interface

effects on individual tracks or - There are more versatile

your full mix, the U73b is ideal

compressors out there

The U73b is a wonderful-sounding

compressor plug-in that offers a
the top right of the plug-in, which you released a new valve-saturation plug-in unique sound and this updated
may be mistaken for thinking is for the based on the circuitry. version offers some useful
improvements over the first,
sidechain function. In fact, it relates to including a much cleaner interface.
A fine vintage
the high-pass filtering effect of the
original U73b unit. This would have Overall, this is a great compressor that 9/10
been ideal for its original purpose as a doesn’t really sound like anything else

MusicTech
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01/03/2017 14:35
09:57
 MT Reviews UVI Falcon v1.2

The Falcon from UVI.

A powerhouse of
sonic potential

Each patch can be

assigned a more
‘basic’ interface,
for that immediate
touch and control

Choice
UVI
9/10
9
9/10
Falcon v1.2
The latest offering from UVI offers a wealth of synthesis
opportunities, but will it fly? Dave Gale eyes up his
new prey in its newly released v1.2 form…

I
Details n my experience, virtual or soft to keep things together, for simplicity). port of call was to have a listen to some
Manufacturer UVI synths (call them what you will) If only the relationship between all soft of the factory patches – and it’s at this
Price €349 (£268 - tend to fall into two camps. There synths and their associated files were point that the power of Falcon hits you
based on current
exchange rate) are those that set out to be virtual this easy and flexible… The included squarely between the eyes.
Contact via website soundalikes of classics; then you have factory soundbank is 637.5MB in size It sounds huge and very powerful;
Web www.uvi.net synths which are cutting edge and – so not overly huge, by modern in fact, the Falcon sounds so huge, I
attempt to offer new and enticing ways standards – but as I was to discover, found that it almost permanently ran
of creating interesting sounds. The there’s plenty to get your teeth into, with a very hot signal, which required
Key Features Falcon most definitely falls into the straight out of the box. me to turn down the soft-synth channel
● Complex virtual latter camp.
synthesiser

The Falcon has a great

● Plenty of synth
capability and The download and install
modulation My review copy arrived as a download
possibilities
● Mac/PC versions
which, in line with many synths of this
kind, is a two-part affair consisting of
deal of complexity available
in its sonic architecture
● AU/VST/AAX
plug-in formats the application and the much larger
available factory bank of sounds. Thanks to the
● Standalone file hierarchy, it’s easy enough to park
version also
available the sound bank in any drive-based The panel environment in my DAW, which was pretty
● Expandable location, but you’ll need to tell Falcon Upon opening the Falcon plug-in for permanently overloaded.
through where it resides. the first time, it immediately struck me What was very clear from the patch
expansion packs
● Ability to
It’s important to note here that you’ll that the interface was a little dark and surfing I undertook was that there was
import samples need to select the folder ‘above’ the bland. Clearly, the idea here is more a great deal of complexity available in
and audio singular downloaded soundbank file, about function than eye candy, which is the sonic architecture: not just at the
● Authorised
rather than the file itself, but it does always the right way around; but it’s source roots of the timbre, but with the
through iLok
● Purchase also mean expansion soundbanks better to have something which is a modulation (the evidence of which you
includes €100 can be added at any point and more little more forgiving on the eye, can see dancing around on the screen,
voucher for
importantly, be located anywhere on a especially if you’re going to get into as the pots move in all manner of
expansion packs
system (although I’d always try and opt some serious programming. So, my first directions, dependent on routings).

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 UVI Falcon v1.2 Reviews MT

Left: The full-on

editor. It’s list-like, Alternatives
with a little help Falcon is by no means the only package to
from the ‘Structure offer a mixture of onboard synthesis and
Tree’ on the left sample resynthesis capabilities, although
in my view, the IRCAM elements do offer
Below left: The FX something of a coup. Omnisphere 2 from
screen offers the Spectrasonics offers a huge array of sounds,
potential for all right out of the box (or downloaded), as well
manner of FX – as an enormous amount of editing potential,
with everything including the ability to granular resynthesise
from merciless imported audio. In my view, Omnisphere 2,
reverbs to fully with its largely graphically driven interface,
distorted screams offers a much more pleasant user experience
and it sounds absolutely amazing to boot.
For the more adventurous, Izotope’s Iris 2
offers very similar functionality to Falcon
– again, with a slightly nicer user interface,
especially when it comes of working with
imported samples, and is very capable of
lots of resynthesising sonic potential.

more avant-garde options. The basic

oscillator Analog option offers the usual
mix of waveforms, with Analog Stack
offering pretty much the same thing
just with a stack of eight oscillators,
each having their own settings in all
areas from waveform to pitch. The
the smallest component, since they’re wavetable selection within the
made up of the more traditional oscillator offers some excellent tonal
So, starting with the basic premise, elements such as oscillators. capabilities, with the ability to swan
let’s think about what’s on offer. Starting with our most basic through the wavetable manually or
Falcon is multi-timbral, within a single building block, I dived in to see what the directed via modulation.
All sounds wonderful, but leaving
the more traditional synthesis concepts

The Multi Granular algorithm to one side for a moment, where the
power really comes into play is with the

is great, resulting in a thick sampling section, where audio files can

be dropped in and operated on. Here,

texture of jittering sonic joy there are a number of options with the
IRCAM moniker. For those unfamiliar
with IRCAM, this is one of the absolute
instrument, with the multi elements oscillator could offer. It’s fair to say hubs of international research into
being described as Parts. Each one that there’s plenty of scope here, as the both sonic creation and music, which
of these parts comprises sets of oscillator section offers traditional and has played a significant role in the
Programs, Layers and Keygroups, the development of contemporary music,
latter being what you might consider particularly electro-acoustic, and
associated technologies. Thanks to this,
the four algorithms associated with
IRCAM are immediately enticing. The
Multi Granular algorithm comes in for
particular praise, resulting in a thick
texture of jittering sonic joy.
There’s no doubt in my mind that
it’s the sample import and resynthesis/
processing area of Falcon that will
excite users the most, as the
possibilities are pretty boundless. In
total, there are 15 oscillator options
available, which then nestle alongside
other traditional elements such as
envelopes and LFOs, which can be
found in the Modulation section. What’s
very obvious here is how vast the
routing capabilities are in the Mod
section, offering all manner of control
over parameters.
It’s at this point I have to say that the
complexity of the interface will require

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 MT Reviews UVI Falcon v1.2

The bewildering based resynthesis which I found the

array of selectable most interesting and exciting area to
wavetables from the
oscillator section explore. So, if sound design or creating
unique timbres appeals to you, this is a
package that should be high on your
list to test-drive.
At the point of review, I was just
working with my own samples and the
Falcon factory set, which is definitely
impressive and highly usable in a
number of musical contexts. It will
endear itself to any contemporary
musician working in electronic idioms
and will really appeal to soundtrack
composers. You’ll need to put in some
time and do some legwork to really get
this to work for you if you want to take
it further, but straight out of the box
it will also sound great – and if the
expansion packs are anything like as
good as the factory set you could have
a useful arsenal of sonics at your
fingertips. You might find that, like
some other Rompler-style products,
building up a large library with
expansion packs could become costly
over time. but with just two packs
currently available at only €39 each,
that’s not going to break the bank. MT

There are also some useful Do I really need this?

quite a degree of work. After a little bit performance-based elements, too, The versatility of Falcon is undeniable and
it has a soundbank that many companies
of head scratching, I was able to make which reside in the Event Processing
would bite off an arm for, but if it’s just the
some competent and basic patches section. Basic arpeggiation duties are sounds that you’re after, this might end up
without referring to the manual, but on offer here, with control of velocity being a costly product. If you feel like really
getting your hands dirty with some real
once beyond this, things inevitably get triggering, which makes for some very sonic creation, this is something you should
a shade more complicated. Most users dynamic operation overall. consider. If you’re just looking for some great
will have to sit down for an hour or so in noises, you might be better served checking
out a new sample library to go with your
order to really get to grips with how it Conclusion onboard sampler from your DAW, or even
all fits together. So, once you take all of these elements work with something like Native Instruments’
Kontakt Player. There are plenty of companies
into account and consider that all of
selling great samples in all sorts of formats
The Structure Tree this can be stacked up, you have a and you’ll be able to choose your style with
With this in mind, there is a very helpful pretty good picture of how vast Falcon some degree of accuracy.
Structure Tree to the left of the panel sounds, but I do have to admit that I
interface which will help you decipher found the interface rather functional in
MT Verdict
+ Excellent-sounding soft synth

If sound design or creating

+ Vastness and
complexity available
+ Immense editing capabilities
unique timbres appeals to you, + The IRCAM algorithms
+ Very versatile

this should be high on your list + Suitable for a number of musical

genre and uses

- Rather dark and bland user

experience/interface
the building blocks that are in use. use. It certainly does what it sets out - You’ll need to invest some time
This becomes invaluable if you also to do, but the lack of any hugely if you want to make your
partake in one of my favourite discernible graphically enticing own timbres
pastimes, which is reverse-engineering interface might switch some users off. There is no doubt that the Falcon is
patches to see how sonic elements are The vastness of the functionality a sonic powerhouse, but to become
created. When multi-numbered that’s on offer here should by no a power user, you’ll need to really
elements are thrown into the equation, means be underplayed, though. It’s an learn how it works – but you’ll be
rewarded with sonic gold.

9/10
along with a healthy dose of exceptionally powerful instrument and
modulation and FX processing, the Tree while it has much to offer in terms of
will really help you shake it all down. traditional synthesis, it’s the sample-

88 | April 2017 MAGAZINE

MT169.REV UVI.indd 88 24/02/2017 11:58

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 IK Multimedia Modo Bass Reviews MT

Excellence

10/10

IK MULTIMEDIA
Modo Bass
IK Multimedia’s new virtual-bass instrument isn’t quite like anything
you’ll have seen or heard before. Matthew Mann gives us the lowdown…

I
Details K Multimedia has been in the virtual From the 60s P-Bass all the way The main screen is laid out in tabs.,
Manufacturer instrument game for quite some down to the Flame Bass (based on a and the first is the Model tab. This is
IK Multimedia time and has developed a sturdy Warwick Streamer), every instrument where you can choose from the 12
Price $299.99
(download)/$229 (USB
reputation. Instruments such as has a very unique character and sound basses offered. The list of basses is
drive/boxed) €299.99 Sampletank, the T-RackS suite, and to bring to your mixes. pretty impressive in its own right, and
Contact via website Miroslav Philharmonik have garnered Each sits nicely in one track or there’s a guide on page 93. As if having
Web much attention and praise. And newer another and would be fine as-is. But access to these 12 basses wasn’t
www.timespace.com
System requirements
products like the Lurssen Mastering this is not just a sampled bass pack. enough, Modo Bass also gives you
Mac OS X 10.9 or Console and Saturator X are entering Modo Bass is much, much more. access to many of the parameters for
higher; Windows 7, 8, more and more home and project
or 10; 4GB RAM
studios… and even some pro studios.

IK’s modal synthesis ensures

(8GB suggested)
With that, it comes as no surprise that
the company is pushing the envelope

Key Features
with its newest release, Modo Bass –
a virtual bass unlike almost anything
this is not just a sampled bass
● Physically
modelled virtual
bass instrument
else ever released.
pack. It’s much, much more
● Modal synthesis All about that bass
technology – Modo Bass opens with a simple image Modo Bass uses something IK each one, making them completely
no samples
of perhaps the definitive electric bass… Multimedia calls modal synthesis customisable and giving you access to
● 12 classic
electric-bass the venerable Fender P-Bass (a 60s technology – it models each physical a ridiculous number of permutations.
models version). Along the top of Modo Bass, we component of the bass body from the
● Control over find a strip that contains images of the strings, pickups and electronics to the Multicoloured chop shop
physical and
performance
first 10 basses available. player’s action. Then it takes all these Once you’ve chosen your bass of choice,
parameters To the far right of this strip is an interacting factors and adds effects you move to the next tab – Play Style –
● Highly arrow that lets you scroll to the two and amps to the signal chain. The result to determine how the bass will be
customisable
remaining basses. Let me tell you, is a plug-in that just might be the last played. You can choose to play with
● Amps and FX
● Only 170MB
there’s a lot here. A total of 12 iconic electric-bass instrument you’ll ever fingers, a pick, or by slapping. Then you
basses are initially offered for use. need. Let’s see what’s under the bonnet. can add muting to the strings as you

MAGAZINE April 2017 | 91

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 MT Reviews IK Multimedia Modo Bass

expressive playing experience I’ve ever

had with comparable instruments. The
bass tone was constantly evolving and
realistic. You can even add more ‘detach’
and slide noise as you see fit.
60S P-BASS 70S P-BASS The next tab in line is the Strings tab.
based on a 1960s Fender Precision Bass® (alder body) based on a 1970s Fender Precision Bass® (ash body)
From here, you can decide on the
number of strings; the action of the
strings (standard, high, low); the type of
strings (flat wound, round wound); the
gauge and age of the strings – and
there’s even a button to change your
tuning reference based on frequency,
70S J-BASS MODERN J-BASS like A4 – 440Hz (or 432Hz, for those
based on a 1970s Fender Jazz Bass® (alder body) based on a modern Fender Jazz Bass® (ash body)
of you who are more ‘in tune’ with
the universe).
I almost forgot to mention that from
the first three tabs, you can adjust
where the pick will be played on the
strings. Grab the triangle positioned
over them and drag it up or down the
DEVIL BASS BASS MAN 5 strings to give you more mid-frequency
based on a Gibson® EB-0 based on a Music Man® StingRay 5-string
tone (neck), or a rounder, more
bass-heavy tone (bridge).
The next tab is the Electronics tab.
This enables you to change out the
pickups on your bass – so you can
choose the pickups from any of the 12
basses and add them to your own. You
RICK N’ BASS STUDIO BASS can go from single-coil to humbucker in
based on a Rickenbacker® 4003 based on a Yamaha® RB5
the bridge or neck. You can even add a
piezo pickup to blend into your tone.
And each pickup has its own volume
knob for absolute tonal control. Of
course, when you go from passive to
active circuits on this tab, it enables a
three-band EQ for even more control of
VIOLIN BASS THUNDER BASS your tone.
based on a Höfner® Violin based on a Gibson® Thunderbird
Moving on to the Amp/FX tab, I found
I could choose between a solid-state or
tube amp, either from the drop-down
menu or by clicking on the bass
cabinets themselves. Each amp comes
with gain and tone controls. The tube
amp (with 1x15 cabinet) adds buttons
JAPAN BASS FLAME BASS for added punch and harmonics, while
based on the Ibanez® Soundgear based on the Warwick® Streamer
the solid-state amp (with 4x10 cabinet)
adds a graphic EQ and limiter. In front of
the amp, you’ll find four effects pedals,
see fit. Next, you can choose whether – and whether open strings will be used which you can select by clicking on the
the stroke is with the index finger, or not. The dynamic range and playing stomboxes in the image. These pedals
middle finger or alternating – and then style can be set and adjusted in real are freely assignable, so you can choose
decide whether the touch will be time, too. Many of the parameters in which order in which to place your
effects. The pedals on offer are:

Modo offers a truly expressive

● Octaver
● Distortion

playing experience… The bass

● Chorus
● Compressor

tone was evolving and realistic

● Delay
● Envelope Filter
● Graphic EQ
These effects all come from the
normal, hard, or soft. There’s even a this tab can be changed using key AmpliTube Custom Shop and sound
control to let the strings ring and decide switches in the C0 range of your very good. IK went another step further
what fingerings will be recognised keyboard. I found this to offer the most and modelled the interaction between

MAGAZINE April 2017 | 92

MT169.REV MODO Bass.indd 92 24/02/2017 11:41

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USB Audio Interfaces by APOGEE

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 MT Reviews IK Multimedia Modo Bass

the stompbox effects to accurately Modo Bass offers package like Trilian is a sample library To my ears, I have to say… yes.
replicate how different stomps will unrivalled control which, while covering every conceivable You can’t wring this level of realism
over its parameters,
affect each other. Pretty nifty. and each one is type of bass out there and doing it with and customisation – in such a tiny
I also discovered the global bypass. modelled to interact breathtaking realism, does so at a cost amount of hard-drive space – out
with the others
This allows you to shut everything off of a whopping 34GB of hard-drive of any other option. Add to this the
and route the bass to any other effects space (not to mention the download brilliant stompbox and amp emulations
package you happen to have on hand. time). IK Multimedia’s Modo Bass from IK’s esteemed AmpliTube library
And the volume controls to the far right focuses on electric basses and does so and you get an all-round package
on the Amp/FX page also allow you to with breathtaking realism in a worth every penny. MT
blend between amp and DI signals.
The last tab is the Control tab.
Remember the key switching I
mentioned earlier? This is where you
IK’s 115 presets go a long
can assign different keys and knobs to
various MIDI CC parameters for
way to getting you to where
performance. This is where you change
playing style, select chord or note
(and who) you want to be
modes, add vibrato, adjust pluck
position… adding up to a whole host of relatively lean 170MB download.
performance parameters. There’s also IK has also chosen 115 presets
MT Verdict
a MIDI Learn function, so you can which give you some nice variations + Brilliant bass plug-in capturing
assign these parameters to your right out of the box (well, download) 12 iconic basses
favourite controller. They’re also – such as the very recognisable ‘Call + Endlessly customisable – right
down to performance controls
completely automatable. This is part The Police’ and ‘Jaco’ to the aggressive
and picking location
of what makes Modo Bass one of the drive of ‘Stoned’. These presets go a + Create hundreds of variations
most expressive virtual instruments long way to getting you to where (and + Excellent sound quality
I’ve ever heard. who) you want to be. And I have to say + Measly 170MB download
that, with these performance controls,
- Price seems a little high, but
It’s fun-damental it’s just plain fun to play! is justified by the quality
I’ve played several virtual bass guitars and customisation
over the years. I started with What’s the bottom line?
Steinberg’s VB-1 and moved to Sure – there are some synth and Incredible-sounding instrument
with so many customisable
Reason’s Electric Bass Refill. From acoustic basses I’ll miss out on by not options, there’s just no way to find
there, I tried Trilian and Trilogy – both buying one of the larger packages, but fault in this package. Some may
from Spectrasonics. I even tried a that’s what synths are for, right? And argue that it’s missing synth
couple of the offerings from Native I really don’t use virtual acoustic basses, but that’s not what this is
aimed at… and the small size
Instruments. I have to say that modern basses very often at all. So, I think this
means you can load it on your
virtual instruments have gotten so is one brilliant package. system drive and carry it with
good that it’s often hard to choose one The only downside I could come up you, without the need for a
over another. In fact, it usually comes with is that it costs more than some of samples drive.
down to a matter of personal taste,
hard-drive space and wallet size. A
the smaller packages and as much as
the big boys. Is it worth the outlay?
10/10
94 | April 2017 MAGAZINE

MT169.REV MODO Bass.indd 94 24/02/2017 11:41

 LOGIC PRO X 2017

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 MT Reviews Wave Alchemy Revolution

Choice

9/10
9
9/10

WAVE ALCHEMY
Revolution
Can Wave Alchemy’s new Kontakt instrument capture the
real sound and vibe of a range of classic drum machines?
Alex Holmes prepares to program some beats…

O
Details ver the last few years, Wave outboard, with the analogue machines and one of two possible reverbs, giving
Manufacturer Alchemy has positioned itself offering round-robin sampling to room for a bit of creative effect variation
Wave Alchemy as a premier source for recreate the subtle differences across the kit. Although the delays are
Price £149.95
drum-machine samples, with between hits. There’s quite a lot the standard Kontakt affair, the reverb
Contact via website
Web www. a care and attention to detail bordering crammed into the interface, but it’s well units feature a specially recorded
wavealchemy.com on obsession. Whether it’s recording designed and easy on the eye. That said, collection of rooms, springs and digital
Minimum system raw hits from a variety of units, or you may have to do a little scrolling if reverb IRs that fit especially well with
requirements
Kontakt Player 5.6.5 applying crunchy saturation through using Revolution on a laptop, although the 80s drum sounds.
or Kontakt 5.6.5 tape or other means, there have been a it’s not a major issue. Alongside loading
Mac OS X 10.10
Intel Core 2 Duo
number of deeply sampled vintage- up an entire specific machine into the Character building
Windows 7, Windows 8 instrument releases. Revolution is the 14 drum voices (comprising two kicks, Underneath the mixer section, you have
or Windows 10 (latest natural progression of such a collection, two snares, three toms, three hi-hats, up to four edit controls to sculpt the
Service Pack, 32-/64-
bit), Intel Core 2 Duo or and combines many of the previous
AMD Athlon 64 X2 drum-machine releases with all new
4 GB RAM libraries, and packages them in a
high-tech new Kontakt interface.
There are 14 iconic machines
Machine code
and 41,000 one-shot samples
You’ll need the latest version of Kontakt
or the Kontakt Player to load either
for a truly authentic sound
the drum or percussion instrument,
and from there you can choose your two cymbals, and two percussion) you tone of the selected drum voice,
drum machine of choice via a snapshot can also mix-and-match sounds, which although this varies between the
preset list. There are 14 iconic is shown off to good effect in the hybrid chosen machine and instrument, with
machines to choose from, including the and processed snapshot presets. the more basic drum-machine sounds
TR-909, 808, 606, 707, CR-78, LinnDrum, Switching between sounds will having fewer controls. As a nice touch,
Drumtraks, Drumulator, Oberheim DX dynamically remove and load only the the skeuomorphic graphics mimic the
and more, with over 41,000 one-shot necessary samples to help keep RAM machines’ original front panels, which
samples helping to give a truly usage to a minimum. helps to identify the different sounds.
authentic sound. Wave Alchemy has There’s a main mixer for volume, Arguably the most important part here
captured every tone variation and panning, and effects sends, which can is the Character knob, which allows you
nuance of the originals via high-quality be sent to one of two possible delays, to select whether the samples played

98 | April 2017 MAGAZINE

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 Wave Alchemy Revolution Reviews MT

are Analog (clean and round robin); saturation and a transient controller, Key Features Alternatives
Tape 1 & Tape 2 (different levels of each with two controls, making editing ● 8GB deeply There’s certainly no shortage of sampled drum
saturation); S1200 (using Kontakt a simple process. Anyone who has used sampled, classic instruments. Samplephonics has 808 and 909
emulation); Digital (with no round robin, Kontakt or any Kontakt instruments in drum machines Kontakt instruments (£49 each); Samples
instrument From Mars offers tape-saturated 808, 909,
giving more of a machine gun effect; the past will know what to expect, and Simmons and Drumtrax samples in a bundle
● Loads into
SP1200 (recorded through the actual the built-in effects are of a high quality. Kontakt and free ($69), or alternatively, d16 has 606, 808 and
Kontakt Player 909 VSTs (€99 each). However, none are as
sampler), or Mastered (processed As the order of the FX chain can make
extensively sampled as Revolution.
● Includes 14
through a flattering outboard chain). such a big difference to the end result
iconic drum
Again, which of these options is of the sound, it’s good to see drop-down machines, and
available varies depending on the menus that enable you to rearrange the 14 voices key switches. Although the sequencer is
chosen sound, but some of the order of the four Shaper FX, and also ● Over 41,000 an effective way to write your overall
samples, round-
saturated kicks in particular sound the overall order of the Shaper, EQ and robin sampling, beats, it’s a shame there aren’t some
superb, and it’s nice to have the option Compressor sections. It’s a shame that mix-and-match extra lanes to control things like cutoff,
sounds
of a genuine analogue-tape sound. It’s you can’t route the reverb and delay pitch, decay and maybe the FX sends,
● 180 custom
also an excellent way to quickly jump Send FX through the Master out, but to impulse as this would enable more creativity
between sample sets, and to preview be fair, this is a limitation within responses, with your sequences, and mean you
and built-in FX
Wave Alchemy’s extensive sampling Kontakt and not Wave Alchemy’s fault. could sequence melodic lines using the
● Extensive
variations whilst a track or pattern is You do, however, have the option of presets and over excellent kick and percussion sounds.
playing. One thing we noticed here routing any of the voices to 16 separate 1,000 patterns Finally, we should really mention the
though, was that compressing the 909 outputs for external processing in your NKS support, as WA has done a superb
kick brings up the floor noise from the DAW, and there are templates for Logic, job at mapping sequencer parameters
machine. In many ways, this is a Ableton, and Maschine that pre-map to the keyboard, and using the
characteristic part of the original, but the instrument to work with multi-outs. Komplete Kontrol light guides to offer
on WA’s previous Transistor Revolution The final part of the instrument is visual feedback. There are also Stutter
instrument, the machine noise had its the Sequencer section, which can be and Reverse keys that can add an extra
own separate volume control. To give sync’d to play when your DAW plays and layer to your performances and jams.
complete control over the samples, also accepts MIDI, so you can play your
you’ll also find dials for the sample patterns in live. At the bottom of the Injection of life
start, filter and pitch, plus amp, filter main page, you have a classic button- Whether you’re looking to work with
clean sounds from the originals, or to
create heavily processed beats, there

The beauty here lies in how are plenty of options here. The excellent
GUI is well thought out, and with the

well the analogue depth of the addition of all the modifier keys, really
pushes what Kontakt is capable of. You

machines has been captured may wonder if you need more drum-
machine samples, but the beauty here
lies in how well the analogue depth of
and pitch envelopes, and a useful based step sequencer, with two levels the machines has been captured, and
Random section that lets you humanise of velocity and global accents, plus Rate the variety on offer. It’s a great place to
the sound by adding variations to the and Swing controls. At the time of start for adding subtle life and variation
volume, pitch, pan and sample start. writing, the Rate options are limited to to repetitive techno grooves, and little
1/4, 1/8, 1/16 and 1/32, but there’s an variations in the kicks in particular can
Future sound update on the way that adds in 1/6, make your beats more pleasurable to
The sounds of the original machines are 1/12 and 1/24 timings. listen to on a subconscious level. MT
all well and good, but if you want to go If you want more extensive
beyond their raw tones, then there’s an sequencing options you can switch to MT Verdict
extensive FX section, which is displayed the Sequencer page, which displays a
in place of the drum controls when you large 32-step grid showing all 14 drum + 14 machines in one
+ Clear GUI packed with features
press the FX button. You can switch voices, and offers a higher resolution for + Captures subtle depth of
between Insert, Send and Master FX, the velocity of each hit and a Slop analogue sources
with the Insert and Master offering the control to add timing variations. There + Fairly light on CPU and RAM
same processing options, albeit with a are some neat functions here that use
- Can’t sequence cutoff, decay etc
few minor differences and an output modifier keys to cycle through preset - No way to play or sequence pitch
limiter on the Master, and the Sends patterns, or copy, delete and move your of sounds chromatically
featuring the aforementioned two sequences. You can also save and load - No control over 909
delays, and two reverbs with custom your patterns in the Library, and there’s machine noise
IRs. Here, you’ll find a sensitive, a massive number of grooves, including
If you like classic electronic drum
SSL-modelled EQ with four bands to new beats and older patterns taken sounds, then this is the ultimate
help you shape your sound, and a from legacy products. sampled drum instrument that
compressor that can be set to modelled If you want to edit in a different way, captures the originals perfectly,
FET or VCA modes to give different you can easily drag-and-drop the MIDI while offering plenty of options to
create new and interesting kits.

9/10
flavours of compression. to the timeline of your DAW, and to aid
There’s also a section called Shapers in arrangement and performance, you
that features a filter, a bitcrusher, tape can trigger up to 12 patterns via MIDI

MAGAZINE April 2017 | 99

MT169.REV Revolution.indd 99 24/02/2017 11:50

 MT Reviews Tiptop Audio QuantiZer

Resplendent in its
new ivory livery:
the QuantiZer from
Tiptop Audio

Choice

9/10
9
9/10
TIPTOP AUDIO
QuantiZer
If you’ve ever struggled to get your CVs to keep your
pitches straight, you might just need this major new
release from Tiptop Audio. Dave Gale gets scalic and modal…

Q
Details uantisers! What are they? when I saw an announcement for which will assist with a number of
Manufacturer Well, put simply, they take Tiptop’s QuantiZer, I was immediately duties, notably data entry.
Tiptop Audio
an incoming CV signal, often struck by the relatively large form and Moving toward the operation side of
Price £299
(street price) from a source such as a LFO, by the layout and tempting controls – QuantiZer, you can call upon one of 48
Contact Tiptop Audio and convert it into a perfectly pitched all of which had lights and legends next scales, which break down to 12 of each
contact@tiptopaudio. CV which is drawn from a (normally to them, so on the face of it, it looks of major and minor, and another two
com
Web www. diatonic) scale, or set of notes, as pretty easy to work with. banks of 12 user-based scales. Now the
tiptopaudio.com assigned by the user. Beyond this, they word ‘scales’ can be a tad misleading
can also be really useful if you have a Fresh cream here, because a user-saved patch
linear sequencer, as the quantiser will Upon removing the QuantiZer from the doesn’t have to be a complete scale, in
tighten up the pitches into something box, I’m liking the new Tiptop livery – the traditional sense. I often find myself
scalic – making the whole task easier,
rather than a complete chore. Or, put
Key Features
● Fully featured
another way, think of a quantiser as
being an ‘autotune for Eurorack’, but
Think of a quantiser as
CV quantiser
● Free running or
working with control voltages (CVs)
rather than audio.
‘autotune for Eurorack’, but
working with CVs, not audio
clock sync’able
● Music keyboard- Okay, so now that’s cleared up, let’s
based interface talk specifics. All quantisers are not as
● Sync bus
you might hope. I’ve had a couple in
connectivity
with other my time and found them to be slightly which is a cool shade of white cream setting quantise notes to an open fifth
Tiptop products painful to use, partly because of instead of the silver faceplate, (for example, C and G), which can be
● Quantised the confines of the Eurorack form’s previously adopted. especially useful when working with
voltages: 0-5V
● Width: 10HP
real-estate, but also because more Powering it up, there are LEDs random CV-generating devices, such as
● Depth: 43mm often than not, they adopt a multi- galore; most notably to the right of the Sample & Hold CV generators (LFOs).
● Power button-press form, requiring either module, where the chosen scale can be Having said that, I also love working on
consumption: a very good memory, or a hunt for a clearly seen via the mock piano the fly, so I will find myself continually
+12v 60ma /
-12v 5ma manual. They often try to do so much keyboard. There is also a long-throw changing the notes on the QuantiZer to
that they become confused in use, so fader adorning the centre of the panel, reflect the harmony that I want. It’s one

100 | April 2017 MAGAZINE

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 Tiptop Audio QuantiZer Reviews MT

well, as they did in my case – super

Alternatives
tight and very accurate.
The best known of the quantisers currently on
the market are the Intellijel µScale II, and the The QuantiZer also includes a
Doepfer A-156 Dual Quantizer. The Intellijel degree of future proofing, as it has a
µScale, now in its second incarnation, is a
very capable module but I personally find USB socket around the back which will
the interface small and a little bit confusing, allow the user to update the firmware,
whereas the Doepfer is a basic, but solid as further releases become available.
unit, which might be all that you need. The
Doepfer does lack the scale-entry element In use, the QuantiZer just seems
via keyboard, which the Intellijel does offer. to work, with all the lights of the scale
If you’re handy with a soldering iron, the
flashing as you would expect, but
Sonic Potions Penrose is a basic kit affair,
offering a keyboard and four I/O points. I’m there is also an Octave display, which
tempted by this, as it’s got all the functionality is particularly useful for seeing exactly
you might need, but if you fancy something
multi-functional, the Expert Sleepers Disting which range you are in; very handy
mk3 offers quantising, and far more – with considering today’s glut of frequency-
the newly announced Mk4 version offering a sweepable oscillators.
helpful display, so you can see exactly which
scale you’re selecting. Like any good product, the
QuantiZer just sits there and reliably
does its stuff. The lag time is non-
of the real attractions of having a laid- existent (according to Tiptop, less than
out musical keyboard on a quantiser. half a millisecond) and pitch centring
QuantiZer has some great tricks up felt tight across all five octaves. I have
its sleeve. Mode and setup are handled to say that in operation, the Octave
in two ways; the ‘keyboard’ section lighting is a really useful feature, as is
offers the ability to control the basic the ability to set the range on the fly.
functions, such as the Transpose option
and Input Range control. The former is Conclusion
excellent for immediately shifting your It has to be said, when it comes to
incoming CV to any pitch and the quantisers, this one is the best I’ve used
QuantiZer reacts to this beautifully. to date. It’s nice and accurate across

If you need a quantiser –

frankly, who doesn’t? – this
should be high on your agenda
There is also CV control of this element, the range and has a flexibility and
and with a Pressure Points patched in, simplicity of use that I’ve always
I was able to drive the transposition yearned for in a quantiser. For me,
from a touch plate, although it’s pretty access to a western-style keyboard
easy to just hit a note on the QuantiZer layout is essential, as I love changing
keyboard to get the same result. things while in full swing, but if you’re
Meanwhile, the second section, named not overly confident with musical
Slider, offers very similar elements of theory, the presets and user storage
functionality, but with data entry from locations will serve you well. Elsewhere,
the aforementioned Slider. immediacy runs through the QuantiZer,
Top: Patched in
The Notes mode could almost be which is to be applauded, as it’s always with clock control, MT Verdict
considered a ribbon controller or good to see exactly what’s going on. If the immediacy of
the keyboard is + Excellent, fully
theremin mode, as it’s possible to you need a quantiser in your rig – featured quantiser
very enticing
literally ‘play’ the slider. One much more frankly, who doesn’t? – this should be + Sensibly sized front panel
usable element here is the ability to high on your agenda to try out. MT Above: Easy to see, + Onboard keyboard
easy to use. The + Transpose function
dial in the amount of ‘portamento’ you bigger fascia makes
Do I reallly need this? + Easy data entry
may need. this more usable
Everyone really could use a quantiser! It’s one than some of its + Firmware updates possible
Not surprisingly, there is a strong of those utilitarian modules that’s incredibly + Clear design and layout
smaller cousins
hook-up with another Tiptop stalwart, useful, even more so if you’re using linear
the Circadian Rhythms, which offers a sequencers in your Eurorack. That aside, they - It’s a bit pricey
can also be useful for stepping CVs – so if you
connection via Sync bus, for complete have a penchant for sending CVs to tune the Tiptop has produced a really great
autonomy – but it will also play nicely resonance on your filter, this could also be very
useful. Whether you want to go for the Tiptop
product here that does what it is
with other Tiptop products, such as the QuantiZer is the next question, because there supposed to do with a minimum of
Z8000 Matrix Sequencer. If your is no doubt that it’s at the upper end of the fuss, and can do a lot more than
sequencing duties aren’t handled by price scale. But then it’s about the best that just the basics.
either of these products, the Clock input
and Reset input will allow things to sync
I’ve come across to date, and as we all know,
you generally get what you pay for… 9/10
MAGAZINE April 2017 | 101

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 MT Reviews Oeksound Soothe

Excellence

10/10

OEKSOUND
Soothe
After several years of R&D, Oeksound has developed
a new way of managing unwanted frequencies.
Bill Francis finds out if the hard work has paid off…

O
Details ften, when browsing a plug-in control them to your liking. The perform these narrow, surgical cuts in a
Manufacturer manufacturer’s website, difference here is that instead of way that works across the whole vocal
Oeksound you’re presented with a working with only four or maybe five performance. Performing these kinds of
Price €149
cornucopia of DSP delights, bands, as a multiband compressor tweaks in conjunction with a multiband
Contact contact@
oeksound.com showcased via colourful graphics and would, Soothe will analyse the signal compressor will often get you good
Web exciting, EDM-soundtracked demo in real time and choose the exact results, but this process can be
www.oeksound.com videos. Well, not in the case of
Minimum system
Oeksound. Its minimalist, understated

Soothe controls an almost

requirements Mac
OSX 10.7 website exists only to offer a single
32-/64-bit VST and AU plug-in, which it claims has taken

unlimited number of tiny

or 64-bit AAX host
Windows 7 several years of R&D to develop.
32-/64-bit VST So, is it a de-esser? Is it a multiband
or 64-bit AAX host compressor? Is it a dynamic EQ? Well,
it’s all of those and a little bit more…
frequency bands at any time
sort of. Semantics aside, if a company is
Key Features only offering one product, you’d better frequencies to target by itself, based Alternatives
● Analyses audio hope it’s a good one. on the input and the sensitivity you set If you need to ‘soothe’ your vocal track or
in real time for different frequency areas. This maybe a particularly harsh electric-guitar
● Removes recording, there are a few options available
unwanted
Soothe operator translates to an almost unlimited that offer surgical, dynamic control over
frequency spikes Soothe is described by Oeksound as a number of tiny frequency bands being particular frequency areas. FabFilter’s Pro-MB
● Simple, clear ‘dynamic resonance suppressor’ and is controlled by the plug-in at any given (£149) has been a favourite of ours for a while
interface now, as it offers multiband dynamic
essentially a tool for reducing unwanted time, and a more intricate form of processing with a simple, intuitive interface.
● VST and AAX
formats frequencies in your material. Similar dynamic equalisation. Also worth a look is the bx_dynEQ V2 by
Brainworx ($299), which combines dynamic
● A unique kind to a multiband compressor or dynamic If you’ve ever had to use an EQ to
equalisation, compression and a large
of spectral EQ, this plug-in allows you to target make small notches in a vocal track, for selection of filter types to choose from.
processor
particular ranges of frequencies and example, you’ll know how difficult it is to

102 | April 2017 MAGAZINE

Music
MT169.REV Oeksound Soothe.indd 102 01/03/2017 09:58
 Oeksound Soothe Reviews MT

time-consuming and fiddly. This is eliminating harshness. Even when used music, a copy of Soothe will quickly pay
where Soothe shines, as it will subtly on the master bus of a mix, we for itself as you’ll be able to do away
automatically spot any frequencies that were impressed by the improvements. with complicated, time-consuming
are poking out and gently – or not so The plug-in was originally designed frequency notching and inaccurate
gently, if you wish – pull them down, as a vocal processor, so the area of multiband dynamics processing.
removing the need for manual notching. mid and high-mid control is where you’d Currently, there is nothing else
expect it to perform best. However, available on the market that offers this
Soothe grooves even the low mids of recordings were level of detail and control – and after
In use, we found Soothe to be nothing neatened up nicely when selected, using Soothe for a couple of weeks, we
short of outstanding at removing with muddiness swiftly being shown wondered how we managed without
it for so long. MT

After using Soothe for a MT Verdict

couple of weeks, we wondered + Unique technology

+ Excellent level of control

how we managed without it

+ Time saving
+ Sounds fantastic
+ Simple to use

unpleasant spikes and resonances the door. If pushed too hard, Soothe will - Mixing a track without it will now
be tough
from vocals, guitars, pianos, drums… suck the life out of your recordings as it
and really anything we could throw at it. will aggressively flatten everything out Soothe works like no other plug-in
Instruments sounded cleaner and when cranked to 11, but used carefully, we’ve seen and truly brings
clearer in the midrange, with enhanced we had difficulty finding a sound that something new to the table in
high-end clarity. Drum tracks with the plug-in couldn’t improve. terms of multiband dynamics and
resonance control. It’s a real
overly loud and ringy cymbal crashes game-changer.
Smoother sound, all round
were tamed especially well by the
plug-in, in a way that kept the high In short, you need this plug-in, like, now. 10/10
frequencies bright and sparkly while If you’re making money from your

DISCOVER MORE
rslawards.com/music-production

MusicTehAdvert210x146-220217-AW-3mmbleed.indd 2 22/02/2017 17:41

MT169.REV Oeksound Soothe.indd 103 01/03/2017 09:58
 MT Reviews sE Electronics V3 & V7

Choice

9/10
9
9/10

SE ELECTRONICS
V3 & V7
sE unveils two new microphones – the company’s first
foray into dynamics. Mike Hillier hits the stage…

I
Details t’s taken sE a long time to build a The first thing we noticed was the two be used as a fun technique if properly
Manufacturer dynamic microphone: perhaps mics have a subtly different character, learnt and used carefully.
sE Electronics
knowing that unless they could as well as having differing pickup For most vocalists, our preference
Price V3 £60, V7 £85
compete with the Shure SM series patterns, with the cardioid V3 having a was the V3. The proximity effect was
Contact
Focusrite on quality and price, there wasn’t much much more pronounced presence, less pronounced with this microphone
01494 462246 point. So when we received not one but which was absolutely perfect for our than the V7 and the extra presence
www.focusrite.com two new dynamic microphones from female soul singer, but required a little helped to hype the vocal in a musical
Web www.
the company, we knew there had to EQ adjustment for most of the MCs, manner. However, we didn’t have any
seelectronics.com
something exciting going on. to pull out a slight nasal quality. The other backline instruments causing
Visually, the two microphones have a super-cardioid V7 sounded much bleed issues, which may have
similar aesthetic, with a grille more smoother through the upper mids, with benefitted from the additional isolation
similar to the Beta 58A than the SM58.
Both microphones have a solid-feeling

Key Features
metal body with a black finish. The V3
has a black grille with red foam
The two mics have a subtly
V3
● Cardioid
windshield underneath, while the V7
has a silver grille with the same red
different character, as well
as differing pickup patterns
dynamic capsule
windshield. Other than the grilles, the
● Integrated
shockmount two mics can be differentiated by
● Integrated looking at the sE logo, which is black
windshield
text on a white background on the V3 little-to-no presence peak, and a more provided by the super-cardioid pickup
● Mic clip,
thread adaptor, and white text on a red background on neutral, natural sound. pattern in the V7.
windshield and the V7. Both also print the model Feedback wasn’t an issue with
pouch included number in white at the base of the body. either microphone. Even when the grille Outside the comfort zone
V7
was inevitably cupped by the grip of an Both are labelled as ‘vocal microphones’
● Super-cardioid
dynamic capsule Check one-two MC not yet schooled in proper mic on the box, but anyone with any
● Integrated For our first test, we decided to throw technique, neither mic went into experience in recording will know this is
shockmount the mics in at the deep end at a live feedback. However, it should be noted just part of the picture. The SM57 and
● Integrated
windshield
open-mic night, aimed squarely at that while they didn’t feed back, both 58 are commonly seen on snares, toms,
● Mic clip, hip-hop and electronic-music mics sounded decidedly lo-fi in this guitar cabinets, brass, and almost
thread adaptor, producers. Vocalists on the night position, as both high-end and low-end everything else at one time or another.
windshield and
included a soul singer with an were filtered off by the grip – something So, to truly compete, the sE mics need
pouch included
extraordinary range and several MCs. that we’d usually discourage, but could to sound good on more than just vocals.

104 | April 2017 MAGAZINE

MT169.REV sE V3 & V7.indd 104 01/03/2017 10:00 Focal T

 sE Electronics V3 & V7 Reviews MT

Alternatives in the 800Hz range that none of the boot. The V7 is more refined, and will
The V3 and V7 are up against a lot of other others could compete with. Through the suit certain vocalists more than others,
mics vying to replace the Shure SM58 as the upper range of the guitar, the V3 and but if you record acoustic drums often,
go-to vocal microphone. If you have the SM57 both sounded a little pinched, you owe it to yourself to at least give it a
opportunity, we really recommend trying out
a few before you buy one, especially if it’s for with the V3 in particular pushing the try on snare. It’s not perfect for every
your own vocal – as it’s impossible to know fizzy high end forward in the recording, occasion, but it does have a sound all
which will work best until you do.
which we’d want to roll off in the mix. its own. MT
On snare, the huge bottom end of
We started testing on a guitar cab in the V7 conjured a snare sound that
the studio, comparing the V3 and V7 to could punch through walls. It didn’t MT Verdict
our studio Shure SM57 and Heil PR20. have quite the crack of the SM57 or V3, V3
In the low end, the V3 was remarkably but for big heavy snares, this mic is a + Stylish looks
similar to the SM57 with little need for must have. The V3, by comparison, had + Not prone to feedback
+ Hyped presence
V7

For live vocals, the V3 will

+ Stylish looks
+ Smooth and refined
upper midrange

make a great alternative to the + Super-cardioid pickup pattern

SM58. The V7 is more refined

V3
- Not as smooth in upper midrange
V7
- Heavy proximity effect
much high-pass filtering, while both the a more classic modern-snare tonality Don’t be fooled by the inexpensive
V7 and PR20 enhanced the bottom end to it, similar to the SM57, but with a price tags, these are serious vocal
in different ways (the V7 sounding a little more body and a fatter thwack. mics, well worth auditioning.
little boomy, especially on big open
chords). With some high-pass filtering
For live vocals, the V3 is going to
make a great alternative to the Shure
V3 9/10
the V7 sounds solid and the midrange
captures an aggressive bite, particularly
SM58. Not only does the presence give
it an extra shine, but it looks great to
V7 8/10

The New Trio6 Be from Focal

The Trio6 Be can be used in portrait or landscape
orientation with tweeters inside or outside, as you
prefer. Simply loosen the four screws on the circular
facia plate, and rotate it to suit the placement
orientation.
The Trio6 Be sets a new price/performance high
watermark, giving extreme neutrality and precise
stereo imaging, whilst its Class G amplifiers deliver
SPL levels to suit all ears.

NOW IN CLASSIC RED FINISH

Portrait or Landscape
Always the perfect orientation.
Also in the SM6 range...
Solo6 Be and Twin6 Be.  www.scvdistribution.co.uk
Distributed by SCV Distribution: Call 03301 222500 for your nearest dealer

MT169.REV
Focal Trio6 BesEalV3Bokeh
& V7.indd
Music 105
Tech 14-12-16.indd 1 01/03/201711:46
14/12/2016 10:00
 MT Reviews Lewitt LCT 640 TS

Choice

9/10
9
9/10

LEWITT
LCT 640 TS
Have you ever wanted to alter the polar pattern
of a microphone after you’ve finished recording?
Lewitt’s LCT 640 TS lets you do just that.
Mike Hillier sets out on his polar expedition…

F
Details inding the right polar pattern The phase relationships between the This way or that?
Manufacturer Lewitt for any particular recording two signals then produces the other Most multi-pattern microphones
Price £879 technique is an important part patterns. The LCT 640 TS uses two enable you to switch the pattern either
Contact
of the craft, and a good engineer cardioid diaphragms, creating an omni on the microphone itself, or on the
www.lewitt-audio.
com will know the advantages and pattern by running both diaphragms power supply. This alters the balance
Minimum system disadvantages of each. Whether it’s at the same level, and figure-of-eight between the two pickups internally, and
requirements
using the right pattern because the by flipping the polarity of the rear produces a single signal on the XLR
PC AAX or VST host
Mac AU, AAX or stereo technique demands it – such diaphragm. Simple cardioid is created output. In Multi-Pattern mode, the
VST host as using figure-of-eight and cardioid

What if you could change

with mid/side techniques – or simply
switching patterns to reduce bleed,

polar pattern after the band has

the right choice can make or break a
recording. So what if you could change
Key Features

gone home? Or even in the mix?

● Multi-pattern
your mind after the band has gone
large diaphragm home? Or even in the mix? Lewitt’s
condenser new LCT 640 TS microphone features
microphone
a unique Dual Output mode, which
● Four-position
high-pass filter enables you to do exactly that. by using only the front diaphragm – Lewitt LCT 640 TS also does exactly this,
● Four-position Polar patterns on multi-pattern slowly blending in the rear diaphragm, behaving like its sibling the LCT 640
pad microphones are created by combining in phase, widens the cardioid pattern, would, enabling you to select from one
● Dual Output
mode the output of two diaphragms: often while blending the rear diaphragm of five polar patterns using switches on
● Polarizer plug-in either an omni-directional and a in with the polarity inverted narrows the body. However, in Dual-Output mode
figure-of-eight, or two cardioid pickups. the pattern. the microphone uses a second output

106 | April 2017 MAGAZINE

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 Lewitt LCT 640 TS Reviews MT

on the side of the body to enable you to bottom end started to take shape. Alternatives
record the front and rear diaphragms to However, at 160Hz the filter switches to The only other microphone we’ve seen which
separate channels. a lighter 6dB/oct, which means you includes the option of altering the polar
The second output is accessible should be losing just as much 40Hz as pattern in post-production is the Sennheiser
MKH800 TWIN. At £3,276 though, the
via a small port on the side of the at the 80Hz setting, when set to 160Hz, Sennheiser is in a very different price bracket
microphone body, covered when not but you’re also pushing out a little more to the Lewitt LCT 640 TS.
in use by a small rubber patch, which above this. For our vocalist, this setting
ensures that it’s kept clean and safe pulled a little of the life out of the AAX and VST, it is possible that at some
when not in use. A one-foot adaptor bottom end, but was much smoother at point in the future, you’ll want to use
cable is supplied, which enables use controlling the proximity effect, and the LCT 640 TS without access to the
of this port with standard XLR cables. was our final preference. Polarizer plug-in.
Also included with the LCT 640 TS are On acoustic guitar with the mic set While this would be a shame, it
a custom shockmount, with an to Figure-8, the LCT 640 TS sounded would not create an artificial end-of-life
accompanying pop shield – which sits sweet and clear. The strings rang for the microphone. It is actually
on the shockmount itself, held in place cleanly and the figure-of-eight pattern possible to achieve all the various
by weak magnets – a selection of spare blocked any breathing noise from the patterns simply by altering the level and
rubber patches, a windshield, a leather guitarist. For this performance, we polarity of each diaphragm relative to
pouch and a sturdy flight case to hold used the filter set to 80Hz, which was the other.
everything in. perfectly suited to pulling out any So, in order to create a broad
rumble without any noticeable effect cardioid pattern, for instance, the rear
Pattern emerging to the tonality of the guitar. diaphragm should be 10dB lower than
We began testing the Lewitt LCT 640 TS the front diaphragm and in the same
using the standard Multi-Pattern mode. Fix it in post polarity. Flipping the polarity would
In this mode, the microphone behaves To switch the microphone into create a super-cardioid pattern. A data
exactly as you’d expect a multi-pattern Dual-Output mode, we had to add a sheet supplied with the microphone
microphone to behave, with switches on second XLR cable to a second mic provides all of these details.
By enabling you to record both

For recording experiments,

diaphragms, the LCT 640 TS provides
something different to most multi-

this mic will make an excellent

pattern microphones. Of course, it
remains to be seen how often engineers

addition to your arsenal

would ever want to alter the polar
pattern in post-production, rather than
simply knowing in advance which
pattern is likely to work best.
the front to move between Omni, Broad preamp. We used a second CAPI VP28, However, if you enjoy experimenting
Cardioid, Cardioid, Super Cardioid and as this gave us switched gain stages with recordings, this microphone would
Figure-8 patterns. Additionally, you can to ensure both the front and rear be an excellent addition to your arsenal.
engage a low-cut filter at 40, 80 or diaphragms were getting the same gain Furthermore, if you are looking to invest
160Hz and a pad at -6, -12, or -18dB. and colouration from the preamp. Both in your first multi-pattern condenser,
For our initial tests, we recorded a male diaphragms needed to have phantom this can always be used as a standard
vocal in our booth with the microphone power applied and then we were able to condenser as well as in Dual-Output
in the Cardioid pattern, with both the engage Dual-Output mode by pressing mode, and is a great-sounding
pad and filter disengaged. The LCT 640 and holding the centre button on the microphone. A pair would provide a
TS has a clear, uncoloured sound, with a mic for two seconds. wealth of stereo options. MT
slight lift into the upper frequency We recorded the two channels to a
range, centred around 10kHz. stereo channel in Pro Tools, and added
Comparing it with an AKG C414 XLS an instance of the Polarizer plug-in. MT Verdict
setup with similar settings, the LCT 640 This plug-in enables us to then select + Multi-pattern condenser
TS has a more flattering quality to it. which pickup pattern we want to use + Change the polar pattern
The lows are bigger, and the upper with the signal, comparing the effect of in post-production
midrange smoother and more pleasant, each pattern to select our favourite. + Full set of accessories
with a touch more air around the vocal. The manual also suggests that if - Dual-Output mode requires
However, this seemed to be at the you position the microphone at 90 second mic preamp
expense of a little midrange warmth, degrees to the source, you can produce
and the proximity effect made using the a M/S-style stereo recording with just An interesting new option for the
mic cabinet.
mic with the filter bypassed a little the one mic.
boomy. At 40 and 80Hz, the high-pass
filter is 12dB/oct and, set to 80Hz, our
As technology progresses, and new
plug-in formats emerge to replace AU,
9/10
MAGAZINE April 2017 | 107

MT169.REV Lewitt LCT.indd 107 01/03/2017 09:31

 FIRST WITH REVIEWS
FIRST WITH NEWS
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 Mini Reviews MT

Techno Ethera
Masterclass Soul Edition Key Features
● Soul and gospel

with Umek
vocal Kontakt
Features instrument
● Techno Publisher Zero-G ● 1.2GB of 24-bit,
production tutorial 48kHz audio
Price £76.95
Publisher Faderpro ● 5.5 hours, ● Phrases and
stream online (requires Kontakt 5.6 or higher) songs, plus full Oh &
Price $59 ● 11 Chapters on Contact Time+Space 01837 55200 Uh choir
programming, ● Phrase builder
Contact via website arrangement, Web www.timespace.com and Legato Expert

W
mixing & mastering mode
Web www.faderpro.com
● Written and here the main ● Built-in FX rack

T
presented by Umek
his in-depth course from version of Zero-G’s
Faderpro sees Slovenian Ethera focuses of soulful, solo phrases with
techno master Umek build Although the video resolution is on more classical- pitch- and time-stretching options
a ravey techno track from excellent and very high, our sounding, cinematic female and a useful waveform view that
scratch using Logic and a range of internet occasionally struggled vocals, this version offers up more lets you set the start point. Other
other plug-ins like Sylenth, and dropped in quality. The pace soul- and gospel-influenced features include a well-stacked
Massive, Ozone, NI, Waves and may be too slow for some, but we phrases and songs, also sung by FX rack, and an innovative phrase
more. Over five hours, Umek walks found this an enjoyable tutorial acclaimed vocalist Clara Sorace. builder that allows you to set
us through initial sample selection, interlaced with plenty of useful The 1.2GB Kontakt instrument is different samples for each step. MT
building up drum and percussion comments and tips. MT made up of a lush, full-sounding
parts, creating synth lines, choir instrument, and a Sustain MT Verdict
arranging the track, adding FX and MT Verdict section that lets you play ‘Oh’ and
Excellent soul phrases and
automation, buss processing and ‘Ah’ choir sounds. There’s also a more classical-sounding
An enjoyable and thorough
finally preparing the track for look at how to write techno, Legato Expert page that gives choirs plus an effective GUI
mastering. Some knowledge of with plenty of useful tips from in-depth controls to help the makes this especially good for
Logic is assumed and the tutorial an industry veteran. performance sound more realistic. house and disco producers.
focuses more on the how and why,
rather than on technical specifics.
8/10 The main part of the library,
however, is a patch with 12 banks
8/10

They Call String

It Acid Rhapsody
Publisher UNDRGRND Sounds Publisher Loopmasters
Price £34.95 Price £24.95
Features
Contact info@undrgrndsounds.com ● Acid synths, FX, Contact info@loopmasters.com
Web www.undrgrndsounds.com vocals, drums & Web www.loopmasters.com Key Features
percussion loops

I S
● 10 live
● Includes classic
string quartet
t’s time to go back to one of sounds of the tring Rhapsody is a new
Construction Kits
dance music’s most enduring TB-303, TR-707, pack from Loopmasters
TR-909 ● 396MB-worth of
genres, acid house, with this ● 686 loops in
that aims to capture the 24-bit audio
200 full mix
pack from relatively new
Choice WAV, Apple Loops
& REX2 formats
beautifully refined
and separate

9/10
9
9/10
sample company UNDRGRND sound of a string quartet, with 10 instrument loops
● 5 kits for Ableton,
Sounds. This sizeable collection Battery 4, Maschine
Construction Kits ranging from ● 90 to 144BPM
weighs in at just over 1GB-worth 2 and Kong two to eight bars long, including a ● Legato, staccato
of 24-bit audio, and is available ● 125BPM full mix, plus individual cello, viola, and pizzicato styles

in your choice of WAV, Apple violin 1 and violin 2 stems.

Loops or REX2 formats. You’ll find produced and processed, Although short, each kit is expertly Construction Kits, these riffs
thick, squelchy basslines, resonant with good use of effects to add written, performed and captured, would be great song starters, and
arps, plenty of squealing 303 loops, a sense of space but not with interweaving harmonies, and could be used to add an orchestral
some nice synth lines with a overwhelm the sounds. MT minute details such as the fingers touch to your productions. MT
throwback vibe, time-stretched and on the fretboard and the bows on
effected vocals, trippy FX, and MT Verdict the strings helping to give a live MT Verdict
plenty of beefy tech-house and organic feel. Alongside the main
A massive, well-made pack of A small, but well-presented
techno-influenced drum, dripping acid riffs and beats loops, there are more stripped- and beautiful-sounding
percussion and top loops. There’s that covers retro warehouse back legato, staccato and collection of refined string
also a fairly extensive collection of rave, and more modern- pizzicato versions, which opens up riffs, with a homogenous
fat drum one-shots, with five sounding acid-tech styles. the arrangement possibilities. quartet sound.
accompanying sample kits.
Everything here has been expertly
9/10 Although it’s arguably a little
expensive for only 10 short
8/10
MAGAZINE April 2017 | 109

MT169.REV minisAH.indd 109 24/02/2017 11:40

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 Six of the best Buyer’s Guide MT

Six of the best

Hardware Software Mobile Technology Samples
Details
Price £245–£260
Contact
07867 008964
Web
Welcome to the MusicTech Buyer’s Guide, where we round www.ajhsynth.com

up some of the best products recently reviewed in MusicTech.

After last month’s look at modular synths, it makes sense to BEST Ring mod
look at modular/Eurorack effects. Well, it made sense to us…

BEST Delay combo AJH Synth

Erica Synths Fusion Ring SM
E
rica Synths makes some of
the best – and best-looking
– modules around and this is
no exception. It’s a delay, a
flanger and stereo ensemble all in one.
As Dave Gale said:“All of the monikers
associated with the module, namely
Delay, Flanger and Vintage Ensemble,
are all there to hear, and colourful and
wonderful they are, too. If you’re into
sound design and like working with
vintage noises, this is a must-hear bit of
kit. It’s up there with the best of the
Details analogue and modelling devices, which
Price is rather befitting, given its analogue
£450 credentials and looks. In aesthetics and
Contact
info@ericasynths.lv
sound, this is a great module, but will
Web appeal more to synthesists looking for
www.ericasynths.lv that true analogue sound, which is
surely the whole point…”

BEST Multi effects

Expert Sleepers
Disting mk3
I A
t would be easier to say what this llan Hall announced this at
multi-function module doesn’t Superbooth last year and it
do than try and list what it does. certainly impressed reviewer
With 20 functions, Dave Gale was Dave Gale. “This is packed full
enthusiastic, to say the least. “This unit of features. There is no doubt that as a
is a no-brainer. With promised firmware ring modulator, the Ring SM is in the
updates to follow, which mean even big players’ league – and when you
more functionality, this is a huge boon add the tonal depths of the subs, the
to any small- to medium-sized Details big foundation of sound is laid out for
Eurorack system: so much so, you might Price £125 all to hear, and it will be glorious. With
Contact
even find a place for more than one of Expert Sleepers
the added functionality, it’s easily one of
them! It’s difficult to imagine who Web the best multi-function units I’ve come
couldn’t use one of these… It’s such www.expert- across. Not a jack of all trades, a master
sleepers.com
a useful bit of kit.” of all. Beautiful, and a class act…”

MAGAZINE April 2017 | 111

MT169.6OTB.indd 111 24/02/2017 11:13

 MT Buyer’s Guide Six of the best

BEST Rez

Mutable
Instruments Rings
F
rench company Mutable of effort to learn to get the best from it, but
Instruments has a number of when you do put in that time, the results
Details great modules available and this can be quite stunning. Along with much of
Price £249
is the company’s Resonator, an the Mutable Instruments line, Rings can
Contact unusual module that wowed Eurorack bring a hint of the acoustic to an electronic
Mutable Instruments expert Dave Gale: “If – like many of us world, and that can be quite magical.
Web Eurorack folk – you like to tinker and find “This is a pretty unique module that will
mutable-
instruments.net new and interesting sounds, this is offer pure sonic highlights with a little
something to explore. It requires a degree investment of time…”

“Along with much of the Mutable Instruments

line, Rings can bring a hint of the acoustic to an
electronic world, and that can be quite magical”
Details
BEST For chords Price £349
Contact
Qu-Bit Electronix

Qu-Bit
Web
www.qubitelectronix.
com

Electronix Chord
Q
u-Bit has produced a Eurorack system, and the sound quality
rather nifty module with the is sublime. The module pretty much
purpose of playing chords sells itself on the basis of its sound
and plenty of them – which quality alone, but with the addition of
is unusual in modular synthesis, given all this chordal goodness, it’s difficult
the need for polyphony. “This is a pretty not to feel immediately inspired.” He
unique module,” said Dave Gale back in concluded: “This is a fun but useful
MT165. “Straight out of the box, you get module, which could ultimately
oodles of harmonies that’d ordinarily make a real difference to the way
take ages to recreate on a normal you use your Eurorack modular.”

BEST DIY Details

Price £245 per module

Roland AIRA
(street price)
Contact
01792 702701
Web
www.roland.co.uk

T
here’s no denying that Roland recently to engage with the Eurorack
is trying pretty much everything world. Creating effects units that can be
to get back onto the top of the integrated within a Eurorack is certainly
technology pile. This includes all a brave route to take. The Scooper and
manner of synths and these – digital Demora have something to offer,
Eurorack effects that can be configured especially when you can have both in
any way you like. Dave Gale said: one module. A very welcome entry that
“Roland has made great strides should be hugely applauded.” MT

112 April 2017 MAGAZINE

MT169.6OTB.indd 112 24/02/2017 11:13

 ON SALE NOW!
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AVAIL ABLE FR

AND SELECTED
RECORD
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 THE COMPLETE GUIDE TO
MASTERING

30 pages of advice for mastering your music

Step-by-step workshops for every major DAW
20 tips to give your music a professional edge
Compiled by the experts from MusicTech
MT169.SUPP.cover.2aj.indd 1 01/03/2017 10:22
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 Welcome MT

www.musictech.net
Anthem Publishing Ltd
Suite 6 Piccadilly House
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Tel +44 (0)1225 489984

Senior Editor Andy Jones

andy.jones@anthem-publishing.com
Art Editor Debra Barber
debra.barber@anthem-publishing.com
Production Editor Owen Bailey
Digital Editor Andy Price
andy.price@anthem-publishing.com

MT Mastering Guide Contents…

04 | Mastering: The Guide

An overview of mastering and how
to make your music sound ‘pro’
… to the MusicTech Complete
12 | Mastering In Logic Pro X Guide To Mastering. The mastering
Get to grips with Logic’s advanced process is the final act of music
mastering tools and improved EQ production and one designed to
16 | Mastering Tracks In Live add a pro sheen to your sound. It
Using Ableton’s DAW for mastering, used to be that it was something of
with focus on depth and enrichment a dark art, but today’s technology
makes the mastering process a lot
19 | 20 Mastering Tips
easier to understand. In this free
Pro tips for making the most of your
mini magazine, we’ve gathered a
mixes at the final mastering stage
selection of features together that
23 | Mastering In Cubase will help you make your music sound professional, whatever DAW you use. There’s a
Compression, EQ and other tricks complete overview of the mastering process (on p4), plus step-by-step workshops
for successful Cubase mastering (starting on p12) for all the major sequencers that will guide you through various
26 | Mastering In Pro Tools mastering processes. Even if you don’t use the DAWs covered, by all means give the
Master mastering in Pro Tools with workshops a read, as much of what they cover will be relevant. With a selection of
this guide, focusing on a specific mix general mastering tips on p19, there should be enough to get your mastering skills
up to speed, whatever music you make. As always, let us know how you get on and
29 | Mastering In Reason
enjoy this free guide!
A guide to balance, volume, and EQ
in your mastering using Reason
Andy Jones Senior Editor, MusicTech & MusicTech.net
Email: andy.jones@anthem-publishing.com

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MAGAZINE The Complete Guide To Mastering |3

MT169.SUPP.welcome.indd 3 01/03/2017 14:57

 MT Feature Mastering: The Guide

Mastering:
MT Feature Mastering

The Guide Mastering is your final chance to make your song shine and sit
comfortably alongside the other tracks on an EP or album.
Mike Hillier explains everything you need to know…
4 | The Complete Guide To Mastering MAGAZINE

MT149.SUPP.Feature Mastering.3aj.indd 4 24/02/2017 14:53

 Mastering: The Guide Feature MT

M
ixing and mastering require two very through, you can quickly grab a saturation tool, a
different mindsets. In the mix, your parallel compressor, a delay or even an EQ. Any of
focus should be jumping constantly these different tools could be the right one to help the
from the minutiae to the big picture vocal punch through.
and back again. Does the attack on the However, in mastering, your focus is almost always
kick-drum compressor let enough through? Is the on the big picture; you should be thinking not only
release letting go before the next hit? Does this extra about this one song, but how this song sits next to
compression on the kick mean it is now masking the other songs, both on the album it is being released on,
bass guitar? You have hundreds, perhaps thousands and also others by artists in a similar genre. Your tools
of parameters at your control, each capable of are broader in spectrum. Any compressor you add
making tiny changes that could cascade down to will be applied to the whole mix; there are ways of
fundamentally change the whole mix. However, if you narrowing the focus, mid-side or multiband
want to make a change to any one channel, you can techniques; but should you want the vocal to punch
jump quickly into the mix and alter that one sound. through, the tools you have are likely to impact on
If the vocal needs something more to help it punch considerably more of the mix than were you to make a
similar change in the mix. For this reason, it can be
Quiztones very difficult to master your own mixes. If you think the
● Another excellent tool for improving your critical vocal needs to punch through more, that decision
listening is Quiztones from Audiofile Engineering. should have been made in the mix. Any attempt to
This application lets you test your ability to hear
decide what in your own mix needs to change begs the
frequencies (both using sine waves, or EQ applied to
music) and gain differences. Quiztones is available for question, ‘was the mix really finished?’ Getting another
Mac, iOS and Android: http://quiztones.com. perspective on your mix is the one reason we
recommend you find an accomplished mastering

MAGAZINE The Complete Guide To Mastering |5

MT149.SUPP.Feature Mastering.3aj.indd 5 24/02/2017 14:53

 MT Feature Mastering: The Guide

MT Walkthrough A beginner’s guide to critical listening

In the EQ, engage the low-pass filter, and set it to play back only
02 the sub-region.

Load your reference track Copy the EQ and its

01 into a new channel in the
03 settings onto the track you
mix, then add an instance of a want to master, and switch back
clean EQ, such as FabFilter and forth using the X-OR Solo
Pro-Q 2. mode, listening to the impact of
the sub-frequencies in your
track compared to the reference.

Move the filter in both channels up, to allow more of the bass end,
04 and add a high-pass filter to remove the sub-frequencies. Again,
compare the two tracks.

Continue moving the two filters up in tandem, or use a wide Finally, remove the low-pass filter and leave only the high-pass
05 band-pass filter, to compare each of the important sections in
06 filter to listen to the high-end only. This is the hardest bit to get
each mix. right, as you may struggle to hear some of these frequencies entirely.

6 | The Complete Guide To Mastering MAGAZINE

MT149.SUPP.Feature Mastering.3aj.indd 6 24/02/2017 14:53

 Mastering: The Guide Feature MT

Mastering reverb album or EP your are mastering, if that is applicable,

● Reverb is not a process that is used often in but also to other songs in the genre. Compared to
mastering, and while many all-in-one mastering these songs, how does the frequency content in this
applications will include a reverb, it should be one compare? How wide does this song sound
reserved for the rare occasions when you are fixing compared to the others? Does the vocal sit above the
a bad mix, or trying to match two disparate mixes
instrumental bed by a similar amount? How loud does
recorded in different locations.
this mix sound compared to the others?
Once you have answers to all of these questions,
engineer whose work you enjoy, to build a relationship you are ready to start processing the song. With this in
with. Alternatively, why not find a friend to share mind, you may find that 90 per cent of your masters
mastering duties with? You can master their mixes, still end up using the same chain. You may even find
while they master yours. If you hope to one day that you use the same settings within this chain a lot
become a seasoned pro at mastering, this is a great of the time, but you will be doing it for the right
way to get your first few masters under your belt. reasons; and you will also know, most importantly,
when not to use these tools, and when to break out
Listen, listen, listen some other tools that you may use infrequently. What
When you receive a new song to master, it can be very will make you stand out from a machine, or a poor
tempting to simply revert to a sort of ‘mastering by mastering engineer, is your ability to critically analyse
numbers’ approach. Boosting the low-end and the top a track and bring only what is needed to improve on
in a basic ‘smile’ curve, adding width to the top-end, the mix.
and mono-ing the subs, adding your favourite stereo
compressor and colour tools and then bashing on a Plan your actions
mastering limiter at the end – maybe even a multiband In a previous issue, we looked at getting a mix ready for
limiter with a mastering preset in place. This primitive mastering, focusing on a mix of Anchor by HART. In this
approach to mastering has become all too common, article, we’re going to focus on the same track as we
and not only among inexperienced producers pass it through the mastering. The song was mixed by
mastering their own tracks, but also among a few Mario Leal, who did an excellent job, not only getting
seasoned pros who ought to know better. But the mix right, but focusing just enough attention on
mastering a track will require far more consideration the master buss to make the master a fairly easy job.
of the specifics of the individual mix than any presets Alongside the mix, Mario provided a couple of Coldplay
or even rough ‘go-to’ selections could possibly allow. tracks as references – Up In Flames, from Mylo Xyloto,
and Magic, from Ghost Stories. So we loaded copies of
these into our session alongside the final mix. It is a
The golden rule of mastering is to good rule to always open up a good line of
communication with the artist, the mixer, producer
‘do no harm’. The goal is to bring the and anyone else who might have a say in the finished
master at this stage, as this will help you to get an idea
most out of the mix, not change it of what they each feel needs to be brought out in the
master. It can also be helpful to provide some mix
feedback, especially if the mixer is inexperienced; this
The golden rule of mastering is to ‘do no harm’. The may even give you an opportunity to have the mixer
goal is to bring the most out of the mix, not to change correct any issues you might have spotted in the mix
it, nor to impose your own mark on it, simply because and send a new mix, preventing you from having to find
you can. You don’t need to push the mix through all of a way to “fix it in mastering” – a task (and phrase) that
your most expensive processors, as tempting as that should always be avoided, where possible.
can be. The best mastering engineers in the world With Anchor, our first thoughts are that a little more
know when to throw the kitchen sink at a mix, and excitement could be brought to the mix with the help
when to do nothing at all. of a little more top-end, especially if we’re to try to
So before you reach for even a single processor, match the tonality of the two reference tracks, while
take the time to listen to the mix several times. Listen the bass needs a little more energy – but not so much
closely and determine what needs to be done, then set as to become overbearing. In the low midrange, we
about doing that, and only that. Ask yourself what you want to bring some separation between the kick and
do and do not like about the mix. Is there anything in bass, while a little higher we need to try to bring power
the mix that pulls your attention out of the song?
A click, a sibilant vocal, or piercing cymbals for ISRC
example. Are any frequencies too present? Are any ● In addition to the audio, metadata can be stored in
frequencies lacking? Are these problems constant, or some file formats. The most important of these is the
things that occur only at certain moments? If they’re ISRC code. ISRC codes are the International Standard
constant, you should be thinking about which EQ to Recording Codes, used to uniquely identify songs,
use to change that, and if they’re only at certain similar to ISBN codes on books. Each code should be
moments, do you automate the EQ, or use a dynamic 12 characters long, and will help royalty collection
agencies to identify recordings in order to make
EQ, or a multiband compressor? Do all the elements of
payments. You can buy them and get more info from
the mix sit together well? Or could it use a little extra the PPL: www.ppluk.com/I-Make-Music/Why-Should-
glue from a compressor. Compare the mix to other I-Become-A-Member/What-is-an-ISRC.
similar songs, most importantly the other songs on the

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 MT Feature Mastering: The Guide

MT Walkthrough Comparing compressors

Duplicate the track onto

03 another channel, and copy
the pre-compression EQ, then
add the next compressor. If
you’re using outboard hardware
With the before the compressor, or DSP
01 pre-compression processing using a processor,
EQ already in place, such as a UAD, and running out
Set the parameters of the first compressor to provide the best-sounding
add the first 02 compression you can achieve for the track you are working on. Let the of processing, you can buss one
compressor you want track to multiple auxes with EQ
compressor guide you, and experiment with any built-in interesting features.
to try; here, we’re using on the original and compression
Pro-C, for instance, can model three different compression types.
the FabFilter Pro-C. on the aux channels.

Now add your next compressor. Don’t be tempted to listen back, or to try to replicate the first compressor
04 sound – let the new compressor guide your sound towards what that compressor is best at.

Repeat steps 3 and 4 for as

05 many compressors as you
want to try. Don’t go overboard
here, though, more than three or
four options will take quite a
while to set up, and you may
find it difficult to decide
between them.

Finally, level match each of

06 the newly compressed
channels, and using X-OR solo
mode, switch between each to
decide on your favourite. If you
have a friend close to hand, get
them to do the switching while
you keep your eyes closed, so as
not to bias yourself in favour of
any one unit.

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 Mastering: The Guide Feature MT

to the guitars and vocals. This frequency range can be In the next position, we add an instance of the UBK
particularly troublesome. Too much energy and you Clariphonic DSP. This is a parallel EQ, with two
risk the mix sounding muddy, too little and it will sound high-frequency shelves (and so can be used only to
thin. Getting everything just right, then, is the key to a add level, not as a subtractive EQ). The controls on the
great master. Clariphonic are a little esoteric, but in short, the Focus
Using an M/S matrix, we can listen to the sides (the engine adds midrange, while the Clarity engine adds
difference portion of the matrix), to hear only those high-end – with shelves as high as 37kHz. Again, we
parts of the mix that are panned out from the centre. want to place this before the first dynamics module;
The sides of Anchor are mostly reverbs and delays, this is to improve our signal-to-noise ratio when using
with an electric piano-type sound fairly prominently a compressor, and to compensate for any loss of
mixed wide. There is also a little guitar, some violin and high-end that the compressor may introduce.
BVs. So, any compression or EQ we add to the sides is The final EQ we’re going to add is the UAD Manley
going to affect only these elements. The primary bass Massive Passive Mastering Edition. This EQ has four
elements, the kick and bass are mono, although a parametric bands, in addition to high- and low-pass
small amount of both of these is feeding a stereo filters, and is to our ears one of the sweetest-sounding
reverb. However, there is still a fair amount of EQs we’ve worked with. It isn’t great at detailed
precision EQing, but it can transform a track with only
Daniel Pattison, aka HART a few boosts or cuts, and its control over the midrange
● We have chosen to look at Anchor by HART is among the best we’ve ever heard. Unlike the
in this article (www.facebook.com/hart.musica). previous two effects, the Massive Passive is going to
The track was recorded by Ben Walker (www. be positioned after any dynamics processing, so we
bensroom.co.uk) with additional recordings by Mario
generally leave a few spaces clear for adding
Leal and George Murphy and string arrangements by
Nico Muhly. The track was mixed by Mario Leal additional compressors, expanders, de-essers,
(www.mario-leal.com). multiband processors, etc – even when we think we
know we want to use only one of these.
For the compressor, we’re going to use the
sub-frequency energy in the sides, which we’d prefer much-venerated UAD Shadow Hills Mastering
to see sitting more squarely in the centre of the mix. Compressor. But not before passing the mix through
With so much of the mix in the centre, bringing up the a variety of alternatives to see which brings out the
sides is mostly going to add additional reverb to the right character in the mix. Determining this is tough,
mix, which is often also a consequence of bringing up
the levels; so for now at least, we probably don’t need
to be bringing any additional width. But we can safely Any plug-ins we add should be
EQ the mid (or mono sum) portion of the signal to alter
the beat, bass and vocal without too much effect on ones that help us approach the
the sides.
The reference tracks are both quite loud masters, issues we’ve already discovered
so we know we’re going to have to try to get some extra
level out of the mix. Some of this perceived extra level
will come from the added brightness – a trick and over time, we have developed an intuition that has
frequently overused by mastering engineers, but one helped us to move quickly towards the right
that does need some care, as too much can spoil the compressor for the job; but we still find ourselves
mix. The rest of the extra level has to come from duplicating the track over several channels in our DAW
dynamics processing. and testing it with a selection of compressors. In this
With all this decided before we’ve added a single example, we’re also testing the UAD Neve 33609, and
plug-in, we now have a road map for the track. This our own hardware quad VCA compressor – a clone of
means any plug-ins we add, at least initially, should be the classic SSL 4000 G buss compressor, with
ones that will help us directly approach the issues additional side-chain options and improved stereo
we’ve already discovered; so, as one would expect, handling. It is important not to get caught up in a
we are going to reach for an EQ, a mid-side EQ, hardware versus software debate, or any initial
a compressor and a limiter. preferences for certain GUIs here, and blind A/B
testing yourself after a short break can often result in
The first pass an unexpected conclusion – as here where we might
We like to make any M/S alterations early in the signal
chain, and so we have opted to add the Brainworx Using outboard
bx-digital V2 plug-in first in our chain (we actually add
● If you really want to make it as a mastering engineer,
it in Insert position two, for reasons that will become sooner or later you’re going to need to invest in some
apparent). This EQ is a clear favourite of ours for this outboard analogue hardware. Mastering versions
task, as it not only has five bands on each channel, of many compressors and EQs are available, but
plus high- and low-pass filters, but also clear controls frequently at much-inflated prices compared to
over the M/S matrix, including a stereo width knob, L/R the standard versions. This is because instead of
balance, and separate M and S pan controls. Placing potentiometers, mastering editions usually have
switches with dedicated stereo-matched resistors
the M/S EQ before the first dynamics module in our
to ensure far superior stereo accuracy and improved
chain enables us to control how the dynamics module recall, often within 0.1dB.
will respond to the width elements of our track.

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 MT Feature Mastering: The Guide

Monitoring state, as well as each individual change. To this end, it

● Nearfield monitors are the de facto standard in is useful to have a system set up to quickly bypass all
mixing, and many mastering engineers also rely on your processors. The simplest method is to duplicate
them, but a good pair of full-range speakers can the track in your DAW, one with the processors, and
be just as useful in a mastering environment. ATC one without, and switch between each one using solos.
and PMC are the most common names to be found
You can adjust for any gain changes by adjusting the
in the big-budget mastering houses, but Unity
Audio, Genelec and Barefoot all make slightly more level of the louder (usually, but not always the master)
affordable full-range monitors. down, so that any comparison is being done at
relatively similar levels. We prefer to use Meterplugs
Perception to achieve this with a single channel. You’ll
have been tempted to go with the hardware out of note that earlier we left the first Insert slot free; this
preference for breaking out of the box. was so we can place an instance of Perception Source,
When comparing compressors like this, it can be with Perception Control added at the end of our
tempting to try to match the effect of the first with all Master channel fader. Perception handles not only
subsequent models, but this will give an inherent switching from pre- to post-processing, but also level
advantage to the first, which is allowed to do the best matching and sample-accurate sync.
it can, while all others are simply cloning it. Instead, With Anchor, after our first pass with the
we like to ignore all previous settings and simply try to processing, we still aren’t happy with what’s
set the compressor to work its magic the best it can happening in the low-end. We’re using more EQ than
each time, comparing the – occasionally quite we would like to try to shape the bottom-end, and
different – results to determine our preference. while we’re getting enough weight on the kick, things
Finally, we have added a brick-wall limiter; this is are starting to sound a little murky between each beat
going to serve a dual purpose – to add a small amount of the kick drum. To compensate for this, we’re going to
of level to the track if necessary, and secondly to add an instance of UAD Precision Multiband and
engage the LF band, leaving all the other bands off.
Then we set this band to the Gate mode with a very low
It can be useful to set up two or ratio (1.1:1), and tune the frequency and envelope to
pull out some low-end between each beat of the kick.
more limiters to see which works This will give us the freedom to add in as much weight
to the kick as we want, without also adding mud
best for the track in question between kicks; in fact, on the contrary, between kicks
the sub-frequencies will be pulled back, giving the
bass elements more room to shine.
ensure peaks are controlled. As with the compressor, it By this point, the mix is beginning to take on the
can be useful to set up two or more limiters to see sound we were hoping for; however, with so many
which works best for the track in question, especially synthetic elements in the track, and having opted for
if you have several high-quality ones. In this instance, in-the-box processors at every stage, we’ll also add
we’re using the UAD Precision Limiter, which has been a little extra warmth with the UAD ATR-102 tape
a staple of our mastering chain for some while, beating simulator. This also gives us a little bit more level, both
all our own alternatives every time. through subtle compression, and additional harmonics
– as well as softening off any harsh transients, which
Further changes means we don’t have to push the final brick-wall
With these tools in place, we can start to make all the limiter so hard to get the track as loud as we want it.
changes we feel are necessary to bring our mix to Finally, all our processing has brought the stereo
sounding more like a finished master. During this image in a little. This is a common consequence of
process, you will undoubtedly find new changes you compression and limiting on the master buss, as well
want to make: a boost in the low-end, intended to add as with cutting frequencies on the sides with an M/S
weight to the kick, might reveal additional energy in EQ, so we return to the Brainworx bx_digital V2 and
the bass, which will in turn spoil the kick. These almost dialled the stereo width knob up a little. This
circular problems can sometimes be adjusted with essentially turns up the difference channel in the
slight alterations to the EQ curves, and at other times matrix before it is all summed back together.
can require additional processing to be added. It’s not
uncommon for our final master to gain and lose two or Bouncing down the master
three processors as we settle on the final sound of the In the previous part of this feature, we looked at
track. Sometimes, a high-end boost can bring just the creating a number of different versions of the mix.
right polish to most of the track, while revealing a
problem with the hi-hat or cymbals, which may be Headphones
fixed with a multiband compressor or de-esser. ● A good pair of open-back headphones can be of
Compression can reveal a muddiness in the reverb, great assistance when mastering. However, it can
which is tough to fix in mastering, but there are tools, also be useful to have a pair of cheaper earbud-style
such as iZotope RX, UAD Precision K-Stereo and headphones to listen back to how a great proportion
of your listeners will hear the end result. It’s one thing
Zynaptiq Unveil, as well as M/S processing, if the sides
making a master sound great on expensive systems,
don’t contain too much other information. but many consumers use laptop speakers or earbuds,
It is important to constantly be comparing your so check your masters on these, too.
initial unmastered mix with the master in its current

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 Mastering: The Guide Feature MT

MT Walkthrough Setting a multiband compressor

Turn the solo band off to

03 hear the whole mix. If you
have the option, be sure to use
linear-phase crossovers.
Engage that mode, as this will
produce the least phase
distortion in your mix, although
it will also produce the greatest
Add an instance of your Here, we’re using the UAD Precision Multiband. We’ve used the amount of latency.
01 multiband compressor
02 solo band function to solo only the lowest-frequency band, and
to the mastering chain – we we’ve scrubbed through the range to find the cut-off frequency that is
usually place it just before our just the sub-frequencies of the kick. You don’t need to use every band,
full-band compressor, if we’re usually one or two is more than enough.
using one.

Use a very low ratio, a moderate attack and a closely timed If need be, set the Finally, bypass the effect
04 release, and dial down the threshold until gain reduction starts to
05 compressor to act a little
06 and compare the
bring the compressor into action. too heavily while you focus in on processed signal with the
your attack and release settings, unprocessed version to be sure
then dial the threshold and ratio that you have made an
back down. improvement to the master.

With the master of the basic mix done, we now import DDPi
these additional mixes to different playlists within our ● The final process in mastering is often to supply the
DAW, and pass each one through the same processing. necessary files for the replication in whatever formats
This takes very little time, and means the versions will are required. For digital distribution, this may only
all have the same polish as the final mix. All bounces be 24-bit WAV files, but for CDs a special DDPi file is
required. Some DAWs can export DDPi files natively,
are done at the original sample rate and bit depth of
while others may require a dedicated DDPi plug-in,
the mix, which should be at least 44.1kHz/24-bit. We such as the HOFA DDP Generator.
then produce a dithered 44.1kHz/16-bit “CD quality” http://hofa-plugins.de/en
version, as well as any other files the artist wants.
The exact signal chain we’ve used here on Anchor is part of the whole work. It is often useful to employ
something that will almost certainly not work on any similar signal chains; however, this does not mean that
other track, but the process by which we came to the each has to be identical, simply that as each processor
decision to apply that processing is something that has its own colour, you can quickly get a similar colour
can easily be applied to any song. While each time it on another track by using a similar processor. We often
may produce a different signal chain, you can be use the same compressor, limiter and at least one EQ
confident that the signal chain it results in is one that on every track, but will also allow ourselves freedom to
has been specifically engineered for that one track. apply other processing as necessary, as well as to
When working with albums or EPs, you will need to remove any of these processors as they are no longer
reference all of the other tracks on the EP/album as required. Check www.musictech.net for audio exmples
you work through, trying to give each a sense of being to go with this feature. MT

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 MT Technique Mastering in Logic Pro X

Powered by
Logic Pro X Become a Logic Power User

Mastering
in Logic Pro X
Logic Pro X has some great features for mastering your music, including its improved
Channel EQ plug-in. Mark Cousins finds the perfect tone…

W
hen it comes to mastering, there’s little One of the most exciting possibilities with the Channel
doubt that a good equaliser is one of the EQ is that of M/S equalisation, which deals with a stereo
most important tools to have at your signal as Mid/Side components rather than the traditional
disposal. Rather than just sounding good, Left/Right stereo. Despite being a popular technique in
an effective mastering equaliser needs to mastering circles, M/S processing can create some
be a versatile and precise tool that’s able to direct the right confusion due to the different way it handles stereo. With
amount of timbral magic to the correct part of the mix. M/S stereo, the mix is broken into a Mid component formed
As well as featuring plenty of parametric bands, filtering from the sum of the left and right channels, and a Side
options and shelving controls, it’s vital that you have discrete component formed from the difference between left and
access to both the left and right channels and, if you’re right. In effect, this enables you to apply the EQ in a more
feeling really adventurous, M/S processing as well. Add to directed way, especially towards instruments that are
that the ability to move between Linear Phase operation and planted in the ‘phantom centre’ of a mix.
good old-fashioned ‘phase shifting’ EQ and it’s clear that the More than just being a mixing tool, the Channel EQ is a
demands of a mastering equaliser are plentiful! versatile and effective tool for mastering, and well worth
closer inspection. MT
This tutorial is endorsed by Point Blank Music School, which

More than just a mixing tool specialises in courses on production, sound engineering, the music
business, singing, radio production, DJ skills and film production, all

the Channel EQ is a versatile and run by top British music producers and media professionals, with
regular visits from legends in music and media.

effective tool for mastering www.pointblanklondon.com

Having received a major facelift and

operational upgrade with the latest version
of Logic Pro X, the Channel EQ plug-in
coupled with the Linear Phase EQ are
powerful tools that are perfect for mastering
your tracks. In this workshop, we are going to
take an in-depth look at how the features of
the Channel EQ and Linear Phase EQ
plug-ins can be used for mastering tasks –
a process that has some distinct
differences to the use of EQ in more
conventional mixing applications.

FOCUS ON… PLUG-IN LINK

The Plug-in Link mode – found in the top right-hand
corner of the plug-in window – really comes into its
own in mastering applications. With Link active,
the plug-in window updates to show the same slot
assignment for whatever channel or track you decide to
reside on. By keeping comparable plug-ins assigned to
the same slot (all EQs on slot one and all compressors
on slot two, for example), you can quickly move from
one song to the next and hear how settings compare
without having to open and close plug-in windows. This
is particularly important if you’re trying to ensure
listening continuity across the project, especially in
areas such as equalisation and loudness.

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 Mastering in Logic Pro X Technique MT

MT Step-by-Step Getting started

In most mastering signal paths, the Channel EQ is usually As with all equalisation tasks, it’s well worth using the Channel
01 used as the first device in the chain, with compressors and
02 EQ’s Analysis option to gain a more informed understanding of
limiters placed afterwards. Once you’ve added the Channel EQ the track’s frequency characteristics. Click on the Analyzer to make it
plug-in, remember to open the expanded parameters at the bottom active, setting the Medium or High resolution (found as part of the
of the interface and click on the Oversampling option for the highest extended parameter set) so that you get a more accurate and
audio quality. detailed frequency plot.

One interesting control worth investigating is the Analyzer Decay, Let’s start the equalisation process by looking at the low end of
03 which defaults to around 10dB/s. Setting a slower speed – even
04 the track. To keep things controlled, it’s well worth applying a
as low as 0dB/s – produces an ‘averaged’ frequency plot over time, high-pass filter so that any subsonic elements are removed. Click on
rather than an instantaneous snapshot. This slower setting can be the high-pass filter curve in the top left-hand corner, set the Curve to
useful as a means of understanding the broad frequency its steepest setting – 48dB/Oct – and adjust the Frequency control to
characteristics of your track. around 20 to 30Hz.

Another useful trick with high-pass filtering is adding At the two opposite ends of our track – low and high, respectively
05 resonance, which is the lowest parameter, beneath frequency
06 – a shelving equaliser is used to establish the broad frequency
and slope. Increase the setting to 1.00 and notice the small bump characteristics of the track. Carefully position the respective
around the cutoff. With the added resonance you might want to frequency controls to achieve the desired colour. A treble boost at
slightly raise the cutoff. The result can be a tighter and weightier 7kHz, for example, adds presence, while a lighter ‘air-like’ tone can be
bass end if used correctly. found between 12-16kHz.

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 MT Technique Mastering in Logic Pro X

MT Step-by-Step Q and Linear Phase EQ

As with the high-pass filter, it’s worth noting how the Q can be Timbral modifications across the rest of the mix are achieved
01 called into action. In the case of shelving, lowering the Q
02 using the four parametric bands. On the whole, the best approach
produces a wider curve with less of a plateau-like shape. The curve is is to use wide Q settings for boosts coupled with a narrower Q setting
similar to the classic Baxandall EQ, which is a favourite among many for cuts. The result is an EQ that’s transparent to the ear, and musically
mastering engineers thanks to the gradual way it lifts treble ahead of effective for the result you’re trying to achieve.
the frequency setting.

One behaviour worth noting is the Gain Q coupling. By default, the With any equalisation task, it’s highly likely that the net result
03 Q effectively becomes sharper the more you apply a boost or cut,
04 of the EQ curve is an increase in signal level. Therefore, to
so that the bandwidth of the EQ remains constant irrespective of the preserve your gain structure and provide a more objective view on the
amount of boost or cut applied. In effect, this Q-Coupling enables the un-equalised source, consider balancing an overall increase in level
EQ to work in a musical way, so it’s best left as it is. with a corresponding gain cut using the Gain slider located on the right
of the interface.

As well as the Channel EQ, Logic also includes a Linear Phase EQ. Rather than processing the entire mix, it’s often useful for
05 You can move over to a Linear Phase EQ at any point (with your
06 mastering EQ to be more ‘directed’. By changing the Processing
settings immediately transferred over) making it easy to compare the parameter, we can assign the Channel EQ to either the left- or
sound of the two plug-ins. Notice the increased transparency offered right-hand side of the mix. Try a left-only treble boost, for example,
by the Linear Phase EQ, as opposed to the character of the Channel EQ. and notice how you can tangibly grab hold of the hi-hat without
over-enhancing the top end.

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 Mastering in Logic Pro X Technique MT

MT Step-by-Step Mid and Side processing

If you’ve used one Channel EQ plug-in to process the left-hand As well as being able to process the mix with discrete left and
01 side of the mix, it follows that the right-hand side will need its
02 right channels, you can also experiment with M/S processing.
own separate instance, set to Right Only under the Processing Create a basic M/S matrix using two Channel EQs set to Mid and Side,
parameter. Rather than equalising the entirety of the mix with the one respectively. The freeware bx_solo (www.brainworx-music.de) at the
plug-in you now have separate control over each side of the mix. end of the chain enables us to isolate the Mid and Side channels.

Press the M Solo button on the bx_solo channel to hear the Mid Now move over to the Side channel, noticing the distinct
03 channel in isolation. Notice how the bass is prominent in this
04 omission of Mid elements such as the kick and bass. A good
channel, as it’s fixed in the centre of the mix. Applying a low-end boost, strategy with side-channel equalisation is a bass cut (which can be
therefore, will lift both the kick drum and bass in a directed way, relatively extreme as you want to keep the bass end mid-focused) and
leaving the sides of the mix untouched. a small amount of air lift to increase the vibrancy and dimensionality of
the mix.

One interesting feature of the Channel EQ’s M/S operation is the If you’re having to open and close matrix’d combinations of
05 use of the Gain control. As part of the M/S matrix, the Gain
06 plug-ins, consider using Logic Pro X’s Screenset feature, found
control can be used as a means of modifying the stereo dimensionality on the menu bar. Screensets can be assigned to a number key, so it’s
of the mix. For example, increasing the Gain on the Mid EQ while easy to establish a unique Screenset for each song in your mastering
lowering the amount of Side channel will result in the mix becoming project, even including plug-in windows for the rest of your signal path.
more mono-centric.

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 MT Technique Mastering tracks in Live

Ableton Live Become a Live Power User

Mastering
tracks in Live
Now it’s time to turn our attention to Ableton Live. Liam O’Mullane shares
some Live-specific techniques that can be essential when it comes to
mastering your own music…

W
ith the other features in this supplement, mastering houses is usually out of most people’s reach due
we’ve covered a large range of best- to the high cost. This last option is food for thought if you
practice tips for using various DAWs for work 100 per cent in-the-box, as it may be the only time
mastering, as well as some advice for your work has the chance to pass through an analogue
general mastering techniques. signal path. This type of processing can help you get a
But although the mastering process can be applied more rounded tone and a greater sense of depth, which, as
reasonably well through your own studio setup with we’ve already mentioned, will be applied by someone with
software, as we’ve covered in these pages, we encourage very experienced ears.
you to consider outsourcing this process if you plan to But paying out for mastering isn’t always an option, and
release this material commercially. There are many reasons although a full guide to mastering in Live is beyond the
for doing this, with the core points being: scope of this single sitting here, we will cover various
1. An experienced mastering engineer can offer a level of techniques that make great use of Live’s unique devices.
Although Live doesn’t offer much in terms of vintage

There are a few ways to emulation, aside from its SSL-modelled Glue Compressor,
there are a few ways to enhance your masters with some

enhance your masters with analogue-style harmonic enrichment.

As you explore the dynamic, frequency, stereo-width

analogue-style enrichment and perceived depth aspects of your material when DIY
mastering you will always start to hear what may have
needed more attention at the mixing stage. You can then
subjectivity you will never experience when you’ve also always re-visit these Live projects for correction, which
created and produced the music yourself. provides an element of ear training required to improve
2. A professional engineer will have a well-tuned room that your overall production skills. So even if you plan on
makes it easy for them to spot problem areas in your mixes. outsourcing your mastering needs, a bit of DIY can be a
3. The quality level of the gear available at many traditional great learning experience. MT

FOCUS ON… COPING WITH MULTIPLE TRACKS

The main focus of mastering is placed on the task of processing one
track on its own, but this isn’t the only thing to take into consideration.
If you are planning on releasing an EP or an entire album, you’ll need to
master your multiple tracks in sympathy with each other so they have
an overall cohesion.
With multiple tracks comes an issue of navigation, as you’ll need to
regularly compare one track against the others to check for consistency.
This is best dealt with by setting different Locator points and assigning
them to key commands to move around Live’s Arrangement View with
ease. Right [PC] / Ctrl [Mac] + Click on the Scrub Area below the
Arrangement View timeline and select Add Locator. These can then be
renamed from the same + Click menu and assigned to computer keys
using the Edit Key Map option from the Options menu.
If you start to label up the start, breakdown, main section, outros
and so on of four or more tracks, assigning these to individual keys
becomes a bit cumbersome to manage. In this case, the Next and
Previous Locator buttons are the best options to move around many
different Locators. These two arrow symbols sit either side of the Set
button, which appears in the top right-hand side of the screen when
Edit Key Map is enabled. Just assign these to two keys to move back
and forth with ease as you work.
The launching time for Locators is controlled by the Global
Quantization chooser menu next to Live’s Metronome in the top
left-hand corner of the screen. Change this to None if you want to
immediately switch from one locator to another, rather than wait for a
tempo-based launching time.

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 Mastering tracks in Live Technique MT

MT Step-by-Step EQ, dynamics and saturation

You’ll often want to restrict the extremes of the top and bottom Narrow-band subtractive EQ can be useful if you have a build up
01 ends. If there’s bass energy lower than the lowest note, this can
02 of unpleasant resonances. Use a parametric (Bell) EQ with
be limited using a x4 Low Cut filter. Removing this also helps achieve a additive Gain and sweep the Frequency to hunt out the problem area,
slightly higher output level. Use a x4 or regular High Cut to restrict the then use the Q control to choose a width that doesn’t boost more than
top end and tame the very high frequencies, through to a more obvious the area needed. Reset the Gain back to 0dB and use negative Gain
roll-off around 15-16kHz for a cut-to-vinyl tone. until the resonance is reduced enough so it’s no longer an issue.

Although rhythmic, peak-based compression can be good to help A simple way to firm up and thicken your bottom end is to use
03 bring out drum-track transients in your songs, to increase the
04 Live’s Overdrive device to add subtle distortion. Be very careful to
body and energy of your song you might need a mild, non-rhythmic use low Drive, Tone and Dynamics settings, as the signal can break up
type of dynamic control. Live’s Glue Compressor is a good choice here very easily at the cost of your audio quality. But with its Bandpass EQ
– with a ratio of 2:1, and little to no Threshold applied, a few dBs of gain set to focus purely on the low end, this device can add a really solid
reduction can help your songs sound more glued together. weight to your songs.

For harmonic enrichment in the top end, Saturator tends to do Corrective rebalancing of the tops, lows and mids can be made
05 this job better than the often brittle-sounding Overdrive. The
06 using High Shelve, Low Shelve and Bell EQs respectively. Be
presets within Live’s library are a good place to start, with Hot Tubes careful to adjust the Gain level of the EQ when making either additive
and Warm Up Highs being our personal favourites. Remember to keep or subtractive adjustments so your levels stay at their optimum. Any
exploring the right balance of Dry/Wet while you work, as it’s very easy midrange adjustments are best made with a wide Q, so the overall
to add too much. balance isn’t distorted too much.

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 MT Technique Mastering tracks in Live

MT Step-by-Step Width and depth

Fine-tune the stereo width by switching an EQ Eight into M/S Another way to enhance your stereo width is by adding
01 from the Mode menu. This enables you to EQ the Mid and Side
02 harmonics to the side signal. A Mid and Side Device is included
parts of the signal individually. Increase stereo width by slightly on the DVD which splits the signal into a Mid and Side Chain within an
boosting the tops in the sides with a High Shelve EQ, then use a Low Audio Rack. You can then add processors to either Chain. Drag a
Cut EQ so the low end only passes down the Mid signal. Use Audition Saturator with a high Drive amount to the Side Chain, and set the Dry/
Mode to hear where the Low Cut frequency should be set. Wet balance so the stereo is enhanced without sounding too distorted.

A subtle reverb can be used to place a dry-sounding mix into an The previous technique can be taken a step further by only adding
03 audible space and add depth. This needs to be done subtly, so be
04 the reverb to the sides, maintaining a drier sound down the centre
careful with your Dry/Wet balance. We’ve gone for a medium room and of the mix. When applying reverb to the sides, be careful to experiment
used the Reverb device’s Lo Cut on the input to avoid muddying up the with applying it before or after the Utility device, which removes the mid
low end. Live Suite owners should explore the Convolution Reverb in part of the signal. In most cases, it’s best to add the reverb to be
the Max for Live browser for a more natural sound. pre-Utility, and then balance the Dry/Wet to taste.

You don’t always need to increase the width of a mix, though, A final way to achieve a sense of depth is to push back the pokey,
05 especially when matching multiple tracks for an EP or album. To
06 boxy-sounding part of the lower mids. This will generally live
control the balance between mid and sides, a single Utility device can below 500Hz and will sound unpleasant when boosted using additive
be very helpful. Use values on the Width parameter of lower than 100% gain. When this area has been identified and the Q amount is wide
to narrow your stereo spread towards mono at 100%. enough to only boost the offending range you can use subtractive Gain
settings to achieve a more scooped and deeper sound.

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 Mastering 20 Pro Tips MT

Mastering
Tips
Described by many as a mysterious dark art, it’s actually just another
process with a different set of considerations. Hollin Jones shows
you how to become a master of your mixes…
TAKE A BREAK before it’s heard to equalise the volumes of different tracks.
01 Even if you have the option of going straight from The idea is that the listener doesn’t have to keep manually
mixdown to the mastering stage on the same day, it’s always adjusting levels between songs. It’s likely that if you master a
better to leave a gap between the two processes. Wait at least track really loud, most people will listen to it via a medium
overnight, maybe even a few days or weeks, and you will be that reduces its volume anyway, so you’ve killed dynamic
much more likely to avoid the skewed judgment that can range by hard limiting for no long-term benefit. As such, limit
result from listening to a track over and over during mixdown. more sympathetically, keep more dynamic range and get
Remember, the aim of the two processes is different: mixing better end results. Tools such as Nugen Audio’s MasterCheck
is to get a good balance of all the elements in the track; plug-in can help you with this.
mastering is to get a good shape and level for the track as a
single entity, and to match it sonically to other tracks on an TEST, TEST AND TEST AGAIN
album. Having a break between mixdown and mastering
04 It can be boring, but it’s crucial to test your masters on
makes you much more likely to have a good perspective on as many systems as you can, or at least a wide range of
how the master should sound. Getting some trusted advice hardware. Your treatment may sound great in an acoustically
never hurts, either. treated studio on high-end speakers, but how does it sound
through earbuds played from a ’phone? Or through your car
ALWAYS A/B stereo? Testing on less-than-perfect systems can reveal
02 It’s hard to overstate the importance of A/B’ing, i.e. quirks and issues that aren’t necessarily apparent on studio
comparing your track to others in a similar genre that have gear, and these are the kinds of systems that the majority of
been professionally produced. It’s not necessarily that you people will be listening to your music on. Of course, you
want your track to sound exactly like a specific hit record (or can’t compensate for every possible
maybe you do), but while tweaking and processing the signal combination of equipment but
03
it’s easy to lose focus. Periodically flipping on a commercial you should aim to get a
track that you’re familiar with and you think is in a similar vein sound as good as possible
to the one you’re working on will give you an instant guide to on all playback media. It’s
where you should be heading. Listen for stereo width, overall a real balancing act: don’t
volume, compression levels, prominence of the bass and sacrifice too much
vocals and so on. If your track sounds flat by comparison, use because some systems
exciters or EQ to liven it up a bit. If it sounds too narrow, then have a natural bias, such as
apply a little stereo widening, all the while keeping an eye on With all these car stereos being bass-heavy. Be
your levels. new-fangled digital 04
aware of this. The art of mastering
delivery systems in
is to get it right.
play it’s never been
CONSIDER THE DELIVERY MEDIA
03 For many years, people thought that the point of
more important to
keep a close eye on
mastering was to get a track sounding as loud as possible. your meter (above)
While gain certainly is important, things have changed. With
most people now listening to music digitally, either through Test out your
mastered track on
software or on the radio (instead of from a CD player), new as many systems
factors are in play. Spotify, iTunes with Sound Check enabled, as you can get your
and most radio stations employ pre-processing to the signal hands on (right)

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 MT 20 Pro Tips Mastering

LESS CAN BE MORE

08 There are some amazing tools around for mastering,
such as iZotope’s Ozone suite amongst many others, and
they provide an incredible array of powerful processors for
sculpting your masters. But that doesn’t mean you have to
use them all on every track. Restraint, as ever, is the key
factor. If you’re having to apply tons of processing and make
major changes during the mastering process then it’s
probably a sign that your mix isn’t fantastic. Ideally, a mix
will be well-balanced enough that you only need to dial in
moderate EQ tweaks, a little compression and some fairly
gentle limiting with moderate attack and release times. It
varies by genre, of course, and an acoustic ballad should
require a much lighter touch than a heavy rock track. Be
aware of what works best for the type of music you’re
working on.

08

05

TAKE IT EASY
05 We have mentioned the ‘loudness wars’ and the race to
make tracks as loud as possible so that they ‘stood out’
alongside competing tracks. But since radio, TV and most
digital streaming services apply pre-processing to equalise
volume this is no longer as desirable a goal. Instead, don’t
limit as hard as you might be tempted to. While it’s true that
you will probably still want to set your output level at around
-0.1dB, don’t drive the input gain so hard. This will preserve
more of the transients and avoid squeezing all the dynamic
range out of the signal. As such, it will retain more musicality
and avoid the perverse situation where tracks that have been
hard-limited actually sound quieter when broadcast because
their gain is being pulled down. Instead of having levels
solidly rammed up against zero, limit more sympathetically.

GO BACK TO MIXING IF NECESSARY

06 If you have control of both the mixing and mastering
Resist the
processes, don’t try to fix a bad mix during mastering. If the temptation to make
vocal is too quiet, there’s only so much you can do to try to your tracks as loud as
draw it out using EQ before you start to negatively affect the possible (top)
track as a whole, altering sounds in the same frequency range
to the detriment of the soundstage. If too much compression If you’re applying
loads of processing,
Don’t try to fix a
has been applied to the drums in the mix, there’s not a lot you
can do to help them breathe again during mastering. If you
then maybe it’s time
to revisit your original bad mix during the
mastering process
can, go back to the project file after identifying these issues, mix (above)
fix them, and do another mixdown. Then return to mastering.
If you have been given a mixdown by someone else and Keep the compression
in check (below)
re-doing the mix isn’t an option, you’ll have to be as creative
as you can and use tools such as narrow EQ and multiband STAY CONSISTENT
and mid/side compression to try and sort it out.
09 Mastering is the very last stage of the audio production
process and something that should only be done once for any
KEEP AN EYE ON COMPRESSION given piece of music: remasters are almost always done to
07 Applying master-buss compression during mixdown is a pick clarity and detail out of old recordings that were made
good way to ensure a coherence to the signal: it can glue on tape with less than cutting-edge outboard. As such, it is a
everything together nicely. However, you shouldn’t be relying very good idea to save mastering presets for each track, be
on that process to boost the volume of the signal too much, they plug-in chains inside your DAW or wave editor, or
merely ensure that it is healthy. You will almost certainly application presets. You can then revisit them later if
apply some compression during mastering, so it’s important necessary. It’s also a good idea to master different versions of
to note how much may already have been applied at a track at the same time. Let’s say you have a regular version
mixdown, and not go overboard. Compression isn’t the tool of a track, a radio edit and an instrumental. They will all
you should be using to push the volume up dramatically, but require virtually identical processing, save perhaps for the
rather to give a smooth ‘together’ kind of a feel. If you’re using instrumental, which you might tweak to account for the lack
multiband compression it may also be taming or enhancing of vocals. Master them at the same time using the same
various frequency bands. Limiting is where you drive the
07 preset (with necessary tweaks) and you’ll get consistency
signal, and that always comes at the end of the signal chain. across all versions of the track.

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 Mastering 20 Pro Tips MT

METER SMART
10 It’s always worth employing some metering that’s more
advanced than the simple master level meter you might get
in your DAW or wave editor. If you have done this during
mixdown, you should have an idea about the phasing,
dynamics and stereo width of your track, but since these are
things that can and do change during mastering, it’s wise to
keep an eye on them here, too. There are plug-ins, such as
those from Blue Cat Audio, which specialise in displaying
advanced characteristics that go way beyond simple
waveforms. IK Multimedia’s T-RackS suite has a set of built-in
correlation meters and suggested loudness based on genre,
and these are available as separate plug-ins, too. The Ozone
suite from iZotope has its own excellent meters including the
Meter Bridge component which gives you an astonishing level
of insight into your audio signal.
10
MASTER IN THE SAME PLACE
11 If you are making an album or mastering a bunch of
tracks that are meant to live on the same playlist or CD,
it makes sense to try and master them all at the same
location or using the same tools. This will ensure that you
get consistency across the tracks and you don’t find some
are too bass heavy, because you mastered them in a poorly
treated environment.

CONSIDER MULTIBAND COMPRESSION

12 If a single-band compressor isn’t dealing adequately
with the track you are using it on, consider multiband

It’s worth employing

compression. As you might imagine, this works on several
bands, usually an assignable number with configurable Master your
crossover points. Splitting compression by band enables you advanced metering
to apply it more selectively; for example, controlling the bass
while letting the middle and top ends breathe more freely.
tools (above)

Compression:
metering that’s more
Use it carefully, though, as it requires some skill. sometimes one band
just ain’t enough! advanced than the
simple master level
TOP AND TAIL (below left)
13 Always top and tail your audio files when mastering to
Some simple cuts
cut off any extraneous noise that may creep in. The safest can rid your master of
way to do this is to use fades from and to zero, so there’s no unwanted noise
ugly jump as signal suddenly disappears. Some suites let you (below right)
draw these in, or you can use fade handles on your audio clip
if you’re using a DAW to master.

13

12

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 MT 20 Pro Tips Mastering

Want to widen the

stereo image? Then
the handily named
stereo widener is
here to oblige (right)

Careful EQing can

make all the
difference to a 14
master (below right)

GO WIDE
14 Stereo widening is sometimes used during mastering,
and it can be an excellent way to increase the ‘size’ and
soundstage of your track – but it must be used with care. The Exciters can be used to
add shine and sparkle to
top and upper-mid frequencies can be safely widened a little,
but widening a lot fundamentally alters the mix. Bottom end
should remain centred as it’s where the energy and power of
the track reside.
the top end of a track
GET EXCITED
15 Exciters can be employed during mastering to add shine
and sparkle to the top end of a track in a way that simple EQ
can’t. Exciters use EQ, phase manipulation, harmonic
synthesis and/or subtle distortion to enhance the higher 16
frequencies, which can add more life to your sound.

EQ IS YOUR FRIEND
16 Although fixing the mix in mastering isn’t
recommended, you can make some important changes using
EQ. If an element of the mix needs to be brought up or down
during mastering, you can isolate it using an EQ point with a
narrow Q value and make adjustments. EQ is also good for
making broader changes to the sonic character of a track at
this stage.

USE AUDIO MONTAGE

17 It’s less popular than it once was, but some people like
to blend tracks together on albums so that as one ends, it
segues into another. You can do this by layering tracks in your
DAW and using fade handles, or by using a dedicated tool,
such as Steinberg’s WaveLab with its Audio Montage feature,
designed for just such a task.

TO DITHER, OR NOT TO DITHER?

18 If you’re changing bit rates during mastering (you’re
likely to be coming from 32- or 24-bit down to 16), then it’s
worth dithering. This means adding noise to the digital audio
signal to reduce the level of distortion. It makes sense to stay
at the same sample depth and bit rate throughout the
production process, then dither at the end.

EXPLORE YOUR OPTIONS

19 Presets are a good place to start with mastering, but
don’t limit yourself to just the ones with names that fit the
style you’re producing. Rock presets may suit rock music, but
so might D’n’B presets. Just poke around to see what works.

20 TRUST YOUR JUDGEMENT

It’s not uncommon to suffer from ‘fader creep’ during
Fixing a mix in mastering isn’t
mastering, nudging everything higher because it seems to
sound better. Before long, you can be really squeezing the life recommended, but you can make
out of a track, its level meters solidly up against zero. If you
think it’s sounding too hot, it probably is. It’s better to be a
little less intense than a little too intense. MT
some big changes with EQ
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 Mastering in Cubase Technique MT

Cubase Become a Cubase Power User

Mastering
in Cubase
Cubase users, gather round. It’s time to guide you over the final fence to pro-sound glory!
Tim Hallas is the Cubase master…

M
astering is a fine art and one that can stereo file of your projects for the mastering process. This is
make the difference between an amateur- because it is easier to process it directly on a completed
sounding recording and something that stereo file rather than trying to place it at the end of a
sounds significantly more professional. complex signal chain. (Although, this may be okay when
For anything that is going to be released working on a track in isolation.)
commercially, I tend to get it mastered by a professional With all of the completed tracks for your project in a
mastering engineer who has significantly nicer and more single location, it’s worth loading all of these one at a time
specialist equipment than I do in my home studio. into the same Cubase project, as part of the mastering
process is to find a ‘sound’ for the album, EP or song

Like all DAWs, Cubase has all collection. With all of the songs in the same project, they
can be compared with one another or with a reference track

the mastering tools you’ll need. that has a particular characteristic that you are trying to
emulate with your project.

In fact, it has a lot more… To load the files into Cubase – select File > Import Audio
and select the relevant tracks from your computer. Cubase
will ask you if you want them on the same track, to use
However, when working on smaller projects for smaller existing tracks or if you want to place them on separate
scale release or simply for my own amusement, I tend to tracks. Select separate tracks and they should all line up in
master the projects myself within Cubase. Like other the Arrange window.
DAWs, it has more than enough to work at this and higher Then solo the first track by pressing the ‘S’ button on the
mastering levels. In fact, it has more – including a Mastering track header. You are now ready to add some processing. MT
preset in the Steinberg Hub window at the launch of the
software. This loads some of the presets we’ll be discussing
and has all the appropriate routing setup for you.
As with other features in this supplement, you’ll need a

FOCUS ON…
OUTPUT STAGE
It is always worth having
your analysis tools on
the output stage of the
mixer, rather than on
the individual channels.
The main reason for this
is to allow comparison
between the different
tracks of your project
and to check that levels
and EQ curves are all
matching and balanced.
Start by opening the
MixConsole (F3) and
locating the Output
tracks and finding the
Inserts for this track.
I use the MultiScope
which allows for the
analysis of both
amplitude and
frequency and has a
freeze function to allow
more detailed analysis.

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TheComplete
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 MT Technique Mastering in Cubase

MT Step-by-Step Adding compression and EQ

Cubase has an excellent multiband compressor and it’s a great The default here is to have four bands of compression covering
01 place to start for controlling some of the peaks within different
02 low, low-mid, high-mid and high, but these can be activated and
frequency bands. To load this, select an empty Insert slot and find it via de-activated by clicking on the power button for that band. Each of the
Dynamics Processing > Multiband Compressor and it will be placed on bands works in the same way as any other compressor, with the
that channel. threshold and ratio controls and the attack and release affecting how
quickly they respond.

To change them, simply move the sliders below the selected Each channel has a fully parametric EQ window and it can be
03 channel or move the bar in the graphical representation above.
04 opened by selecting the Edit window on your channel. Once
They can also be used to make broad volume changes if you’d like to opened, it can be adjusted by the controls below the graphic display or
highlight an area of sound within the mix post-compression by by moving the curves around within the graphic representation. Both
adjusting the gain control. Be careful with all the controls, as we are methods can be used in real time, so that the processes can be heard
looking to get good balance from the audio, not remix it totally. as they happen.

With the EQ, you should be listening for frequencies that are Both the EQ and multiband compressor have presets that are
05 unnecessarily accented in the mix and use EQ to control them.
06 dedicated to mastering and can be adapted. Be careful when
Also, it can be used to give nice overall touches such as a gentle using these, as they are very generic and will need some altering
loudness smile by using the shelf EQs at either end of the window based on the level of your original recordings. In particular, the
raised slightly to give a warmth to the sound. This is a common process compressor will need the threshold and input gain adjusting to allow
that can often be found on household stereos. it to operate correctly.

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 Mastering in Cubase Technique MT

MT Step-by-Step Other mastering tricks

The Curve EQ plug-in has a feature that allows you to analyse the Once you have a reference track – load the Curve EQ plug-in onto
01 EQ curve on an existing track and emulate it. Start by loading it
02 this track and create a sample EQ by selecting the Static & Match
from one of the empty insert slots on your channel. For this, you will button. In this window, click on the Take button that takes a snapshot
need a reference track to analyse – start by loading this into Cubase of the EQ curve that has been applied to it. Repeat this process with
using the same process above. the file you want to apply the EQ curve to and save both snapshots
somewhere sensible.

Once snapshots have been captured, they need to be loaded on There is also a stereo image enhancer that will widen the stereo
03 to the track that they will be applied to. This can be done by
04 field of a given recording. These normally work by making the
loading them from the Static & Match window by pressing the Load bass frequencies more mono and the treble frequencies wider. Within
button and locating the saved files. Then select one as the Reference Cubase there are only three controls and the one to focus on is the
file and one to Apply To – then press the Match Spectrums button and ‘Amount’ as this will affect how wide it goes. Although there are
a complete comparison of the EQ curves will be done. presets it is, again, best to use your ears.

Some mastering suites include a Maximiser, and Cubase is no To add a limiter at the end of the chain, this can again be found in
05 exception. Personally, I don’t use one, but it is there if you want it
06 Inserts > Dynamics Processing and it has equally simple controls
and can be found in Inserts > Dynamics Processing and has very basic with an Input and Output gain and a release time. The release time will
controls. The input and output levels are self-explanatory and the depend on your style of music, but the 500ms default is a good place
‘Optimize’ control affects how harsh the processing is. The default to start and then can be adjusted aurally.
setting is quite gentle and adds a little warmth to the sound.

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 MT Technique Mastering in Pro Tools

Pro Tools Tutorial

Mastering
in Pro Tools
Pro Tools is, of course, well equipped for
mastering, having several very transparent
plug-ins. Mike Hillier walks through his process

F
or this tutorial, we’re going to be working on
PRO TIP
I Don’t, a track we recently mastered for
Instead of using the
Sophie Jamieson, produced by Ben Walker Bounce to Disk function,
and available on Folkroom Records at we usually prefer to
route the audio out
folkroomrecords.bandcamp.com. The original
from the track we’re
mix arrived in two versions – one with compression on mastering to a new
the stereo buss and one without. The final master Audio track titled
*name*.master. Then,
used the version with buss compression, but for the when bounced, we can
purposes of this project we’re going to look at the duplicate this track and apply
version without. dither as an AudioSuite,
enabling us to quickly create
We usually suggest that if a song is mixed with buss both 24- and 16-bit versions. is in X-OR solo mode (found under Options>Solo
compression in place that you master from this version. Mode), which will disengage previous solos when you
However, for the purposes of this tutorial, we wanted to engage a new channel in solo. This enables us to always
use the uncompressed version, as it allows us to have one of the two copies of our track soloed at any
highlight some of the problems you may encounter. one time, so we’re not ever listening to the two
First, we open the Mastering Workshop session file combined. It’s a good idea to compare the mastered
in Pro Tools. You’ll see we’ve created two identical version with the unprocessed version after every step,
channels, one labelled I Don’t.Mix and the other and to bring down the volume fader of the mastered
labelled I Don’t.Working Copy. 1 We’ve created these version to keep the two versions equally loud.
two channels so that we can quickly compare our Processing is pre-fader, so this won’t affect any of your
master with the original without having to bypass all of mastering and you can bring it back up to unity when
the plug-ins. In order to do this make sure that Pro Tools you’re ready to bounce.

Consider the dynamics, the Preparation

Before we even get started mastering, let’s take a quick

frequency spread, stereo width look through the Pro Tools Playback Engine settings. 2
We’re using Pro Tools|HD 10, but the options should be

and position of instruments similar whichever version you are using. The first thing

Preparation is key to
good mastering.
Spend a little time
before you start
processing anything
just listening to the
track and making
notes on what each
instrument is doing
in the mix.

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 Mastering in Pro Tools Technique MT

3
5

EQ and compression are the fundamentals of

mastering. Get these right and everything
else will fall into place.

We want to transparently end is carried in the 100 to 200Hz region. The high end
is also fairly sparse in instrumentation, leaving plenty

compress the mix, glueing parts of room for the vocal.

together, not reducing dynamics First steps

We’re going to start by adding an instance of EQ3
7-Band. Since the sub-frequencies aren’t playing a
you can do is to increase the H/W Buffer Size to its huge role in this track, let’s clean them up and focus
maximum setting. We’re not doing any live tracking the energy in a tighter region. We’ll start by filtering out
so there is no advantage in putting the CPU under everything below around 35Hz using the high-pass
pressure with low-latency settings. The Host filter, then take a low-frequency shelf and bring down
Processors and CPU Usage Limit are unlikely to everything below 80Hz by about 1dB. Finally, we’re
be tested in a mastering scenario, but we usually going to bring a little back in around 45Hz. These three
advise leaving one processor free to carry out operating settings will create a curve removing any unwanted
system tasks. On our Mac Mini that still leaves rumble, focusing the low-frequency energy around
three processors (showing as six because of Hyper- 45Hz and in turn leaving more room for energy in the
Threading) for Pro Tools which is more than enough, rest of the mix. 3
so we’ve limited them at 75% CPU usage. PRO TIP With the low end more rather more focused we’re
Delay Compensation can be left off unless you Once you’ve mastered a whole going to add compression to try to smooth out the
intend to do any parallel processing at some point. bunch of tracks to different dynamics a little. Add an instance of Dyn 3 Compressor/
audio tracks you can export
We’re not going to look at parallel processing in this them to a folder of your choice Limiter after the EQ. We’re going to apply compression
tutorial, but it can sometimes be useful in mastering, at the bit-depth and in two stages. The first stage is a very low-ratio, slow
so think about whether you might want to use any sample-rate of your choice compression. Our goal is to transparently compress the
using the Export Selected
before turning the option off. function ([Ctrl]+[Shift]+[K] whole mix, glueing the parts together and bringing the
(PC), [Cmd]+[Shift]+[K](Mac)). vocal slightly more into the mix, while not
Listen adversely reducing the dynamics of any
Going back to the mix, solo either one of the percussive elements.
channels and hit play. Take some time to Reduce the ratio to around 1.5:1 and start
listen to the various elements of the track, with slow attack and release settings (around
and think about how all the parts sit 50ms attack and 200ms release), then start
together in the mix. Now’s the time to reducing the threshold until you’re seeing 1 to
consider the dynamics, the frequency 2dB of gain reduction. 4 With the attack and
spread, the stereo width and the position of release set this slow there is a risk of pumping.
each of the instruments on the soundstage However, because we’re using only a very low
from front to back. ratio and aiming for a small amount of gain
This track is a slow, alt-folk track with reduction it shouldn’t be particularly audible.
lots of sustained strings and other pad However, if you start to bring up the ratio you
sounds, punctuated with occasional should be able to hear the level drop away after
percussive hits and drenched in reverb. a percussion hit and then come back up.
As well as the drums, the acoustic guitar is With our threshold set to around -28dB
carrying the rhythm. The vocal is very we’re catching some of the louder vocal parts,
dynamic, and is again saturated with a long but we’re also inadvertently catching some of
reverb. In the frequency domain there isn’t the drums as well. To get around this problem,
too much going on in the low end. There is bring up the sidechain high-pass filter (labelled
some energy in the sub-frequencies in ‘LF’) to around 150Hz. 5 This will prevent the
some of the drum hits, but most of the low low-end energy from triggering the compressor.

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 MT Technique Mastering in Pro Tools

6
7 Harmonic excitement from the
Softube Saturation Knob and stereo
width from the Brainworx bx_solo can
quickly enhance the master.

Once you’ve settled on your first compressor

settings bring up the gain to make up for the gain Our master has now taken
reduction applied using the gain knob. Around 2dB
should be enough at this stage, but there’s plenty of shape. Finally, bring the level up
headroom to work with.
Add another instance of Dyn 3 Compressor/Limiter by adding a brickwall limiter
after the first one. This time, we’re going for a slightly
stronger ratio of 2:1, with faster attack and release This should bring a little more life to the track, but
settings. We’ve opted for around 5ms attack and 30ms PRO TIP it’s still a little dark – so add an additional instance of
release to quickly catch any peaks. Again, we’re not Mastering isn’t only about EQ3 7-Band. This time we’re going to bring out the air
processing the audio, it’s also
looking to get too much gain reduction, so bring the about applying fades and around the vocal with a shelf at 15kHz, and add a little
threshold down to around -18dB. 6 Finally, bring the sequencing the songs for the top at 7kHz. We’ve also opted to take out a little at
CD. Pro Tools doesn’t have a
gain back up using the compressor’s make-up gain. 400Hz, where the bottom of the vocal occasionally
DDP export function, so this
will need to be done in a seemed to be being stifled. 9
Stepping up third-party application. Our master has now taken shape. The final stage is
With this done, the mastering is starting to take shape. to bring the level up and add a brickwall limiter to
We’ve not made any huge changes to the mix, but the ensure no peaks exceed 0dBFS. Add an instance of
low end has become more focused, the vocal has been Maxim at the end of the signal chain.
tamed a little, and the percussion has been subtly Set the Ceiling to -0.3dB, which should give
shaped. Listening to the master as it stands, we still sufficient room for inter-sample peaks, and bring down
feel that it’s a little dark and that the vocal occasionally the threshold until you see attenuation of around
sounds a little stifled. 2–3dB. Adjust the release to catch as much as possible
Last issue, we looked at a few free plug-ins that are without audible chatter or pumping. Turn Dither and
essential add-ons to Pro Tools. We’re going to use the PRO TIP Noise Shaping off; these can be useful for bouncing
Softube Saturation Knob, which we looked at in that For export, we prefer AIFF files down at 16-bit, but we prefer to bounce a 24-bit version
issue to enhance the signal a little. Tape saturation to WAV files since AIFF files to a track and then apply dither as an AudioSuite
can also hold metadata such
plug-ins also work well for this task. Tiny amounts go a as album artwork to be read process before exporting as 16-bit. 10
long way in mastering; we’ve set the Knob to 0.4 and by applications such as iTunes. Quite how far you want to push Maxim will depend
moved the switch to the Keep Low position to prevent it In terms of audio quality there on how loud you want the track to be. Compare it with
is no difference between the
from saturating the low end. 7 We’re also going to use two file types. other similar tracks, and don’t be afraid to use an RMS
the Brainworx bx_solo to widen the mix by 150%. 8 or VU meter to get a better idea of your levels. MT

10

Final EQ’ing and

brickwall limiting to
finish the process.

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 Mastering in Reason Technique MT

Reason Become a Reason Power User

Mastering
in Reason
Mastering is the last step before your Reason tracks are ready for the world. We give you the
lowdown on how to become the master of your musical domain…

Y
ou may already be aware that the answer to the
question of why your mixes don’t sound as loud as including stereo widening, limiting, specialised EQ and more
tracks you hear on the radio can be summed up in compression to help you achieve a good, solid, balanced
one word – mastering. Once the preserve of sound that’s ready for playing back on any device.
high-end studios, the process of mastering is now If for any reason you want to mix or master on a different
well and truly accessible to almost any producer, and that system, Reason also enables you to batch-export stems or
includes Reason users. The MClass mastering effects have groups of tracks with a number of options such as dry or
been around for a while now, and there’s also an excellent wet, pre- or post-fader, etc. This can be invaluable if, for
master-buss compressor that can be used to give that ‘radio

It’s a good idea to separate

ready’ sound to your tracks.
It’s often a good idea to separate the mixing and

the mixing and mastering

mastering stages of any production, even though it’s
technically possible to apply mastering processing at the

stages of any production

same time as mixdown. This is because the two steps are
actually quite different. Mixing is about balancing the
elements of a track, and mastering is about achieving a
great balance, volume and EQ treatment across the whole
thing. So it’s advisable to do your mixdown, perhaps with a example, you want to mix on a hardware desk.
little master-buss compression applied, then bounce out to Take your stems, load them onto a different system and
a stereo file and, after a break, re-import the file to a fresh mix as if the tracks had been recorded in that studio. You
project and master it from there. You get a range of tools lose much editability, but by taking different versions of
tracks with and without effects you can generally get
FOCUS ON… OUTBOARD GEAR around any problems pretty easily. Mastering in Reason is
It’s possible to use an external hardware mixer with Reason. Hit Tab to an art form just as it is anywhere, of course, but it’s easier
spin the rack around and go to the Audio I/O module at the top of the than you might think. MT
Rack. Manually route tracks to the physical outputs you see here –
up to 64 individual outs are available. You can route by dragging or by
right-clicking on a plug to choose its destination. You’ll need an audio
interface with enough physical outputs, of course, but if you do have
one you will be able to connect these to
channels on a
hardware
mixer and get
hands-on
control of the
signal that
flows from
each routed
channel in
Reason. This is
a good way to
combine the
two systems,
retaining the
editability of
your original
parts and
tracks while at
the same time
using a more
traditional
mixer in a
studio
environment.

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 MT Technique Mastering in Reason

MT Step-by-Step How to master and export

Begin by creating a blank project and import your stereo You can start to add processing on the audio track itself or by
01 mixdown onto a single audio track. Tempo information isn’t
02 adding mastering units as inserts attached to the Master section
particularly important here since you’re not making any edits, merely of the Rack. It doesn’t matter where you do this but it makes sense to
processing the sound using the available rack modules. It makes sense pick one method and stick with it. You may find that there’s a default
to set up a loop around the track because you’re likely to be listening mastering suite already present, so go to the Master module and see
back to it repeatedly. what’s loaded.

The MClass effects may be bypassed by default, so, if they are, Don’t overdo the compression. The idea should be to get a nice
03 click Bypass to enable them. It’s a good idea to start with some
04 audio ‘glue’ effect to pull everything together but without creating
gentle compression, using a ratio of around 2:1 and a threshold of a pumping effect. Now move on to the EQ module and apply a curve
-10 or thereabouts, though this will depend on what exactly you’re across the whole signal, with the aim of subtly making certain
mastering. Bypass the other mastering modules temporarily to get an elements more or less prominent. Remember that you’re affecting the
idea of what’s happening in the compressor. entire signal, so beware of sounds that exist in a similar range.

By adjusting the Q values of the different EQ points, you can pick Stereo widening is a handy tool to have, but it should be used
05 out specific frequencies more precisely. For example, you could
06 carefully. Generally speaking, you want the lower end of your
use narrow Q values, displayed by sharper points in the curve, to track to have more of a mono focus and be centred, since this is where
isolate a lead guitar line while leaving the synths relatively untouched. much of the weight and power of the sound lives. The Hi Band can be
widened a little to add breadth. Control the cutoff point between the
two bands using the X-Over Freq control in the centre.

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 Mastering in Reason Technique MT

MT Step-by-Step How to master and export… cont’d

The Maximizer module is used to add volume to the signal in To get a head start with mastering, go to the Master Inserts
07 order to squeeze more power out of it without clipping. Activate
08 preset section in the main mixer and click on the file load icon.
limiting using the Limiter button and switch on Look Ahead to ensure This will take you to a folder of presets supplied with Reason that are
more accurate processing. Then drive the input gain a little to push genre specific. Of course you will need to tweak things quite a lot to
the signal while leaving the output gain set at 0 or -0.1dB to avoid suit your track, but it can be a great time saver.
any clips.

Once you’ve worked on the sound and feel and have achieved a If you are exporting a track to be mixed on another system you
09 10 almost certainly won’t be able to load up the Reason track as a
good overall balance of sweetness and volume, go to the File
menu and choose Export Song as Audio File. This enables you to raw project. You will need to export it as a bunch of stems so it can be
output the processed track to a single stereo audio file on your hard loaded as simple audio files on the target system – say, for example, a
drive so you can test it on different systems. Pro Tools system plumbed into a hardware mixing desk. Go to File >
Bounce Mixer Channels.

Here, you have lots of choices. Select the tracks you want to The Apply Mixer Settings section is crucial. Choose the first
11 export by ticking them in the main list. As well as the individual
12 option to include all the effects, EQ and levels from the mixer in
channels, you can choose to add the master section to output a the stems. Choose the second to include effects but not level and pan,
regular mixdown at the same time for reference, and there are FX for starting a mix from scratch. Choose the third to export raw versions
channels which are useful for just taking the effected versions of of tracks if you want to apply dynamics and mixing on the target
specific sounds. system only.

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 PROFESSIONAL MASTERING SOFTWARE

DDP SOFTWARE

DDP SOFTWARE MASTERING PLUGINS

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www.sonorissoftware.com