keyboard magazine - may 2011.pdf

Download Keyboard Magazine - May 2011.pdf

If you can't read please download the document

Upload: tuna-sen

Post on 10-Dec-2015

101 views

Category:

Documents


34 download

TRANSCRIPT

  • 26 K E Y B OA R D M AG . C O M 0 5 . 2 0 1 1

    LESSONS

    More Online! keyboardmag.com/may2011

    Audio examples recorded by Scott Healy.

    Yamaha All Access 360 interview with Scott.

    As a working keyboardist, sooner or later youll be called to strut your stu on the mighty Hammond B-3. Blues, R&B, and rock are where much of the Hammond organs history began, so heres a quick B-3 primer on getting your drawbars, Leslie (or rotary simulation), and expression pedal into high gear.

    1. Spin ClassOne note can go a long way on an organ, but you have to make it fit. In Ex. 1, we play a note starting with the expression pedal at minimum, then increase the pedal slowly. Use your ear to judge how the sound mixes with the other instruments in your band or track. In this example, were setting up movement to the IV chord, so as your single note starts to build, pop your Leslie or rotary switch to fast, and depress the pedal. The spin of the Leslie adds volume and intensity to the crescendo. When you hit the IV, use a sim-

    ple voicing and slide off with a quick glissando. This is an effective way to add musical drama without overplaying.

    3 Steps ToROCK ORGAN CRED

    Scott Healy is known for his on-air key-board work with Conan OBrien. Find out more at bluedogmusic.com. Jon Regen

    & 44w

    G 7

    w w

    P

    w j#

    b>

    C 7

    ~~~~~~

    Fast Rock

    leslie slow leslie fast

    (creep in)

    2. Peppered PadsEx. 2 is all about laying down pads with motion and dynamics, while also staying out of the way. This works well on country or rock ballads. Hold down a note with your fifth finger and play a simple figure under it, alternating between the second and third scale degrees. This technique can often be more effective than playing all three chord notes together, as it imparts clarity. Remember to vary the dynamics using the expression pedal, and be sure to play legato. Next, try holding two chord notesstart a crescendo and flip the Leslie to fast, then immediately flip it back to slow. Now, back off the pedal as the speaker slows down. This will make

    the sustained pads sparkle and the chord overtones pop.

    by Scott Healy

    & 44w

    .# A 2

    w w# ww

    w. J

    G 2

    ww ww ww

    Slow leslie slow

    leslie fast leslie slow

    5 2 3 2 3 2 1

    5

    2 3

    & 44j

    #www>

    A 7

    f subito p

    www ....

    -

    .

    ....

    -

    .

    >

    >

    >

    J

    J

    J

    .

    j jb n.

    J -

    -

    .

    b .

    3

    R&B/Funk

    E7#9leslie slow leslie fast leslie slow

    4211

    leslie slow52-3 2 1

    54 3 2 1

    52-3

    1

    (

    3. High Octave OctaneThe high octave on a Hammond really cuts through a mix, especially when the Leslie is spinning fast. Use this move for funky riffs and rhythmic figures. In Ex. 3, we have a two-bar build into a funky E7 groove. Play the A7 chord (here with no third), and pull the expression pedal back suddenly for a sforzando effect. Then, speed up the Leslie and swell up to full volume. Next, play the groovy E7 riff, accentuating the articulation as long-short (or doo-dat). Rememberan organ isnt velocity-sensitive, so you need to telegraph your articulation. Finally, slow down the Leslie and play a blues riff over the E7 chord.

  • 800.747.4546 www.ilio.com

  • 28 K E Y B OA R D M AG . C O M 0 5 . 2 0 1 1

    COVER STORY

    by Bill Simmon

  • 30 K E Y B OA R D M AG . C O M 0 5 . 2 0 1 1

    of a song like Oasis, from the new record [Grace Potter and the Nocturnals], Ive got my percussion on, and its barely anything. Its got that sort of tropical-reggae vibe to it. But over the course of a song, if you watch my hand, Im moving the drawbars the whole time. Im standing up, so to work the volume pedal is a lot harder than me just using my hand for most of the volume control.Can you talk about your Leslie? It says, Custom for Grace Potter.It is custom. Its just very loud, and again, we wanted this grinding low end that really creates texture underneath. Weve got two guitarists in the band plus a bass player, so what Im doing is essentially a padalmost a choir of sound. I dont do organ solos per se, except maybe once or twice a show, so this thing is really set up for bottom end. Its a really nice crunchy, gritty sound. Actually right now, as you can see, its not turned all the way up, and thats potentially because youre here, cause they didnt want to blow your ears out. [Laughs.] But by the end of the night, if were going for a big Hey Jude kind of ending, Ill go right for the top end. Ive had this [Leslie] for about two years, maybe three. Before that I had a model 770 that was mean, and it was loud, but it was just a little too clean for me, so we went smaller. The 122 just breaks up sooner, and I like that.What draws you to the B-3 aesthetically?Great question. When I first started playing keyboards it was always the piano, and I think there were so many singer-songwritersespecially female onesat the piano that it felt really clichd, and it just didnt feel like something that I wanted to be. I loved keyboards, and Id sort of mastered the craft of writing a song on the keyboards, so I didnt want to lose that, but actually it was the Nocturnals who pointed out that Im a loud, powerful singer, and I should probably have a keyboard that complements thatyou know, something that can back me up and actually put its money where my mouth is on the keys. The B-3 is such an underappreciated instrument live. In the studio, its everywhereI mean everybody has them, but its hard to find a good B-3 banda band that can actually bring it out.

    COVER STORYYouve got to lug them around.You gotta lug em around, Ill tell ya! We have a crew now, but when push comes to shove, and its a question of needing one more hand, or of making the space, Im always there to help lift this B-3. Its worth it.When you write songs, is it lyrics or music that comes first? Are you playing keyboards or guitar?I get ideas from the keyboards especially. Theres this one thing Ive been working on. [She begins playing.] I dont know what it is yet. Thats the thing where if the idea comes, and then maybe something gets sung over it, well be at sound check, and that will just be the idea. Then the band kind of pulls in around it. Sometimes a song comes from it. That was the most recent one we did at a sound check, where I was just playing that, and the band comes in around it, and the melody comes after that.

    But usually as a songwriter, I start with a lyric, which is weird. Most people start with music, and then write the lyrics over the top. Thats rarer for me. Its harder for me to write a line of music and then feel like I can come up with a lyric thats worth singing over it because usually the music is just better. [Laughs.] So I try to get a great lyric first as a crutch. But I havent really hit on a formula. Whatever comes, comes. Songwriting is like having a baby crying in the other room. It doesnt matter what time of night it is or when it hits you or how it hits you, or whether its music or lyrics. You just have to get up and go to it.Does the writing happen more on the road or at home?I wish I had an answer for that. At home, I do this Nick Cave thing where I treat it like a day at work, where Ill sit at the piano, and its like going to the office. Nick Cave does that. He actually has an office space where he goes to write songs. He sits in his cubicle, and he has to treat it like a day job. Otherwise he wont get anything done. So when Im home I try to do that, but really, like I said, songs come at you. Songs dont respect what youre doing in the middle of the day. Theyve got no respect for that. They want to get written! So Ive been getting better at just letting the song come when its going to come and not trying to control the environment in which Im writing. If Im on the back of the bus and the engines running and people are screaming . . . listen, were loud when we are on the bus. So Benny and Scott can be fighting and having crazy times in the galley with the bunks, and then someone else is trying to sleep, and Im in the back with a keyboard and a guitar, just going nuts. Thats when youve got to do it. It comes when it comes.Have you had any gear-related nightmares?Oh God, I have a million. Ive been electrocuted a million times. Thats an oh shit moment, when youre in front of an audience of 20,000 people at a music festival getting electrocuted, which seems to always happen. The bigger the crowd and the weirder the setting of the festival, the more likely you are to get electrocuted. So Ive been electrocuted . . . 35 times? And its not just like you get it here [shows her fingers]; its like, Ill be holding my knee here because sometimes Ill have to change the Leslie switch, and if I dont have a foot switch, I do it with my knee a lot. Then Ill have my hand here [points to the keys], Ill have my face on the microphone, and Ill have a finger on the drawbars. And everythings electrified. Everything. Ive managed to make it look like Im not getting shocked. Ive watched video of myself, and I know Im getting electrocuted but hopefully, the crowd doesnt.

    IAN

    ALB

    INS

    ON

  • For the past decade, Motif synthesizers have been

    the industry standard for both live performance and

    studio production. Combining Motif technology

    with new multi-channel USB computer integration

    technology and bundled VSTs, the MOX 6 and 8 are

    the most powerful, mobile and affordable Yamaha

    music workstations ever. They are destined to bring

    Motif music production to a whole new generation

    of players and producers.

    For detailed information scanQR code or visit www.4wrd.it/moxkey 2011 Yamaha Corporation of America. All rights reserved.

    1217 Voices and 355MB of waveforms taken directly from the Motif XS

    256 Performances with 4 arpeggios that spark your musical inspiration

    Direct Performance Recording to the internal Song and Pattern sequencer

    Extensive keyboard controller features for all major VSTs and DAWS

    Built-in 4-in/2-out USB audio interface with one-cable computer connectivity

    Comprehensive cross platform software bundle including: Yamaha YC-3B organ, Steinberg Prologue Virtual Analog, Cubase AI DAW

    Extremely light weight for mobility (MOX615.4 lbs, MOX832.6 lbs)

    The Mobile Motif

    MOX6semi-weighted 61-note MOX888-note graded hammer action

  • COVER STORYCan you talk about your big-break moment?People ask me that a lot. There is no big-break moment. A lot of musicians get into this business waiting for their a-ha! moment, when they think, This is happening. Im really making it now. I thought I was making it when I was at a bar in front of 15 people. Theres lots of little stepping-stones to a career. Theres so much more effort that has to go into it than I can even explain. Sometimes those huge moments pass by so quickly that you dont even realize that they happened. Playing The Tonight Show with Jay Leno

    was a big milestone, and just last week we played The Late Show with David Letterman. Probably one of the bigger things was this past December [2010], when we played for the troops for VH1. It was this special called VH1 Divas Salute the Troops. It was alongside some huge pop stars, and I was the only rocker chick on the bill, with the band. So that was a really great opportunity for us, and it really garnered quite a bit more exposure than wed ever had. But again, success is only defined by how much youre enjoying yourself, and Ive been enjoying myself all along.

    If you could assemble a dream band of famous musicians youve never played with before, who would they be? Oh, shit! I feel bad because the Nocturnals are my dream band. John Bonham would be on drums. I think Id have Billy Preston on the organ, because . . . hes Billy Preston. Ill be out front doing my thing. No one Ive played with before? Okay, thats tricky. John Stirratt from Wilco will play bass. Yeah, because John Stirratt and Bonham would really lock in nicethatd be good. So, well have Jonny Greenwood from Radiohead playing the crazy pedals and guitar. Aretha Franklin and I would sing a duet together. Yeah. Thats how it would be.What was touring with Sharon Jones and the Dap-Kings like?Oh my God, those guys are great. Sharon Jones and the Dap-Kings have been sort of in our trajectory mainly because we keep passing each other at festivals. Weve been digging on each other for years, and it was only this last year that we actually had a chance to get on the road together. It was perfect. It was a nice conglomeration of rock n roll and soul because they rockthey really do. The Dap-Kings are very soul-oriented, and theyre very well trained and traditional in their approach to soul music. Then when they let it rip, they really go there, and theyre not afraid. But my favorite thing that they do is the dancing. Because every single one of the horn guys, everybody out onstage, nobody stopstheyre dancing the whole time. And Sharonshes such a spitfire. Shes amazing. Shes an inspiration to me. Whats the status of the record you recorded with T Bone Burnett?Its in purgatory, but that project is certainly one of my favorite experiences of my life. Working with T Bone is like a master class, you know? You cant learn the things that he does. You cant even watch him and know what hes doing. Hes a magician. All I can say is that I absorbed so much experience from him, and I take it with me. I cant wait for that record to hit, because its going to be really special. The world hasnt seen the last of Grace Potter and T Bone Burnett collaborations if I have anything to do with it. [Laughs.]Knowing what you know now, what are the top three dos and donts that youd tell a younger, greener version of yourself?Ill do the donts first. Dont get drunk backstage the first night that youre playing with a band that youre really excited to meet, and then go talk to them. Dont do that.

    32 K E Y B OA R D M AG . C O M 0 5 . 2 0 1 1

  • THE NEW PC3LE SERIES FROM KURZWEIL

    Set your creativity on fire with the new PC3LE series from Kurzweil! With every orchestra, synthesizer, beat, classic/vintage keyboard sound you will ever need, the PC3LE is an

    unmatched sound, performance, AND composition weapon!

    Clicking on any of the 1,000 award winning Kurzweil presets will instantly inspire you to a new level. Available in 61-key unweighted, 76-key semi-weighted, and 88-key hammer-action configurations, the PC3LE not only has the best keyboard technology on the market, it is also the most affordable! Easy

    to use and reliable, the PC3LE is YOUR instrument.

    GO TO YOUR KURZWEIL DEALER TODAY TO UNLEASH THE SONGS IN YOUR HEAD.

    [email protected]

    8 Trigger/Drum Pads for launching riffs and creating slammin beats.

    5 Rotary controls on 3 banks for 15 customizable parameters per preset.

    20 Banks of 50 sounds for 1000 presets from us, with plenty of space for yours!

    Its the sound.www.kurzweil.com

  • 34 K E Y B OA R D M AG . C O M 0 5 . 2 0 1 1

    COVER STORYIs there a story there? Yeah. [Laughs.] Dont manhandle Robert Plant when you meet him. I dont know what part of his body I touched, but I just couldnt stop touching him, so that was bad. I just turned into a groupie. What are you gonna do when you meet Robert Plant? You gotta just . . . yeah, anyway.

    Dont lose hope. Dont spend all your own money. Youve got to pool it together a

    little bit. Youll only end up resenting the people youre playing with if you lose your shirt, so you have to find a way to support yourself and continue doing what you love without completely destroying yourself.

    Do find a great booking agent. You have to play. You cant just sit in a room wondering, When is my day going to come? You cant just post your videos on MySpace and expect someone to discover you and change your life. You have to go out and change your own life. So playing showsplaying liveis a major do. You just have to.

    Do pace yourself. Set your expectations at a reasonable level, so if you are at a good point in your career, even if its not where you want to end up, you can enjoy it. Every step of the way is magic, and you have to appreciate what youre doing because there are so many people in the audience who dont get to do what you do. You have to value that and have respect for this amazing thing called music.

    More Online! keyboardmag.com/may2011

    Full video interview and look at Graces B-3!

    Offi cial website.

    JO

    SE

    PH

    LL

    AN

    ES

  • music day

    Hundreds of exhibits from leading musicproducts companies

    The latest guitars, basses, amps andaccessories that you can play

    Master artist clinics, workshops andvaluable panels and educational sessions

    Tons of live music

    WANNA ATTEND

    SUMMER NAMM?

    To buy tickets or for more info, visit www.namm.org/summer/2011/wannaplay

    TICKETS $15

    NOW YOU CAN!

    $20 AT THE DOOR

  • DIN

    O P

    ER

    RU

    CC

    I

    10 Questions withG R E G G ALLMAN

    by

    Elliot Stephen Cohen

    After 14 years since his last solo release, legendary blues singer and keyboardist Gregg Allman is back with perhaps his finest solo work ever, Low Country Blues, which debuted at number 5 on the Billboard Top 200 chart. Allman recorded with producer T Bone Burnett, who has revitalized the mojo of artists such as Elton John, Leon Russell, El-vis Costello, John Mellencamp, and Robert Plant. Allman says he loves the way Burnett gave the album a spooky, swampy feeling. Allman sat down with Keyboard to discuss this latest album, his influences, and his Hammond B-3.

    ARTISTS

    36 K E Y B OA R D M AG . C O M 0 5 . 2 0 1 1

  • 0 5 . 2 0 1 1 K E Y B OA R D M AG . C O M 37

    Low Country Blues is your first recording without your longtime producer and friend, Tom Dowd, who passed away in 2002. How did you decide to work with T Bone Burnett?He knew Tommy real well, and that was important to me. After I met T Bone, we talked about a lot of different recording techniques, and I realized that his techniques matched up with mine. What really cinched things was that when I originally met him in Memphis, I said, What are you doing here? He said, Well, Im here with two builders, and were measuring the old Sun Records studio board-for-board. [Sun Records is the recording birthplace of Elvis, Roy Orbison, Johnny Cash, and Jerry Lee Lewis Ed.] Were going to build one exactly like it on this land I own. I thought, Man, thats gotta be the hippest thing Ive ever heard!The band that T Bone Burnett put together included your old friend Dr. John. What was it like playing with him again?Hes playing better now than he ever has. Back when we recorded my album Playin Up a Storm in 1976, we were both kind of seeing each other through the fog, but weve both been clean and sober for a long time now. It was such a pleasure seeing him again. The communication between members of the whole band was just off the charts. I mean, Id packed enough clothes for three weeks. I didnt even stay two. We just knocked [the songs] down.What was the first exposure you and your brother Duane had to the blues?We used to listen to this radio station called WLAC, which broadcasted from Gallatin, Tennessee. There was this DJ called Big John R. Hed play Muddy Waters, Howlin Wolf, Sonny Boy Williamson, Lightnin Hopkins, all of em. That was really our first taste of the blues. We listened to that show religiously. Of course, Id already been exposed to R&B people like Bobby Bland, Little Milton, Ray Charles, and Otis Redding. When we started playing clubsdoing the chitlin circuitwe remembered all of that music. Was your first keyboard a Hammond B-3?No. Originally I had one of those old Wurlitzer pianos. I only knew a few songs, so after we started playing clubs, I would get off of the guitar and sit down at the keyboard. People used to come up to me and say, Whats the matter with your regular keyboard player? Is he out sick or something? [Laughs.]What originally attracted you to the sound of the B-3?Well, on that same radio station, this DJ named Herman Grizzard would take over the late show, which was a jazz show, and thats where I first heard Jimmy Smith. At the time I didnt even know what instrument he was playing. All I knew was that it sho sounded good. When you finally saw Jimmy Smith perform live, what did you think?Oh, his left hand was kickin ass. He had some, like, three-note chords that just blew me away, and his footwhoa! I mean, he couldve just brought his foot and a drummer. He was smokin on those bass pedals. I got to meet him after the show, and he was real nice.When did you begin playing the B-3?I had gone out to California, and I had a friend who was with the group Sanford and Townsend, whod had a hit record called Smoke From a

    Distant Fire. When hed go out on the road, hed just play piano because he couldnt take his Hammond along. So I asked him if I could watch his place while he was away, and the first time I sat behind the Hammond, I was just fascinated by it. I wrote Dreams and Its Not My Cross To Bear on it.When did you get your own B-3?Just around the time that the Brothers were first starting, [bassist Berry] Oakley had this old Victorian home, and one day I was blindfolded and led into this big room. When they took the blindfold off, I was amazed to see this brand new 1969 B-3 with Leslie 122RV cabinets. There were about eight rolled joints on the keyboard, and they said, Have fun. Well see you in about a week or so. That day is still one of the happiest days of my life. While they were gone, I wrote Whipping Post and most of the songs that wound up on the first Allman Brothers album. I was really on a roll. At Fillmore East is still considered one of the greatest live rock albums ever. What are your memories of that gig?It was the closing of the Fillmore East, which was a temple of rock n roll, run by Uncle Bill [legendary promoter Bill Graham]. I mean, how could you not play good that night? It was a very prestigious gig, and of course at one time we were going back and forth between the East and West coasts, playing both Fillmores.Robert Johnson sang that there was a hell-hound on his trail that he couldnt shake. Is your talent for the blues rooted in a similar feeling? On the contrary, I feel like Ive had many, many really good guardian angels because, man, I couldve bought death many times. Thank God Ive managed to elude it so far. More Online! keyboardmag.com/may2011

    Extended interview with Gregg Allman.

    Gregg talks about Low Counrty Blues on Video

    GREGG S GEARGregg plays the Hammond B-3 at a very clean volume, seeking

    clarity and emotion of tone rather than overdrive, explains his longtime

    keyboard tech Daved Kohls. He prefers to paint sonic colors through

    the unique voicings inherent in the B-3. According to Kohls, Allman

    always uses an original B-3 console on the road and in the studio

    never any other model, and never a modifi ed or cut-down version.

    Gregg has owned many B-3s over the years and currently has

    at least four that we take on the road: two with the Allman Brothers

    Band and two with the Gregg Allman and Friends band, Kohls

    says. Theyre all well-maintained stock 1960s models, one of each

    pair being a primary instrument and the other being for backup. We

    carry a separate Leslie 122 for each.

    With the Allman Brothers Band shows, Gregg plays piano

    onstage, using a Kurzweil SP2X. He uses only three presets: grand

    and upright acoustic pianos, and a Wurly. The Kurzweil is run in

    stereo through Avalon U5 direct boxes.

    Gregg usually has the Leslie at slow speed, Kohls says,

    occasionally switching to fast briefl y for effect only, not as a full-

    blown sound preference.

  • 38 K E Y B O A R D M A G . C O M 0 5 . 2 0 1 1

    SOLUTIONSDanceTHE 90S HOUSE ORGAN

    In the March issue, we recreated classic house pianos using modern soft synths. This time around, well take a deeper look at the house organ bass sound that launched countless 90s hits, like Robin S. Show Me Love and Nightcrawlers Push the Feeling On.

    Lets start with the basics. The source of that bass sound was the legendary Korg M1, which is now avail-able as a downloadable soft synth from the Korg web-site for the astonishingly low price of $49. So if you want to skip right to the real thing, stop reading here, buy the synth, and fire up patch number 17, Organ2. If youre feeling adventurous, here are a few ways to get the sound using different synths. Francis Preve

    The Real DealThanks to Jack Hotop, Korgs resident Merlin of sound design, heres the inside scoop: If you have a hardware or software clonewheelor, gasp, a real Hammond organthen the basic sound is created as follows: The 16' drawbar set to 8, the 5-1/3' drawbar set to 6 or 7, and the 2-2/3' drawbar set to 2 or 3, with third harmonic percussion toggled to normal (not soft) volume and fast decay. From there, slap on a chorus using medium rate and depth and a 50/50 wet/dry mix. After the chorus, add a hall reverb with a two- or three-second decay and a 20/80 wet/dry mix. Feel free to tinker with these settings until the sound sits correctly in your mix.

    wMore Online! keyboardmag.com/may2011

    Original audio examples.

    Download the Korg M1 plug-in.

    Apple GarageBandIf youre using a Mac, you can fire up GarageBands Tonewheel Organ instrument and use the following settings: the Drawbars slider set fully to the left in the More position, percussion level fully to the right (3rd), percussion time at 50 percent, click at 10 percent, and a tiny bit of distortion. After that, add chorus and reverb as described above.

    Ableton LiveAbletons Operator can deliver a serviceable approximation of the sound by setting the algorithm to all carriers, then turning oscillator 1s coarse tuning to 1 at 0dB (max), oscillator 3s coarse tuning to 3 at 7.3 dB, and oscillator 4s coarse tuning to 6 at 1.9dB. In this example, we have oscillator 2s coarse tuning set at 2 with that oscillator turned off, as its use is optional. Slap the chorus and reverb on and youre ready to roll.

  • musiciansfriend.com 800.776.5173

    Friend Us. Fan Us. Follow us for weekly deals just for you. Best Selection, Price & Service. Guaranteed.

    Work. The Wasted Time Between Gigs.

  • 40 K E Y B OA R D M AG . C O M 0 5 . 2 0 1 1

    SOLUTIONS

    How It WorksTALKBOX 101

    Love em or hate em, vocals that are processed or Auto-Tuned until it sounds like a machine is doing the singing are a staple of funk, hip-hop, and electronic dance music. Before the vocoder was in widespread use, and long before Auto-Tune existed, artists like Roger Troutman and Peter Frampton were getting this sound using a synth or guitar with a talkbox. Like the vocoder, the talkbox is often mistaken for an effect that processes your voice. On the contrary, it lets your voice be the processor. Stephen Fortner

    In Theory Any sound boils down to two things: the frequency (pitch) and amplitude (volume) of its fundamental tone and of each harmonic. Then theres the way each of these elements changes over timetheir envelopes, by a familiar name.

    That so much changes at once is what makes human speech so tricky to imitate. Vocoders tackle this by using a number of envelope-following bandpass filters, which your voice, the modulator signal, controls. The carrier signal (e.g., your synth) gets filtered and comes out with a harmonics-over-time profile that resembles your voice. The more filters a vocoder has to divide up the frequency spectrum, the closer the resemblance.

    A talkbox achieves a similar result using far less electronic plumbing. See, you are a synthesizer. Your vocal cords are the oscillators, and your mouth is an incredibly flexible filter. The talkbox lets you use that filter on external audio. In fact, its just a tiny powered speaker that amplifies your synth. The Rocktron Banshee, for example, uses a compression driver similar to many tweeters, but with fuller range. A vinyl tube fits snugly into the speaker recess. Put the other end in your mouth, play your synth, mouth some words, and you get syllables imposed on the sound. All the action happens in the acoustic domain between your choppers.

    In PracticeMaster talkboxer P-Thugg of Chromeo once told me, The talkbox is very physical and easier to personalize [than a vocoder]. . . . If you dont know how to use it, itll sound

    like a wah-wah at best, but when you practice pronunciation, you create another voice out of your own. Here are some ways to find that voice.Use a mic. Unlike a vocoder or an audio effect, a talkbox doesnt take your voice as an audio input. For practice, you can hear the result without a mic, but for performance or recording, youll need one to capture the results.Simple synth sounds are best. Start with patches that are fairly bright and have an immediate attack. A monophonic lead with no portamento gets that Auto-Tuned T-Pain sound.Resist the urge to sing or speak. Playing your synth is what provides the musical pitch. With a vocoder, you say words into the mic to give the filters a control signal to work with. With a talkbox, the shape of your mouth does all the work. Speaking only adds your dry voice to the mix.Exaggerate vowels. Pretend youre mouthing at someone who just learned to read lips but who also has bad eyesight. Long o and u sounds are easy, but long e sounds stretched the corners of my mouth into a Jack Skellington grin.Consonants help. An exception to the dont speak rule is that saying an initial consonant into the mic often helps the synths voice sound like the desired word. Thats because the human ear identifies sounds mainly by their attacks.

    More Online! keyboardmag.com/may2011

    Stevie Wonder sings Close to You on the talkbox.

    Zapp and Roger Troutmans More Bouce to the Ounce.

    Given how you shape the sound of the vibrating bar with your mouth, the venerable jaw harp is really the worlds fi rst talkbox.

    The Rocktron Banshee 2 is the gold standard of talkboxes.

  • Nail That First Chord

    BEHRINGER ULTRATONE K-Series Keyboard/PA Amps

    ULTRATONE keyboard/PA amps are designed to put you where you belongcenter stage. Leading the 4-pack is the K3000FX with 300 Watts of ultra-clean and massive power.

    With 4 channels, a mic input, Feedback Detection and 100 studio-grade eff ects, the K3000FX is ready for anything. Its super-tight 15" woofer and high-resolution tweeter bring out every subtle nuance of your playing and give you the power to rock the crowd.

    ULTRATONE The lights come up, all eyes are on youand you nail it!

    20

    11 M

    USIC

    Grou

    p IP L

    td. T

    echn

    ical s

    pecifi

    catio

    ns an

    d app

    eara

    nce a

    re su

    bjec

    t to c

    hang

    e with

    out n

    otice

    . The

    info

    rmat

    ion co

    ntain

    ed he

    rein

    is co

    rrect

    at th

    e tim

    e of p

    rintin

    g. 98

    5-90

    000-

    0146

    6

    K3000FX K1800FX K900FX K450FX

  • 42 K E Y B OA R D M AG . C O M 0 5 . 2 0 1 1

    Producers Roundtable

    MIXDOWN HYGIENE

    SOLUTIONS

    This month, we asked our panel of top pop and electronica producers how they keep their mixes clean and punchy. Got a question for our experts? Email me at [email protected]. Francis Preve

    Morgan Page(morgan-page.com)Put a highpass filter set at around 30Hz on your tracks to get rid of that rumble. When you cut, dont forget to compensate for the change in level. Brick-wall limiters are your friend; use them for quick percussive transients. Avoid digital clipping whenever possible, except in the front end of limiting plug-ins.

    Jon Margulies(heatercore.net)Its all about cleaning up the low end. Its counter-intuitive, but if you want the bass in your tracks to sound huge, you need to focus on making it really clean. Filter out overlapping frequencies in layered bass lines and kicks, and remove low end from anything that doesnt really need it. A lot of problems with clarity in the mids and dullness in the highs actually come from muddy low end eating up your headroom and overwhelming the mix.

    Richard Dinsdale(facebook.com/richarddinsdale1)When I have all the sounds I need to progress to the mixdown stage, Ill have a look at the percussion (hi-hats, snares, and so on) and see if there are any troublesome frequencies in the drum hits. Using Logics Channel EQ, Ill strip low frequencies out that shouldnt be there, letting the bass line and kick drum breathe.

    Dan Kurtz (Dragonette | dragonette.com)Put less crap in your track. Its really hard to do when there are so many fun, cool sounds out there, and increasingly, when you can get all the horsepower you need from your computer to create endless tracks.

    Boom Jinx(boomjinx.com)First and foremost, its important to train yourself to remove any frequencies that dont have to be there, even if you cant hear them. When youre doing this to individual sounds and instruments, it may not seem like a big deal, but when you do this consistently throughout, it can have a big impact on your mix. A lot of samples and instruments output low frequencies that serve no useful purpose in the grand scheme. Ive pulled up drum samples with low-frequency rumble that does really nasty things when played back on a sub or big system. The same can be said for synthesizers. On the opposite side of the scale, some instruments will have frequencies that extend too high, giving them that digital brittleness. Unless youre layering, it also doesnt hurt to consciously avoid using sounds and instruments that overlap each other in terms of frequencies. You have three dimensions to work with to give everything its own place in the mix: the frequency spectrum, amplitude, and stereo width. Last but not least, compressors are invaluable tools to even out dynamics and inconsistencies in amplitude but after years of producing, Ive finally joined the ranks of those who wholeheartedly claim that less is more.

    SH

    ER

    VIN

    LA

    NIE

    Z

  • 44 K E Y B OA R D M AG . C O M 0 5 . 2 0 1 1

    GEAR

    If youre bringing a new hardware drawbar organ to market, it had better be good. Clonewheelskeyboards that emulate a Hammond B-3 organ and rotating Leslie speakerhave improved so much over the past decade that questions like, Do I want other sounds or just organ? and Will I stand and play rock or sit and play jazz? are now more relevant to choosing one than Which one sounds more real? This is precisely why if Joey DeFrancescos name is printed on the panel of a new clone, we get very interested. Since Joey could endorse any manufacturer he pleases and theyd do somersaults, why did he pick Studiologic, a name more associated with MIDI controllers? As we found out, its because, in addition to being extremely portable and easy to use, the Numa Organ sounds absolutely awesome.

    Overview and ControlsEssentially, the Numa Organ is a distillation of the DLQ KeyB (find out more at keyborgan.com), the organ Joey D. plays on tour, into a more affordable, portable package. The tech is modeling, top to bottom, and you get nearly full polyphony. By that, I mean that no actual playingeven ugly, dense playinghit any note ceiling, but laying both forearms across the keyboard robbed a few voices.

    The half-moon pitch and rotary wheels and big, clicky vibrato/chorus knob evoke the controls on a real B-3. Backlit buttons give at-a-glance feedback on vibrato/chorus (you can toggle it for upper and

    lower/pedal parts separately), split status, transposition, harmonic percussion, and whether the drawbars are controlling the upper, lower, or pedal part.

    With the exception of saving presets, this is a manual instrumentno edit button, no LCD. So, read the manual to avoid head-scratchers like How do I set the split point? (You hold the Split On/Off button until it flashes, then hit the top key you want for the lower part.) Speaking of splits, a thoughtful Octave Up button for the lower part lets you play mid-register without having to adjust the drawbars. A pedal-to-lower coupler is for kicking bass in the left hand.

    DrawbarsYou dont want drawbars to be too clicky. In fact, transplanting in later-model drawbars is a popular modification for early Hammonds whose drawbars moved quite stiffly. However, youre probably used to feeling that little bit of click that even smooth drawbars have.

    In a departure from the norm, the Numa Organs drawbars are completely smooth, like faders on a mixer, and each is anchored in a slot to reduce side-to-side wiggle. As on some older Hammonds, pipe footages arent printed on the drawbar caps or anywhere on the panel. For the pedal part, the two brown drawbars control the 16' and 8' pitches, and are the only ones active. When I turned the volume up, I heard subtle zipper noise if I moved drawbars rapidly, but not if I

    StudiologicNUMA ORGAN by Stephen Fortner

  • 0 5 . 2 0 1 1 K E Y B OA R D M AG . C O M 45

    did it slowly. You get similar noise on vintage Hammonds and most other clonewheels, and its not musically intrusive. Under the hood, each drawbar is sweeping the full MIDI volume range from 0 to 127, not chopping it into eight steps.

    Keyboard and Preset KeysThe Numa Organ uses Fatars latest-generation waterfall action. For quietness and being easy on the hands when playing palm smears or thumb glisses, Id rate it neck-and-neck with my Hammond XK-3C and a bit better than the Nord C2 reviewed on page 48. The Numa Organs keyboard transmits velocity for playing external sounds, but doesnt sense aftertouch.

    You switch presets like on a real B-3, using the bottom octave of reverse-color keys. To save what youve done, hold the Preset button until it flashes, then hit any preset key (except for B, which reverts to manual settings). What gets stored? Drawbar settings, plus everything to do with rotary simulation, vibrato/chorus, harmonic percussion, and splits. Whats global and doesnt get stored? Transposition, reverb, overdrive, key click, leakage, bass, treble, and master volume.

    Part of the fun of having preset keys instead of buttons or a dial to change sounds is that you can play them while holding notes with the other hand. Creating dramatic drawbar jumps in this way isnt an everyday technique, but more than a few jazzers use it. On the Numa

    Organ, sometimes the held notes would persist and jump to the new presets saved drawbar settings (the desired effect), but sometimes the notes simply cut off. I tried to find some pattern, such as the order in which I pressed preset keys, but the behavior seems random. My XK-3C, by contrast, gets it right all the time. This seems like something Studiologic could easily fix in a firmware update, and it wont otherwise affect your playing in the slightest.

    SoundWith readers roasting gear-review clichs on page 11, I hate to say the Numa Organ is fat, warm, and detailed, but it is. And huge. And open. And transparent. And lots of other good things that overwhelm my writers aversion to beginning a sentence with and. This is a tonewheel-only axeno pipe or transistor organs, no electric pianos, Clavs, or strings.

    The drawbar tones themselves are neither too clean nor too dirty, but just right. Proper harmonic percussion shouldnt sound like an analog oscillator with a quick decay, but like a spoon tapping on a half-full Coke bottle (the green glass kind you can still get in Mexico), and the Numa gets this right. Key click, that static pop a real B-3 owes to the live AC current under its key contacts, is nice and spitty, and can go loudthough Id like to hear more randomness from one note to the next. You can also trash up the sound with the Leakage knob,

  • 0 5 . 2 0 1 1 K E Y B OA R D M AG . C O M 51

    access by pressing the Speaker Model button. The Rotary model breaks up the way a real Leslie does, with just the right harmonics and a bit of compression kicking in as you turn the knob up. Only in the top 25 percent or so of the knobs travel do things begin to sound buzzy and un-tube-like, and with the Twin and JC (my ears say that refers to a Marshall, not a Roland Jazz Chorus) models cranked way up, your lows totally overwhelm your highsbut thats what the real amps do. I only wish that you could pump the non-rotary amp models through the rotating effect.

    A tap delay provides guilty psychedelic funFly Like an Eagle, anyone? You can decide whether it aff ects both manuals, or just the upper one. Th ough theres no way to sync the delay to MIDI clock, a Tap Tempo button suffi ces for getting in step with your DAW or bandmates. Last but not least, the three-band EQ is handy for tuning to diff erent rooms, and the reverb types sound lush and not at all brittle.

    ConclusionsTh e Nord C2 is to dual-manual clones as Studiologics Numa Organ is to single-manual ones. Which is to say, its the current king of sound and portability. Where the Numa excels at being a no-frills, stand-up-and-shred B-3 machine, the C2s variety of organ and amp models, deeper editing options, and eff ects make it fi t a wider range of musical applications. It can grind, scream, and spin with the best of em, but it can do a lot more. If you need two manuals and extreme portability, the C2 marks the return of the all-purpose organthe real organists organfor the modern gigging era.

    Excellent tonewheel and rotary simulation. New pipe organ sounds gorgeous and adds versatility. Realistic tube amp models and overdrive. Great feeling, lightning-fast action. No heavier than the average 61-key workstation.

    No MIDI over USB. Parameters in Sound menu, including key click, rotary details, and percussion decay times, are global and not savable per preset.

    CONCEPT Dual-manual drawbar organ with integrated rotary effect plus Vox, Farfi sa, and pipe organ.SYNTHESIS TYPE Modeling; pipe organ is sampled.MULTITIMBRAL PARTS Upper, lower, and pedal.WEIGHT 34 lbs.

    List: $3,599Approx. street: $3,000

    nordkeyboards.com

    Specifi cations

    More Online! keyboardmag.com/may2011

    Original audio examples.

    Booker T reviews the Nord C2!

  • MA

    RK

    ET

    PL

    AC

    EGEARBreaking News from Musikmesse!

    HAMMOND SK1As the reviews in this issue show, clonewheels are getting ever more light and compact, and the company that started it all isnt sitting on the sidelines. Though demo units werent available in time for a full review in this issue, wed be remiss not to give you a peek at the Hammond SK1, which debuted at the 2011 Musikmesse gear show in Frankfurt, Germany.

    Think of an XK-3C in a 15-pound package, says

    Hammonds Scott Maywho also happens to play B-3 in the Ides of March, only with extra

    sounds like acoustic and electric pianos, Clavs, pipe and combo organs, and even a vintage string machine. It also has our latest-

    generation and best Leslie simulator.Obviously, we cant wait to get our hands on one. Hammond is also making a dual-

    manual version, the SK2. Prices are yet to be set, but wed guess the SK1 will street for somewhere around the $1,500 mark. Find out more at hammondorganco.com.

    52 K E Y B OA R D M AG . C O M 0 5 . 2 0 1 1

  • Products on command, knowledge on cue.

    bhproaudio.com

    bhproaudio.comA wealth of options at the tip of your finger. Find exactly what you need through advanced search filters and Live Help. With in-depth product demos, podcasts, and customer reviews, youll know exactly what youre getting. Knowledge is expansive. Get more of it at B&H.

    Visit Our SuperStore420 Ninth Ave, New York, NY 10001

    800-932-4999Speak to a Sales Associate

    2

    010

    B &

    H F

    oto

    & E

    lect

    roni

    cs C

    orp.

    JN67

    0

  • GEAR

    54 K E Y B OA R D M AG . C O M 0 5 . 2 0 1 1

    The Arturia Origin is a grand technical achievement, a true virtual modular synth cast in hardware. Its sound quality and deep programmability bowled us over when we reviewed the desktop module in June 2009. With its flip-up control panel, the Origin Keyboard aims to be a more integrated and inspiring instrument.

    OverviewThis review focuses on new features of the OS (version 1.3.23 as of this writing) and on things only the keyboard version can do. If youre new to the Origin, read our original review first at keyboardmag.com/article/96559.

    Drawing on the modeling developed in Arturias soft synths, the Origin emulates the distinct characters of the oscillators, filters, and other components of four famous analog synths: the ARP 2600, Minimoog, Roland Jupiter-8, and Yamaha CS-80. There are also generic oscillators (and other modules) that sound great but use less DSP, and wavetable oscillators to provide digital waveforms.

    You can freely arrange and connect these elements in an onscreen rack, creating frankensynths that would otherwise require a lot of

    time, money, and soldering. You can tweak the results (and the factory sounds) with a geeks garden of knobs during your performance. Rounding it all out is a three-track, 32-step sequencer.

    Axel Hartmann, whos pretty much the Ferdinand Porsche of the synth world, penned the physical design. Beyond being aesthetically striking, the substantial flip-up panel of the Origin Keyboard puts all the controls right in your face. You dont have to look down at them or bend your neck, even slightly. This makes prolonged work much less fatiguing. I do wish Arturia had included a panel latch for transport. If you carry the unit with the bottom against your hip and the key lips pointing up, the panel tends to flip open unless you press a forearm against it, which is somewhat awkward. Also, you cant put this sexy beast on the bottom of a two-tier stand, but who would want to?

    Keyboard and AftertouchThe action is quiet and fast, with textured black keys and a good amount of weight for a synth action. Octave shift buttons, which the desktop version lacks, are a welcome addition here.

    ArturiaORIGIN KEYBOARD by Stephen Fortner

  • 0 5 . 2 0 1 1 K E Y B OA R D M AG . C O M 55

    Almost nothing these days has true polyphonic aftertouch (the Infinite Response Vax-77 is a notable exception), but Arturia has added significant expressiveness with duophonic aftertouch, a feature exclusive to the Origin Keyboard. At the global level, you can decide whether only the highest, lowest, or last note played is affected when you apply pressure to any key. I found last-note priority to be the most musically useful, as I could build chords a note at a time, adding aftertouch (or not) to each note as I went along.

    A perennial complaint about aftertouch is that as you press down, the effect on the sound goes from nothing to full blast too quickly. The Origin Keyboard solves this with adjustable response. Using the joystick, you drag three breakpoints around a graph to create a curvethe X-axis is physical pressure and the Y-axis spans MIDI values 0 to 127. Velocity response is set in the same manner, and it has five breakpoints. Like the duophonic aftertouch, these nifty graphs are only in the Origin Keyboard, not in any OS version of the desktop synth.

    Ribbon ControllerThe 14-inch strip on the Origin Keyboard can do a lot more than bend the pitch. On a new Performance page dedicated to physical controllers (all settings here can be saved per patch), you can set the ribbon to modulate any eligible parameter in the synth, or choose self-trigger to play notes

    on the ribbon. Its range is adjustable up to four octaves in each direction, but you cant set asymmetrical up and down ranges. The same goes for the pitch wheel, which bends up to two octaves. Does nobody but me want to play subtle whole-step bends up but octave dive-bombs down?

    At either end, theres a space three eighths of an inch wide between where the ribbon stops sensing touch and where you physically run out of ribbon. The active area does have a white line around it, but if youre not looking right at this, its easy to overshoot the mark and hear your note snap back to its unaffected state. Fortunately, the ribbon settings include four return to zero speeds: instant, fast, slow, or none. (These are fixed times and unrelated to the Origins tempo sync features, which are otherwise quite extensive.) None is a latch mode, so your finger can slide off either end while the pitch stays put. Still, Id prefer a simple latch button next to the ribbon. To put my nitpicking in perspective, most synths give you either no ribbon at all or a much shorter one, so Arturias glass is 90 percent full here.

    Jupiter-8 TemplateOn both the keyboard and desktop Origins, OS version 1.3 adds a ready-made template for Rolands most famous polysynth. To be clear, templates dont add any new modules; they just select certain ones and patch them together for you, saving a lot of futzing with the rack when all you want is

    Seeing stars? You can now mark favorite patches, which then show up in a dedicated list.

    You can also set ranges for splits and layers by pressing keys right on the keyboard.

  • GEAR

    56 K E Y B OA R D M AG . C O M 0 5 . 2 0 1 1

    an instant classic synth.Everything about the

    Jupiter-8 is recreated, down to the unison and poly assign modes, arpeggiator, and of course, the highpass filter that helped distinguish

    the Jupiters sound from the Moogs, Prophets, and Oberheims of its day. As with the Minimoog template before it, its a snap to initialize a new Jupiter patch, and to search the patch browser for Jupiter-based sounds. Arturia absolutely nailed the lush sonic character that causes the real Jupiter-8 to be hunted to extinction on the used market. Its just beautiful.

    Tonewheel OrganSince OS version 1.1, the Origin has included a serviceable drawbar model that you can drop into its virtual rack and patch just like any other module. In addition to the usual nine drawbars, you get octave, coarse, and fine frequency control over the drawbar group as a whole. Key click is adjustable. You can select second or third harmonic percussion, adjust the volume, and choose slow or fast decay. The ping triggers correctly

    (it wont re-trigger if any notes are held down), but its sound waxes syntheticmore 90s house than 60s soul. The drawbar tones themselves are quite good, though, and you can assign the eight screenside knobs to control individual drawbars.

    Nothing in the tonewheel module emulates Hammonds signature vibrato/chorus. Likewise, Leslie simulation is handled in the effects section, and the effect itself is basic, with just a slow/fast speed toggle and bass/treble rotor balance knob. All in all, this wont send any dedicated clonewheels running, but its not meant to. Its more about the sound design possibilities. Think of it this way: If you had a huge modular synth and could drop an entire tonewheel generator from a B-3 into one of the rack spaces, your main objective probably isnt perfect organ sound for Santana covers.

    Further ImprovementsIn his June 2009 review of the desktop Origin, Jim Aikin noted that editing was a bit fiddly due to the main data dial being used both to scroll around the screen and to change settings. A big improvement here is that when the knob is in value mode, as indicated by a red outline around whatever youre changing, the cursor buttons now remain active. Plus, if you press the knob once, it stays in value mode, letting you cursor that red outline around the screen while twirling the

    knob to adjust whatever has the focus. The knobs and joystick now transmit MIDI, making it far easier to

    record and automate the Origin with your DAW. Not only that, but you can save and recall complete MIDI maps for all the Origins controls on a new Live page. The planned audio over USB hasnt yet materialized, though. Another addition in OS 1.3 is a sample-and-hold module for producing those burbling, computer brain type modulations.

    DSP muscle, and hence polyphony, is the same as on the first Origin. Thats a theoretical 32 voices, but you will feel the ceiling with a complex patch or a multi. I got three more notes out of the factory patch Opening by turning off the effects, indicating that the Origins DSP is allocated fluidly. Though we now view polyphony the way 1950s Americans viewed gasoline, many of the Origins sounds are so huge that you dont need a ton of voices. You should also remember that the Origin really is a modular synth, and to get 32 or even eight multi-oscillator voices out of a real analog modular, youre talking a roomful of gear, thousands of dollars, and probably a divorce.

    ConclusionsNothing you can prop on a keyboard stand offers the monstrous sound and absolute patching flexibility of this latest Origin. Even in software, its peers are few: Arturias own V Collection for the analog emulations, Spectrasonics Omnisphere for the huge sound, and Native Instruments Reaktor for the modular approach. Just dont forget the price of the computer to run them when considering the Origins value.

    To key or not to key? That is the question. Currently, the difference in street price between the Origin Keyboard and its desktop forerunner is a cool grand. That buys you 61 very nice keys, the duophonic aftertouch, the ribbon, the graphical velocity and aftertouch curves, and a work of modern sculpture that would fit in at the Guggenheim. If you have a keyboard controller you like, the desktop is certainly the better value. If you want a stand-alone instrument that makes you the most envied synth-slingin mofo in six counties, get the keyboard.

    The best sounding hardware virtual analog synth out there. Oscillators and fi lters really sound like the classic synths theyre modeled on. Striking design. Unique duophonic aftertouch. Tons of inspiring factory sounds.

    Polyphony ceiling still feels a tad low. Can be awkward to carry. Still easy to load a new patch while editing and lose your work.

    CONCEPT Virtual modular synth with emulations of famous-name oscillators, fi lters, and other components, plus multitrack step sequencer. SYNTHESIS TYPE Analog modeling, tonewheel modeling, and wavetable.POLYPHONY 32 voices maximum.MULTITIMBRAL PARTS 4.WEIGHT 40 lbs.

    List: $3,499Approx. street: $3,000

    arturia.com

    Specifi cations

    More Online! keyboardmag.com/may2011

    Audio examples.

    Timeline of Origin updates.

    Tutorial videos.

  • 2011 Yamaha Corporation of America. All rights reserved. usa.yamaha.com

    Yamahas MSR-Series powered loudspeakers, to be exact

    MSR100, MSR250, and MSR400. Subtle, professional

    appearance, high-performance drivers, stand mount/floor

    wedge capability, fly points, and unparalleled audio reproduction

    are shared by all. See each models specifics detailed to the

    right. So, regardless of how critical your application, theres

    definitely an MSR model to more than meet the challenge.

    Stop by your favorite Yamaha Live Sound dealer for a

    wallet-opening demonstration.

    8" long-throw woofer / 1" titanium-diaphragm compression driver 100W Class H amplifier 2 input mixer with two-band EQ Light, polypropylene enclosureunder 24 lbs.

    MSR100

    10" long-throw woofer / 1" titanium-dome compression driver 250W Class D amplifier (max power) Dual inputs, each with its own two-band EQ and level controls Light, polypropylene enclosureunder 30 lbs.

    MSR250

    12" long-throw woofer / 1.75" high-frequency horn driver 400W Class AB bi-amplified system (max power) Single input channel with two-band EQ Light, polypropylene enclosureunder 50 lbs.

    MSR400

    15" 800W (max power) subwoofer can be added to any of the above For more details, go to www.4wrd.it/msrkey

    MSR800W

  • GEAR

    58 K E Y B OA R D M AG . C O M 0 5 . 2 0 1 1

    Some of us love the idea of diving into a stack of vinyl from years past, in search of funky riffs and vintage sounds ripe for sampling, slicing, and adding to our projects. We love the idea, but many of us havent touched a vinyl album in years. Fear not. Native Instruments presents a powerful new bag of tricks in the form of George Duke Soul Treasures, a software instrument comprised of a plethora of phrases performed by the keyboard legend himself, on his favorite vintage gear. More than just a bank of loops, its truly an instrument, built to inspire. Lets find out how.

    The instrument has 503 total presets, each containing a sample of George Duke playing a unique phrase one on of his keyboards: acoustic piano, Rhodes and Wurlitzer electric pianos, and Clavinet. Each phrase is represented by a waveform display, and visually divided into its various slices such as chord changes, melodic bits, and so on. Specific MIDI notes are assigned to trigger the various slices of a given phrase. What this means is that you can either play the whole phrase through, or rearrange the parts of the phrase to create an entirely new phrase. You can also cause any slice of a phrase to play in reverse when triggered, not to mention define how each slice will respond to a MIDI note: loop, one-shot, polyphonic, or monophonic. Essentially, what we have here is a realtime remixing and reconstructing environment, in which you can attain phrases ranging from retro and realistic to more hypnotic, Daft Punk-esque cutting and repetitionall with the trademark George Duke funk.

    Each preset has an arbitrary name that includes the tempo at which it was recorded. I would have preferred more practical information still, like the phrases original key, as opposed to song title-like names such as Listen Close. That said, the pick a card, any card approach to presets made things fun and unpredictable. Its indicative of the instruments focus: This is more of an instrument that helps you generate new ideas based on Mr. Dukes phrases, rather than a quick stock library of material to plug in to your existing tracksthough that is of course possible.

    When it comes time to put phrases into your own work, its important to understand that youre dealing with MIDI tracks, not audio. Unlike Apple Jam Packs or other loop libraries youd drag-and-drop into an audio track, Soul Treasures phrases are always played like on any software synth. You can drag a phrase into a MIDI track, which simply pastes the proper MIDI notes into the proper spots. The phrases can be time-stretched to different MIDI tempos, but youll get the best feel and groove when you stick close to the original tempos.

    At first, I was skeptical: Everybody who gets Soul Treasures will have the same stuff, I reasoned, so how useful could it be? It took only minutes to dispel any doubts. George Duke Soul Treasures far exceeded my expectations of just how musical, original, and inspired you can get with ready-made phrases. It doesnt hurt that they were played by George Duke himself, but there truly is plenty of room for your own collaboration with the maestro.

    Native InstrumentsGEORGE DUKE SOUL TREASURES by Tom Brislin

    More Online! keyboardmag.com/may2011

    Audio examples.

    Fantastic and useable musical phrases with trademark George Duke sound and feel. Inspiring interface turns loops into a genuine musical instrument.

    Preset names give no specifi cs other than tempo.

    CONCEPT Funk, R&B, and soul MIDI loops played by George Duke.FORMATS Included Kontakt 4 Player runs standalone or as AU, RTAS, or VST plug-in. Also works as library for full Kontakt soft sampler.

    Direct: $119

    native-instruments.com

    Specifi cations

  • PerfectPitch.com

    #1 30YearsThe #1World Best-Selling Ear Training Method for 30YearsWe betYOUwill hear with

    Perfect Pitch. . . once you learn the secret of Color HearingPerfect Pitch

    Save$50

    30th Anniversary

    Publishers Discou

    nt!

    Save$50

    ALLFor musicians

    of ALLinstruments!

    Musicians around the globe tell us theyd give anything to possess the awesome powers of Perfect Pitch.Fortunately, you dont have to give your right arm.

    Perfect Pitch is already a natural talenthidden deep inside you, crying to be setfree. To discover your own Perfect Pitch,all you need is a little personal coachingfrom David-Lucas Burge in his PerfectPitch Ear Training SuperCoursethe #1 best-selling music self-develop-ment series for 30 years.

    Research at leading universities (see web site) plus musicians everywhere of all instrumentshave long proven this powerful method to gain the ultimate ear for music. These are real people like youmusicians in over 120 countries.

    The Secret to Perfect Pitch:Before David-Lucas Burge revealed hismethod, people thought that only a chosen few are born with Perfect Pitch(like Bach or Mozart)and the rest of us can forget about it. Not so!

    Step by step, David-Lucas will share with you his time-tested secrets that hediscovered long ago: how each pitch has its own special sounda pitch colorthat you can learn to hear. (Its an art!)

    Once your ear tunes in to these pitchcolors, you automatically know the exactpitches you hear. This is Perfect Pitch! Its fun and excitingand so simple a child can learn it!

    Close your eyes and play a toneany tone. Now, without peeking atthe keyboard, WHAT IS THE

    PITCH YOU HEAR?No clue? Listen carefully to any song. What key is

    it in? E major . . . A major . . . F minor?Stumped? Dont worry! Musicians are often shocked when they

    realize they literally have no pitch recogni-tioneven though they listen to pitchesconstantly. Yet with a few ear-openinginstructions, we bet YOU will begin toname pitchesALL BY EARregardlessof your current ability.

    And well prove it to you!

    Why YOU needPerfect PitchYour ear is everything to your music!

    Why? Because music is a HEARING art.All your talents are ROOTED in yourcommand of the musical languageyour ability to hear and evaluate pitches.

    Perfect Pitch optimizes your ear andopens a new door to brand new talents:

    Youll copy chords straight off a CD. Youll play BY EARinstead of searching

    by hand. No more hit or miss. Youll sing tones directly from memory. Youll identify KEYS of songs just by listening. Youll hear sheet music mentally in proper key. Youll compose music you hear in your head.

    With Perfect Pitch, your performanceautomatically advances to new levels, yourconfidence gets rock solid, and every songyou play takes on a whole new dimensionof satisfaction.

    Without looking,Perfect Pitch letsyou name exact

    tones and chordsall by EAR.

    Name any note or chord by EAR! Sing any desired pitch at will Youll hear it for yourself immediately. Copy chords you hear BY EAR Play music BY EAR instead of searching by hand Identify keys of songs by listening Compose music in your head

    Perform with confidence Enjoy richer music appreciation Open a new door to your talents . . .

  • 40-Day Money Back Guarantee:You will experience Perfect Pitch for yourselfor you get a full refund!

    YES! Prove to me that I have Perfect Pitch! Send me ALL 8 CDs + handbook. Ill listen to the first 5 CDs. I must notice immediate anddramatic advancements in 1) my ear, 2) my perfor-mance level, and 3) my enjoymentor Ill return thecourse for a full prompt refund, no questions asked.If I decide to continue my ear training, Ill enjoy myremaining 3 CDs with advanced lessons. My FREE74-minute bonus CD on Relative Pitch is mine to keep(a $15 gift)even if I return my course for a refund. I also get FREE: Perfect Pitch for Children (a $15 gift).

    List price: $169 + $10 shipping.Your discount price: only $119 + $10 forPriority RUSH shipping*. You save $50!

    Use your credit card or debit cardChoose a monthly Easy Pay Plan: more plans online10 payments of $11.90 (+ $1.95/month service charge) 4 payments of $29.75 (+ $1.95/month service charge) 1 payment of $119 (no service charge)_______________________________________________________CARD NUMBER EXPIRATION DATE

    Enclosed is my personal check or money order payableto PerfectPitch.com for just $119 plus $10 shipping*.

    *Outside USA/Canada: Shipping is $20 for Global PriorityMail. Please submit money order in US funds.

    _______________________________________________________NAME TELEPHONE NUMBER

    _______________________________________________________ADDRESS

    _______________________________________________________CITY STATE ZIP

    _______________________________________________________EMAIL ADDRESS (We promise well never give out your info to anyone, ever!)

    _______________________________________________________INSTRUMENT(S) YOU PLAY (please include VOICE if applicable)

    Mail to: Or fax to: (641) 472-2700

    PerfectPitch com/save50 VIP Code: KB-973 ($50 off/2 free CDs)1200 E. Burlington Avenue, Fairfield, IA 52556

    for a full refund.Youll also receive a 31-minute CD:

    Perfect Pitch for Children: a Message toParents and Teachers, another $15 gift.

    And with your Guitar World discountyoull save $50 on the Perfect PitchEar Training SuperCourse. Is this

    offer stacked inyour favor orwhat?

    Note: Youll receiveeverything: ALLcourse CDs, hand-book and bonuses inone package.

    How canwe make this bet?BecauseIT WORKS.

    For 30 years now, weve foundthat 97% of ournew musiciansexperience theirfirst taste ofPerfect Pitchimmediately!(The rest usuallyget it after theylisten a little moreclosely.) Thisinstant successrate is the reasonwe get so few returns.

    Will I really hear withPerfect Pitch?Yes, we guarantee YOU will hear withPerfect Pitchor you receive a full refund.

    Imagine the doors that Perfect Pitch canopen up for YOUto advance your play-ing, your singing, your own creativity andconfidence. But then again

    How will you ever know until youlisten for yourself?

    Theres no risk. YOU WIN in all cases.Sowill you take us up on this bet?

    Order your own Perfect Pitch EarTraining SuperCoursewith your$50 publisher discountand discover thesecret to Perfect Pitch with your own ears.

    Mail the coupon, call us 24 hours, orORDER NOW ONLINE.

    Heres our Bet:1. ORDER your own Perfect PitchEar Training SuperCourse nowonline, by phone or mail.

    2. LISTEN to your first Lesson whenyour coursearrives. Onceyou learn thesecret to Perfect Pitch,we bet youllhear it rightaway! If youdont, we lose.Simply returnyour course fora full promptrefund, noquestions asked.(You have our30-year reputa-tion to back it.)

    3. WE BETyoull be prettyexcited whenyou actuallyexperience yourown PerfectPitch for thevery first time!

    But your firsttaste is just thebeginning.

    With a few minutes of daily listening, your ear will develop into your most valuable asset.

    We bet Perfect Pitch will boost your performance level, unleash new creativityand increase your enjoyment of musicor return the course within 40 days for afull prompt refund, no questions asked.

    Your FREE bonuses:Well also send you a FREE bonus CD onRelative Pitcha $15 gift.

    You'll learn the difference betweenPerfect Pitch and Relative Pitchhowthey work together to give you total command of the musical language. Youlllearn how you are set free or held back inmusic by what you can or cannot hear.

    This 74-minute bonus CD is yours tokeep FREE, even if you return your course

    For 30 years, weve received letters from musicians in 120 countries:

    Wow! It really worked. I feel like a new musician. I amvery proud I could achieve something of this caliber. J.M.,

    percussion Someone played a D major chord and I recog-nized it straight away. S.C., bass Thanks...I developed a fullPerfect Pitch in just two weeks! It just happened like a miracle.

    B.B., guitar/piano It is wonderful. I can truly hear the differences in the color of the tones. D.P., student I heardthe differences on the initial playing, which did in fact surpriseme. It is a breakthrough. J.H., student Its so simple its

    ridiculous. M.P., guitar Im able to play things I hear in myhead. Before, I could barely do it. J.W., keyboards I hear asong on the radio and I know what theyre doing. My improvisa-tions have improved. I feel more in control. I.B., bass guitar

    It feels like Im singing and playing MY notes instead of some-body elseslike music is more my own. L.H., voice/

    guitar What a boost for childrens musical education! R.P.,music teacher I can identify tones and keys just by hearingthem and sing tones at will. When I hear music now it has much

    more definition, form and substance. I dont just passively listen anymore, but actively listen to detail. M.U., bass Although I was skeptical at first, I am now awed. R.H., sax

    Its like hearing in a whole new dimension. L.S., guitar I started crying and laughing all at the same time. J.S., music

    educator I wish I could have had this 30 years ago! R.B.,voice This is absolutely what I had been searching for. D.F.,

    piano Mr. Burgeyouve changed my life! T.B., student Learn it or be left behind. P.S., student . . .

    You receive 8 audio CDs + easy Handbook +TWO FREE bonus CDs (see below). For ALL

    musicians of ALL instruments, beginning andadvanced. No music reading skills required.

    The Perfect Pitch Ear TrainingSuperCourse by David-Lucas Burge

    SAVE $50 when you order online here:www.PerfectPitch.com/save50Enter VIP code to get

    $50 off :KB-973Call now 24 hours:

    1-888-745-8880Outside USA & Canada call: 641-472-3100

    HEAR IT FOR YOURSELF! Save $50 + get 2 Free Bonus CDs! A Limited Time Offer!We are a proud Corporate member of MENC: The National Association for Music Education.

    Join musicians around the worldwho have already discovered thesecrets to Perfect Pitch.

  • PRODUCT SPOTLIGHT

    To advertise in this section contact: Contessa Abono at 650-238-0296 or [email protected]

    Special Advertising Section

    ASC Quick Sound FieldAcoustic Sciences CorpNow AvailableQSF takes the room out of the mic and puts the talent in the mix. Its a free standing live room, where youll love the mics you used to hate.

    SRP: $3,245 for set of 8 traps. www.asc-studio-acoustics.com/qsf.htm1-800-ASC-TUBE (272-8823)

    Strum Electric GS-1 Electric GuitarApplied Acoustics Systems Now AvailableStrum Electric GS-1, a complete guitar track pro-duction plug-in, provides ready-made guitars, a two-channel amplifier, a spring reverb, a speaker cabinet, effects, automatic guitar voicings, strum-ming techniques, and a MIDI loop library.

    SRP: $199www.applied-acoustics.com888-441-8277

    Octavian - Keyboard CalculatorBitnoticAvailable on the iTunes App StoreInstantly see and hear 500+ scales and 50+ chords on your iPhone, iPad, or iPod touch. Also features Circle of Fifths, scale modes, chord inversions, descending scales, and much more. Keyboard Magazine said of Octavian 1.1.0 (Jan 2010): Its a cheat sheet no keyboardist should leave home without.

    SRP: $2.99 [email protected]

    Ivory II Italian GrandNow AvailableFeaturing the same award-winning piano engine found in Ivory II Grand Pianos, the Ivory II Italian Grand boasts a spectacular 10 foot piano with incredible tonal range. Enhanced with their exclu-sive Harmonic Resonance Modeling, the largest of Synthogys virtual pianos, (wth up to 18 velocity lay-ers) rewards your touch with a sublime wash of color and nuance you must play to believe.

    SRP: $179Distributed by ILIOwww.ilio.com(800) 747-4546

    64 K E Y B O A R D M A G . C O M 0 5 . 2 0 1 1

  • CLASSIFIEDS

    Pianos & Organs

    Talent and Employement

    Sounds, Sequences, & Software

    Education & Tutorial

    Acoustic Products & Services

    Mixing and Mastering

    Studio Furnishings

    Categories

    Acoustic Products & Services

    Acoustics First

    SOUND AND NOISE CONTROL MATERIALS

    Toll-FreeNumber: 888-765-2900

    Web Site www.acousticsfirst.com

    Education & Tutorial

    Learn jazz piano on the internet at

    www.JazzPianoOnline.com

    Sounds, Sequences & Software

    BAND-IN-A-BOX IMPROVEMENT PRODUCTS * Put A Better Band In Your Box * Norton Music (since 1990) * www.nortonmusic.com

    www.VintageKeyboardSounds.com Authentic

    MELLOTRON, B3, and COMBO ORGAN

    SAMPLES. All Formats Supported. 562-856-9333

    Studio Furniture

    Mixing and Mastering

    Talent & Employment

    www.MusiciansContact.com. Paying jobs online.

    Thousands of satisfied members since 1969.

    (818) 888-7879

    Buying or selling instruments through our Classified Ads offers you convenience, a big marketplace, and a wide range of instruments and prices. However, buying mail-order does have its drawbacks, too. Keyboard Magazine suggests the following guidelines to help the buyer and the seller in these transactions: 1) Get a written description of the instrument, which should include the serial number. 2) Get front and back photos of the instrument. 3) Get a written purchase agreement, with a 24-hour approval clause allowing the buyer to return the instrument for a full refund if it does not meet his/her reasonable expectations.

    www.B3GUYS.comHAMMOND Organs & LESLIE Speakers

    Sales - Service - Parts - Rental 615-438-8997

    For more information, check out our website at

    www.keyboardmag.com

    650 5 . 2 0 1 1 K E Y B O A R D M A G . C O M

    www.b3hammond.com. Buy/Sell MINT Hammonds, Leslies. Wordwide sales.

    (701) 400-2933, [email protected]

    Pianos & Organs

    Learn Piano Tuning, Repairing, And Regu lating, taught by Craftsman technicians. Complete correspondence course includes written and video tape training material, Apprentice Training Manual, much more. Licensed by Departmentof Education. www.pianotuning.com. Randy Potter School of Piano Tech nology, 61592 Orion Dr., Bend, OR 97702. (541) 382-5411.

  • TIME MACHINE

    66 K E Y B OA R D M AG . C O M 0 5 . 2 0 1 1

    OF GODS AND SYNTHS by Stephen FortnerIn Roman myth, Jupiter and Juno were king and queen of the gods, Zeus and Hera being the ancient Greek equivalents. Among now-mythic synths, both names are now synonymous with retro and analog. Unlike today, though, keyboardists in the heyday of analog werent concerned with how analog any synth sounded. It was about how closely synths could emulate real instruments, plus their ability to create as-yet-unimagined sounds. With Jupiter ascendant again (preview the new Jupiter-80 on page 17), lets revisit what these names really meantand still do.

    Rolands Vince LaDuca says, The Jupiter-8 was built to create the most realistic acoustic sounds possible using the latest technology Roland had developed at the time of its release. Of course, artists took to the Jupiter and were excited about the non-acoustic possibilities as well. The new Jupiter-80 follows in the footsteps of the Jupiter-8 as Roland originally intended: It aims to create the most realistic and expressive acoustic sounds possible.

    The Junos brought as much of the Jupiter sound as possible to a lower priceone that weekend warriors and teenagers with summer jobs could realistically afford. Whereas the Jupiter-8 listed for $5,295 (in 1981 dollars!) a Juno-6 could be had under $1,500. You gave up the Jupiters second oscillator and split keyboard, but the Juno6 compensated with a chorus and sub-oscillator that fattened things up nicely. Later, the Juno-60 would add patch memory. Juno plays much the same role today: If a Fantom-G, V-Synth GT, or Jupiter-80 is a pipe dream, you can grab a Juno-Gia 128-voice ROM-based synth with an eight-track audio recorderfor an approachable thousand bucks.

    More Online! keyboardmag.com/may2011

    Download full scans of original Jupiter-8 and Juno-6 brochures.

  • UltraNova is a Nova series analogue-modeling synthesizer

    with a powerful effects processor. It is a single-part synth

    taking the legendary Supernova II synth engine as a starting

    point and packing it with the latest technology including

    wavetable synthesis, a software editor and a revolutionary

    new touch-sense performance mode.

    www.novationmusic.com/ultranova

    For more information: (310) 322-5500

    ADDITIONAL FEATURES:

  • FC_key0511_cov4_deIFC_KEY343706_0511003_KEY342912_0511004_KEY343413_0111005_KEY355643_0511006_KEY353796_0411007_key0511_toc008_key0511_mast

    /ColorImageDict > /JPEG2000ColorACSImageDict > /JPEG2000ColorImageDict > /AntiAliasGrayImages false /CropGrayImages true /GrayImageMinResolution 150 /GrayImageMinResolutionPolicy /OK /DownsampleGrayImages true /GrayImageDownsampleType /Average /GrayImageResolution 300 /GrayImageDepth -1 /GrayImageMinDownsampleDepth 2 /GrayImageDownsampleThreshold 1.50000 /EncodeGrayImages true /GrayImageFilter /DCTEncode /AutoFilterGrayImages false /GrayImageAutoFilterStrategy /JPEG /GrayACSImageDict > /GrayImageDict > /JPEG2000GrayACSImageDict > /JPEG2000GrayImageDict > /AntiAliasMonoImages false /CropMonoImages true /MonoImageMinResolution 1200 /MonoImageMinResolutionPolicy /OK /DownsampleMonoImages true /MonoImageDownsampleType /Average /MonoImageResolution 1200 /MonoImageDepth -1 /MonoImageDownsampleThreshold 1.50000 /EncodeMonoImages true /MonoImageFilter /CCITTFaxEncode /MonoImageDict > /AllowPSXObjects false /CheckCompliance [ /None ] /PDFX1aCheck false /PDFX3Check false /PDFXCompliantPDFOnly true /PDFXNoTrimBoxError false /PDFXTrimBoxToMediaBoxOffset [ 0.00000 0.00000 0.00000 0.00000 ] /PDFXSetBleedBoxToMediaBox true /PDFXBleedBoxToTrimBoxOffset [ 0.00000 0.00000 0.00000 0.00000 ] /PDFXOutputIntentProfile (None) /PDFXOutputConditionIdentifier () /PDFXOutputCondition () /PDFXRegistryName () /PDFXTrapped /False /CreateJDFFile false /SyntheticBoldness 1.000000 /Description >>> setdistillerparams> setpagedevice

    /ColorImageDict > /JPEG2000ColorACSImageDict > /JPEG2000ColorImageDict > /AntiAliasGrayImages false /CropGrayImages true /GrayImageMinResolution 150 /GrayImageMinResolutionPolicy /OK /DownsampleGrayImages true /GrayImageDownsampleType /Average /GrayImageResolution 300 /GrayImageDepth -1 /GrayImageMinDownsampleDepth 2 /GrayImageDownsampleThreshold 1.50000 /EncodeGrayImages true /GrayImageFilter /DCTEncode /AutoFilterGrayImages false /GrayImageAutoFilterStrategy /JPEG /GrayACSImageDict > /GrayImageDict > /JPEG2000GrayACSImageDict > /JPEG2000GrayImageDict > /AntiAliasMonoImages false /CropMonoImages true /MonoImageMinResolution 1200 /MonoImageMinResolutionPolicy /OK /DownsampleMonoImages true /MonoImageDownsampleType /Average /MonoImageResolution 1200 /MonoImageDepth -1 /MonoImageDownsampleThreshold 1.50000 /EncodeMonoImages true /MonoImageFilter /CCITTFaxEncode /MonoImageDict > /AllowPSXObjects false /CheckCompliance [ /None ] /PDFX1aCheck false /PDFX3Check false /PDFXCompliantPDFOnly true /PDFXNoTrimBoxError false /PDFXTrimBoxToMediaBoxOffset [ 0.00000 0.00000 0.00000 0.00000 ] /PDFXSetBleedBoxToMediaBox true /PDFXBleedBoxToTrimBoxOffset [ 0.00000 0.00000 0.00000 0.00000 ] /PDFXOutputIntentProfile (None) /PDFXOutputConditionIdentifier () /PDFXOutputCondition () /PDFXRegistryName () /PDFXTrapped /False /CreateJDFFile false /SyntheticBoldness 1.000000 /Description >>> setdistillerparams> setpagedevice

    /ColorImageDict > /JPEG2000ColorACSImageDict > /JPEG2000ColorImageDict > /AntiAliasGrayImages false /CropGrayImages true /GrayImageMinResolution 150 /GrayImageMinResolutionPolicy /OK /DownsampleGrayImages true /GrayImageDownsampleType /Average /GrayImageResolution 300 /GrayImageDepth -1 /GrayImageMinDownsampleDepth 2 /GrayImageDownsampleThreshold 1.50000 /EncodeGrayImages true /GrayImageFilter /DCTEncode /AutoFilterGrayImages false /GrayImageAutoFilterStrategy /JPEG /GrayACSImageDict > /GrayImageDict > /JPEG2000GrayACSImageDict > /JPEG2000GrayImageDict > /AntiAliasMonoImages false /CropMonoImages true /MonoImageMinResolution 1200 /MonoImageMinResolutionPolicy /OK /DownsampleMonoImages true /MonoImageDownsampleType /Average /MonoImageResolution 1200 /MonoImageDepth -1 /MonoImageDownsampleThreshold 1.50000 /EncodeMonoImages true /MonoImageFilter /CCITTFaxEncode /MonoImageDict > /AllowPSXObjects false /CheckCompliance [ /None ] /PDFX1aCheck false /PDFX3Check false /PDFXCompliantPDFOnly true /PDFXNoTrimBoxError false /PDFXTrimBoxToMediaBoxOffset [ 0.00000 0.00000 0.00000 0.00000 ] /PDFXSetBleedBoxToMediaBox true /PDFXBleedBoxToTrimBoxOffset [ 0.00000 0.00000 0.00000 0.00000 ] /PDFXOutputIntentProfile (None) /PDFXOutputConditionIdentifier () /PDFXOutputCondition () /PDFXRegistryName () /PDFXTrapped /False /CreateJDFFile false /SyntheticBoldness 1.000000 /Description >>> setdistillerparams> setpagedevice

    /ColorImageDict > /JPEG2000ColorACSImageDict > /JPEG2000ColorImageDict > /AntiAliasGrayImages false /CropGrayImages true /GrayImageMinResolution 150 /GrayImageMinResolutionPolicy /OK /DownsampleGrayImages true /GrayImageDownsampleType /Average /GrayImageResolution 300 /GrayImageDepth -1 /GrayImageMinDownsampleDepth 2 /GrayImageDownsampleThreshold 1.50000 /EncodeGrayImages true /GrayImageFilter /DCTEncode /AutoFilterGrayImages false /GrayImageAutoFilterStrategy /JPEG /GrayACSImageDict > /GrayImageDict > /JPEG2000GrayACSImageDict > /JPEG2000GrayImageDict > /AntiAliasMonoImages false /CropMonoImages true /MonoImageMinResolution 1200 /MonoImageMinResolutionPolicy /OK /DownsampleMonoImages true /MonoImageDownsampleType /Average /MonoImageResolution 1200 /MonoImageDepth -1 /MonoImageDownsampleThreshold 1.50000 /EncodeMonoImages true /MonoImageFilter /CCITTFaxEncode /MonoImageDict > /AllowPSXObjects false /CheckCompliance [ /None ] /PDFX1aCheck false /PDFX3Check false /PDFXCompliantPDFOnly true /PDFXNoTrimBoxError false /PDFXTrimBoxToMediaBoxOffset [ 0.00000 0.00000 0.00000 0.00000 ] /PDFXSetBleedBoxToMediaBox true /PDFXBleedBoxToTrimBoxOffset [ 0.00000 0.00000 0.00000 0.00000 ] /PDFXOutputIntentProfile (None) /PDFXOutputConditionIdentifier () /PDFXOutputCondition () /PDFXRegistryName () /PDFXTrapped /False /CreateJDFFile false /SyntheticBoldness 1.000000 /Description >>> setdistillerparams> setpagedevice

    /ColorImageDict > /JPEG2000ColorACSImageDict > /JPEG2000ColorImageDict > /AntiAliasGrayImages false /CropGrayImages true /GrayImageMinResolution 150 /GrayImageMinResolutionPolicy /OK /DownsampleGrayImages true /GrayImageDownsampleType /Average /GrayImageResolution 300 /GrayImageDepth -1 /GrayImageMinDownsampleDepth 2 /GrayImageDownsampleThreshold 1.50000 /EncodeGrayImages true /GrayImageFilter /DCTEncode /AutoFilterGrayImages false /GrayImageAutoFilterStrategy /JPEG /GrayACSImageDict > /GrayImageDict > /JPEG2000GrayACSImageDict > /JPEG2000GrayImageDict > /AntiAliasMonoImages false /CropMonoImages true /MonoImageMinResolution 1200 /MonoImageMinResolutionPolicy /OK /DownsampleMonoImages true /MonoImageDownsampleType /Average /MonoImageResolution 1200 /MonoImageDepth -1 /MonoImageDownsampleThreshold 1.50000 /EncodeMonoImages true /MonoImageFilter /CCITTFaxEncode /MonoImageDict > /AllowPSXObjects false /CheckCompliance [ /None ] /PDFX1aCheck false /PDFX3Check false /PDFXCompliantPDFOnly true /PDFXNoTrimBoxError false /PDFXTrimBoxToMediaBoxOffset [ 0.00000 0.00000 0.00000 0.00000 ] /PDFXSetBleedBoxToMediaBox true /PDFXBleedBoxToTrimBoxOffset [ 0.00000 0.00000 0.00000 0.00000 ] /PDFXOutputIntentProfile (None) /PDFXOutputConditionIdentifier () /PDFXOutputCondition () /PDFXRegistryName () /PDFXTrapped /False /CreateJDFFile false /SyntheticBoldness 1.000000 /Description >>> setdistillerparams> setpagedevice

    /ColorImageDict > /JPEG2000ColorACSImageDict > /JPEG2000ColorImageDict > /AntiAliasGrayImages false /CropGrayImages true /GrayImageMinResolution 150 /GrayImageMinResolutionPolicy /OK /DownsampleGrayImages true /GrayImageDownsampleType /Average /GrayImageResolution 300 /GrayImageDepth -1 /GrayImageMinDownsampleDepth 2 /GrayImageDownsampleThreshold 1.50000 /EncodeGrayImages true /GrayImageFilter /DCTEncode /AutoFilterGrayImages false /GrayImageAutoFilterStrategy /JPEG /GrayACSImageDict > /GrayImageDict > /JPEG2000GrayACSImageDict > /JPEG2000GrayImageDict > /AntiAliasMonoImages false /CropMonoImages true /MonoImageMinResolution 1200 /MonoImageMinResolutionPolicy /OK /DownsampleMonoImages true /MonoImageDownsampleType /Average /MonoImageResolution 1200 /MonoImageDepth -1 /MonoImageDownsampleThreshold 1.50000 /EncodeMonoImages true /MonoImageFilter /CCITTFaxEncode /MonoImageDict > /AllowPSXObjects false /CheckCompliance [ /None ] /PDFX1aCheck false /PDFX3Check false /PDFXCompliantPDFOnly true /PDFXNoTrimBoxError false /PDFXTrimBoxToMediaBoxOffset [ 0.00000 0.00000 0.00000 0.00000 ] /PDFXSetBleedBoxToMediaBox true /PDFXBleedBoxToTrimBoxOffset [ 0.00000 0.00000 0.00000 0.00000 ] /PDFXOutputIntentProfile (None) /PDFXOutputConditionIdentifier () /PDFXOutputCondition () /PDFXRegistryName () /PDFXTrapped /False /CreateJDFFile false /SyntheticBoldness 1.000000 /Description >>> setdistillerparams> setpagedevice

    /ColorImageDict > /JPEG2000ColorACSImageDict > /JPEG2000ColorImageDict > /AntiAliasGrayImages false /CropGrayImages true /GrayImageMinResolution 150 /GrayImageMinResolutionPolicy /OK /DownsampleGrayImages true /GrayImageDownsampleType /Average /GrayImageResolution 300 /GrayImageDepth -1 /GrayImageMinDownsampleDepth 2 /GrayImageDownsampleThreshold 1.50000 /EncodeGrayImages true /GrayImageFilter /DCTEncode /AutoFilterGrayImages false /GrayImageAutoFilterStrategy /JPEG /GrayACSImageDict > /GrayImageDict > /JPEG2000GrayACSImageDict > /JPEG2000GrayImageDict > /AntiAliasMonoImages false /CropMonoImages true /MonoImageMinResolution 1200 /MonoImageMinResolutionPolicy /OK /DownsampleMonoImages true /MonoImageDownsampleType /Average /MonoImageResolution 1200 /MonoImageDepth -1 /MonoImageDownsampleThreshold 1.50000 /EncodeMonoImages true /MonoImageFilter /CCITTFaxEncode /MonoImageDict > /AllowPSXObjects false /CheckCompliance [ /None ] /PDFX1aCheck false /PDFX3Check false /PDFXCompliantPDFOnly true /PDFXNoTrimBoxError false /PDFXTrimBoxToMediaBoxOffset [ 0.00000 0.00000 0.00000 0.00000 ] /PDFXSetBleedBoxToMediaBox true /PDFXBleedBoxToTrimBoxOffset [ 0.00000 0.00000 0.00000 0.00000 ] /PDFXOutputIntentProfile (Non