G E A R N E W S & R E V I E W S F O R M U S I C I A N S FREE

APR’13 - MAY’13

WWW.MUSEONLINE.CO.ZA www.segma.co.za

INTRODUCING...

B Series loudspeakers are suitable for near field main PA reinforcement with or without subwoofers, portable system or permanent installations, monitor in small stages and delay fills.

FoH Multi-functional room Auditorium and theatre Pub Bar Night club Commercial announcements

BT8 MK11

B18 MK11 B212

Suitable in places like:

B Series subwoofers are suitable bass reinforcements for main PA systems, touring or permanent installation for small to large stages, indoor or outdoor live performances.

BT12 MK11 BT15 MK11 BT152 MK11

B215 MK11 B218 MK11

the brand new B SERIES

www.vivaafrika.co.zaTrade Enquiries or to find your closest retailer call: Tel: 011 250 3280 | orders@hybrid.co.za

EDITION 24 | APR/MAY ‘13 | Proud Supporters of SA Music!4

CONTENTStech

10

amm has come and gone and no point listening to me; Greg sums the and light control from one central point. as I write this Musikmesse is Maui28 up way better on PG 6. Putting his musician's hat on, he just two weeks away. What Nic Roos did his back in by single- also got to test drive the Dark Terror and Ndoes this mean to us down handedly carrying the Ashdown ABM Tiny Terror guitar amps from Orange,

south in Africa? Loads of new toys to 550RC amp head and 410H speaker clearly a favourite of his and of course play with over the next few months, we cabinet up three flights of stairs to his so many others. Plus he tried out a hope. studio to test. Not quite the portability Chord guitar, a somewhat budget

Compact and travel friendly is of the aforementioned gear, however instrument that is proving to be a huge certainly one of the great benefits of with the pedigree of Ashdown, sound seller in South Africa and reading his technology these days, well illustrated and substance are the real reasons this review, it’s no surprise.by our cover feature this edition; the LD brand is ubiquitous on so many tech Warwick have some new, very Systems Maui28. Wireless and easily riders. Read his takedown on the bass keenly priced Rockbasses and SA transportable, Greg (Bester) reckons amp on Pg. 10. distributor Music Power kindly sent 3 you can set the entire system up in less Greg was actually a busy man for down to Alistair Andrews for testing. than 10 minutes and with only a power this edition weighing in with quite a Ironically one of them is the new Robert cable protruding from the setup. broad range of gear tests. With his Trujillo signature model – for those who

Add to that great sound dispersion sound engineer hat on, he tested the don’t know, Trujillo is the bassist for and some bottom-end beef and it’s an Soundcraft Si Performer – which Metallica, the subject of our front cover affordable system well worth checking combines audio engineering with this issue. out for one-man-bands, event DJs etc. lighting control. Sounds like a novel Of course if budget allows, you can also idea, but certainly one that will add big Dave Macconnect more than one of these setups value to an event looking to trim their for a small band performance. But hey, budget but sustain high quality sound

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Editors Note and Index

Cover Review: LD Systems Maui 28

Gear News

Gear Review: Ashdown ABM 500RC EVO 111

Gear Review: Soundcraft Si Performer

Instrument Review: Chord CSS90

Gear Reviews: Orange Tiny Terror vs. Dark Terror

Gear review: Warwick Rockbass NT 1

Gear Review: Vox Delay Lab

Special Feature: Viva Afrika Hybrid + Launch

Tutorial: Tips for upcoming bands

Guitar Maintenance with Alan Ratcliffe

Play Better Bass with Alistair Andrews

Play Better Guitar with Kurt Slabbert

Your Private Universe: Condenser Microphones

http://www.segma.co.za

Gear Review | LD SYSTEMS MAUI | words: Greg Bester 6

LD SYSTEMS MAUI 28 Suggested Retail Price: R 18,000.00 incl. VAT Supplier: Segma South AfricaTel. No: +27 (0)11 312-1846Website: www.segma.co.za

“…here you have a modular, high powered system that fits snuggly into any boot, requires very little wiring and setup…”

ver since the release of reasonable price. It’s actually quite securing ownership of both the Bose L series of brilliant. branches, and establishing the compact loudspeaker The LD systems Maui 28 is such headquarters in Germany. Among arrays, there seems to a a system and is dubbed their “all-in- their brands are Eminence and BMS proliferation of other one array”. But who are LD Systems? speakers, Defender crossovers, Ebrands on the market German based LD Systems is a Palmer, Cameo Light, and of course,

that have followed suit. Not that newcomer to the SA pro audio LD Systems. All of their products are that’s a bad thing, considering market, part of the Adam Hall group developed, assembled and go competition is key for the success of of brands and distributed in South through rigorous final testing in any sector of business, and in any Africa by SEGMA of Midrand. Germany, which supposes consistent case, it’s a very good concept which Adam Hall, founded by Mr. quality. At least in the mind of many, is why I’m sure many, like me, are Adam Hall in England in the mid-70’s it does. now wondering why nobody had and the German branch by Mr. David To introduce the Maui 28, it is a done it before. Kirby in 1980, is a wholesaler of pro small footprint modular loudspeaker

I mean, here you have a audio equipment, patented cable system that features two thin speaker modular, high powered system that crossovers, and flight case hardware arrays and an amp-loaded subwoofer fits snuggly into any boot, requires and fittings. that slots very neatly into one very little wiring and setup, and To cut a long story short, in 1993 another. provides fantastic sound at a Mr. Kirby bought out his partner,

7

Features

In Use

Conclusion

The dual eight-inch subwoofer enclosure is a 15mm plywood v-Focusing on DJ’s and musicians, the construction bass reflex design, and Maui 28 is aimed at being a the top arrays are sealed aluminium. comprehensive solution for both They supply a horizontal dispersion sound reinforcement and monitoring of 120 degrees. The amplification is due to it’s claimed highly consistent class A/B and feeds 200 watts to the sound dispersion. subwoofer and 200 watts to the It is certainly easy to transport arrays; 400 watts in total. Frequency because it consists of only three response comes in at a staggering 45 components that require no inter-– 20000 Hz and max SPL is 115dB connecting cabling: a subwoofer and with a sensitivity of 98 dB (1W at two long and slender mid/high 1m). Finally, the Dura-Coat LX arrays. The two mid/high arrays are covered subwoofer weighs 29 kg not identical, however. The lower and the HD Coating covered arrays, array contains eight three-inch 3,6 kg.speakers and the top array contains

eight three-inch speakers plus a one-inch tweeter, situated at the top to provide top end clarity and longer The Maui 28 is convenient because it throw. accommodates all of the necessary

Setup is easy. Once you’ve input connector formats you may decided where the subwoofer is encounter. RCA is the most common going all you have to do is slot the consumer format, but you’ll also four sturdy pins on the bottom of need ¼” or XLR line inputs if you’re lower array in to the four holes on interfacing with a professional mixer. the top of the subwoofer. A 12-pin The fact that it has XLR line outs is a

extend the treble nicely. The upper connector is recessed into the centre bonus too for adding more Maui 28’s registers seem smooth and clear of the four holes and connects out of for larger gigs.without becoming strident, even at sight to the receiving female Of course, setup was a breeze high levels.connector on the underside of the and took me all of about five

Speaking of levels, the array. The exact same thing is done minutes, if that. All I then needed was subwoofer control is effective but not with the top array. No cables a mini-jack to RCA converter cable overbearing. Even at the highest required. and I was ready to plug in my iPod or setting the frequency balance isn’t The controls, found at the rear of laptop. Personally, I would have totally out of whack allowing music the sub if looking down vertically at implemented some sort of USB or to remain sounding like music, it, are pretty straight forward as well. iPod dock as well, but I assume they instead of distorted noise. There is a SUB LEVEL control, which skipped out on this because it adds

Finally, the system pumps! It allows you to set the volume of the to the cost. Plus, LD have clearly can go really loud without losing its subwoofer in relation to the arrays. gone for a more professional vibe ground and becoming distorted and There is a MAIN LEVEL control, with line-ins only.grainy; a hallmark of a good system. which is pretty straight forward and First thing played on this system It didn’t’ woof out either, which is there are LEDs for ON (indicates was the album Make Me Love You by encouraging.power status), LOCK (indicates the Australian post-rock/electronic

correct system link), SIGNAL band, Pivot. I know this album well (indicates signal present), LIMIT and I was instantly impressed by a (indicates limiter engagement), and detailed, representative sound that is The Maui 28 is the best system of its PROTECT (indicates system somewhere in between an expensive type that I have heard so far. Sure, overload). In the event of an hi-fi and a big set of studio monitors. some other systems boast a wider excessive overload the system will They just have a warm, inviting dispersion because of speaker automatically switch to mute. quality to them with a very natural orientation trickery, but at 120

On the rear of the amplifier we tonal balance. I was also impressed degrees, you’ll be hard pressed to see a stereo RCA line input, two with how low the bass extends. It is find a room that this speaker system XLR/TRS combo jack line inputs, and quite astounding to know that it all can not fill. It will do very well outside two XLR line outputs for linking to comes from two small eight-inch as well and throws quite far. other systems. There is also the subwoofers and just shows you what It’s great value for money, too, obligatory IEC power jack and a red a good design can do. and will handle DJ parties to small power switch. There is no facility for What I really like a lot is the fact coffee shops, to installations, to microphone inputs so you would that they include a tweeter for top maybe even home theatres with ease probably have to connect an external end duties. Similar systems I have and will most definitely find favour mixer if you intend to use it at your reviewed omitted the implementation with those looking for a small next acoustic gig. of a tweeter for some reason and this footprint which is easy to set up and

Tech specs, anyone? inclusion in the Maui 28 really helps operate. I want one!

THE ‘KING OF THE ROCKIN’ BLUES CHOOSES ALBION AMPS FOR UK TOUR

Gear & Industry News | FOR DAILY GEAR, INSTRUMENT AND INDUSTRY NEWS VISITS MUSEONLINE.CO.ZA8

Gear News

Phot

o: A

lex

Rodr

igue

z

regg Wright ‘The King of the He has played guitar for Michael Rockin Blues’ will be using Jackson and Mick Fleetwood and has Albion Amps for his opened shows for blues legends Albert forthcoming tour of the King, Freddie King and many others and GUnited Kingdom in May. His has been a top session guitarist in L.A

visit to the Albion Stand at the this year’s since the 80’s. His latest album King of successful NAMM Show held in January the Rockin’ Blues was regarded by Blues made his mind up concerning the great Matters magazine as such; “This album British sounding range of Amps designed places Gregg Wright in the top echelons in the workshop of Steve Grindrod. of the great blues guitarists!”

Says Gregg… “Albion Amps…They Wright will be appearing at the certainly are ‘the real deal’ even at a low Burnley International Rock & Blues volume, I was massively impressed. I festival in Burnley.can't wait to come over and start shaking some of those 400 year old wood beams Audiosure | (011) 790-4600 loose when I tour UK in May!” www.audiosure.co.za

AUDIOCAVE CUSTOM POWERED SPEAKER CABLES

www.audiocave.co.za

metre, 10 metre and 20 metre. There is also a choice of two different types of XLRs - ‘Working

Local company, Audiocave Man’ for the musician on a budget distribute a powered speaker cable or the more professional version that is an all in one (Power and called ‘Neutrik’ for the Signal) solution for running long musician/engineer who knows what lengths of cable. It comes with he /she wants. For more kettle cords on each side as well as information pop on over to their XLRs on both sides too. They are website: available in lengths of 3 metre, 5

IBANEZ – IRON LABELDistributed through Midi Music | www.midimusic.co.za

with 6, 7 and 8 string options available. All guitars utilize the newly designed

Nitro Wizard necks, based on the hugely popular Wizard necks they deliver supreme playability thanks to their slim profile whilst delivering superb stability due to the Maple/Bubinga construction. Pickups on the RG Iron Labels come in the form of active EMGs whilst the S Series incarnations come loaded with DiMarzios. A great feature of the RG range is the addition of a Kill Switch, enabling you to get some great musical strobe effects going.

There are also options for those that prefer a fixed bridge or players who want some tremolo action. So if you're a shredder and want to hit down low with an extended range guitar or you just want a great quality instrument that'll fit into the heaviest of metal bands, the new Ibanez Iron Label Series sounds like they

we mention the new Iron Label series of have your number.guitars announced by Ibanez in February this year. Here’s the rub.THE NEW METAL-TO-THE-CORE

The range has been built and GUITAR SERIES designed especially for the metal market With such a big emphasis in this edition with models based on the hugely popular of Muse Magazine on Metallica and Ibanez RG and S Series body shapes. heavy metal in general it is only apt that There are currently 7 models in the range

9

PRESONUS ERIS SERIES HIGH DEFINITION STUDIO MONITORS

Tuerk Music | +27 (11) 792-8402 www.tuerkmusic.co.za

current-output limiting, over-temperature monitoring. It also enables you to protection, and subsonic protection. simulate different listening environments,

Users also can make several types of so you don’t have to listen to mixes on custom adjustments. A four-position your car, consumer computer speakers, Acoustic Space switch controls a and home stereo to check how the music shelving filter, centred at 100 Hz, that sounds with different systems. Just in time for Namm 2013, Presonus provides three attenuation points (no Instead, you can adjust the Eris unveiled its new Eris™-series studio attenuation, -2 dB, and -4 dB), allowing monitors’ response and test your mixes reference monitors. These ultra-you to control the bass response relative without leaving your studio. No other affordable, 2-way, bi-amped monitor to the wall proximity of your speakers. A monitors in this price class offer this speakers are said to deliver very accurate High Pass switch sets the low-frequency degree of control.response with a tight bass and very clear cutoff (-12 dB/octave) to be flat, 80 Hz, or The Eris E8 and E5 should be upper end. They can also be user-100 Hz. You also get continuously available in SA my mid-year.adjusted to the acoustic space, allowing adjustable High Frequency and Midrange you to create a more accurate listening controls from -6 dB to +6 dB.environment or to simulate different

This combination of controls lets common listening environments – a you create a linear response for accurate feature not typically provided by studio

monitors in this price point.The Eris E8 features an 8-inch,

Kevlar low-frequency transducer, driven by a 75 watt, Class AB power amplifier; and a 1-inch (25 mm), silk-dome, high-frequency tweeter with a 65W, Class AB amplifier. It can deliver up to 105 dB SPL, peak. Frequency response is rated at 45 Hz to 22 kHz.

The compact Eris E5 sports a 5.25-inch, Kevlar low-frequency driver, mated with a 45W, Class AB amplifier; and a 0.79-inch (20 mm), silk-dome tweeter powered by a 35W, Class AB amplifier. It can crank out a clean 102 dB SPL, peak. Frequency response is rated at 64 Hz to 22 kHz.

Both Eris models have individual balanced XLR and ¼” TRS input connections in addition to unbalanced RCA inputs. Both offer RF shielding,

WASHBURN GUITARS TURN 130 YEARS

This article was sourced from the Tradelius Music Group website, SA distributors of Washburn | www.tradelius.co.za | 031 502 - 3080

would radically change the emerging sound of rock and roll. There, on Maxwell Street, as well as in alleyways, city sidewalks, bars, and honky-tonks

Some stories demand to be told. Others around the country, Washburn guitars

are simply content on being heard. Heard were embraced as the very embodiment

through music, through lyrics, through a and reflective spirit of the hard-working

cultural revolution. This is the story of musicians who played them as well as

Washburn Guitars.the employees who designed and

Steeped in the tradition of fine crafted them. It is the same spirit that

instrument making, Washburn Guitar's guides Washburn to this day.

dynamic 130-history began in Chicago in The history of Washburn Guitars is

1883. The original guitar factory was the history of a wide range of musicians.

located just blocks away from Maxwell From blues players who shaped rock 'n

Street.roll to multi-platinum recording artists to

In the early 1920s, Maxwell Street emerging guitar virtuosos. It is a history

itself would emerge as the epicentre of a that can be heard and experienced every

musical movement. Often considered the time you turn on the radio or listen to a

first entry point for thousands of African-live performance. It is a history built by

Americans arriving from the Mississippi skilled craftsmen and musicians who

Delta, Maxwell Street became a hotbed share one common love–a passion for

for Delta Blues in its most raw and the guitar. Washburn continues to be a

dramatic form. Newcomers and consistent leader in combining design,

established musicians alike would listen innovation, and technology to deliver the

and jam with one and other in an rich, bold sounds for a vast musical

atmosphere void of commercial landscape.

influence. Big up to a legendary brand that

Once recorded, this powerful, continues to deliver quality and

emotional style of music would not only innovation. Time to get your blues on!

become the dominant form of blues but

Gear Review | ASHDOWN ABM 500RC EVO III BASS AMP | words: Nicolai Roos10

ASHDOWN ABM 500RC EVO III BASS AMP

shdown are one of the The back panel has premier names in British an fx loop, for bass amplification and external fx their products can be seen processors, as well on countless stages as a line in.Aaround the world. Yet, Another

despite their prominence they haven’t feature that really stopped improving their existing models. ups the ante is that

This is certainly the case with the the EQ, Valve Drive, feature-laden ABM 500RC EVO III rack- Compressor and mountable head, which boasts improved Sub Octave are all headroom, EQ and power-amp sections. foot-switchable via Coupled with an ABM 410H speaker Ashdown’s optional cabinet, this amp will provide tone 4 Way Footswitch. fanatics and tweak freaks with great The ABM 410H versatility within the signature Ashdown cab houses four sound. ten-inch Ashdown

BlueLine drivers, designed to handle the amp’s

This hefty 500watt ABM (Ashdown Bass considerable low-

Magnifier) rack unit, with its slick end rumble while

polished chrome front panel, is packed retaining transients

with features and potential applications.and definition. It also has a

These features include:and really brings out harmonic content switchable high

! An Input volume control to optimise on active basses. The Sub Harmonic frequency horn.

the incoming levelfunction sounds quite synthy and is really

! A Passive/ Active switch that suited to crazy funk lines while at lower

compensates for active or passive settings can further beef up any high

basses With controls at neutral the ABM 500’s register runs.

! A Shaped/ Flat switch for either a naturally prominent sub frequencies and The fact that so many features are foot-

scooped mid-range or unaffected tone majestic depth of tone is quite apparent, switchable really opens up a lot of

! Switchable Valve Drive that blends yet it is simultaneously quite sensitive to options, like adding overdrive to

solid state and tube preamp stages for whatever bass is plugged into it. The choruses or switching from a woody jazz

a range of crystal clean to dirty Shape button can really compensate for tone for a particular lead run, then

overdriven sounds either thin or phat sounding basses. With fattening things up when locking in with

! A switchable EQ section consisting of this button alone one can cover a great drums, simply by engaging the EQ.

3 knobs adjustable at 60Hz, 660Hz and deal of ground, from serious funk slap 5kHz, and two pairs of graphic EQ styles to a woodier, almost fretless style sliders adjustable at 180Hz, 340Hz, jazz tone. 1.3kHz and 2.6kHz With the EQ engaged I did find I had At first listen this amp’s immediate

! A switchable compressor to back down on the extreme lows and warmth and depth seems to lend itself to ! A switchable control for Ashdown’s adjust the crucial lower mids and treble R&B and Funk styles but under the hood

sub-harmonic generator which adds a in order to get some definition for more lays a multitude of sounds ranging from blend-able lower octave to the main punchy rock tones, as well as to get the punchy rock to rounded jazz tones. signal most volume out of the amp. I am quite impressed with the

! An Output volume knob That said it’s great to have so much improved headroom of the new circuit ! A balanced DI out with pre or post EQ low end on tap, especially with a speaker and while it may take some time to

switching cab that can handle it. While the circuit navigate through the various features to ! A line output for connecting to an has plenty of headroom, the EQ section find the sound you’re looking for, the

additional power amp and speaker is very sensitive and can overload the results should not disappoint.cabs input signal if one isn’t careful. Luckily

! A tuner output minor adjustments go a long way.! A mute switch I found my favourite sounds with the ! A backlit VU input meter that adds an Valve Drive engaged, set to about 12:00,

attractive vintage flavour. giving some ‘edge of breakup’ grit that can also sweeten up some passive pickups.The Compressor really focuses the sound, fattening up the higher register

FEATURES

IN USE

CONCLUSION

Suggested Retail Prices: ABM500RC: R 9,095.00 ABM410H: R 6,195.00

Supplier: Rockit DistributionTel. No: 021 511-1800

www.rockitdistribution.co.za

http://www.rockitdistribution.co.za

Gear Review | SOUNDCRAFT SI PERFORMER | words: Greg Bester 12

SOUNDCRAFT SI PERFORMER

s a sound guy, the intricacies of lighting have always eluded me. Sure, a lighting desk looks Asomewhat like a

mixing console, but its overall operation remains somewhat nebulous. In my day, which really wasn’t that long ago, lighting and sound technicians were separate entities with clearly demarcated boundaries. I mean, I just never asked a lighting guy for help with a sound related problem beyond a personal favour, and vice versa. It just wasn’t done and I think we preferred it that way.

However, times are changing and the roles blurring to the point that we’re slowly seeing the emergence of the ‘do-all’ technician

a professional digital audio console assignable faders and a channel-that must handle both the sound and basic lighting control. Because strip section where all parameters and lighting aspects of an event. do not be fooled - this is no Grand such as gain, input filtering, EQ, Apart from being a potentially MA, but it’s certainly useful. compression, gating, channel huge cost saving opportunity for

output delay, pan and master bus rental companies by, firstly, saving assignment are found. Each fader money on buying additional channel has a backlit fader, solo, hardware and secondly, paying one The Soundcraft Si Performer is a select, and channel ON buttons, a guy to do two jobs, it also indicates compact digital console with fully small backlit LCD screen and a that the nature of the game is professional features. There are two rotary encoder that can be assigned changing rapidly; that digital has current models, the Performer 2 to gain, pan and filter at the touch made our lives easier than we could and the Performer 3, offering 24 and of three buttons adjacently labeled. have possibly imagined and has 32 native mic inputs, respectively. There are fourteen mix bus select streamlined our work flow Both offer eight TRS line inputs. buttons, four matrix bus select considerably. However, despite the limitations buttons, four FX bus select buttons, Ladies and gentlemen, I of the native I/O, the control surface all of which provide one-touch introduce to you the Soundcraft Si can handle a staggering 80 mix access to the relevant layer.Performer – a digital console that channels which is impressive,

Controls are available for affords the user a fully professional considering its size. Standard scene store, recall and navigation, audio feature set and the ability to features include LCR panning, BSS VCA and mute group assignment control lighting from the same graphic equalisers on every bus, buttons, and buttons for selection surface. Granted, this could scare a 20-sub-group/aux buses, four FX of each of the four layers: A, B, C or lot of technicians currently working buses, eight matrix buses, four D. Meters include monitor, left, right for corporate AV companies who stereo Lexicon effects engines and and mono as well as a monitor level are thinking, “great, now I have to eight VCA buses. control and finally, there are buttons do two jobs in a twelve hour day!”, The layout of the control to access the GEQ for each output but it could be a complete blessing surface is very typical of most bus. for the smaller guys who need both digital mixers in that it has rows of

AUDIO FEATURES

13

Supplied by: Wild and Marr (Pty) LtdContact: 011 974-0633info@wildandmarr.co.zawww.wildandmarr.co.za

All parameters are reflected in a CAT5 MADI, optical MADI, and when playing a lighting cue and full colour – albeit relatively small - CobraNet. Personal monitoring vice versa. touch screen interface while a twist- systems from Aviom and Cobranet DMX scenes and cues can be and-push style encoder knob scrolls can be connected provided the managed and saved via the cue list, and selects. From there the main relevant option cards are installed. accessed via the main touch internal features of the console can Other audio i/o includes a stereo sensitive LCD screen.be set up and controlled such as AES3 input, USB, and output, word assigning faders, routing, soft clock, and MIDI i/o. Finally, FOH patching, scene recall, defining and monitoring functions can be The Soundcraft Si Performer is a effects, colouring fader groups with controlled via the ViSi Remote very capable and powerful compact Soundcraft's FaderGlow feature, Control iPad app and multiple iPads digital console that offers a and system and utility settings. can be used on the same network. multitude of professional features

Probably one of the coolest and the fact that it incorporates features of this console is what DMX lighting control is an Soundcraft curiously calls D.O.G.S: Besides all the other audio features interesting twist that I’m not sure Direct Out Gain Stabiliser. This is a outlined above, the Si Performer not everyone saw coming.handy tool for when recording via has a single DMX output for However, I’m sure the fact that direct outs. It basically locks the connecting to lighting systems. it does will open up a whole new gain on the direct outputs so that Accessing the DMX layer is as opportunity for audio engineers to you’re afforded the ability to change easy as pressing the ALT key and get their fingers wet on the lighting the channel gain for the console one of the four fader layer keys (A, side and help rental companies cut independently. This comes in handy B, C or D) simultaneously. Once the costs in these harsh economic when two consoles are networked FaderGlow turns to white, each times. to the same stage box. DMX channel name will be shown

Speaking of stage boxes, the Si on the small channel LCD screens. Performer uses CAT5 over the The DMX master will be on the HiQnet protocol or MADI (provided MONO/SEL fader. Raising the DMX you have the MADI option card) to channel faders creates the desired connect to any compatible stage scene. box in the ViSi range, further By pressing the channel ON expanding the i/o capabilities of the button, any channel can be console and cutting down on ‘flashed’, lighting orange and analogue snakes and splitters. setting the intensity of that channel

The Si Performer supports a to 100%/FL. Using the ISOlate number of option cards including function in the SHOW menu AES (DSUB), AES (XLR), Aviom, prevents undesired audio changes

CONCLUSION

LIGHTING

Imported and Distributed byImported and Distributed by

www.audiosure.co.zawww.audiosure.co.za

Gear Review | CHORD CSS90 | words: Greg Bester 16

CHORD CSS90 was struck with a pang of nostalgia when I was given a Chord CSS90 “rock guitar” for

Quite nice, actually. If I closed my review. It is almost an exact copy eyes, I could have been fooled into of the Ibanez RG range - of the thinking this was an Ibanez. It feels IRG270 [that I had as a youngster] exactly like my old RG270. However, in particular, actually - and boasts all my first gripe is that it took forever to the same features. tune. Once I got it in the ball park and Chord is a new arrival onto our locked the nut, it instantly went out of shores and to the world for that tune again by about 50 cents. After matter, launched in 2010, based in the about another ten minutes of tuning UK and no doubt manufactured in the and re-tuning, I finally got there but East. Their goal is “to provide high once I re-locked the net, I had to use quality instruments and accessories the fine tuners on the bridge to get it for all genres and playing styles that to pitch again. Phew. I would probably are within everyone’s reach.” install the extra spring if I bought this Admittedly, there isn’t a whole lot of guitar as I would fit heavier strings to information on the Chord brand due to it to help keep it in tune a little better. the fact, I’m sure, that they are

Otherwise, the guitar did what I relatively new, but for what it’s worth, expected and sounded typical of its the CSS90 certainly seems well made features. On guitars such as these my and I’m sure we can find a niche for it favourite pickup selections are the here in our country. second and fourth positions. I love Let’s take a look see.that out-of-phase sound and it’s actually very suited to funk.

The bridge position gives a The CSS90, as mentioned, is a super very edgy sound that’s great for Strat shape with a high gloss metallic rock and metal chugs, and the black finish reminiscent of the Ibanez neck position gives a lovely warm, RG series. Obviously, it’s aimed at the round sound that’s great for solos in rock and metal market because it the upper register or for playing sports a fairly aggressive shape and mellow jazzy stuff. Yup, you can do probably wouldn’t look at home in a that with this guitar. The middle pickup traditional jazz outfit. It has an alder gives a nice balance between the two body - the same wood Fender used and sounds great clean. for most Stratocasters - a bolt on Overall the pickups had a very maple neck, and a rosewood ‘spongy’ sound that could be a fingerboard - all pretty standard stuff good or a bad thing, depending on for guitars such as this. your tastes. They don’t have the

Probably its biggest draw card is ‘hardness’ and transient the fact that it’s fitted with Wilkinson response of, say, EMG’s for pickups. Which Wilkinson pickups instance. They sound a little they are, exactly, is hard to say, but ‘slower’. the name at least inspires some sort of The result, however, is a confidence. decent, harmonically rich sound

The hardware in general is brand- that will work for many styles; less including the double-locking vanilla, so to speak.Floyd Rose-style bridge (complete with a locking nut) and the Grover-style tuners. Other features include

The CSS90 is a versatile guitar of global volume and tone controls (one good value. Granted, it’s a rock guitar, control for all pickup positions) and a but its vast pickup selection offers a five way selector switch. variety of tones that will suit almost Lastly, the guitar comes standard any style. I see this guitar being a hit with D’Addario strings, all the for young players looking for lots of necessary Allen keys for adjusting the tonal options without the heavy price various features, an extra spring for tag.the bridge, a whammy bar, and a

complimentary guitar lead.

HOW DOES IT SOUND? HOW DOES IT PLAY?

FEATURES

CONCLUSION

Suggested Retail Price: R 3,325.00Supplier: TV AudioTel. No: +27 11 805-9910Website: www.tvaudio.co.za

http://www.tvaudio.co.za

Gear Review | ORANGE TINY TERROR VS. DARK TERROR | words: Greg Bester 18

ORANGE TINY TERROR VS. DARK TERROR

Terror, in brief, is designed to be compact yet powerful and flexible so it can supply anything from glassy cleans to high gain sear within a single gain range.

The TONE control is basically just a treble knob which brightens when turned clockwise and dulls when turned counter clockwise. For this reason, the Tiny Terror’s tone is consistent with the core Orange preamp tone – particularly in the midrange - which is a chimey, guttural, yet harmonically rich sound, teetering somewhere between tight and spongy. The clean tones are mid-forward and sparkle quite nicely when turning the tone control up a bit. Using the PPC212, my expectations were confirmed in that it made the amp sound like a 2x12 open back combo, with an aggressive midrange typical of Vintage 30s and was slightly nasal with a polite bass response. Switching cabinets, I then plugged in my Marshall 1935A 4x12. Of course, the aggressive midrange was tamed a bit and the bass response extended a lot lower. The harmonically rich, Chimey

fter previously reviewing a finished in black instead of white. tone was still there but it was subdued in few Orange amps [Muse Additionally, the Dark Terror has three the nasal ranges and sounded, not Dec/Jan ‘13], including the 12ax7 preamp valves (I’m assuming for unexpectedly, fuller due to the larger cab. Tiny Terror combo, I was the FX loop) while the Tiny Terror has I personally preferred the warmer overall extremely grateful to two. midrange response of the 1935A.receive both the Tiny Both amps are dual-EL84 powered The Dark Terror, while being A

Terror and Dark Terror lunchbox guitar amps and offer both 7w and 15w somewhat very similar to the Tiny Terror heads along with a PPC212 2x12 cab to operation. There are the obligatory in terms of features, overall preamp gain test. ON/OFF and standby toggle switches, range and voicing, has a SHAPE control,

I am a huge Orange fan and have which is also the wattage selection which is basically a control that goes always been pleased with the rugged, switch via three-way operation: the top from maximum midrange to no organic tone of their valve amps. Their position is 15w mode, the middle is midrange; scooped, so to speak. What solid state amps don’t sound too bad standby, and the bottom is 7w mode. was interesting was that turning it up also either, by the way, but their pedigree is Next to the standby switch is a vintage- increased the preamp gain so it felt more rooted in Britain at a time when the valve style orange power indicator light. like the highs and lows were being was king and Orange was amongst the Controls number a grand total of boosted before the preamp as opposed best. As a result, their tone is aggressive, three and they are, from left to right, to midrange merely being cut. Tonally, yet not overly so, with a lovely, chimey VOLUME, TONE, and GAIN. On the Dark the results observed when switching harmonic structure. Terror, the TONE control is replaced by a between cabs were consistent with those

When it comes to the Terror series, I SHAPE control. We’ll talk about that in experienced with the Tiny Terror. probably have most experience with the the shootout. To the right of these Overall the Dark Terror just seemed Dual Terror head which was generously controls is the guitar input ¼” jack. All to be more suited to high gain sounds sponsored to me by the great Anton at controls, of course, have their associated due to the scoopable midrange and Music Connection for one of my past pictograms that Orange has become added gain from turning up the SHAPE tours. What a ledge. famous for. Finally, on the rear of the control. Pairing it with the 4x12 produced

Anyway, to my understanding, they amps there are three ¼” speaker output a high gain chuggiathan monster! These are all built upon the same basic preamp jacks: 16 Ohm, and two 8 Ohm for dual amps are truly versatile. circuit, and after testing the Tiny and the cab operation. The Dark Terror has FX Dark for this review, that conclusion is loop jacks for SEND and RETURN. evident.

Overall, the Tiny Terror and Dark Terror are fantastically loud, aggressive,

As usual, the guitar of reference is my character-driven, and versatile lunchbox Both amps are almost identical with the Gibson SG Standard so after strapping amplifiers that I personally would love to exception of differing tone controls plus on I chose to first plug into the Tiny own and I’m sure you would too. the Dark Terror has an FX loop and is Terror paired with the PPC212. The Tiny

Conclusion

The ShootoutSpecifications

Supplied by: Active MusicContact: 011 466-9510Suggested Retail: Tiny Terror: R 5,895.00Dark Terror: R 6,295.00

15W GUITAR AMP HEAD

* Recommended Retail incl. 14% VAT

FOR TRADE ENQUIRIES CALL:

Tel: (011) 466-9510 | Fax: (011) 466-9514

info@activemusicdistribution.com

• Single Channel•Three Band EQ• 4 Stage Gain section• Classic 2 x EL84 class A valve configuration• 3 x 12AX7, 1 x 12AT7

60 Watts, 1 x 12”•• Skid design feet for a tighter bass response & full range definition• A single Celestion Vintage 30 speaker• Excellent match for Tiny Terror series and other amp heads

13 ply high density 18mm birch plywood

120 Watts, 2 x 12”•13 ply high density 18mm birch plywood construction

• Skid design feet help to acoustically couple the cabinet to the stage for a tighter bass

response and full range definition•2 Celestion Vintage 30 speakers

240 Watts, 4 x 12”•18 mm high density birch ply•2 x parallel 1/4" input jacks• Hard wearing basketweave

woven paper grill cloth• Skid design feet

30W GUITAR AMP HEAD•• 1.5mm Zintec Chassis with steel vented top case• Padded Gig bag included

Power switch, Output valve switch

15W TUBE GUITAR AMP HEAD•

• High gain preamp• Gig bag

Tube driven FX loop

R 5,895.00*

• Lightweight and durable zintec chassis with vented top

• Simple and intuitive control panel for no nonsense tone (volume, gain, tone)

• 15w (or 7w) Class A, all-tube power • Included padded gig bag

R 8,795.00*DT30H DUAL TERROR R 6,295.00*

OR15H

Gear Review | WARWICK ROCKBASS® STREAMER NECK THRU. (STREAMER NT) | words: Alistair Andrews20

Suggested Retail Prices: Streamer NT - R 11,395.00 | Corvette, Streamer LX R 8,695.00 | Robert Trujillo Signature R 15,995.00

Supplier: Music Power | Tel. No: 011 466-9510

®WARWICK ROCKBASS STREAMER NECK THRU. (STREAMER NT)

STREAMER NECK THRU 6 STRING CORVETTE ROBERT TRUJILLO SIGNATURE BASS

great tones. In fact the MEC “P- had the honour of Bass” Pickup configuration unwrapping 4 of the works perfectly for the tonal new Warwick balance on the 4-string that I RockBass® models tested.when they reached our Isunny shores. These

included the 6 String Corvette, Streamer Neck This instrument scores high on Thru, Streamer LX and the the versatility meter and can be Robert Trujillo (Metallica) tuned by using its own EQ Signature Bass. controls to accommodate your

All of them are awesome playing style. Personally I basses, but for the purpose reckon this particular bass is of this review I will focus on geared more towards Funk, the Streamer Neck Thru, as I World Music and Rock players, found this particular bass although with the EQ options I guitar extra special. It is would not rule out Jazz and available as 4-and 5-string Fusion playing styles.and there is also a fretless You can switch from model with Tiger stripe tapping to slapping to finger-Ebony fingerboard. style without losing your awesome tone.

The Streamer Neck Thru has great balance which makes it Warwick basses have excellent feel much lighter than what it build quality. Couple that with actually is (4.3 kg - 4-string, an amazing tone and 4.5 kg - 5-string.) The curved competitive price on what is a body shape also adds to the very playable and awesomely comfort of the instrument balanced bass guitar and you and the Neck-Thru design have a winner. It has to be said adds to overall stability of the that there aren’t many basses neck. in this price range that offer a sound at

To be honest, I was actually surprised by As with most Warwick basses some this level in my opinion. how great it sounds since I play on of the controls feature a centre detent. The instrument really does look and custom basses exclusively, which I think Warwick has the habit of making their feel great and there is nothing I can find should give me a good point of basses look really great and the Streamer that I dislike to be honest. I am thinking of reference. I’ve never heard any bass in Neck Thru is no exception. This Bass getting one for myself as I give it a 12 out this price range sound this great. scores high in my books for great of 10.

aesthetics. The sound is warm, well balanced in The other models the 6 String

all registers, and if you open the treble The body is made of Alder (flanking Corvette, Streamer LX and the Robert knob a little, cuts like a hot knife through the Maple Neck) and the natural high Trujillo Signature are also pretty butter. The resonant Alder used for the polished surface emphasizes the wood awesome. I think that the 6 String body gives it a great amount of range superbly. The rosewood fret-board adds Corvette in particular, at R8,695.00 is a from the bass response to the midrange. a nice contrast. steal.

The neck, being made of denser The Warwick Just-A-Nut III is an The Robert Trujillo Signature bass is maple, gives the midrange more focus. accurate two-piece height-adjustable nut, also a great instrument. No wonder the Capping the neck with a dense, but open which is now made from a fibreglass- man that adds the driving low-end to grained rosewood fingerboard, adds a reinforced synthetic material called Tedur. Metallica puts his stamp of approval on nice sweet treble to the top end of the The 24 Jumbo Nickel-silver frets feel it.tone.great and really easy on the fingers. This

The low-end is also clean, solid and guitar has an amazing action for a bass punchy at the same time. The active MEC straight from the factory. The chrome 2-way electronics allow for a variety of hardware suits the rest of the instrument.

Versatility

First ImpressionsVerdict

Sound

ROBERT TRUJILLO STREAMER Signature Bass

* Prices are recommended retail including 14% VAT

ROCKBASS

R 15,995.00*

CORVETTE 6 STRING R 8,695.00*

STREAMER NT 1

R 11,395.00*(5 string)

Bolt-On |Carved Top & Flat Back |Available as 4 or 5-string |Just-A-Nut III |Maple neck with Ekanga veneer stripes |4-string regular neck |5-string special asymetrical neckshape |Tigerstripe Ebony fingerboard |Robert Trujillo mother-of-pearl inlays|

Scale length: 34“ (long scale) |Alder body |Active EMG J/J pickups Active MEC 3-way electronics |Chrome hardware

Neck-Through | Curved Bodyshape | Warwick Machine Heads| Just-A-Nut III | Maple neck with Ekanga veneer stripesRosewood fingerboard (fretted), Tigerstripe Ebony fingerboard (fretless) | Scale length: 34" (long scale)

Alder body | Active MEC pickups | Active 2-way electronics | Chrome hardware

Active 6-string e-bass |Alder body| Bolt-on maple neck with Ekanga veneers | Rosewood fingerboard | Scale length: 34" (long scale)| 24 frets| Active MEC Soapbar pickups| Active 2-way electronics

Controls:1 x Volume, 1 x Balance, 1 x Treble, 1 x Bass| Chrome hardware|Just-A-Nut III

FoH Multi-functional room Auditorium and theatre Pub Bar Night club Commercial announcements

Suitable in places like:

The EX Series loudspeakers are suitable for near field main PA reinforcement with or without subwoofers, portable system or permanentinstallations, monitor in small stages and delay fills.

1200W RMS 1200W RMS LF + 300W RMS MHF

EX152 EX153

Trade Enquiries or to find your closest retailer call: Tel: 011 250 3280 | orders@hybrid.co.za

B Series subwoofers are suitable bass reinforcements for main PA

systems, touring or permanent installation for small to large stages, indoor or outdoor live performances.

Gear Review | VOX DELAYLAB | words: Kalin Pashaliev 24

VOX DELAYLABhe delay effects pedal has become hands down the most significant segment of a modern guitarist’s artillery. Since quite a big Tsection of modern music

is more ‘feel’ orientated, many guitarists have sacrificed virtuosic technique in exchange for the possibility of an escape from the conventional, which one can argue, is in itself is a ‘new’ form of virtuosity all together.

Whatever your view on the certain forms of musicianship out there may be, the delay unit plays a critical role in the creation of layers and textures, whilst simultaneously transforming a seemingly run of the mill guitar tone into a salvo or emotion, mystification, serendipity, or simply pleasure for the listener.

With all of the aforementioned taken into consideration, it is no great surprise why VOX – the creators of

inputs and outputs and an options. A great aspect when musical equipment since the days the expression/control pedal input. These bypassing the pedal is that it won’t Beatles had trouble growing facial hair already tell you that all possibilities are turn off abruptly as if something has – have created an all-in-one delay unit open to you with this unit. There is broken or blown. The makers at VOX that groups together every also the 9V power input. Off the bat, it have really thought about the little conceivable delay/echo possibility is important to say that it’s best that details here. known to present day musicians. you use a dedicated power supply or This pedal offers 10 delay high quality power hub. Even though categories including analogue, tape, this pedal runs at 200mA, which is digital, multi tap, dynamic, dual,

Weighed against other pedals of the about average for a multi-effect pedals modulated, stereo, ambient and high-end delay variety, such as the TC (dirt boxes draw over 10 times less reverse. On top of that it flaunts a loop Electronics Flashback X4 and the Line than that), you’ll want to keep all function giving you up to 28 seconds 6 DL 4 (both retailing at about R5,000), periphery audio interjections out of the of looping time. the VOX Delaylab is a bargain - a more way. Alternatively, you also have the than ‘30% Less’ bargain - and although battery option. my delay virtuoso friend and I came across a bit of a hum after adding the The VOX Delaylab is a hefty mother. In pedal to his pedal chain, I’m sure there Boss stomp pedal terms, about three

The VOX Delaylab is easy to use. You’ll won’t be a problem when a high or four of those placed alongside each definitely need some time setting it up quality, dedicated power source is other. In fact, this was the first reaction to your specifications, but once you used. This pedal also works pretty well I got from a guitarist friend who is get to know the pedal, editing it won’t with the bass guitar. quite well known around Joburg’s be an issue. If you’re looking to create a wall of musician circles for making grown

I personally know certain effects sound and take your audience to space men cry with his delay manipulations – pedals that required you to spend days and back, the VOX Delaylab is the VOX Delaylab dwarfed the getting it right. This is no such. One definitely one that you should remainder of his pedals and I think that downside to the Delaylab is the looper, consider. befuddled him a little.which only allows you to loop parts in It is heavy duty, though, and made real time and not save a section for with live performance in mind. It next time round. But after all, the boasts a cast-metal frame dressed in primary function of this pedal is its an ivory-type finish and is topped with delay capabilities, not its loop function.a metal faceplate. Its interface contains

I personally had a lot of fun with six dials, four switches and six push the modulation and reverse delay buttons. At the back you’ll find stereo

The VOX Delay Lab

The Verdict

Appearance, Inputs & Power

Use and Playability

Supplier: Tuerk Music Technologies Contact: 011 792-8402www.tuerkmusic.co.za Retail Price: R 3,350.00

http://www.tuerkmusic.co.za

Special Feature | VIVA AFRIKA HYBRID + PRODUCT LAUNCH | words: Dave Mac26

VIVA AFRIKA HYBRID+ LAUNCH

LA212 Line Array Demo

n February this year (20th), Viva Afrika invited their dealers from all over South Africa to the launch of several new product lines for their Iproprietary brand, Hybrid+.The venue for the event was the

Thaba Ya Botswana, a four star eco hotel and spa located on the Klipriviersberg Nature Reserve in Johannesburg and surprisingly quite centrally located to both north and south of the region. The location was an excellent choice both in terms of accessibility and quality of services offered. Personally I’d recommend this hotel; the accommodation and view from the rooms is first class and the service was some of the best I’ve encountered around South Africa.

The event itself ran like clockwork and the Viva crew should be commended on a well thought out day that kept everybody interested and occupied throughout. Proceedings kicked off with the obligatory signing in and getting name tags, a bunch of product brochures and to a Capetonian, what I

gear in action. Thankfully Viva had the variants, a double 15 and a 3-way 15 as thought was a strange gift - an umbrella.

smarts to keep the blagging to a well as a double 18 sub and a single and The penny dropped later in the day when

minimum, then feed us and now it was double 21” sub.I realised that the outdoor line array

finally time get to hear all the impressive The aforementioned speakers are demonstration would be taking place in

looking gear on display. solid workhorses designed to cater for a the late afternoon and we were, of

The new ranges are pretty extensive large sector of the market but they have course, on the Highveld - famous for its

and have clearly been well planned for also introduced a new and uniquely afternoon downpours.

the South African and indeed African designed range they coin their ‘ultimate The presentations were kept short

continent market. In fact the very first trendy club series.’ This is the Prime and to the point; Director, Bernard

demo shook the rafters of the large Range and consists of a Prime10CX, the Pienaar, welcomed guests who were

(almost auditorium size) conference hall. Prime212, a high powered double 12” seated in a large conference hall as he

Their words certainly rang true when (1000w + 1000w RMS) as well as their gave us all a bit of background to the

they said “South Africans love their Prime218S, a double 18 sub. What makes new Hybrid + range, specifically the new

bass.” these loudspeakers stand out is their D-Class amp range and the proprietary

New additions to the range include 3 octagonal shape which looks really retro remote software that accompanies these

new amplifiers; the 2.1, 2.2 and 4.1. and is claimed to deliver a ‘highly new amps. What was evident from his

These are all high power class D dynamic and holographic reproduction’ brief talk is the thought and lengthy

amplifiers with resonant switch mode of sound. planning that has gone into the

power supplies which incorporate power We were told that these are available technology that they have used and the

factor correction said to achieve 95% in various colours and they certainly quality of the components that have been

efficiency. As well as built in DSP, they blend perfectly into a club dancefloor as sourced for each product.

also boast WiFi network control surface was evidenced by the custom dancefloor But hearing is believing and it wasn’t

software compatible across Windows, set up for the party afterwards, featuring long before Head designer, Arthur Felix,

Android 4 and IOS6 (iPAd). Dino Bravo on the decks. Sound and took over to elaborate more on the

The BT range is a new nearfield lighting was very impressive at the party.loudspeaker ranges. Thereafter it was

main PA range which includes 8, 10, 12 & All-in-all this product showcase was time to get down to the real reason

15” variants as well as a double 15, two an extremely well planned and executed (besides the free food and booze)

single subs – a 12” and a 15” sub as well event. Our attention was sustained everybody was there; to hear all the new

as a dual 18” sub. throughout the day, with concise, There is also the more powerful informative presentations, excellent

EX series which includes 12 & 15 inch sound displays (Alex Felix should be commended for his choice of music used) and superb hospitality.

Gauging the general feeling of those present, the products that piqued most interest were the BT8 MK11 (packs a punch) and the B212 for their compactness [and price], the single and double 21 subs and the LA212 Line array which was demonstrated to us outdoors, thankfully without the traditional Highveld downpour.

BT12 MK11

EXS221PRIME212

http://www.mediatech.co.za

Band Tips | REAL LIVE SOUND | words: David Chislett 28

REAL LIVE SOUNDAuthor of “1,2,1,2: A Step By Step Guide To The SA Music

Industry,” Dave Chislett offers Music industry tips for aspiring

bands and musicians

Author BlurbDavid Chislett has been in the SA music industry for 25 years. Bassist, journalist, manager, publicist, film maker, author and consultant, he has gotten his hands dirty.

His book 1,2,1,2: A Step By Step Guide To The SA Music I n d u s t r y i s a n e a s y t o understand, no holds barred self-help book for anyone wanting to do better in the business.

It is available from Exclusive Books, Look & Listen stores and all good independent shops.

He also hosts workshops and private consultations to help artists get ahead.

www.davidchislett.co.za

y now everyone has buttons on a desk that looks like it realised that live came out of the arc. Not ideal. Not performance has going to showcase how good you returned to being one of really are. In short, you’re going to material with ease and generally just the most important sound like shit. make sure that every time you step on Baspects of any musical Most top artists travel with their stage you KNOW how it is going to

artist’s life. Failing CD sales, an own sound guy for this reason and sound. If you don’t ever have to worry uncertain digital future and a fickle, this reason alone. You need to sound about what you’re going to sound like, constantly moving target for an your best whenever you step on then you can really focus on those audience has meant that live stage. Working with one guy means splits jumps and high notes and performance is very, very important. they can get a feel for everything you getting your eye make-up just right

As a result, being good on stage do and know exactly how you are before each show.has also begun to enjoy more supposed to sound. Even on a bad PA A regular sound guy is the attention from artists than it has for with limited gear, someone who difference between weekend warriors some time. You’ve got to be able to knows you is always going to get and people being serious about move, to put on a show, not just run better sound for you than just some making progress. Your bass player or through your tunes. You need to look dude. Also they will give a damn, drummer can only set the sound up good, move well, perform flawlessly whereas often house engineers don’t. one way during sound check, they and in general, stand out from the When you are in a festival can’t do much about it once the venue crowd of other wannabes that are also environment and the engineer has is full and the acoustics have changed. competing for that R 500 from the been on the desk for 8 hours already, And besides, for good sound, outside door takings tonight. you will WANT some fresh ears to ears are always the best idea.

One area that you might want to make sure you sound just perfect. The bassist will always put too think very hard about is your actual That poor guy’s ears need a good much bass and the guitarist will sound. Its one thing making sure you rest. You will be doing him a favour! always make the guitars too loud. The all look good and can groove like But your own sound guy is worth vocalist, well, they have never known Justin Timberlake on MDMA, but what more than just that. He can help you how to do sound, so don’t worry do you SOUND like? adjust your on stage sound to get the about that! Take your music seriously

For most music punters, they are best from your amps and monitors, enough to employ a regular guy half expecting you to sound exactly not overworking your gear or your thereby giving them the chance to like you do on record anyway. And voices as a result. Your resident sound work hard and seriously on what you here you are, in a tiny club with a guy is the best pre-production should sound like. It’s the best answer second rate PA and some guy you’ve resource you have for recordings. You to sounding great every time you step never seen before pushing the can record and demo all your new on stage.

Guitar Maintenance | THE LOST ART OF TUNING | words: Alan Ratcliffe30

THE LOST ART OF TUNINGpedalboard and mute the guitar while hen I started to you tune; large, rack-mounted play guitar three models you can see from the other decades ago, side of the stage; and small types that tuning a guitar clip on the headstocks of your guitars. took a fair bit of W Most multi-effect pedals, some effort - especially amps and even many electro-acoustic for the beginner. This was because guitars have tuners built-in. There are the only way to tune was by using even a few guitars that can tune something that played a reference themselves automatically these days. note – pitch pipes, a tuning fork or

However, electronic tuners do another instrument like a piano and have their limitations, so you should tuning to that. Particularly for a never rely entirely on your tuner. beginner’s undeveloped ears, this

usually proved to be quite a task. So, many new players resigned

themselves to the fact that their guitar The first problem with using an

would only be in tune when someone electronic tuner all the time is they do

else tuned it for them (usually by their not help to develop your ear, which

teacher at their weekly lesson). Over as a musician is the most important

time as our ears developed, we were tool you have. In fact, they may even

able to do it ourselves and most of us Tuners are electronic devices and actively get in the way of you managed to get quite good at it, they can vary – particularly the developing your ear. I often see some even able to tune a single inexpensive beginners' models, but players who obviously rely on their errant string in the middle of a song also, even the best tuner will drift tuners too much – those who cannot without the audience noticing. over time as components age and hear that their guitar is out of tune

Thankfully, modern electronic their values drift. In this case, you until they stop playing and check it tuners have changed all that. They are might find that when you and a band with their tuner, others who can’t hear wonderful devices that allow even the mate each tune with your own tuners, how far to bend a note before it newest player to tune their guitar while each guitar is in tune with itself, resolves. quickly, easily and accurately. They they are slightly out of tune with each There are also those times when come in all sorts of formats: those other. In fact, when you record, the you forget your tuner at home, drop that fit in your guitar case or bag; engineer or producer will usually and break it or find your battery is flat. pedal tuners that sit on your have the whole band tune up to one So it’s a very good idea to be able to

single tuner to avoid this problem. tune the good old-fashioned way too. So, it’s a good idea (and fairly There is an easy method to do this:

easy) to check your tuners against whenever you can, simply tune one each other, simply by tuning your string (usually your low E string) with guitar on one and then checking it on your tuner and then tune the others as many other tuners as you have using that as a reference, then access to. It’s worth noting that some double-check with your tuner and see of the better tuners can be calibrated how close you were. (adjusted) by a trimpot on the circuit This method trains your ears and board. Many others can be adjusted is accurate, but the one thing it is not by setting the reference pitch (usually (at least at first) is fast, so it probably an A note at 440 Hz) up or down a shouldn't be your method for tuning few Hertz.during a show.

TUNE YOUR EARS

CHECK YOUR TUNER

http://www.tuerkmusic.co.za

Tutorial | PLAY BETTER BASS | words: Alistair Andrews32

PUTTING THE BITS TOGETHERPLAY BETTER BASS

Continued on Page 34...

he electric bass guitar is only about 50 years old and there are so many aspects of the instrument yet to be discovered. In this issue I would like to give a short overview on bass Tguitar technique.

A musical instrument is normally designed with the following in mind:1) The sound it needs to create, coupled with 2) The “average” human body.

As instrumentalists we adapt our hands and body to the musical instrument. That is why pros who can afford it, get custom-made instruments to suit their bodies and style of play.

I don’t think that there is a correct way of playing the bass. There are better and worse ways though. But while every player is unique, each one is physically, mentally and culturally different.

A good teacher/mentor can help you grow as a bassist and guide you in the development of an original voice. Just because something works for one bassist doesn’t make it so for all of them.

Thinking about the end result gives you creative freedom to experiment. Don’t hesitate to experiment. Try things the way other successful bassists have done in the past.

There must be a reason why the great bass players sound so different from one another. If you examine the bass technique of many of the greatest bassists, you will see each has a unique approach but at the same time they achieve a lot of common results from all their different techniques. It is these results we need to pay attention to and figure out various ways to accomplish them - whether we copy the techniques of other bassists, or blaze our own path.

Studying bass technique is about examining the better and worse ways of producing good bass-playing results.

Check the example below of the C MAJOR Scale over 2 Octaves.

You will notice two completely different ways of playing this Scale, as the bass has duplicate notes. (Notes with the same pitch on a different string and position).

I

I normally play the G MAJOR scale as shown on the diagram below.For C MAJOR I will use the same pattern starting on fret 8.

FINGERING: E-String; 1,2,4 A-String; 1,2,4

D-String; 1,2, (shift position) 1,3,4 G-String; 1,2,3,4

You should choose the bass techniques you use for the results they produce. A big mistake, especially for the self-taught, is to choose what comes easiest. The path of least resistance doesn’t always work so well. Some results are going to be hard to achieve. You’re going to have to work at it. When people listen to you play, they don’t care how easy it is for you. They only care about the results of your bass playing. Does it sound good? That is what should determine the bass techniques you use.Take out the 4th and the 7th and you will get the G MAJOR PENTATONIC Scale over two Octaves.

FINGERING: E-String; 1,2,4 A-String; 1,3 D-String; 1,2,4 G-String; 1,2,4

It will not be a bad idea to check out the MODES of the MAJOR and MINOR Scales over 2 Octaves. The G LYDIAN mode in the example below:

Tutorial | PLAY BETTER BASS | words: Alistair Andrews34 Continued from Page 32...

SOME IMPORTANT THINGS TO CONSIDER, WHEN YOU ARE WORKING ON YOUR TECHNIQUE:

SOMETHING ABOUT TIME

4) Accuracy feel so good, year after year. You need to develop accuracy These days there is also a lot of with where you place your learning material, without the fingers, your tone and your bass track, available to play along rhythm. Accuracy comes from a to. lot of patient, mindful practice. Early in your playing you will 1) Avoid Injuryhave a lot of problems with The most important goal of your The best time-feel practice begins consistency. Experience cannot bass technique is to avoid with your body alone: prove that be bought, so the more you do injuring your hands, back, ears, you have mastered the beat something, the better it gets.or anything else that may arrest without the external complication

your ability to play bass. You of an instrument, which can be 5) Focus on the Musicwant to play bass for the rest of added at the final stage of There are many schools of your life. practice. The best practice is also thought about practicing and I initially distant from any written know that not everybody will 2) Clarity and Good Tone music. agree with me on this one, but I Each note you play should ring To begin, set a metronome to believe that anything you practice clearly with a full, pleasing tone. resonate on beats two and four of that does not include musical No unwanted buzzing a moderate 4/4-swing tempo. content and/or context, which No unintentional muffled or (This ground beat mimics a isn’t engaging the mind as you muted notes drummer's hi-hat.) Alone or with practice, is useless and will not No unwelcome open strings a partner, listen to the beat: improve your bass guitar playing ringing in the background match it with your finger-snaps, skills.No unintentional harmonics and then turn down the

No other accidentally produced metronome's volume to an 6) It is not only about the notes extraneous noises inaudible level. After a few Notes are obviously very measures, restore the volume important, but they stand It is quite a tall order, but you and compare your beat to the alongside the elements of have to learn to control all of metronomes.rhythm, feel, phrasing, these aspects of the bass guitar. If they didn't match, consider articulation, technique, dynamics, a common cause: not feeling the tone, space, and listening. Many 3) Economy/Efficiency pulse on the silent beats. By

In the early stages this is difficult. bass players become fixated on moving your forearm silently in Your attention is divided and playing correct notes, while rhythm between the metronome's you’re just trying so hard to play ignoring other equally important pulses, most people improve something. With time and fundamentals. their accuracy. This is the first practice, things will become more step to internalizing the beat:

7) Playing along to recordingsand more effortless. But, you physically (but silently) feeling all Another important method to must develop a relaxed technique pulses between what the learning rhythm and groove is by by consciously working on and metronome provides you.listening to and playing along thinking about it. You need to I trust that these ideas will with killer recordings. You make a habit of being relaxed. help you as you work on you probably already have a handful Once you build your confidence, technique. Till next time … keep of favourite albums that you keep things “flow” better. the groove!!!!!going back to, just because they

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Tutorial | PLAY BETTER GUITAR | words: Kurt Slabbert36

THE MODES OF THE MAJOR SCALEPLAY BETTER GUITAR

elcome to our first their names and looking at some guitarists we become so locked tutorial in 2013; I of the players that utilise the into patterns as opposed to have decided to different modes and how these sounds. I would like to challenge Wtread on new modes have become their you to think of the Modes of the

territory and will take this lesson sound. Major scale as a sound as and the rest of this year to try So we will start with the opposed to a pattern on the demystify and unlock the modes Theory behind the Modes of the guitar neck.of the major scale. Major scale; what is simple can

We will begin by looking at become very confusing, as

THE THEORY

Do Re Me Fa So La Ti Do

Do Re Me Fa So La Ti Do

Do Re Me Fa So La Ti D

So don’t run away here, take a deep breathe, and realise it really is simple to understand.

In the Major scale we have 7 notes for example:

1 2 3 4 5 6 7 1C D E F G A B C

C major scale T=ToneSt=Semi-tone

The major scale has a formula spelling as follows if we look at the distances between each note of the major scale.

C D E F G A B C

This is why we end up with no sharps (#) and flats (b) in the key of C Major.

If we take a different scale for instance let us begin by starting on D

! D to E would be a Tone, which suits the formula! E to F would be a Semi-tone and it needs to be a Tone therefore we have our first sharp and it will be F#! F# to G is a Semi-tone which once again suits our formula

So by following this pattern we will end up with:

1 2 3 4 5 6 7 1 octaveD E F# G A B C# D

That gives us the key of D major, which has 2 #’s

T T st T T T st

37

In the next issue we will take this further and try and help you understand how Modes work. If you have any questions please drop me an email on kurt@bluenoise.co.za

So now we have constructed our Major scale, the next step is building a chord off each note of the major scale, so instead of playing the single one note scale we play a harmonised Major scale.

Triads are 3 note chords; here we have the C Major scale harmonised in triads.

1 2 3 4 5 6 7 1C D E F G A B CMAJ min min MAJ MAJ min Dim MAJ

C major scale Harmonized in triads

Harmonised as 4 note chords we get the following:

1 2 3 4 5 6 7 1C D E F G A B CMAJ7 min7 min7 MAJ7 Dom7 min7 m7b5 MAJ7

C Major scale Harmonised in 7ths, 4 note chords This would be the first Modal theory to learn as we begin to delve into Modes, knowing which chords have what tonalities as the Modes will follow on from this.

Here are the Names of the seven Major Modes:!

! Dorian! Phrygian! Lydian! Mixolydian! Aeolian! Locrian

Over this year we will begin to unpack each Mode as we try and learn how they sound and how they can be used to their full effect. Some of the Modes are known by different names so we will look at that too.

As you can see there are 7 Modes and Seven letters in the Major scale. Modes and the Major scale are Family, these Modes are derived from the Major scale. For instance in the Key of C Major we get:

! C Ionian! D Dorian! E Phrygian! F Lydian! G Mixolydian! A Aeolian! B Locrain

Ionian

Copyright Kurt SlabbertBluenoise Productions

kurt_slabbert@hotmail.com

Your Private Universe | CONDENSER MICROPHONES | words: Jonathan Pike38

CONDENSER MICROPHONESoff frequencies above 15KHz, this ollowing on from the last makes condenser microphones the issue, where we looked at better choice to accurately capture the technology behind high frequencies. This also means dynamic microphones, I’d that condenser microphones have a like to spend this issue F better transient response, meaning looking at another that they are able to respond common microphone type: the quicker to sudden percussive Condenser microphone. The sounds. condenser mic is a go to mic for the

The fact that the microphone is studio and can be used on a variety of powered by an external power sources.source also means that it has a A Condenser microphone better signal to noise ratio as well as transduces sound quite differently to a having a higher sensitivity and louder dynamic microphone. The Condenser

Condenser microphones often output signal than dynamic mic does away with the heavy moving have switchable polar patterns. This microphones. This external power can coil construction of the dynamic mic basically means that there are settings also be offered by a battery rather and replaces this with an electrical that allow the mic to pick up sound than from the console or pre-amp capacitor. The name condenser comes from varying directions. You can have stage.from the fact that capacitors were a mic that picks up sound exclusively There are some disadvantages to originally called condensers. Without from the front, one that picks up from condenser microphones too. Firstly getting too technical, here is a all directions or even one that picks up they are generally more expensive simplified explanation of how this from the front and back but rejects than dynamic mics. They also tend to system works.sound from the sides. I will look at be more fragile and can be easy A diaphragm is mounted above a microphone polar patterns in detail in broken if dropped. conductive back plate. A polarising a future issue.Condenser mics also come in voltage (usually 48volts) is applied to

Condenser microphones are one either large or small diaphragm the diaphragm by an external power of the most widely used mics in the format. Large diaphragm mics tend to source in order to charge it with a studio due to their sensitivity. They are pick up the full audible frequency fixed, static voltage. This construction generally not used on stage because range pretty accurately and are creates the capacitor. When the they are very sensitive and can generally used for vocals or any diaphragm vibrates in response to a therefore easily cause feedback. They source that has a wide frequency sound, it moves closer to and then are also more susceptible to range. Small diaphragm condensers further away from the back plate. An environmental conditions and can be on the other hand are often better at electrical charge is induced in the back broken easily if dropped. capturing high frequencies than low plate and changes in proportion with

In the next issue we will look at frequencies. the acoustic sound waves. This one more microphone type; the I would suggest using a small changing voltage is thus an electrical Ribbon microphone.diaphragm condenser on any sound representation of the acoustic sound.

source that doesn’t contain much low In order to supply the polarising frequency content. The smaller voltage (called phantom power) an diaphragm is generally lighter still and external power source is needed and therefore lends itself to a great this is usually supplied by your transient response.console or interface.

Ok, now that is out of the way, what are the practical implications of these differences? Well, because of this construction the diaphragm can be made very light, thus there is no longer the need for the heavy coil that is attached to the diaphragm in dynamic mics. This means that there is less inertia to overcome to get the diaphragm moving, therefore the diaphragm can respond better to high frequencies.

Remembering that dynamic microphones effectively start rolling