TECHNEWS words: MICK WILSON
162 TECH TALK — HECTOR COUTO Spanish tech groove merchant tells us how he’s kept dancefloors dancing for seven years...
IF YOU REMEMBER NAMM… DJ Mag Tech shouts back from the NAMM 2017 Music Technology Convention in Los Angeles with news about all the various manufacturers and their latest 165 IN THE new kit… STUDIO he NAMM Music Technology Convention is always all the fuss was about. With all these new offerings from Bristol d&b dude Break shares good for getting hands-on with all the new kit the inMusic camp, 2017 is looking like it is going to be a his production knowledge. that has just been released — or is about to be productive year for those guys and anyone else who gets T released — throughout the course of the year. on board with the new kit. For tech heads, it’s like being a kid in a sweet shop, where it’s okay and encouraged to try all the goodies in front of In terms of DJing, Pioneer DJ didn’t have anything new your bulging eyes. Yep, this is NAMM, an electronic music to offer, apart from surprising the production world with technology lover’s wet dream — and there were lots of the unveiling of their new collaboration with Dave Smith things that had us drooling. Instruments — the TORAIZ AS-1 Synth. A new addition to their TORAIZ family, it’s once again targeting the The biggest attraction for the DJ crowd was Denon DJ’s production/studio crowd — an area that Pioneer DJ are new Prime range of DJ gear. The SC5000 Prime Media looking to stamp their mark on — while not forgetting 168 LOOP DA player was the most eagerly awaited bit of kit that a lot their DJ roots, as the AS-1 is also capable of being part LOOP! of people wanted to get up close and personal with. The of a bigger DJ set-up with direct connection to their CDJ/ We check out Ableton Loop inMusic arena upstairs in a private area of the centre was DJM range of nexus players and SP-16 Sampler. Conference in Berlin... ‘by invite only’, which meant that — unlike some of the Roland had their own reserved section showing off their other stands in the show — interested parties could only new DJ-808 controller, as well as the Boutique range of get ‘up close and personal’ if they had an appointment. re-issued classic synths and drum machines, indicating Although this meant that delegates got to have a lot more their intent in terms of getting more closely involved in personal time with the kit, it was a bit sad that Denon the DJ side of things… didn’t take advantage of the main floor and the hordes Meanwhile, Korg didn’t disappoint with their ARP Odyssey of people who would have been passing by eager to get a FS and MS20 Mini White Edition, as well as a whole load of closer look. It would’ve been a roadblock. other gear on show. The same goes for the new Akai Pro MPC additions — the Allen & Heath had a good selection of their mixers on MPC X and the MPC Live. These were getting a hell of a show, including the new XONE: PX5 as well as some of lot of industry love from the likes of Jazzy Jeff and other their already more established models like the XONE:92. high-profile DJs and producers who popped in to see what DJ Mag Tech predicts something new on the horizon from 171 TOUCH OF CLASS Denon SC5000 AKAI’s MPC Touch at the SubBass Music Academy.
174 TECH PRODUCER Killer Sounds, Sample Tank, Plug-In Corner and more...
Teenage Engineering OP-Z
158 djmag.com TECH NEWS SOUNDBYTES STUDIO ESSENTIALS French DJ/producer Tom Tyger flits easily between main room dance tracks and quality house groovers. Here are his studio essentials...
DOCKING STATION DJiT has launched a new accessory — the Mixfader Dock for Numark’s PT01 Scratch turntable. The dock sits on top of the turntable and replaces the in-built fader, allowing DJs to control DJiT’s DJ software via the PT01 Turntbale and Mixfader crossfader. It all makes for a pretty cool portable scratch station. £14.99 mixfader.com
the crew — we’re pretty sure they dropped a big clue in the selection of mixers that they were showing. Richie Hawtin’s PLAYdifferently MODEL 1 mixer was also on show, sitting nicely amongst the line-up. A solid showing from all involved. ANALOG SENSIBILITIES Pioneer DJ have released Teenage Engineering have always been on the innovative side a new synth — the TORAIZ of the tracks and their new OP-Z and PO-32 Tonic devices didn’t AS-1. The new piece of buck the trend. The PO-32 Tonic is a new addition to their hardware is driven by a fully Pocket Operator series, a drum and percussion synthesizer that programmable, true analog E arsonic EM32 in-ear monitors — in keeping with the rest of the family — sounds immensely synthesis engine based “I love to use them to work on the final big for such a small device. The OP-Z is described as a stand- on the analog circuitry in tweaks and adjustments in the mixdown. alone synthesizer and composer packed full of creative features Dave Smith Instruments’ They offer a balanced and natural sound that goes beyond just music-making with its video/visual Prophet-6 synthesizer — it’s which makes them good for referencing capabilities. Expect to see this later on in the year. a modern reboot of his classic my mixes on.” Elsewhere, UAD showed off the new Apollo Twin MKII Audio Prophet-5. Working closely interface, which will no doubt be as big a hit in production with Dave Smith himself, Logic 9 circles as the original Twin soundcard. It offers a host of top- Pioneer DJ have created a “I didn’t update Logic 9 to X because I feel end features in such a compact package. MIXARS, who seem to synth that produces powerful so comfortable using the older version for have come from nowhere, showed off two new products behind analog sound. my production. I started with Logic 8, then closed enclosures — the QUATTRO Serato DJ mixer and PRIMO £475 pioneerdj.com moved to 9. I don’t want to switch to controller, as well as the newly released UNO mixer with the another program, as I can do everything I new Galileo Kallisto crossfader developed in collaboration with need perfectly on Logic 9.” Pro X Fade. Sonic Academy Kick Nicky Romero DeckSaver were showing off new additional shatterproof Artist Edition covers for a range of DJ and production equipment. UDG had “This is an amazing plug-in to create your a presence too, showcasing their ever-expanding collection own kicks. I love to layer this plug with some of DJ accessories. Their new Ultimate Flight Case range offers of my own samples to get the perfect top-grade protection for DJ/production equipment — the kick-drum sound. The version I use is the range consists of 21 specific cases. Nicky Romero Artist edition.” There was so much more on offer at NAMM — from the big hitters to the smaller bespoke manufacturers. A non-working STACKED UP UAD-2 Satellite FireWire prototype of Elektron’s new Digitakt drum machine was a Sample Magic has a new “A must-have piece of kit. All the stuff inside popular showing, as well as all sorts of other kit for DJs and plug-in called Stacker — a this box is incredible. producers — so much that we simply can’t mention it all. drum and groove utility tool However, what this year’s NAMM did was reaffirm how healthy that is perfect for DJs and My own Sample Bank the music technology sector is at the moment. producers. Stacker allows you “Since day one I’ve been saving and to mix up your grooves with recording all the elements I love to use in There’s a whole heap more we would love to reveal, but with a selection of easy-to-use my productions. Right now, I’ve got a host of Non-Disclosure Agreements signed — and not production tools. Stacker something like 1500 samples in this bank wanting a brace of lawsuits landing on our desks — we’ll have ships with a huge collection of and if I had to give any advice about to leave it right there. Rest assured, there are some amazing drum samples and presets to production, this would be my first one. new developments in kit that will be dropping throughout get you up and running in no Create your own sample library — this will 2017 — we’ve seen it. It’s going to be an exciting year for DJs, time at all. save you time, and will also help you to get producers, tech-heads and music technology — we can’t wait! £59.99 samplemagic.com your own sound!” •namm.org
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APP REVIEW SOUNDBYTES APP: ARP ODYESSI VERDICT DEVELOPER: KORG FORMAT: IOS PRICE: £19.99 8/10 S IS FOR SOUND versatile nature of the ARP ADAM Audio have Odyssey synth. ‘Feeling Bass’ is just announced the particularly impressive and is introduction of the S perfect for that Stranger Things Series Monitors, their ‘80s-inspired bassline… with a new flagship range of wholesome and full deep bass nearfield, midfield and rumble. However, while we revel main studio monitors in how great the Odyssei app for DJ/producers. There KORG’S ARP ODYSSEY re-issue appears to our very well-trained are five models in the S breathed new life into a synth ears, the app sounds more Series range comprising that has had faithful followers digital in sound delivery than of the S2V, S3H and S3V, SHAPOV for many years. The updated the brace of hardware variants alongside the largest of CAN’T LIVE WITHOUT hardware versions meant that and the original. We know it’s the range, the S5V and HIS WHOLE STUDIO DJs and producers could get an odd thing to comment on S5H. their hands on the legendary Arp seeing as it is a digital recreation • adam-audio.com Axtone recording artist Shapov can’t live Odyssey sound in a newer, more of an analogue synth, but that without everything he has in his studio… modern format, and with the crusty analogue edge is missing. release of the FS (Full Sized key This, to be honest, will only “ I can’t live without my Focal SM9s. I pride myself version) it is still gaining more be an issue to the most anally on my mix and mastering skills — I do all of this fans. Just to make sure that retentive of us out there and myself, and occasionally for others! The SM9s have everyone can get a piece of the shouldn’t be seen as a sleight on a really flat and detailed response, so when I’m Odyssey action, they have also the app, which is, in use, really DR GADGET mixing down I can hear exactly what’s going on released an iOS version — the good fun and when hooked Korg are bringing their across every frequency. Arp Odyssei for iPad and iPhone. up to one of Korg’s keyboard popular Gadget App to MAC “I also can’t live without my UAD hardware and The new Odyssei App uses Korg’s controllers makes for an even OS. The desktop version plug-ins. The UAD SSL G Bus compressor is my circuit modelling technology better experience. will feature the same go-to compressor — it sounds upfront, intimate ‘to reproduce the classic analog Korg’s new Odyssei app can also collection of instruments and really fat! For me, this is the closest to the real feeling and sound of the be used in conjunction with that can be found in the SSL Bus compressor. I use the DBX 160 compressor original’ as closely as possible. Korg’s Gadget app, making for a app, as well as two new on my master channel sometimes too, often I find It’s also been given numerous serious music-making combo. In ‘gadgets’ that will let that this can be the finishing touch. The secret enhancements that are possible short, other than our obsessive users record audio into ingredient, however, is the Precision Maximiser. only with software, including leanings towards analogue, the the software — a feature This limiter is so detailed, it preserves the polyphony and built-in effects. Arp Odyssei is another great app not available on the iOS transients, keeps the mix clean and the kick always In use the app sounds great from Korg for anyone looking to version — and a new drum stays on top. and there are a wide variety make serious music on the iOS machine featuring 16 “Fabfilter Pro Q 2 is something else that I have of presets that show off the platforms. performance pads. to include. While I have my go-to EQs for certain instruments, nothing is as precise as the Fabfilter. No other EQ offers as much control as this. I often find myself using it to find problematic frequencies in my mix, it’s almost surgical! TAKE TWO “In terms of sound, Omnisphere 2 by Spectrasonics BITWIG ARE SET To release Bitwig Studio is my go-to virtual synth. I find it quick to source 2. It’s a brand-new release featuring new and edit original sounds and instruments. The dynamic displays, an updated menu system, factory sounds are endless and always top quality. notification bar, smart tool switching, and a “And the final piece of kit I can’t live without is dashboard which will outline all your project my Sennheiser HD-25 Plus headphones. These go details. The new software also has better everywhere with me; I trust and understand the hardware integration, as well as a whole bass response in them and often find the best heap of new features that expand on the balance between the kick and the bass with these powerful creation tool that was the original on. While DJing, the transients are clear, so mixing Bitwig Studio. and beat-matching is much easier.” • bitwig.com
GEMINI HAS ANNOUNCED two forthcoming controllers, the SDJ-4000 and the MAS-1. A two- TWIN PEAKS deck, four-channel USB controller, the SDJ-4000 is designed to remove any need for a computer in the booth. Through its hi-res 7-inch colour screen, the controller allows users to analyse tracks, synchronize effects to the beat and create a database of music from scratch. The MAS-1 is Gemini’s first MIDI controller aimed at clip-based performances (Ableton etc). Users can modify channels on Live via a range of light-up buttons and EQ controls, bend or tap in bpm and loop. Four faders give a DJ controller feel and allow for smooth transitions between clips, while each channel also offers three sends to add a range of FX. • gemini.com
160 djmag.com Untitled-1 1 17/02/2017 13:49 TECH NEWS TECH TALK HECTOR COUTO has released on labels such as Get Physical, Hot Creations and Defected, as well as on his own Roush imprint. He has his own unique production style which we’d describe as stripped back groovy house with tough touches of tech — this also extends to his DJ sets. Keeping dancefloors busy over the last seven years or so, Hector Couto is on a charge…
How did it all start for you? “Has to be my Midas Venice analog Smith Pro 2, Roland JD800, Korg have its own space and then the mix “It started just as a hobby cutting mixer — great sound.” Radias, Korg MS2000R, Virus TI2, can breathe properly.” samples, and in a very basic studio — a Roland TR-8, NI Maschine Studio. I very basic studio!” What is your view on producing/ know all this gear really well, and I see What inspires you to produce? mixing in the box as to mixing on a it all as an essential part of my studio “I simply start to create when the What was the first bit of kit that you desk? after having used them in so many ideas come to me, but I get very bought, and why? “I have used both methods to mix, and tracks.” motivated when I listen to artists that “The first thing I bought was I definitely stick with the analogue I like or other music genres.” Behringer speakers, and a Roland — the warmth and sharpness in the What is your process for creating soundcard — very bad indeed mix is something incomparable to the groove tracks, do you sample loops What is a typical day in the studio (laughs)! But everyone has to start digital, in my opinion. But it doesn’t or programme your drums? for you? somewhere.” mean I am against the digital ‘in the “Both, I always try to combine several “I do not have a rigid routine or box’ method, just that I prefer mixing techniques, not only concentrate on definite guidelines when I sit in the What is your go-to piece of kit for on a desk.” one form.” studio, I simply create when I feel creating basslines? good or when the inspiration comes. “I have many ways of creating my Hardware or software? Why is it important that you keep I usually start working on the groove basslines. Sometimes I go down the “Both, I use whatever is needed for dynamics in your tracks? and when it sounds how I like it, I digital route with some plug-ins that the job to be done.” “I think that in a good mix, if you want continue developing the track.” I know very well, or with hardware to have good results at the mastering synths. A few of my favourites are Korg Analogue or digital? stage, it’s essential that the track has How have your production methods MS2000R, Novation Supernova 2, and “Both, same again, I love the warmth healthy dynamics. I don’t like it when changed since you first started to Dave Smith Pro2, among others.” of analogue but I haven’t got a a track sounds very compressed or what you are doing now? problem using digital.” saturated. Squeezed.” “I’ve created music with many Out of those synths, which is your sequencers, from Acid Pro and FL favourite? Can you give us a break-down of your Listening to your tracks, we’ve Studio to Logic X right now. It has “I have a few, it’s a tough one, but if studio? noticed that your productions have changed my way of making music since I really had to pick just one, I would “I have a 2015 MacBook Pro. My a lot of space. Is it important that my early days. I have learned many have to choose the Korg MS2000R monitors are Focal Trio 6Be, they are you allow space for the different things, and I think it’s important to because it’s essential for me. I use it in made by a French company — the elements to breathe within a track? always continue learning.” a lot of my productions, I love its ‘90s sound is great from these speakers. “For me it’s super important. Just sounds!” I am using a Midas Venice F-24 as I mentioned above, it’s essential One tech tip for creating killer mixing desk, a great analogue desk to getting a good mix. I always play tunes? What piece of kit can you not live with a lovely warm sound to it. As with the EQ to clean frequencies — so “Just one, and it’s not technical... It’s without? mentioned, on the synth front — Dave everything will be in its own place, the talent.”
162 djmag.com Untitled-1 1 17/02/2017 13:49 FABRIC’s NEW SOUND
pioneerproaudio.com | #madeintheuk | Pioneerproaudio
Untitled-1 1 16/01/2017 14:22 PIONEER_PRO_AUDIO_FABRIC_CONSUMER.indd 1 09/12/2016 13:09 TECH IN THE STUDIO
BREAKING BAD One of the genre’s top producers, the Bristol- based Break invites us into his studio for tips on how to make a great drum & bass track… Words: DANNY TURNER
PROLIFIC DRUM & BASS £100 thing that had a sequencer in producer Break (Charlie it, so I could lay down a backing beat Bierman) started his own and play something over the top. I Symmetry Recordings label three think the first thing that got me into years after his debut release, d&b was the Yamaha SU10 sampler, ‘The Break Out EP’, in 2003. Three which had little pads on it — like a highly influential solo albums have mini MPC-type thing. That was the emerged, including a hoard of first time I chopped up an Amen singles and EPs alongside remixes break.” for Bloc Party, Ms Dynamite and the chart-topping Sigma & Rita Ora track Are you as comfortable working in ‘Coming Home’. the box as you are out of it? Comprising crisp breaks, deep sub- “I’m not a massive soft-synth bass and patterned melodies, Break person, I prefer real synths, but I’m has forged a unique and technically using Logic 9 and a few soft-synths adept sound, merging d&b’s timeless like Dune, Serum and Omnisphere. qualities with today’s modern Massive’s also a favourite for d&b production aesthetic and utilising a guys. I find those are the least fiddly creative mix of digital and analogue and the most real-sounding. I’m not technologies. DJ Mag Tech caught up a super-techy sound designer guy with him in his studio to hear about like some people, I like to tweak a his gear… few knobs and get a sound rather than sit there all day with 10 macro What was your first entry into the controls and five pages of LFOs.” gear world? “I played piano and drums from a Do you sample from vinyl or do you young age, so I guess it was real prefer to use sample packs? instruments. Then I used one of “Vinyl sampling’s a big part of my those Casio keyboards from Argos, a sound and a lot of my tunes have
djmag.com 165 TECH IN THE STUDIO
got vinyl samples in. I do a lot of got to be careful they don’t take the crate-digging and charity shop power out of the mix. Even though vinyl hunting. In the charity shops, they allow more space for your kicks I’ll find a lot of stuff from the ‘50s, to pop through, there’s something which is better for the more musical about using plug-ins to do that tunes. But if you’re willing to spend which can really thin out the track. the money, you can get some nice It’s much better for house music or ‘70s soundtrack stuff or obscure things with a slower tempo, because sound effects-type records. There’s the compressors have got time to usually a sample on any record, attack and release in a more pleasing you’ve just got to be creative with it. way. Drawing in your ducking I’ll use sample packs as well, but try manually can also be a good way to to steer clear of the generic ones.” circumvent that.”
What’s behind your choice of Do you try to get as close as using Virus C and Novation Nova possible to replicating a club sound hardware synths? in the studio? “The Nova’s dead and won’t power “I used to do it more and listen on, but the Virus sounds fat. I like louder in the past too, but I’ve the classic knob layout because it’s actually found that the problems you intuitive, and the on-board effects want to avoid, mainly distortion, seem to suit dance music really well. are heard better at quiet volumes. A lot of people have said the Virus is What I like to do is flick between good for dance music, and especially different speakers, whether in the d&b.” car, on secondary monitors or using little computer speakers — then What tips can you give for people things suddenly start to jump out. I looking to achieve a heavy bass use Yamaha HS5s monitors because sound? they don’t have much bass but do “These days you can get a pretty have great mids, which is handy good sub tone from most synths and for radio-style playback, while the it’s not that hard to get a good sub, KH Neumann KH310s are more full- but it’s really about how you balance spectrum and vicious-sounding.” everything else. You need to make the sub have good weight in the You favour Audeze headphones, the What key pieces of outboard are have analogue processing on them. track and, to some extent, limit your LCD 2 and 3 range. Do you use them you using for audio processing? It might be coincidence, or maybe bass to stop it eating up too much for both recording and listening? “I’d say half the equipment I’ve got there’s something about using that space. Low-cutting your bass can “I use the headphones when I’m is for recording vocal chains, because gear that adds to the process. I still really help if the low, rumbly stuff is tracking vocals because they’re I think you have to use real audio to think hardware sounds better.” taking up too much headroom. I like basically like having high-end start with and get the best recording to use a lot of distortion layers to fill monitor speakers on your head. I you can, but a lot of my outboard Your Dynacord Echochord Super up those mid and high frequencies, use them for mixing, recording and gear doubles up for processing too. 76 Tape Echo looks an interesting giving more of the impression of bass listening, and I think they’re the The Elysia stuff, which I got this piece of gear… and filling up the spectrum.” best headphones going. They’re year, is fantastic for drums — they “It’s more or less the same as the really expensive, but I was lucky add an EQ sound I simply can’t get Roland Space Echo, but has a shorter Do you use the common ducking enough to be a guinea pig when the with plug-ins. I was actually thinking tape spool so you get an instantly and side-chaining techniques? company started and got hooked up this morning how the three tunes dull, degraded sound. It’s got a “I definitely use them, but you’ve with a couple of pairs.” off my album that sold the most all spring reverb and great inputs that distort things really well.”
Do you prefer to use a mixing desk rather than mix in the box? “For the first 10 years of my career, everything was mixed through my Mackie 1604 VLZ desk, which was the sound of ‘90s drum & bass really. Now I go through converters into the gear and back into the box because it’s easier for recall. My other Allen & Heath desk belongs to Kyo, the vocalist I work with. It’s one of the last proper analogue desks from the early ‘80s.”
What’s the key to a great drum & bass mix? “A lot of it’s about choice. When I mix other people’s tunes or master things, where you often hear problems is down to the choice of sounds. Whether using kick-drums, snares or even hi-hats, it’s worth taking the time to choose the right sounds at the beginning, otherwise you’ll stitch yourself up. That’s something that’s taken me years to learn.”
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Untitled-1 1 17/02/2017 12:26 TECH
Ableton Loop Conference Words: CHARLOTTE INA STERLAND & MICK WILSON
LOOP DA LOOP ERA DJ Mag Tech checks out the Ableton Loop Conference in Berlin...
bleton’s Loop Conference, from breakbeat deconstruction to a with later shows by Deantoni Parks Flamez and Kyoka. The Saturday eve- now in its second year, conversation with British composer and Kimbra. One thing that really ning show was at the Prince Charles took place in Berlin again Anna Meredith about her unique stood out about Loop was the diverse cinema in Prinzenstrasse, and the A recently, but this time beatbox concerto, with panel discus- selection of artists and creative types line-up featured more top electronic in a new venue — the Funkhaus, on sions covering musical issues from that were part of the proceedings, as musicians — too many to mention Nalepastraße. This is an amazing scenes across the world. well as the crowd who had come to here. setting that was formerly the home see it all. of east Germany’s national radio. It’s Jamming rooms were set up at one The interesting Mi-Mu gloves team On Sunday, there was a sampling talk an apt reminder of 1950s east German end of the Funkhaus building, with gave workshops throughout the from Deantoni Parks, Kirk Knight architecture, and offered up the large tables of synths and instru- whole weekend, featuring a perfor- and Kyoka, and the icing on the cake perfect setting for the 1000 guests, ments — everything from modular mance from singer Chagall. There was a truly inspirational talk from performers and set-ups that made synths, vintage Roland drum ma- were interactive installations across the world famous DJ Jazzy Jeff. This up the Loop Conference. The event chines to the latest Native Instru- the buildings, from Hakan Lidbo caught the attention of a lot of the pulled in a diverse ensemble of artists ments’ Maschine and Ableton hard- and Per-Olav’s interactive dance mat attendees to Loop. and speakers from a varied selection ware. During the weekend there were mixer and binary flip-switch mixer to The final day was full of highlights — of music genres from all over the structured jams, where participants MNTN’s 3D audio mixing lab, where if it wasn’t Jazzy Jeff discussing his world. got hands-on with the kit and used it people were invited to bring a multi- career, then it was the performance- in groups for about 20 minutes. The track song and create 3D graphics based presentation from Suzanne The theme of the whole weekend was sessions firmed up the underlying from it. Ciani, an innovative electronic music about ‘Connectivity & Collaboration’, theme that Ableton are pushing with The DJ gig at the Volksbuhne in composer — really insightful. Leaving something Ableton have been eagerly Link and connectivity. central Berlin on the Friday night the best till last, Lee ‘Scratch’ Perry pushing — especially with their Link In one of the loft rooms of the attracted plenty of guests, with some thrilled the crowd by talking about protocol. However, while this was Funkhaus, there was a large sound really good performances from Chino his music, life and experiences, and an Ableton production, it didn’t feel and light installation from Robert Amobi, Elysia Crampton, Born In rounded it all off with the closing gig. like we were there just to be lectured Henke, which provided a great place about Live. Loop felt more like an to spend a few minutes while taking a electronic technology gathering that break from the activities downstairs. was open to all interested parties, Studio sessions were also a great as well as manufacturers. In fact, it feature, with artists playing live open was great to see a lot of gear and kit sets in smaller studios in the building. from other manufacturers all linked Although it was possible to wander together to really show off the bigger in and out, there were great seating picture of electronic music. areas set out and it was really inter- While the main focus is music, the esting to be so immersed in close-up Loop convention is quite tech-heavy DJ sets, and it felt that we were part in its approach and the first workshop of the community being so close to we sat in on was a Faust software lots of great artists. programming workshop. Faust al- lows users to make their own music The second day discussions started plug-ins, which was well tailored to by examining musical education and Ableton’s Loop audience. collaborative approaches, followed by Other talks on the first day ranged talks by Daedalus and Chino Amobi,
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OLAF BOHN, HEAD OF PRESS AND COMMUNICATIONS AT ABLETON, TALKS ABOUT LOOP...
How did the Loop event come about? “The focus of the weekend is information- sharing. We have a big community of Ableton users worldwide. We have certified trainer groups across the world. It’s basically people we check and then they get certified, and they can help people in their territories. “The user groups are groups that support and meet to talk about life and music-making. We did this to be able to help people with their music-making and foster an exchange. Loop is important because people from all around the world come together and there’s not just Ableton as the focus, it’s really music-making — we really try to foster an open exchange. So with both the speakers and the Ableton colleagues, you have access to everyone and this exchange is really important and inspiring because there are so many people coming together.”
Is Ableton (the software) the reason for Loop? “It’s the source, I think, but there’s no agenda for Ableton — like we want to sell our product or something — or hidden marketing. It’s really about the community and an exchange, for connecting people and understanding their needs. It’s for Ableton to learn more about how people make music. “Also, I think collaboration is a big part of music-making these days, also in electronic music. Which is a big part of the community that uses our products.”
Where did Ableton start?! “In Berlin. Gerhard Belhes and Bernd Roggendorf are the original founders of Ableton, but Gerhard came to Berlin from Munich and met Robert Henke. They formed Monolake out of their musical need, and because they were both studying computer science, they were able to build their own tools. Moritz van Oswald also signed their first records. They both made music together, and they felt this was an idea that was working.”
The idea being Live? “Yes, turning the studio into an instrument, but I think the real detail was that it was the first real-time software. Back then, most of the software didn’t have the ability, so people picked up on it immediately because it was so flexible. It could really be used for all different things.”
Will Ableton be bringing in any other features? Or expanding to any other hardware?! “Live and the community was the only product Ableton did until 2009, and then we collaborated with other hardware partners and started to do hardware which worked with Live (APC40). We then released Push, which basically turned Live into a hardware solution — it turned into a real instrument that can be touched and played. And we’ll continue to push out our Link protocol, which we released in 2015 — this lets people finally play together independently.”
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The tools we use to write, record and perform music are dear to our hearts. You have a cover for your phone, right? So why not your DJ gear?
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We manufacture a huge range of bespoke covers from DJ gear to synthesizer, production and pro audio equipment. Time to CDJ-2000 NXS2 Cover get serious about looking after your gear, visit decksaver.com Also available for DJM-900 NXS2 and see if we have a cover for you. and most other Pioneer DJ units.
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TOUCH OF CLASS Words: CHARLOTTE INA STERLAND DJ Mag Tech got a masterclass on AKAI’s MPC Touch at the SubBass Music Academy recently… J Mag Tech was invited along to a two- We also worked on honing and perfecting the amount in the time we had. This was partly due day masterclass on the AKAI MPC Touch sounds we were using, by means of the various to clear tuition and the fact that we were being the other week, at the SubBass Academy controls particular to the MPC Touch. Editing the pushed through the two days — there was no room D Of Electronic Music in south London. It’s velocity and swing of the notes added life to the for slacking here. probably not such a bad idea getting up to speed rhythms and was a good technique to get to learn. with the Touch, we thought, especially now that By the end of the first day, we had put together our Getting to know the AKAI MPC Touch thoroughly AKAI Pro has just announced the release of the new own eight-bar tracks on the MPC, as well as looking over the course of two days was really fun and an MPC Live, which we’ll be going through in more at sampling on the Touch. Although we could have extremely useful crash-course. It would be easy to detail in a later review. recorded our own vocal samples, it seemed like build on all the skills we learned back in the studio, a good opportunity to use other people’s vocals and apply similar methods to other devices. An intensive crash course on using AKAI’s popular and work these into our tracks. The academy also Producing a track in a group environment over MPC Touch, it was the first of its kind at the provided a good selection of sample-packs by well- just the two days was also really useful, as we all academy; designed to clue up MPC users who either known producers such as Drake, which was a good approached the task differently and learnt off each already own and occasionally use the device or addition. other’s different styles of working. The two days those who have just jumped on-board the MPC were long enough to really get to know the MPC train. DJ Mag Tech was curious to see how the The second day was spent familiarising ourselves Touch, produce a decent eight-bar track, compile course would work and what the group would with the rest of the device functions. After learning samples, and touch on techniques of mixing. achieve by the end of the two days. how to create our own drum programmes, we This is a really worthwhile course for anyone Some of those on the course were already worked on using the synths that come with the MPC wanting either to get to grips with a new device experienced producers, whilst others were software, before compiling a song and using the or to learn techniques, while deciding if this is attending the course so that they wouldn’t have to live set-up. We also went over how to use the MPC the kit they want to work with. It’s a great, small dig out the manual. with DAWs (Ableton and Logic) and finished the day group workshop for establishing collaborative work A relatively new release (2015), the AKAI MPC by having an open jam session, using different sets methods and we learnt a lot. We look forward to the Touch has gained many fans in a short space of of samples and sounds and the techniques that we MPC Live workshop which will no doubt be coming time, but in spite of its popularity some users are had been shown over the last two days. in the not-so-distant future. not getting the full experience from it. Hence why Surprisingly enough, we got through a large •subassdj.com SubBass got together with AKAI Pro to deliver a masterclass on how to really get the most out of this piece of kit. The MPC Touch has a number of standout features, of which the touch-screen is the biggest shout. It is the device of choice for many hip-hop producers, but is gaining a lot of popularity with the house and techno fraternity. The first day of the course was spent getting to grips with the controls and the touch-screen workflow — from basics like setting the bpm to getting used to naming your tracks and sequences, as well as loading and programming different drum samples, beat programming and getting an eight-bar section going. The more experienced programmers got an eight- or ten-track rhythm section going within about 20 minutes and it was great for the group to hear what everyone was working on.
djmag.com 171 TECH Pioneer DJ’s DM-40 Speakers VERDICT Words: CHARLOTTE INA STERLAND BUILD QUALITY 8.0 EASE OF USE 8.0 FEATURES 8.0 VALUE FOR MONEY 8.0 SOUND QUALITY 8.0 HYPE The DM-40 offer high sound quality at an affordable price and are compact and as easy to put on shelves as they are on a desk. GRIPE They are so nice you’ll get distracted playing your favourite songs on them and won’t get down to that mix.
These cool understated four-inch speakers in Pioneer’s range of studio monitoring range are a joy to listen to. Good bass delivery makes them a useful tool for any DJ or producer. 8/10 PRICE £189 pioneerdj.com
SMALL BUT PERFECTLY FORMED Pioneer DJ’s DM-40 Speakers offer big sounds in a small package... ioneer DJ’s DM-40W sound that the speakers deliver. With their strong bass delivery, the Speakers are the newest The speakers are quick to set up — DM40s are good for dance music pro- addition to Pioneer DJ’s once active, it’s more or less just duction, and perfect for DJs getting P ever-expanding range a case of plug in and play. With a down in the mix. Conversely, as the of speakers for DJs and producers. simple connection cable, users can speakers are warm in the bass area, These cool understated compact of- either connect the speakers to their they will be a little bit compromised ferings are ideal for anyone looking laptops, to other soundsystems or in terms of accuracy for production. for a set of speakers that will offer audio devices. There is also a head- They might be a bit misleading when up decent sound but also keeping an phone connection in the speakers, it comes down to mixing and master- eye on limited space considerations. so that the audio coming through ing duties, but they do deliver a nice They are also great for a desktop the speakers can be mirrored to your all-round sound. monitoring system that will pack a phones — this is useful for when Tested at different volumes, the bit of a punch. you’re working on a mix, and you speakers really show their worth. DJ Mag Tech was looking forward need to be quieter. When used at a lower volume, they to testing out the DM-40 speakers, deliver generally well for most music, as this area of the marketplace is The most striking thing about these but at higher volumes it’s music with getting highly populated. There are speakers is the quality of the sound strong bass and drum parts that edges or coverings. There is no doubt a host of options that cater for the — there is plenty of technology at really shine. Grittier sounds ring that these speakers can sustain some bedroom DJ/producer, and the price play to aid in this. The ¾-inch soft well and, while they are good for wear and still look good. range is very competitive. What we dome tweeters deliver on the high listening to dance music, they don’t With their excellent audio delivery wanted was a speaker that would be frequencies and the four-inch cone fall short when really pushed with and their compact size, these speak- great for our bedroom/back office woofer brings out the lows. There is more complex sounds — as many ers are ideal for producers who are DJ rig and could also be put to use in a nice addition of ‘Groove Technol- speakers of this size would. There’s struggling for space but don’t like our small project studio — without ogy’, which is a set of grooves in the clearly Pioneer DJ audio know-how to compromise on quality. They are compromising on audio quality. bass reflex duct, below the woofer, at play here. a good pair of speakers for their size which are designed to radiate the and knock the socks off many of Our initial findings were pleasing as bass frequencies in particular. This Aside from production use, these their larger competitors. the speakers delivered a wholesome, gives added emphasis to bass and speakers actually shine for general all-round sound that was perfect for drum delivery. home use as well. At a very good Speakers, as well as headphones, a wide range of genres. They even The convex sound diffusers also act price, their playback is very good in are always going to make or break picked up the subtle nuances from towards spreading the higher fre- comparison to many of the gimmicky the sound of a track on playback, so acoustic instruments and vocals, to quency sounds upwards and into the designer speakers that are on the it’s good to find small, well-priced tracks with a strong kick and heavy room — these are an added bonus in market of a similar size. This is also monitor speakers like these. If you bass — the DM-40s performed well the delivery. These make the speak- an arena where the look of speakers aren’t excited about listening to with all. Pioneer DJ state that the ers perform less like normal speakers matters, and the DM-40s would look music through your soundsystem of DM-40 have been built using some of their size, and are a smart way to good in anyone’s living room and choice then they’re really not doing of the features from their previous spread the audio around the sound make an excellent house party sound their job properly — and these are professional speaker ranges, which space. system. In addition to this, they are definitely speakers you can’t wait to should bode well for the quality of designed to last, with no flapping switch on!
172 djmag.com GET YOUR MIX ON
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Untitled-1 1 11/11/2016 17:00 PRODUCER Welcome to Plug-in TECH Words: MICK WILSON Corner, our monthly We reveal some handy tips and tricks to help you on the exposé of some of the best plug-ins around for road to wicked productions... creating electronic music... sponsored by
MANUFACTURER : SONIC FACTION PLUG-IN : HYPERMORPH FORMAT: VST, AU PRICE : £47.95
CALIFORNIA-BASED collective, Sonic Faction have recently released a new addition to their growing Ableton/Max for Live product line, Hypermorph. Billed as a ‘fusion of synth and sequencer’, Hypermorph contains four independent sound sources along with an XY Morph Matrix which allows the users to mutate, blend and morph between each sound. Hypermorph’s user interface is clear and concise, with the XY Matrix providing the main focus for the instrument. This XY Morph Matrix can be adjusted manually and allows the user to achieve the desired tone, while also allowing you to automatically morph and sculpt sound using the Draw, Click, Gravity or Sequencer NIGHT CZAR mode. WITH A NEW remix out on Kevin a park. So I use my mobile phone noise-cancelling. For gigging in a Saunderson’s KMS label, Brussels or the Sony PCM-M10 recorder to club, I use the HD8 DJ — it just has DJ/producer Van Czar lets loose a record sounds or acapella melodies such great sound quality. few secrets about how he gets his that later I will use and work into “When DJing, I enjoy using Killer Sounds... my productions in more detail. everything I’ve got in the DJ booth! As 80% of my work is ‘wandering’ I don’t have specific requirements, “Firstly, and above all, as a production, I always bring with me but I do like to have a Pioneer mixer producer/composer I hardly ever my laptop, which is the core piece as I love using its FX module. I spend time in the studio for the of my music engine. really like the DJM900 Nexus mixer music writing process. My ‘studio “The headphones are, obviously, an a lot. In terms of CDJs, it doesn’t time’ is just to finish the mixing essential element to work with, too. matter which brand they are, but and to improve the sound of my For years, I have trusted Sennheiser the turntables must be Technics — I projects. and I have got several different love the SL-1210 M5G model. “I am always travelling through models for each music moment. For “I think that when you feel the the city and I write all my ideas and example, I often bring the in-ear music, although every artist has creations during that very moment. IE80, which is easy to carry, or their own preferences about tech Hypermorph’s sequencer encourages the I enjoy working outdoors, in the the HD-25 — both are perfect for and devices, it’s not what you use creation of unique rhythmic patterns; underground, in a cafeteria or in wandering mode. Both of them are but what comes from within.” from complex sequences to dynamic control. You can also morph between steps smoothly or create contrasting SAMPLE TANK: UNDRGRND SOUNDS: ‘GRIME 2.0’ transforming phrases. Ableton Push GRIME HAS GONE undergone a resurgence in recent years and Novation Launchpad owners will be while maintaining its cool underground status, so it is fitting pleased to hear that the XY Morph Matrix that UNDRGRND Sounds’ new sample pack ‘Grime 2.0’ offers is integrated and completely controllable. up a snapshot of a fresh new wave coming out the grime scene. This gives the users a huge amount of ‘Grime 2.0’ is the perfect pack for producers/DJs looking hands-on control for each Morph Mode to emulate the sounds of Visionist, Mumdance, Slackk, and we think that the tactile control this Bloom and Rabit. ‘Grime 2.0’ explores the darker, deeper brings proves to be a lot of fun! There are side of the genre with hard-hitting rhythms, booming some interesting videos of this in action basses, metallic synth sonics, vapour-like pads and available to watch on Plugin Boutique and ominous FX. In total, there’s 890MB of quality loops and YouTube. hits — more than enough to aid in the creative process. If you’re an Ableton user, and especially The sounds in the pack are crisp and offer ample an Ableton Push or Launchpad owner, we variety, with plenty of one-shots offering a rich sonic would highly recommend checking out palette for producers who want to create their own Hypermorph. The team at Sonic Faction unique rhythm sections. The pack comes in all the have proven again that they’re a force to popular sample formats and contains sub-folders of be reckoned with when it comes to the Max kicks, snares/claps, hats and percussion. It also comes with five pre-built drum-kits for major samplers. for Live market! DJ Mag Tech likes this pack and whilst it lends itself to the grime sound very nicely, it can also be used by producers who want to PRICE £34.95 undrgrndsounds.com Plug-in Corner is sponsored by include gritty, edgy samples when making other bass genres too. pluginboutique.com, your login for plug-ins!
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BUILD QUALITY 9.0 EASE OF USE 7.0 FEATURES 8.0 VALUE FOR MONEY 8.0 SOUND QUALITY 8.0 HYPE The unique, detachable Ring Controller adds a dimension to live performance you won’t get from any regular groove box. GRIPE The learning curve is fairly stiff — patience is required! Varied, multi-purpose music production instrument with a conceptual twist. Useful in a studio environment, if a little limited, its strength lies in its ‘outside-the-box’ Ring Controller, geared heavily towards live performance. 8/10 PRICE £387 RAIDERS OF THE LOST ARQ zoom-uk.com Zoom take a totally novel route with their new controller/musical instrument... EVERY NOW AND THEN a product comes to DJ Controller is a ‘three-axis accelerometer’. When instrument sounds, 70 types of synthesiser Mag Tech that bucks all the norms of expected the ring is lifted from the base unit and moved sounds, and all the usual effects options you’d studio or DJ gear, and instead goes off on an around (think ‘electronic tambourine’), the on- expect. Hardware-wise, it features an SD card slot, exploratory curve into uncharted audio territory. board FX parameters and MIDI control messages USB port for optional connectivity to your DAW, Firmly placed in that camp is the Zoom ARQ Aero can be modulated. This could control filter sweeps, a 1/4” stereo headphone jack, and 1/4” stereo RhythmTrak, an innovative all-in-one production change sounds and effects, and to quote Zoom, inputs and outputs. All the buttons and rotary and performance machine-slash-instrument. ’fly sounds around the room’. In practice, this is controls on the Zoom ARQ have an assured firm At first glance it resembles something more akin a pretty slick performance tool, and a lot of fun feel to them, as does the rest of the unit. This to a controller for video game petrolheads than (once you’ve figured out the mapping and got your immediately shifts attention away from it being a anything musically useful, but under the hood lies ‘hand in’ with the movement). Top marks for going toy to a serious piece of studio/performance gear, an intriguing concept. So what is this thing? And off-grid. albeit a very strange piece of studio gear! how do you use it? So that’s the show stopper. The other part — the We think it’s fair to say that this box does a lot. The Zoom ARQ is quite an interesting bit of kit — base unit — is the necessary brains of the outfit, It’s a fairly steep learning curve to mastery, as it probably one of the strangest things that we have and features a crisp operating system display. operates in a way that is not really like anything played on at DJ Mag Tech. Full marks to Zoom for From here you can set the unit into STEP mode before it, and the operating system can leave thinking outside the box — or should we say to (for step sequencing), INSTRUMENT mode (for you scratching your head a bit in the learning ARQ for coming up with something that is totally performing/recording real-time input), SONG stages. It’s doubtful it would hugely appeal to different to anything that has gone before it. mode (combining created patterns), and even a the serious studio musician, but the onboard Resembling something that could easily have LOOPER mode (combines patterns, songs and live sounds are decent and, as such, combined with come from Spielberg’s Close Encounter flick, the audio input). All sound selection and editing, FX some creative sampling and a bit of elbow grease, Zoom ARQ is made up of a colour-laden outer parameters, drum kits, presets, song data and good compositions could definitely be crafted. It’s sphere encasing a base unit which holds the main sampling functions are done here too, which can clear strength, however, is in the live performance body of the ARQ’s controls, with a central display be a little bit fiddly for a while until you get the arena, the ring controller offering an impressive that relays visual information to the user. So let’s hang of the button clicks. and dynamic visual centrepiece fit for a live show answer the question as to what it actually is. On board are 79 preset kits, 468 drum and or DJ accompaniment. Filter-sweeping Bez vibes! Well, for a start, it’s a drum machine, synthesiser, sampler and sequencer. But we’ll get back to that, as there’s one glaringly obvious component that stokes curiosity above anything else — the Ring PRODUCER TIPS: Controller (outer sphere). Housed within the LAURA JONES white wheel are 96 velocity and pressure-sensitive “Never settle on the first hook pads. Yep, drum pads. These can be used to input you come up with, keep hunting drums and synth sounds, or trigger loops and for more. When you’ve found patterns in a variety of ways — both in real-time the right one, you’ll know, and and pre-recorded. As previously mentioned, it is rather than spending little a colourful affair, the coloured LEDs light up the blocks of time in the studio, circumference to show timing, programming and when you begin a track allow pad selections. yourself a lengthy session so you Now, anyone who’s worked with a drum machine or have time to explore and record hardware sequencer before will be finding this unit as many avenues as possible.” strange enough, but here’s the really crazy part: inside the wirelessly connected, detachable Ring
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Untitled-1 1 14/12/2016 12:04 Lucky Seven Danny Tenaglia Words: HELENE STOKES
Danny Tenaglia is the ultimate legendary DJ. Many an he’s happy sharing and going back-to-back. Although he attendee of WMC will recall his epic marathon sets that were has promised he will be playing an extended set in May at a thing of beauty and wonderment. “I was glad when that Stereo Montreal. happened, it lasted for many years but it’s not something And you’ll be pleased to hear that Danny is heading back that I want to do anymore,” he tells DJ Mag. “There’s just so into the studio, with a clutch of collaborations on the cards. many wonderful DJs and there’s not enough time.” He’ll be working closely with his good friend Sebastian It’s not that he’s ruled them out completely, but these days Manuel, who’s super-skilled with Logic, Ableton and the like.
The track that reminds you of your childhood and of my dear Aunt Nancy. childhood? She was the one that was musically gifted “Thank you! I really appreciate it. You guys have just “‘Who’s That Lady’ by The Isley Brothers, I in our family. Whenever there was a been so great to my career for so many years, I’m was probably about 12 or 13 years old party, and there were many when I was a honoured and humbled. Thank you.” when that song came out. I had already kid — like picnics and back yard stuff — been displaying a love and a sort of gift she was always the one to break out the for music with playing piano and guitar instruments and sing. She would play the by ear as a kid. piano and babysit me and my three “I grew up with a passion for Motown and brothers at the time, and I would sit next Philadelphia-type soul, and then my to her and those were the songs that she older brothers and cousins would listen used to play. I recently listened to that to rock & roll like Led Zeppelin and album and I welled up with tears because Cream. When The Isley Brothers came out it reminded me of her and when she with ‘That Lady’, it had that really passed away just within a week of my own infamous guitar solo that was almost like mother, so I lost two mothers in the same Jimi Hendrix playing, it struck me in a week in 2008.” rock and soul kind of way, but it just stayed with me somehow — to show that What’s an album that you’re currently it can be done, you can fuse both into? together.” “Are you familiar with Pink Floyd’s ‘Pompeii’? I had never listened to the The first record that you ever bought? album in its entirety, I was always just a “I think Carl Cox may have said the same fan and would pick and choose the ones thing once, and I realised we have so that I liked, and I was watching a video of much in common like age and genres and them where they were rehearsing and it all that, and I think it was ‘Soul Makossa’ becomes something of a concert minus by Manu Dibango. I think I started the people. It inspired me to listen to watching TV shows like Soul Train and their albums in their entirety, so that’s that’s also the same year that The what I’ve been doing.” Jacksons were exploding and started their own cartoon. I guess you could say The record in your collection that you Saturdays was for me being a 10-year-old most treasure? and watching those shows and anything “I have a signed LP of Giorgio Moroder’s else that was music related — any kind of ‘E=MC2’. I met him in New York at one of TV show that had live acts, people those dance music seminars. Eventually dancing, I was attracted to it.” we got to know each other and then I did a remix of ‘From Here To Eternity’ and he What do you listen to that isn’t dance signed the LP to me and I framed it. It’s music? one of the very few things that I have in “I still have a passion for the classic my home in Miami that’s music-related, Motown and Philly, The Beatles, Pink because my place in New York is all DJ and Floyd. It reminds me of the reason that I studio and records and CDs. But my fell in love with music, the actual condo here in Miami has three things, it’s compositions and lyrics and chord the Giorgio Moroder, the Grammy changes and structure. That’s what I nomination from 2002 for Depeche thought I was going to be doing. I didn’t Mode, and a Depeche Mode platinum gift know any other way when I was a kid, I just to say thank you for being a part of loved the bossa nova, I loved Sergio it.” Mendes, I loved Latin music and salsa. So I learned about music and choruses and Your all-time favourite track of all verses and bridges and arrangement. But time? that was before the DJing thing took “‘Love Is The Message’ by MFSB. The over, and ultimately now most of my sets mother of all disco anthems. Because it are techno-related.” was the Philly sound, it was soulful, it didn’t have much lyrical content but it The track that’s guaranteed to make went on to inspire so many DJs. Being an you cry? avid club-goer and dancer back in the “There’s an album by Sergio Mendes Paradise Garage days, all the clubs were called ‘Equinox’, and when I listen to predominately black and that’s why it’s those songs it reminds me of my such an anthem.”
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