February/March 2007 Issue | Vol. 73 S weetNotes® (800) 222-4700 • www.sweetwater.com Making music happen for over 27 years! INSIDE THIS ISSUE: NAMM Show ’07 ...... 1,10,11,12,13 Akai DPS24mkII ...... 2 Native Instruments Kontakt 2 ...... 3 M-Audio NRV-10 ...... 4 Focusrite Liquid Mix ...... 4 Guitar 101 ...... 5 Customer Studio ...... 5 By Mitch Gallagher AKG C414 LTD Inside Sweetwater ...... 6 It might have been snowy and cold at Sweetwater’s headquarters in Fort Wayne, but it was Digitech RP Series ...... 6 raining new gear at the recent Winter NAMM show in Anaheim, California! The annual Mackie VLZ3 Series ...... 7 National Association of Music Merchants tradeshow is the biggest U.S. music industry show; Expert Center...... 7 this is where manufacturers come to show the new pro audio and music products we’ll all be Moog Little Phatty Stage Edition ...... 8 lusting after this year. The 2007 show certainly didn’t disappoint — there were more product Rock n Roll Fantasy Winner ...... 8 introductions at this NAMM than at any I can remember in recent years. Here’s a small sampling Inside the Sweetwater Difference ...... 9 of some of the products the Sweetwater tradeshow crew came across; for a complete TechNotes ...... 14 listing, be sure to visit www.sweetwater.com/publications/reports and tune in to our daily ® Sweetwater Disc Services ...... 14 inSync internet newsletter (www.sweetwater.com/insync) for ongoing coverage and Studio Notebook ...... 15 updates on all the new products introduced at NAMM. Digidesign Pro Tools 7.3 and Velvet ...15 The A-Designs EM-PEQ is an EQ module based on the classic Pultec EQ and using the class AB amp from the Pacifi ca mic preamp for makeup gain. It fi ts in any 500 series-compatible rack, including the new R52, a single-space dual module chassis also introduced at the show. A-Design’s popular REDDI DI box received a nice enhancement based on customer requests, a 1/4" thru jack on the front panel. AKG was celebrating 60 years of microphone innovation at this show with the announcement of the C 414 LTD. This special version of the venerable C 414 features hand-selected capsules and components for optimum sonic performance, plus a nickel fi nish and brass grille — very sharp! The C 414 LTD comes in special packaging including a limited-edition black soundtools case, windscreen, spider suspension, pop fi lter, and certifi cate of authenticity. Each mic is hand-assembled and individually tested. Alesis MasterControl Alesis was showing two new control surfaces with built-in FireWire audio interface capability, the MasterControl and the io|Control. The MasterControl provides up to 192kHz sample rates, two phantom-powered XLR mic inputs, six TRS line inputs, S/PDIF and dual S/MUX ADAT lightpipe inputs, nine faders, and a built-in talkback mic. The io|Control supports up to 12 channels of input to computer, including two XLR and two balanced 1/4" as well as eight ADAT digital inputs. The io|Control also has a jog wheel, six assignable buttons, and four endless knobs. Arturia Jupiter-8V Apogee’s Symphony system is amazing; it offers 1.6-millisecond latency and tons of I/O for native DAWs. But what if you’re on the go? Then you need the Symphony Mobile, an ExpressCard for Apple’s MacBook Pro that delivers the same low latency as the PCIe version with up to 32 channels of I/O from Apogee converters. The Jupiter-8V from Arturia is a virtual synth modeled after Roland’s analog Jupiter 8. It comes with 400 presets and has a step sequencer, analog and digital effects, and more. The Origin is Arturia’s fi rst venture into hardware — it’s a digital modular synth with 32-voice polyphony, two ins, and 10 analog and stereo S/PDIF outs. The synth engine is loaded with — continued on page 10 — continued on page 10

PPageage 001,10,11,12,13.indd1,10,11,12,13.indd 1 22/2/07/2/07 8:25:258:25:25 AMAM SWEETNOTES | FEBRUARY/MARCH 2007 | PAGE 2 from the editor NAMM Extravaganza!

It’s January, and that means NAMM — the National Association of Music Merchants’ big winter tradeshow. Each year, manufacturers gather at the Convention Center in Anaheim, California to show their latest wares to the world’s retailers, the press, and a few lucky visitors (the show is closed to the public). As I write this, I’ve just stepped off the plane, returning back to Fort Wayne. Despite being faced with snow on the ground after sunny, warm California, and being exhausted from pounding the fl oor for four grueling days, I can’t help but feel excited. Call it the osmotic effect of all that new gear, but I get really stoked at NAMM each year. This year, in particular, was very exciting. There was more traffi c, more noise, more people at the show than at any NAMM I can recall for the past 10 years. And there was more gear. We’ve got well over 200 new products in our online show report (www.sweetwater.com/ publications/reports), and we’re still adding items as I type this. While I won’t say that there was any one item that dominated the show, Mitch Gallagher overall, there were tons of great new offerings and interesting news. Editorial Director Things just keep getting better. One example: MOTU was showing their Mac Pro computer running 1,000 simultaneous plug-ins in Digital [email protected] Performer! Another: Apogee showed an ExpressCard interface for the MacBook Pro laptop that allows for 1.6-millisecond latency with native DAWs. There was new software, new audio hardware, new keyboards and synths, and tons of great guitar and bass gear. I came away seriously lusting after four or fi ve new amplifi ers and a bunch of virtual instruments! I was pleased to see that many manufacturers had the focus squarely back on the music; there were numerous live performances in booths, lots of after-hours concerts and musical get-togethers, and real interest in providing musicians with the tools they need to make better music, and to do it faster, cheaper, and more effi ciently than ever before. You’ll be seeing all the great new NAMM products hitting the market soon (if they haven’t already). Check in to Sweetwater.com and stay in touch with your Sales Engineer for the latest availability info and news on all the NAMM show new product releases Twelve Tracks of Pro Audio…To Go! There are a ton of misconceptions in our industry. One example: When you hear the name AKAI, you might think of MPC grooveboxes and hardware samplers. Another: Standalone studios-in-a-box are great as scratchpads for song ideas, but not for serious studio-quality audio production. It’s true that some of these units are built and priced to appeal to beginning recordists, and may have some limitations for pro studio work. But with the brand-new DPS24 mkII, AKAI breaks free of all these misperceptions! We’re talking one powerful studio production center. The DPS24 mkII is truly innovative in that it packs studio-quality sound with most of the features you’d fi nd on a good digital mixing board into a unit that could easily fi t on your kitchen table. Capable of recording and playing back 12 mono tracks of uncompressed 24-bit audio at 88.2 or 96kHz (24 tracks at up to 48kHz), the DPS24 mkII is a mobile studio dream come true. In a single box, you get a very portable unit that’s loaded with everything you need to make professional recordings. As you record, you can monitor the waveforms on the LCD screen. The DPS24 is well equipped to handle audio for video as well, with word clock I/O and on- screen timecode display. Speaking of connectivity, you’ve got 12 XLR/line ins, 12 more 1/4" ins, hi-Z instrument in, ADAT optical, MIDI, and more additional analog and digital options than we have room to discuss here. This is really as close to a self-contained DAW as you can get. There’s no need for a laptop or an interface — just the DPS24 mkII and your mics and instruments, and you’re ready to start tracking anytime, anywhere. The attention to detail is what elevates this unit above most other standalone recorders. Have a certain preamp that you won’t record vocals without, but don’t want to send the signal through a second preamp circuit? Not a problem! The DPS24 mkII is equipped with direct inputs that send signals from external pres directly to the converters, completely bypassing the on-board preamps. Another nifty feature that far surpasses what we’ve come to expect from most standalone recorders is the inclusion of dedicated nearfi eld monitor outputs with talkback and mono switches, so you can communicate with the talent or check for phase correctness even when recording on location. The concept of integrating truly pro-oriented features in a box that’s so portable and affordable is a stroke of genius. Everything that makes standalone recorders practical, the DPS24 mkII has it in spades. > > Akai DPS24mkII • Sweetwater price $2799.97 • www.sweetwater.com/dps24mkii

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PPageage 002.indd2.indd 2 22/2/07/2/07 11:15:5411:15:54 AMAM SWEETNOTES | FEBRUARY/MARCH 2007 | PAGE 3 Sound Design: Making Kontakt By Daniel Fisher A recent sequencing project has required me to replicate instruments from various samplers and synthesizers using Native Instrument’s Kontakt 2 on a Mac mini. In some cases, I was able to import the sample libraries directly from CD-ROM right into Kontakt 2 using the supplied Konverter. In other cases I had to sample the original instruments (like synthesizers and ROM-based sample players). After sampling the instruments, it was surprisingly easy to drag the WAV samples I had recorded directly into Kontakt 2. After I did this, Kontakt 2 created a new Instrument using the samples I had just dragged over. All I had to do was properly align the samples across the keymap and create parameters that allowed the instrument to respond to velocity, pitch bend, mod wheel, and aftertouch. Again, Kontakt 2’s visual editing layout made this a pleasant task, but I found myself repeating the same programming on each new instrument. Then I came across a tip suggesting that I save my newly created instrument as a default. The way to do this is to save your default instrument to the following location: On a Mac, typically at Applications/Kontakt 2/default. I suggest renaming the original (existing) default Instrument and Multi to kontakt_def_ORIG.nki and kontak_def_ORIG.nkm. This way you can always get those back simply by renaming them. Now you can save your new customized Instrument as “kontakt_def.nki” and your custom Multi as “kontakt_def.nkm.” After saving your default Instrument and Multi, you’ll use it every time you drag a new set of samples into Kontakt 2. It’s a great timesaver to have your controllers and other parameters already set up just the way you like them.

> > Native Instruments Kontakt • Sweetwater price $399.97 • www.sweetwater.com/kontakt Sweetwater Now Download Accepts PayPal It’s even easier to get the gear you need from Sweetwater! We now accept online Sweetwater and over-the-phone payment from the world leader in secure payments, PayPal. When you’re wrapping up your web order, simply choose PayPal as your preferred payment Select method, and you’ll be redirected to your ! PayPal account page, where you can complete If you’re looking for the absolute cream of the crop in your transaction. Over-the phone orders pro studio hardware (or just want to enjoy the sensation are handled the same way. Once you’ve of seeing some of the world’s fi nest pieces of audio gear conferred with your Sales Engineer, log in to assembled in one place), download our new 40-page your PayPal account, and send an e-check Sweetwater Select catalog today. to the email address provided by your Sales We’ve included the very best of the best in microphones, Engineer. Once your e-check has cleared, we’ll preamps, signal processors, monitors and more. You’ll ship your order. It’s really that easy. Making see top products from legendary names such as Manley, GML, Neumann, Soundelux, Tube Tech, secure online payments even easier and more Royer, Chandler, Dangerous Music, A Designs, Millennia Media — more than 40 high-end manufacturers in convenient — that’s the Sweetwater Difference! all. In addition, you’ll fi nd this directory packed with valuable information; to compile it, we consulted our own experts, as well as experienced Nashville recording engineers and the manufacturers themselves. We’ve spotlighted the kind of “boutique” gear we all admire and aspire to own — products of uncompromising quality that have become indispensable tools for top-fl ight facilities everywhere. Download your free copy of the PayPalPayPal Sweetwater Select directory from www.sweetwater.com/publications/select, and feast your eyes on some of the fi nest gear on the planet!

(800) 222-4700 | www.sweetwater.com

PPageage 003.indd3.indd 3 22/2/07/2/07 8:14:268:14:26 AMAM SWEETNOTES | FEBRUARY/MARCH 2007 | PAGE 4 hands on: liquid mix

By Mitch Gallagher You can never have too much DSP power in your studio — between all the great virtual instruments and CPU-draining plug-ins, even the stoutest computer can be made to cry “Uncle!” If your computer is coming up short, then a DSP booster may be just what you need. I spent the past few weeks working with one such product, the Focusrite Liquid Mix. In addition to bolstering your computer’s CPU, it provides a great selection of modeled dynamics processors and EQs based on classic units. The Liquid Mix has two parts: The hardware controller/DSP box and the software. The box connects to your Mac (Audio Units, VST, RTAS) or PC (VST, RTAS) via FireWire and can run up to 32 channels of dynamics and EQ. The software comprises a control panel and a plug-in into which you load models of compressors/limiters and EQs. There are 40 dynamics models and 20 EQs. The models cover a very broad range, from vintage to modern, tube to solid-state. Installation went smoothly on my MacBook. I used the Liquid Mix with Pro Tools LE, Logic Pro, and Live. The Liquid Mix couldn’t be easier to use. First, you load the Liquid Mix control panel, then open your DAW. From here, you can instantiate the M-Audio NRV-10 Liquid Mix plug-in. The DSP for the plug-in comes from the Liquid Mix hardware, One of the biggest complaints regarding digital recording is that many control so your computer’s CPU remains free to run instruments or other plug-ins. surfaces lack the true functionality of a traditional analog board. Sure, they I was very pleased with the sound quality. I didn’t compare the models to hardware, have faders and knobs, but control surfaces generally lack the ability to integrate but there’s a real change in character as you switch from model to model. The external effects and the ease of routing things like monitor mixes — until now. models are accurate; if there’s no attack control on the original compressor, Not only does M-Audio’s NRV10 merge the familiar function and feel of an there’s none on the Liquid Mix . However, using the “Free” switch, you can access analog mixer and digital effects with a FireWire computer interface, but also parameters that aren’t in the original. Likewise, the EQ has whatever parameters adds the ability to integrate VST effects from your computer in a live setting. were available with the original hardware. For extra power, you can create “hybrid” The NRV10’s fl exible I/O includes fi ve XLR inputs, three pairs of stereo inputs, EQs, drawing bands from various models to create a 7-band EQ that never existed in two aux sends and returns, and FireWire connectivity that sends or returns eight hardware. You can choose to place the compressor before or after the EQ. channels of audio to and from your computer. Since the NRV10 can send and The Liquid Mix defi nitely delivers. Whether you need the extra DSP or not, the EQ receive audio through the FireWire cable, it opens up all kinds of possibilities for and comp/limiter models are well worth having in your arsenal, and being able to monitoring. Insert points on the four mono channels make patching in external grab knobs on the hardware controller to tweak the sound is wonderful! processors a snap, plus each channel has 3-band EQ. If you’re in the market for better EQs and comp/ A laptop turns the NRV10 into a powerful live tool. Your favorite VST effects limiters or more DSP power for your DAW, then the installed in your computer can be accessed via FireWire for real-time processing. Liquid Mix deserves serious consideration. I’m sold! Imagine being able to take your favorite plug-ins along with your presets to the gig, and then recording the show with crystal clear 24-bit/96kHz quality all through the same unit. The NRV10 makes this a reality. The VST compatibility even extends to virtual instruments with a MIDI controller connected, bringing yet another level of functionality to the impressive feature set of the NRV10. The NRV10 is compatible with virtually any DAW that’s currently available, and as an added bonus, it’s also a Pro Tools M-Powered interface (and it ships with a demo version of the industry-standard software). If you’re not tapping into your VST arsenal for effects, the built-in effects on the MRV10 range from reverbs to modulation effects such as chorus, fl anging, and delay. You can modify effects parameters for both the built-in processors and the VST plug-ins through the included interFX software, along with accessing the built-in compression and gating for each channel. The interFX software essentially turns your NRV10 into a portable and powerful multi-effects processor for the stage or studio. The NRV10 may well be the next logical step in the evolution of the audio interface. Bringing the form and function of a traditional mixer to the digital world with FireWire connectivity and the integration of real-time plug-in use is a major leap forward for the studio, the performing musician, and the mobile sound engineer.

> > M-Audio NRV10• Sweetwater price $699.97 • > > Focusrite Liquid Mix• Sweetwater price $799.99 • www.sweetwater.com/nrv10 www.sweetwater.com/liquidmix

(800) 222-4700 | www.sweetwater.com

PPageage 004.indd4.indd 4 22/1/07/1/07 4:33:484:33:48 PMPM SWEETNOTES | FEBRUARY/MARCH 2007 | PAGE 5 GUITAR 101: Tailpieces By Jim Miller In the 1950s, the only “off-the-shelf” vibrato solution was the Bigsby. Almost all of the hollowbody Gretsch guitars had Bigsbys as standard equipment, usually behind a simple metal bar bridge that would rock slightly as the pitch went up or down. Gibson used Bigsbys on their Les Paul model, as well as on many of their archtops, including the ES-335. Bigsbys were also found on many Guilds and Epiphones built in the ‘50s and ‘60s. Though the design was simple, it got the job done and even today Bigsbys are found on some reissue guitars. Leo Fender’s vibrato tailpiece, which he erroneously called a tremolo, was said to be his “pride and joy,” and for good reason, as it was quite an engineering feat for its time. The concept of combin- ing an adjustable bridge and vibrato tailpiece was pretty ambitious and though the fi rst few tries had to be scrapped, the original Fender Synchronized Tremolo is still in use today on reissue Strats, as well as on Artist models including the Eric Clapton, Buddy Guy, and Eric Johnson signature Strats. An updated design with a 2-point pivot and pop-in arm is used on the company’s newer models, like the American Standard Series. Other companies have taken the original Fender design and made their own modifi cations and enhancements. These include PRS, Ibanez, Brian Moore, and Bigsby Parker, while Floyd Rose came up with a locking design that allowed for dive-bombing tailpiece pitch bends that would lower the pitch until the strings went slack! The fi nal tailpiece that’s worth mentioning is the trapeze-style and its many variations. Here Fender the strings are not attached to the guitar’s top, but extended toward the rear of the instrument Synchronized Tremolo near the back strap button. These are used almost exclusively on upscale archtops and jazz guitars like the Gibson ES-175 and the Ibanez George Benson. They may be simple or very ornate, as on the Gretsch White Falcon “Cadillac” tailpiece. That’s it for this issue. Next time around we’ll talk about necks and fi ngerboards! Customer Studio: Robert McNamara Robert McNamara of Kenilworth, New Jersey has been using Sweetwater since day one, when he decided to expand the drum practice space used by his two sons into a true studio. Now he has built his ROJO Sound Studio into a pro facility that not only caters to musicians and producers, but also musical newcomers. You could say it’s a pitch-perfect situation for McNamara. Just minutes away from New York City, ROJO Sound Studio is actually housed within the Wayne Kratt Pitch Pipe Company’s factory, which McNamara’s family owns. The factory is still churning out the famous pitch pipes, while the studio churns out music and lessons. McNamara has been building up the client list in the last year of operation while keeping his project options wide open. “I’ve been doing a lot of work with the Sweet Adelines, an acappella group,” he says. “I’m really open to all types of projects right now.” The heart of ROJO’s control room is a TASCAM DM3200 bolstered by a Manley VOXBOX tube channel strip, JBL and Mackie monitors, and a mic locker full of Neumann, Sennheiser, Shure, and RODE products. “I’d say 99 percent of the stuff that’s in this studio is from Sweetwater,” McNamara points out. He learned about Sweetwater from a bandmate who “told me the service was really good.” ROJO features a staff of three additional engineers and even doubles as “Robbie Mac’s Drum Studio,” an instructional studio for the beginning musician on up to advanced players. The studio took shape after McNamara allotted a corner of the factory space for his sons to hone their budding drumming skills. Now in their mid-teens, Robbie and John McNamara have already become accomplished drummers — they’ve even been featured in publications such as Drum magazine. “My kids are very gifted,” McNamara says proudly. The studio owner also has kind words for his longtime Sweetwater connection, Sales Engineer Brandon McSwain: “Brandon wasn’t pushy like most ‘typical’ sales people,” says McNamara. “His suggestions have been wonderful. I want to always put out the best product I can here, and if I need anything I know I’ll be using Brandon and Sweetwater. That’s how strongly I feel about Sweetwater — I’m going to use you guys for life!” Learn more about ROJO Sound Studio at www.rojosound.com. Want to see your studio in SweetNotes? Email photos to Mitch Gallagher now! ([email protected])

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PPageage 005.indd5.indd 5 22/1/07/1/07 4:35:114:35:11 PMPM SWEETNOTES | FEBRUARY/MARCH 2007 | PAGE 6 dollars in inventory and hundreds of people from one location to another, but the Sweetwater team pulled together and made it happen. It was truly a thrill to watch the company spring into action and accomplish a Inside diffi cult job — and they did it with smiles on their faces. We talk a lot about the Sweetwater Difference around here, but that’s really what it comes down to: Each and every employee truly cares about the company, loves what they do, and works their tail off to make sure every customer is completely satisfi ed. Personally, I can’t tell you how inspiring — and fun — it is to work with such a great crew. As we enter 2007, we’re beginning phase two of our building’s construc- Chuck Surack tion. This phase will include the new recording studios, our state-of-the- art training auditorium, and many customer/employee amenities. The new building has been such an improvement over the old location; it’s Since this is the fi rst issue of SweetNotes® for the year, I thought I’d spend a mo- already diffi cult to remember (or imagine) how we managed to operate ment taking a quick look back at the year 2006. To begin, I have to express my from our old space. When the entire facility is fi nished, we’ll probably look back and sincere gratitude to each and every one of you. Once again, we had a banner year wonder how we ever got by with only phase one fi nished! here at Sweetwater. We easily broke all our existing sales records, thanks to your NAMM continuing support — we couldn’t do it without you! Since this is the NAMM issue, I wanted to share with you how great I thought this We broke another record as well: We added more than 50 employees during the 2006 year’s show was. There were new items introduced in all areas of the industry: calendar year; this is phenomenal growth, and we don’t take it lightly. We bring speakers, mics, plug-ins, cases, cables, strings, instruments…you name it! The each person onboard for one very simple reason: In order to provide even better, mood at the show was extremely positive, which should mean that we’re in for a faster, more value-packed service to our expanding family of friends and customers. good year in 2007. I personally can’t wait to get those new toys into my own home studio and into my live rig! Fortunately, in 2006 we also completed phase one of our new headquarters building, so we actually had the space we needed to bring those new employees onboard, and Once again, I’d like to personally thank you for your support in 2006, we very much to reorganize ourselves so we could serve you more effi ciently. I’m very proud to say look forward to serving you even better in 2007. Please come to visit us and see our that we were able to move our warehouse/distribution center, sales/business staff, new facility. and retail store over three successive weekends, without having to close down our I hope that 2007 brings you and yours great health, happiness, and success — and operation for a single minute. It was an unbelievable challenge to move millions of a lot of music! Digitech RP Series Remember the “good” old days, when guitar tone-shaping was limited to one-trick stomp boxes and EQ pedals? Remember the “pedal dance” guitarists had to perform to reconfi gure their tones mid-song while struggling to concentrate on playing guitar? Digitech took a huge step toward taming the RP150 RP250 pedal board beast by pioneering multi- effects processors for guitarists, and now we’re reaping the benefi ts of their labor via the amazing new RP Series processors. Though all-in-one foot-controlled processors have been with us for some time, advances in modeling and power have allowed Digitech to pack more fi repower into their compact pedals than ever before. For instance, the new RP150 features 72 amplifi er, cabinet, and effects models, as well as real Lexicon reverb, USB connectivity, a Control In for an optional expression pedal, and a built-in drum machine — complete with 60 patterns! How do they do this? It’s all in the RP’s DNA…or AudioDNA, to be exact. RP350 Digitech’s AudioDNA processor is a proprietary ASIC that gives the RP pedals their muscle. The AudioDNA2 DSP found in the RP150 and its siblings is reputed to be four times more powerful than the original AudioDNA chip. This translates to better tone and more accurate response, not to mention a dazzling array of models and effects. The RP250 ups the options, with 72 realistic models and an extra footswitch for more control. The USB connector allows easy 2-in/2-out recording and preset editing, courtesy of the included X-Edit editor/librarian software (PC/Mac). The RP350 goes even further, packing in 118 amp, cab, and effects models, a third footswitch, and a built-in expression pedal. The RP Series pedals boast some great amp and stomp box models, and best of all, they’re interactive! Plug your axe into a great amp model, such as a vintage ’65 Twin or Marshall Super Lead, with a virtual Big Muff Pi, Tube Screamer, or Small Stone in front of it. Or maybe you lean toward the crystalline tones of a classic AC30, or want to create your own custom tones. You can dial up an astounding number of > > Digitech RP150 • Sweetwater price $99.97 • www.sweetwater.com/rp150 combinations…and record the results straight to your favorite DAW! The RP > > Digitech RP250 • Sweetwater price $149.97 • www.sweetwater.com/rp250 Series gives you tone heaven in one self-contained package. > > Digitech RP350 • Sweetwater price $199.97 • www.sweetwater.com/rp350

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PPageage 006.indd6.indd 6 22/1/07/1/07 4:36:314:36:31 PMPM SWEETNOTES | FEBRUARY/MARCH 2007 | PAGE 7 Mackie VLZ3 Series Expert What are you looking for in a compact mixer? Value is certainly a big factor. A small footprint is extremely CENTER important, especially for those of us recording ® and mixing within tight confi nes. And it’s a This is the fi rst SweetNotes of the New Year, so we matter of course that any compact unit decided this was a good time to unveil our newest worth its salt should be loaded with feature, “Expert Center,” which replaces Q&A. Like Q&A, lots of fl exible input, output, and in Expert Center, you’ll fi nd answers to your recording signal-routing options. Mackie’s and technology questions as well as news on the latest new VLZ3 mixers address all these developments in the tech support arena. Of course, you needs in spades, and they’ve actually can still send your tech support questions to mitch_ managed to improve on the sound quality and [email protected] and we’ll answer low-noise reputation that made the original VLZ Pro them in future editions of Expert Center. series so popular. 1604-VLZ3 This is also a great time to point out that our SweetCare So what’s new? Mackie engineers extracted even more (www.sweetwater.com/sweetcare) online tech support has frequency response and headroom out of their already been revamped to include improved searches, links to the successful XDR2 preamps. They also made most popular searches, and much, much more. adjustments to the VLZ Pro’s channel EQ for Disabling non-essential programs/services/ even better tone-shaping ability, and applications in Windows XP built even better mix buses. In short, By default, Windows pre-loads applications and services Mackie took a product renowned from installed programs and deposits icons in the system for its great sound and quiet tray. The goal is to decrease load times and provide easy operation and made it even better. access to a variety of programs. While very helpful in Plus, a new voltage-selectable power supply theory, these partially launched applications are a CPU was added, so now you can use VLZ3 mixers drain. Disabling them helps Windows allocate more anywhere in the world! 1642-VLZ3 resources to running applications. Windows will also load Let’s take a look under the hood of the 12-channel faster, since it isn’t pre-loading every application during 1202-VLZ3. More features are packed into startup. To disable applications from loading on startup, this easily affordable little mixer’s footprint do the following. than any other unit in its class, such as CAUTION: Make sure you follow these directions exactly. four studio-grade XDR2 (Extended Startup confi guration is powerful stuff, and if used care- Dynamic Range) mic preamps, lessly, can cause problems. Follow the directions, do not active 3-band EQ circuitry, and treat this section lightly, and you’ll be fi ne: Mackie’s clever ALT 3-4 stereo bus (which lets you route muted Go to Start > Run, type in “msconfi g” (minus the “ ” signals to create additional sends). Mic marks) and press OK. When the System Confi guration channels feature two aux sends, phantom power, Utility comes up, click on the Startup tab. Press the button inserts, and pre-fader solo, and a Control Room Source to “Disable All.” Click on the Services tab. Check the section provides routing options for tape outputs, headphone out, 1202-VLZ3 box at the bottom of the window to “Hide All Microsoft and balanced XLR and TRS outputs. The 1202-VLZ3 has a big brother: Services.” Press the “Disable All” button, but only after The 1642-VLZ3 adds four more channels and includes 4-band EQ on the stereo channels — perfect hiding the Microsoft services. Press OK, then Restart. When for line-level devices such as drum machines and keyboards. Ten mic preamps grace the 1642-VLZ3, Windows boots back up, check the box next to “Don’t which also features four aux sends. show this message...” and then press OK. The heavy hitter of the VLZ3 series is the 1604-VLZ3. You can get some serious work done live or in NOTES the studio with this versatile mixer’s 16 studio-quality XDR2 preamps, eight direct outs, four group/bus Pro Tools users: After pressing “Disable All,” re-check outputs, and 16 high-headroom line inputs. Not only is the 1604-VLZ3 optimized to handle a wide “MMERefresh” in the Startup tab and “Digidesign MME range of input signals, it can also be physically reconfi gured (via the cool Rotopod feature) for rack- Refresh Service” in the Services tab. mounting or to make the jack fi eld more accessible on your desktop. GigaStudio users: Check “msg32” in the Startup tab, even The VLZ3 mixers are great examples of Mackie’s ability to improve on products we’ve come to rely on if GigaStudio was installed and then uninstalled later. in so many live and recording environments. If you’re looking for an affordable compact mixer with If there are applications that you would like pre-loaded unmatched features at a great price, you’d be well served to start with one of these. on startup (and thus back in your system tray), simply go > > Mackie 1604vlz3 • Sweetwater price $849.99 • www.sweetwater.com/1604vlz3 back to the utility and re-check them. Be advised, though, that each application that’s checked (and loaded) will > > Mackie 1642vlz3 • Sweetwater price $599.99 • www.sweetwater.com/1642vlz3 draw CPU resources away from your audio applications. > > Mackie 1202vlz3 • Sweetwater price $299.99 • www.sweetwater.com/1202vlz3

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PPageage 007.indd7.indd 7 22/1/07/1/07 4:47:564:47:56 PMPM SWEETNOTES | FEBRUARY/MARCH 2007 | PAGE 8 Moog Little Phatty Stage Edition

When the Moog Little Phatty Tribute Edition analog synth was released in limited quantities last year, the reception it received from critics and consumers alike was ecstatic and loaded with sentiment — it marked the last design of the legendary Bob Moog, who passed away in 2005. His fi nal efforts were devoted to producing a new synth that was affordable, but didn’t skimp on the quality and performance that made the Moog name legendary. His legacy continues with the brand-new Little Phatty Stage Edition, which carries the same features and sound engine as the Tribute Edition, but adds a few new wrinkles that live performers will defi nitely appreciate. Like its older (and since sold-out) sibling, the Little Phatty Stage Edition uses a 100-percent analog signal path, tons of user-editable presets, and Real Analog Control technology that lets you interface directly with the circuitry via the unit’s control panel, keeping that pristine analog signal chain intact. This lets you access two voltage- controlled oscillators and one voltage-controlled fi lter, as well as an overload control for shaping pre- and post-fi lter distortion…you get complete command of the analog sound engine, in classic Moog fashion. But the needs of the modern musician weren’t overlooked: the unit offers myriad interfacing options, including MIDI I/O, three external CV inputs, and an external audio input. So how do you improve on such a great package? Well, any live performer who has used analog synths has had to suffer the ups and downs of pitch drift as the units went from cold to warmed-up to cooking under the stage lights. The Little Phatty Stage Edition’s updated software includes auto calibration and an auto-tune function that ensures the instrument is tuned perfectly in any environment. The update also adds an asymmetric pitch wheel as well as arbitrary pot mapping; this allows you to assign knobs to perform different functions. The Stage Edition sports the same body style as the Tribute Edition, but is now book-ended by durable, stylish, and functional charcoal- colored rubberized side panels. It’s nice to know that Bob Moog will continue to live on through his pioneering designs, and that the products he originally envisioned will continue to evolve with the same spirit of invention and attention to detail. > > Moog Phatty Stage • Sweetwater price $1249.97 www.sweetwater.com/PhattyStage It’s All Part of My Rock ’n Roll Fantasy Let’s face it. We all started playing music for one simple reason: We wanted to be rock stars. The roar of the crowd, the feeling of hearing your song being pumped through a PA, traveling the world, the girls (or guys) — the list of reasons goes on and on. There probably isn’t a cooler job on the planet than being a rock star, and one lucky Sweetwater customer got to fi nd out exactly how cool it is to be a rock star, if only for a week. At Sweetwater, we want you to achieve your dream. From helping you choose the best gear for your situation to showing you how to get the most out of your gear, we take a “hands on” approach to customer satisfaction. We love it when we can do something special for our customers, and one such occasion arose when we held a contest to send a lucky person to the Rock ’n Roll Fantasy Camp in New York City. Our congratulations to the winner, longtime Sweetwater customer John Huber. John is an avid guitarist and recordist, with his interests spreading into video production and photography. A studio owner (www.thespotstudio.com) as well as a successful sod farmer, John is no stranger to guitars and gear. On his trip through Rock’n Roll Fantasy Camp, John had the chance to test his chops against some of the biggest names in the last three decades of rock, play in a big battle of the bands, and cut a track at Sirius Satellite Studios. John’s counselor at camp was Gary Burr from Pure Prairie League. The counselor helped the “band” prepare for the Battle, which took place at B. B. King’s in New York City. Through the course of the week, campers were treated to classes with teachers including Jeff “Skunk” Baxter and Max Weinberg, plus visits from George Thorogood and Joe Satriani. Other counselors included Dee Snider, Mark Farner, Levon Helm, Dickie Betts, and many more. John’s band took third place in the Battle of the Bands, which wrapped up the week’s festivities. According to Huber, “My week at Rock n’ Roll Fantasy Camp was an experience I’ll never forget. I made new friends, and I was able to meet and perform with true rock legends. I learned a lot and I still get a grin on my face ner John Huber, Fantasy Camp Win whenever I look back on it.” We’re glad you had a good time — keep rocking, John!

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PPageage 008.indd8.indd 8 22/1/07/1/07 4:39:124:39:12 PMPM SWEETNOTES | FEBRUARY/MARCH 2007 | PAGE 9

By Jeff Radke How does your department fi t into the In my last column, we explored the inner Inside the larger Sweetwater puzzle? workings of our shipping department with Nearly everything Sweetwater does is based on Brian Randol, our Warehouse Manager. In relationships, and the Purchasing Department this edition, I’m going to take you inside directly supports our vendor relationships through our hard-working Purchasing Department our purchases and promotion of their gear. We for a visit with John Grabowski, our Director also directly support our customers by having of Purchasing — the guy whose team keeps the right gear in stock to fulfi ll orders as quickly our warehouse stocked with the products as possible. Every day I witness instances of the you need and seeks out great deals to pass Sweetwater Difference in my department, as we along to you. fi nd creative ways to get our customers the gear Tell us about your background they need. and what brought you to How has your job grown since you’ve Sweetwater. arrived? I grew up playing piano, discovered I’ve been at Sweetwater for four years, and we’re synthesizers in high school, and did some shipping 2-1/2 times as many customer orders electronic music coursework in college. Jeff Radke now as we were then — by the end of next year, Then, after nearly a decade of single- and our sales will have doubled. Everything we sell multi-store retail management, I fi nally fi rst has to be bought, so you can see how the got to merge my hobby and career when I started working at a music store chain. Purchasing Department’s job has grown. We’ve also added quite a few brands During my 5+ years there, I worked both at store-level management and at during my tenure, like Taylor, SSL, Peavey, Ibanez, and others, and we launched the corporate offi ce. But even then, I spent plenty of time poring over the latest our hugely successful Creation Station line of computers. Surprisingly, we still do Sweetwater directory and dreaming of working here. things nearly the same as we always have, only we do much, much more. What are your department’s responsibilities? How will our new campus make your department even more Since Sweetwater customers come to us for gear, and that gear is my department’s effi cient and faster? responsibility, we’re really fueling the Sweetwater engine. We carefully select The new Purchasing Department environment is roomy and bright, and everyone what Sweetwater stocks, work closely with our vendors to ensure Sweetwater has more personal workspace, so they can stay focused and maximize productivity. is getting the best price and that our shipments are prioritized, and we order We have better proximity to Sales, Marketing, and other departments for improved products for stock and special orders. We also negotiate special deals, Sweetwater communication. Sweetwater has always been a special place to work, but our new exclusives, B-stock buys, and other offers that Sweetwater customers would fi nd facility takes the “Sweetwater Difference” to an entirely different level. exciting. Behind the scenes, we continually update product ETAs, provide product How would you compare our quality of service to other retail information and pricing for the sales staff, coordinate product promotion with the organizations? Marketing Department, and assist the Warehouse and Accounting Departments Having worked for several other retail organizations, I’d have to say that our level with purchase order issues. of service isn’t even dreamed of at other places. Most stores just don’t have the expertise or fl exibility to do what we do. The standard set at Sweetwater for each and every customer experience is extremely high, and nothing less than that is acceptable. Is there anything else you’d like us to know about your department? We love what we do. Keeping Sweetwater stocked with the gear that our customers use to make music is the best gig I’ve ever had.

The Sweetwater Purchasing team

John Grabowski, Director of Purchasing

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PPageage 009.indd9.indd 9 22/1/07/1/07 4:40:084:40:08 PMPM NAMM REPORT NAMM REPORT NAMM REPORT NAMM REPORT NAMM REPORT NAMM REPORT NAMM REPORT NAMM REPORT NAMM REPORT SWEETNOTES | FEBRUARY/MARCH 2007 | PAGE 10 — NAMM continued from page 1 modules extracted from some of the best synths of all time. Blue introduced a new member to its family of unique-looking mics, the Woodpecker. The new mic is an active ribbon design, with a fi gure-8 pattern and a stunning wood fi nish. It comes with a custom-made solid brass shockmount and wood storage box. Frequency response is said to be 20Hz to 20kHz, with 136dB max SPL. There was more than a little distortion in the Boss booth, with the DN-2 highly expressive distortion box, which responds original vintage instruments and amps were recorded to your pick dynamics. The to a vintage Studer 4-track tape machine using FZ-5 uses COSM technology to authentic recording desks and preamps, and the recreate the vintage fuzz box players included members of Wings. Other new East sounds of the ‘60s and ‘70s, based on the note “C” and are spaced in half and West virtual instrument offerings included Ministry and the ML-2 offers completely third octaves, resulting in a very musical sounding Of Rock (18GB of rock drums, guitars, and basses), over-the-top “ultra-distortion.” equalizer. Quantum Leap Gypsy (guitars, percussion, If massive distortion and brutal The new Reel Tape suite of RTAS plug-ins from violin, accordion, and more), Quantum Leap lows are your game, then this Digidesign includes three processors for emulating Pianos (270GB featuring four pianos with three is your tape saturation, tape delay, and tape mic positions each), Quantum Leap SD2 (10GB stompbox. fl anging. Digi’s A.I.R. division made sequel to Stormdrum, with amazing multisampled Boss also Pro Tools users very happy with percussion), Quantum Leap Voices Of Passion teamed with Structure, an RTAS sampler that (8GB of female vocalists from around the world). Fender to create includes a premium sample library ModFactor and TimeFactor represent two new modeling from East West. This plug-in offers so Eventide’s fi rst foray into the world of stompboxes. stompboxes, FBM-1 much power and programmability, The fi rst features 10 mono or stereo modulation Blue Woodpecker and FDR-1. The it’s amazing — and it’s all wrapped effects, while the latter focuses on delay effects and fi rst creates the up in a very easy-to-use user includes a 12-second looper. Both offer MIDI sync, tap sound of a 1959 Bassman, while the interface. I’m looking forward to tempo, and expression pedal input, and can accept second has the sound and feel of this one! guitar or line level input. a ’65 Deluxe Reverb. From what I heard, they nailed these two pedals! Digitech unveiled the GSP1101, Fender had a raft of new guitars and basses on a rackmount guitar processor with display, but my eye (and ears) were caught by the SONAR 6.2 is a free update that 120 amp, cabinet, preamp, and ’57 Deluxe, ’57 Ltd, and Champion 600 brings numerous new features effects models. Balanced XLR, 1/4", all-tube vintage reissue amps. We’re talking amazing to Cakewalk’s fl agship DAW. and USB outs allow direct connection tone and vibe! If you’re after versatility, then the VG Improvements include Vista Boss FBM-1 in the studio or onstage. Vocalist Stratocaster Fender and Roland collaborated support, MIDI input quantize, X-ray Live can generate 2-, 3-, or 4-part to create is right up your alley. It offers onboard VG (turns plug-in windows “invisible” vocal harmonies; it can even analyze a guitar signal processing, with 37 guitar models, fi ve alternate to improve work fl ow), Bit Meter, AudioSnap and ACT and generate the appropriate harmonies based on tunings, and, of course, all the usual great Strat enhancements, and much more. SONAR Home the chord progression! Other processing includes features. Studio 6 features ACT, new effects and instruments, compression, reverb, and EQ, a guitar tuner, mic input Vista compatibility, and much more. with phantom power, and more. The new Saffi re Pro 10 i/o from Focusrite offers the same preamps and converters as the Saffi re Chandler was showing all of their very cool East West went to amazing lengths to create the Focusrite Saffi re Pro 10 i/o hardware EQs and dynamics processors, along with the Fab Four virtual instrument, new TG Equalizer Mastering Pack, based on which features the sounds the Abbey Road studio’s TG12410 Transfer (mastering) of the Beatles. desks. The 4-band EQ plug-in has fi ve “shapes” per One million band. An interesting feature is that all EQ points are dollars worth of

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PPageage 001,10,11,12,13.indd1,10,11,12,13.indd 2 22/1/07/1/07 4:28:574:28:57 PMPM NAMM REPORT NAMM REPORT NAMM REPORT NAMM REPORT NAMM REPORT NAMM REPORT NAMM REPORT NAMM REPORT NAMM REPORT SWEETNOTES | FEBRUARY/MARCH 2007 | PAGE 11

Fender VG Stratocaster

per channel, master effects, loop sampler, KAOSS effects with X/Y pad, and much more. The magic of the VG Stratocaster lies within the Roland GK pickup, The Studiophile AV40 powered reference which enables it to accurately model different electric or acoustic guitars speakers from M-Audio are designed to provide and instantly switch tunings at the high-performance accurate response in a compact turn of a knob. package — perfect for travel or cramped desktop rigs. A 4" woofer and 3/4" tweeter are driven by 20 watts. M-Audio also showed the Torq Xponent, Korg was showing tons of new a professional grade controller for DJs working with products. Some of the highlights digital material. It includes a digital mixer, controls include the M3, a next-generation for two CD players, a 4-output USB interface, DJ-style workstation keyboard/module mixer, and more. drawing on the OASYS engine. It The Mackie booth was hopping with the introduction offers 120-note polyphony, 256MB of the Mackie Control Pro, a control surface Pro, with eight analog ins and outs, plus S/PDIF ROM, thousands of samples, up to that builds on the legacy of the Mackie Control. The digital I/O. There’s also MIDI I/O, high-pass fi lters on 1,664 programs, and 1,792 combinations, second- new version is sleeker, and is expandable with units every channel, two DI channels, assignable inserts, generation KARMA, and more. Like the Radias, including the Mackie Control C4 Pro knob and bundled VST/AU plug-ins. the sound module and keyboards (61-, 76-, and controller for plug-ins and virtual instruments. The 88-note) are separate, allowing for confi guration and Love the old analog string synths from the past? Then SRM150 is a 150-watt powered speaker with some expansion. Speaking of the Radias, Korg also unveiled extras, including a built-in 3-channel mixer with 3- you need the GForce Virtual String Machine, the R3, which has the same MMT synth engine as the which features over 3,200 samples of classic string band EQ, two mic preamps with phantom power, XLR Radias and the ultra low-aliasing modeling from the through for chaining units, and a mic stand mount. synths, layering, effects, and 500 factory presets. It OASYS. Vocoding is built-in, and audio inputs allow supports RTAS, VST, and AU formats. It can serve as either a personal monitor or a compact the synth to process external signals. The Mini-KP is PA system. Tracktion 3 is the latest version of the Ibanez’s Steve Vai Anniversary guitar the newest and smallest KAOSS PAD, with 100 effects, popular DAW software; new features include 64-bit is simply stunning. It features a clear body with fi ltering, audio “decimation,” delay/reverb, looping support, integrated Acid, Apple, and REX loop browser, fl orescent paint and eight switchable LEDs. and pitch-shifting, and synth sounds from the Radias. a comprehensive suite of instruments, plug-ins, and The Zero Series digital mixers are aimed at live The AmpliTube 2 Jimi Hendrix Edition from loops, and much more. The VLZ 3 Series is the performance artists, with FireWire connectivity, EQ IK Multimedia contains models of the rare and latest in Mackie’s line of popular compact response selection per channel, vintage pedals, amps, cabinets, and mics that Jimi mixers. Each features XDR2 eight insert effects used to create his distinctive tones. It’s available as an Extended Dynamic Range add-on for AmpliTube 2, stand-alone, and as a VST, RTAS, and AU plug-in for Mac or Windows.

Korg M3

— continued on page 12

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PPageage 001,10,11,12,13.indd1,10,11,12,13.indd 3 22/1/07/1/07 4:29:114:29:11 PMPM NAMM REPORT NAMM REPORT NAMM REPORT NAMM REPORT NAMM REPORT NAMM REPORT NAMM REPORT NAMM REPORT NAMM REPORT SWEETNOTES | FEBRUARY/MARCH 2007 | PAGE 12 — NAMM continued from page 11 insane! It uses the incoming G-Track from Samson is a large-diaphragm USB audio signal to modulate a condenser mic with a built-in audio interface. It has a VCO (instead of the other way stereo input jack for instrument and line-level signals around) to create an astounding with gain control, and a headphone out with level array of new sounds. control. It’s all right in the mic body — everything The Peavey booth was the you need to record and track! place to be with the unveiling SSL introduced their Eight Input Module for the of a custom Peavey chopper X-Rack modular system. It has eight line-level inputs built by the gang at Orange confi gured in stereo pairs, mono and on/off switching County Choppers (watch for the for each pair, and complete integration with other upcoming episodes of American X-Rack components. Perfect for externally summing Chopper on a TV near you). Joe DAW outputs! Satriani joined with Peavey to Mac OS X native DAW users rejoiced in the news that create the Mini Colossal, a Sony and SoundToys each announced Audio compact, all-tube Class A 5-watt Units support for their premium plug-ins. This will amp with an 8" custom speaker allow them to be used in applications such as Digital and tremolo. The Windsor Performer, Logic Pro, Live, and even video applications Peavey Windsor Studio Studio is also an all-tube such as Final Cut Pro. Class A amp, but with 15 watts, preamps, extended low-frequency response, phantom footswitchable boost, and an effects loop. Both amps Tapco announced the Link.FireWire 4x6 power, 3-band EQ, and a rugged steel chassis. Three feature the Power Sponge output attenuator and an computer audio interface, an ultra-portable unit for models are available with 12, 14, and 16 channels. XLR mic-simulated output for recording or DI to a musicians on the go. It includes dual Mackie preamps Marshall had things cranking, with a new signature PA system. with phantom power, low-latency 24/96 operation, Kerry King JCM 800 based on the Slayer and comes with Mackie Tracktion music production Since I’m an acoustic guitar player, the Radial PZ- guitarist’s favorite amp, and a signature Zakk Wylde software. Thump TH-15A is a 2-way active Pre had my full attention. It’s designed to make piezo Mini Stack. New series from Marshall included loudspeaker with a ported design featuring a 15" pickups from any acoustic instrument sound like the the JVM, a 4-channel design with three modes per woofer, 180 watts on the lows, 60 watts on the highs, real thing on stage. And it works great! There’s 3-band channel for 12 different instantly accessible sounds 3-band EQ, and XLR mic/line input and pass-through. EQ, a tuner output with mute, Class A electronics, — very fl exible! The Vintage Modern series is notch and high-pass fi lters, and more. Phaser is The folks at TASCAM were clearly busy creating based on the handwired JTM45 and Super 100 amps, designed to phase align a DI signal with a mic signal. new products! Among the introductions was the and adds digital reverb and Body and Detail gain It uses an all-analog signal path, with Class A 2488mkII, an enhanced version of the best-selling controls for tone-shaping. They sounded great! discrete design. 24-track digital recorder/mixer. The new version David Royer at Mojave Audio was showing his adds a larger hard drive, As usual, Roland had a major booth installation latest mic, the medium-diaphragm MA-100. The at the show, with an array of new products. The MA-100 is a “pencil”-style mic, with tube electronics. VG-99 is the latest guitar processor from Roland. I think it’s going to be great for acoustic instruments, Like its predecessors in the VG line, it can model overheads, and a variety of other applications. loads of guitars, amps, effects, and more. This Moog Music was showing the Little Phatty model is designed for tabletop instead of fl oor use, Stage Edition, which includes all the features from and includes D Beam and ribbon controllers for the Little Phatty Tribute Edition analog synth, but with added expression. The FC-300 is a new MIDI foot grey rubberized end panels for increased durability controller, with nine footswitches, two programmable on the road. The Moogerfooger FreqBox is expression pedals, and integrated support for the TASCAM FireOne VG-99. The latest keyboard an all-new LCD display, guitar effects, synth from Roland is the and improved mastering capabilities. The FireOne V-Synth GT, which interface connects to your computer via FireWire, and brings Articulative Phrase offers 2x2 analog audio and 1x1 MIDI connectivity. Synthesis and even The FireOne is designed to provide easy control using more power to the its unique control surface and weighted wheel. For acclaimed V-Synth. musicians, the MP-GT1 looks to be a godsend. It’s an MP3-based unit designed to help you learn songs and parts quickly and easily. Features include 240 song memory, variable speed audition, pitch control, Roland VG99 looping functions, guitar input and multi-effects,

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PPageage 001,10,11,12,13.indd1,10,11,12,13.indd 4 22/1/07/1/07 4:29:254:29:25 PMPM NAMM REPORT NAMM REPORT NAMM REPORT NAMM REPORT NAMM REPORT NAMM REPORT NAMM REPORT NAMM REPORT NAMM REPORT SWEETNOTES | FEBRUARY/MARCH 2007 | PAGE 13

Taylor T5 12-string Class AB all-tube amps use EL34 tubes and offer separate EQ for each tuner, metronome, and more. For channel, footswitchable spring reverb, pro-looking projects, you need printed effects loop, DI output, and more. They CDs or DVDs. The P11 thermal disc sounded great — and are printer is affordable, and offers free extremely versatile. Among design software and color printing. It’s my favorites at the show Windows-only right now, but will have were the AC15H1TV Yamaha XS8 Mac support by Spring.

The Taylor room was Yamaha XS7 buzzing (strumming?) with activity as guitarists checked out all the new offerings. One Yamaha XS6 that jumped out at me 355MB of wave ROM, Virtual was the T5 12-string. Circuitry modeling effects, It’s equipped with and AC15H1TVL amps. These are handwired Class studio-style mixing, large color T5 electronics, has a A all-tube amps, with the EF86 preamp channel from LCD, and tons more. Also new from Yamaha were the contoured body with 1958 and the Top Boost preamp channel from 1963. MSP7 powered studio monitors, with 6.5" woofer, stylized f-holes and a A Brilliance switch, Bass Shift, and interactive EQ add 1" dome tweeter, 80-watt low-frequency amp, 50-watt Grand Auditorium shape. versatility, while a 12" Celestion Alnico “Blue” speaker high-frequency amp, and switches for adjusting the Standard and Custom models will be available. cranks out gutsy tone. The AC15H1TV has a white response to your room. Universal Audio made mobile musicians very covering, while the AC15H1TVL is a limited edition happy with the UAD-Xpander series. These with a beautiful mahagony cabinet. ExpressCard-based units bring the plug-in power Are you a fan of the classic ARP Axxe? If so, then Way of the UAD-1 to laptops using a noiseless, fanless Out Ware is going to put a smile on your face with AlumiCool chassis design, and come with a travel case the KikAxxe, a new virtual synth emulating the with compartments for all components. Bundles are vintage model. A 16-step sequencer, sample-based available with vouchers for $500, $1,000, and nearly drum machine, retro delay/echo effects, and MIDI $3,000 in UAD plug-in software. sync and mapping are included. RTAS, VST, and AU are supported. The MM6 from Yamaha is a synth combining sounds from the Motif, grooves, Zoom HD16CD and a simple user interface in a portable Our friends at Zoom debuted the HD16CD and 61-note keyboard. There’s an onboard HD8CD live production recording tools. There’s sequencer, or connect to your computer and 8-track simultaneous recording (two tracks on the use the included Cubase software. Speaking HD8CD), over 100 effects for recording, mixing, and of the Motif, the family has a new fl agship mastering, a built-in drum and bass machine with in the Motif XS. There are 61-, 76-, and touch-sensitive pads and 500 drum sounds, a built-in 88-key versions available, all featuring the CD-R/RW drive, computer DAW control surface UAD-Xpander Xpanded Articulation Synth engine with functionality, USB2.0 connectivity, and a great Vox was showing a nice selection of new meter bridge with 5-segment LED products including the ToneLab LE, level meters. which features models of 16 sought-after That’s all we have room for this year, amps, 11 cabinets, and 50 effects, including but there were lots more new products new metal, chorus, delay, echo and other at the show! Be sure to check out models. Also included is Valve Reactor Sweetwater.com, watch inSync®, and tube power-amp circuitry for authentic keep your eye on future SweetNotes® tones, S/PDIF output, fi ve EQ settings, and issues for more info. To get the very assignable footswitches and expression latest on these and any products, just pedal. The new Classic Plus series of call your Sales Engineer! They’ll be amps take the existing Custom Classic amps happy to loop you in on availability, to an entirely new level! These 2-channel pricing, and anything else you need Vox AC15H1TVL to know.

PPageage 001,10,11,12,13.indd1,10,11,12,13.indd 5 22/1/07/1/07 4:29:354:29:35 PMPM SWEETNOTES | FEBRUARY/MARCH 2007 | PAGE 14 just managed to edge out everything else because, well, it was my fi rst real pro guitar and thus close to my heart. From the dark burgundy stain to the Bigsby vibrato, all the things I loved are there, but in this incarnation, Gretsch gave us back real f-holes and added FilterTron pickups. Top Amps: The Line 6 Vetta II is a winner with its seemingly inexhaustible array of classic and modern amp models, awesome effects, and tons of cabinet and mic models. For real tube purists, you just can’t beat the 40-watt, hand-wired Fender ‘57 Twin Amp with two 12-inch speakers and all the vintage vibe you could ever want. TechNotes Cool Factor: The Solid State Logic Duende. Who wouldn’t want one? Hard-working Keyboard: The affordable Alesis Fusion 8HD has 88 weighted keys, four synthesis engines, an internal 8-channel/24-bit hard disk recorder, tons Jim Miller of onboard effects, and expandable RAM along with Compact Flash card reader, all shipped to your door for the special price of $1499.97, including Sweetwater’s Can you believe it’s 2007 already? Weren’t we all just freaking out about the whole exclusive Fusion Value pack! Y2K “Millennium Bug?” (Which, obviously, never amounted to anything.) Since Most Ambitious: Unquestionably the Vienna Instruments Symphonic Cube. we’re starting a New Year, I’d like to look back at some of my personal favorite With over 550 gigabytes of data and more than 800,000 stereo 24-bit samples, products from 2006. it’s worth every penny if you need real orchestral instruments and a wealth of One Cutaway: The PRS Singlecut is back after a lengthy legal battle over that astounding articulations. whole single cutaway issue. What’s more, it’s back in new incarnations that range Grand Achievement: Recently one of the industry magazines had a “shoot-out” from the original Singlecut to satin-fi nished versions (including the Singlecut of all the virtual grands. In my opinion, they totally missed the mark by not selecting Modern Eagle) and the Singlecut Trem (which would be my choice). Synthogy’s stunning Ivory, which has the best grand pianos all created by Joe Ierardi, Tone Machine: Without question it’s the Taylor T5 Thinline Custom, preferably the same man who shocked the world when he put the sound of a real grand into the with a fi gured maple or koa top. You just cannot believe that one guitar with one Kurzweil K250. If you were around then, you know how incredible that was. Check out the visible pickup could deliver so many tones; from a high-end acoustic-electric to audio fi les in my Tech Notes Online column at www.sweetwater.com/feature/technotes! warm jazzer, crisp country “spank” to classic hollowbody electric. Plus, this baby can Best Music Retailer: Oh, you guessed this one! Well, I’m sure there are a few really scream! items I’ve left out. But there’s always next issue! What’s Old Is New: Lots of reissues last year, but the Gretsch Tennessean

By Chet Chambers, Sweetwater Studios Manager sweetwater Sweetwater is pleased to announce DiscServices — CD/DVD replication and art design and packaging services specifi cally designed for the artists and studios in our vast family of retail customers. replication • art design & packaging • restoration Sweetwater is constantly searching for new benefi ts and services to help our customers complete their musical vision. Many home studio artists and studios who purchase their gear at •The quality must be of the highest standards and yet be affordable. Sweetwater have told us they’ve had diffi culty fi nding CD/DVD • It needs to be on schedule. When you’re expecting it, it must be replication resources where the quality and service were excellent at there. Period. a reasonable cost. That’s where Sweetwater DiscServices excels. It’s amazing how items such as custom professionally designed artwork, Our staff has diligently researched the replication marketplace and bar coding, a customized logo, spine labels, and packaging variations sources, interviewed Sweetwater customers to get ideas, and created a can help make your CDs and DVDs look better, attract more attention, service driven by requests from our customers, all designed to provide and sell better. Often these small details make the difference between you with the best in CD and DVD replication. getting your product in stores or not. Our DiscServices staff will assist you every step of the way; creating Sweetwater DiscServices always offers the best value with the highest unique art design and packaging; replicating CD and DVD quality standards. Most of our replication packages include bar coding, packages quickly and cost-effectively; and it will be done right poly wrap, and even ground shipping to anywhere in the lower 48 — the fi rst time — exactly the level of service you’ve come to states. You’ll know exactly what your budget will be up front…no expect from Sweetwater. No project is too big or too small…a hassles, no surprises. Your CDs or DVDs will be “retail ready” and you’ll few discs or 100,000. get “major label” look on a smaller budget. Now that you’ve put your time, money, effort, and creativity into producing your project: The www.sweetwater.com/discservices website offers helpful information, art samples, templates, and a DiscServices online quote • It has to look incredible. Creative packaging and art calculator to help determine the budget for your package. Or contact us design make a big difference attracting attention. by e-mail ([email protected]) or phone 260-432-8176 ext We’ll help design and package your project so you 3830 to speak with a DiscServices specialist. can look and sound your best! Sweetwater DiscServices is ready to help you, your band, and your studio • It must play and function correctly. Unreliable, look better, sound better, and get your music out to more listeners at a cheaply produced discs can create havoc for you. It’s price that’s right for you! We’re eager to help! not worth the risk. (800) 222-4700 | www.sweetwater.com

PPageage 114.indd4.indd 1414 22/2/07/2/07 11:19:4711:19:47 AMAM SWEETNOTES | FEBRUARY/MARCH 2007 | PAGE 15 studio notebook: On The Go By Mitch Gallagher Last issue, we discussed studio hardware. I for editing and arranging sessions from the had planned to discuss software this issue, but main studio rig. The MacBook has built-in received several reader questions about my audio I/O that’s okay for basic monitoring. mobile rigs, so let’s go there fi rst. For higher quality, I use a TC Electronic I have two mobile systems that are used for Konnekt 24D FireWire interface very different applications. The fi rst is a stereo — I love the built-in effects, latency-free recording rig I use for capturing performances monitoring, and fl exible I/O, and the on location (such as classical guitar). The preamps are quite good. For Pro Tools, goal was to make the system compact and there’s an 002 in my offi ce, or an Mbox portable. I started with the TASCAM HD-P2 2 in my laptop bag. For monitoring, I CompactFlash recorder. This unit offers pro keep AKG or Ultrasone folding phones features, good preamps, digital I/O, in my bag, or use compact M-Audio and more. Its built-in mic is fi ne StudioPro 3 monitors. for interviews or capturing song A small MIDI controller ideas — the HD-P2 lives right keyboard completes the rig. beside my chair in my practice room. This laptop system is astounding powerful — though I’ve been using a Focusrite As the front end for this rig I use a Millennia HV3 or A Designs Pacifi ca preamp Liquid Mix with it lately, and I’m enjoying that extra juice! (See page 4.) feeding a Universal Audio 2192 or Benchmark ADC-1 converter connected I’ve been running up to 13 instances of Digidesign’s Xpand along with Native digitally to the recorder. These mount, along with a Furman power conditioner, Instruments FM8, Absynth, and Massive without problem. In Logic, I run 10 or in a 3-space rack bag. Two compact mic stands, a stereo pair of mics (I use more of the bundled Logic instruments along with Native Instruments and Arturia Neumann, Earthworks, Royer, Microtech-Gefell, Rode, or Mojave Audio) and a pair synths and Cakewalk Rapture. Reason serves as a versatile sound module via of headphones (mine are AKG, Audio-Technica, Ultrasone, and Sennheiser), and ReWire. DrumCore is my loop librarian and sometimes is a ReWired drum module. you’ve got a rig that can be carried in one trip. Once the audio is recorded, I move it A mobile rig like this works on airplanes (the battery lasts 3-1/2 hours), in hotel to the main studio computer using a CompactFlash card reader. rooms, in the offi ce, or even in front of the TV in the family room. I’m fi nding The second mobile system is laptop-based, built around an Apple MacBook myself using it more and more — in fact, lately I’m using it more than my main with 2GB of RAM. The computer is loaded with Apple Logic Pro, Ableton studio rig. After seeing Apogee’s Symphony Mobile and Universal Audio Live, Propellerhead Reason, Digidesign Pro Tools LE, Submersible Music UAD-Xpander at the Winter NAMM show (see page 1), I’m even more excited DrumCore, and virtual instruments and processing plug-ins. This rig serves about the future of on-the-go rigs like this. several purposes: composing on the road, as a test/review machine in my offi ce, and That’s it for this month; next time around: Choosing and using software! Hands on: Digidesign Pro Tools 7.3 and Velvet

By Mitch Gallagher Digidesign recently released version 7.3 of both Pro Tools HD and Pro Tools LE — a major update to the industry-standard DAW software. I’ve been using PT 7.3 on both my studio rig as well as on my mobile PT LE system (see above). Many of the new features are designed to speed your work; a great example is the new Windows Confi guration feature, which allows you to save and recall 99 screen sets. There’s also a new Zoom Toggle preference, which lets you zoom to a particular track height, track view, and edit grid resolution for fast editing. Track heights are now continuously variable, and there’s a Micro track height for viewing many tracks, and Fit To Window, which fi lls the Edit window completely with the selected track. Other workfl ow enhancements include the ability to do a lot more without having to stop the transport. Add or remove tracks, add, remove, or copy inserts and sends, change track I/O routing, and more, all “on the fl y.” New loop tools include the Dynamic Transport and Play Start marker, and Loop Preview, which lets you audition Acid and REX fi les. Create Click Track instantly sets up a metronome. Send To Sibelius exports tracks straight into the Sibelius notation software for editing or printing. This just scratches the surface! I found the new tools really increased my effi ciency with Pro Tools, especially when writing music. I’m especially fond of the ability to accomplish more without having to stop playback; what a time saver! There are lots of great improvements in PT 7.3. Before I close, I have to mention the newest virtual instrument from Digidesign’s A.I.R. group, Velvet. This RTAS plug-in emulates vintage electric pianos: Rhodes Suitcase and MK I and MK II stage pianos, and Wurlitzer A200. Three-band EQ, wah/fi lter, chorus, phaser, and tape delay effects are built-in. If you’re after authentic electric pianos, then you’ll be thrilled with Velvet. It’s highly playable, CPU-effi cient, and most important, it sounds great!

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INSIDE THIS ISSUE All contents © 2004 Sweetwater, Inc. NAMM Show ’07 ...... 1,10,11,12,13 Expert Center...... 7 Akai DPS24mkII ...... 2 Moog Little Phatty Stage Edition ...... 8 Native Instruments Kontakt 2 ...... 3 Rock n Roll Fantasy Winner ...... 8 M-Audio NRV-10 ...... 4 Inside the Sweetwater Difference ..... 9 Focusrite Liquid Mix ...... 4 TechNotes ...... 14 Guitar 101 ...... 5 Sweetwater Disc Services ...... 14 Customer Studio ...... 5 Studio Notebook ...... 15 Inside Sweetwater ...... 6 Digidesign Pro Tools 7.3 and Velvet ...15 Digitech RP Series ...... 6 Mackie VLZ3 Series ...... 7

©2007 Sweetwater Sound, Inc. All rights reserved. All trademarks are property of their respective owners.

MeetBrianVanDeKeere

Name: Brian VanDeKeere Personal Motto: Eat, drink, and be merry, for tomorrow we die. (Horace 65-8 BC) Position at Sweetwater: Favorite Magazine: Time Sales Engineer Real Life Hero: David Matthews — a person who has a very successful career and gives so Start Date: 9/15/04 much back to the world. Hired as: Sales Engineer Guilty pleasure of choice: A good Lowland scotch. Education: BA in telecom- How would your boss describe you? Willing to work through problems. Works better munications and two minors: under pressure. U.S. History and Women’s How would your best friend describe you? Someone with a goal who will fi nd a Studies from Ball State way to get to that goal. University What did you dream about doing for a living when you were growing up? Where are you from originally? Born and raised in good old Fort Wayne, Film editor or director. Indiana. Yes, I do like the weather here. Describe the most dramatic situation in which you provided the Why did you fi rst apply for a job at Sweetwater? I was a customer, and thought “Sweetwater Difference” for a customer: I had a customer that was moving from this would be a great place to learn and grow. analog into digital. He needed to learn the new programs quickly for a project. I had a client Foreign Languages: Habla un poco de español. in the same area with a similar setup and connected them; he was up and running a few days Technical Strengths: Pro Tools, preamps, and live sound. later. They’ve since worked on a few projects together. Favorite Music Related Website(s): DMBand.com, MySpace.com, AudioForums.com, What best prepared you for the work you do here at Sweetwater? I worked Sweetwater.com at one of the local television stations as a cameraman. If you want to know what stress is, work Instruments you play: I play guitar, but don’t stack up to the talent that we have here! in a newsroom for a day! Gear you Own: Digidesign Pro Tools HD3 Accel, 96i; Focusrite ISA 428, Octopre; PreSonus What do you enjoy most about being part of the Sweetwater Team? Being DigiMaxFS, Universal Audio 6176, Tannoy Ellipse10, Dynaudio BM5a, Taylor 514CE, Epiphone able to help my clients with their needs and dreams, and fi nding that one product that fi ts. Les Paul Standard, Waves Diamond bundle, Sony Oxford bundle, Fxpansion BFD, many plug-ins. What’s the most important thing you’ve learned at Sweetwater? Every day is Other stuff we should know about you: I enjoy working on projects. It can be different; what happened yesterday will not happen today. working in the yard or remodeling a room. I have three regional Emmys I received during college.

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