IT'S RED-YOU'LL BE ABLE TO PLAY FASTER

In a world of amp and effects simulations you’ve got to have a soft spot for the real thing. DigiTech upped the ante on its Whammy pedal, building upon an iconic guitar pedal used by guitarists around the world. The new Whammy still features the classic Whammy sound, but moves to the next level by introducing chordal Whammy pitch-shifting, additional Whammy intervals and a true bypass.

The Whammy lets guitar and bass players raise and lower their tuning by up to two octaves to create pitch shifts from subtle to extreme and dramatic musical effects–and you don’t need to tune your strings again afterwards. Brilliant! The new Whammy now incorporates pitch-shifting technologies that enable the player to bend entire chords up or down while keeping all the notes in the chord perfectly in tune. The Whammy also keeps its signature Classic single-note mode that has made the pedal one of the most recognizable in rock and contemporary music, along with nine Harmony 2-note interval settings and two Detune modes. The “true bypass” means that the signal from the guitar is completely unaffected by the Whammy when it’s switched off. This can be especially important when using a lot of pedals on a pedal-board.

The Whammy uses 1/4-inch inputs and outputs, a MIDI input that allows control of the pedal from an external MIDI device and a 9-volt DC power input. High-quality 24-bit/96kHz analog-to-digital and digital-to analog converters promise a clean, smooth pitch-bending sound. An on/off switch engages and disengages the Whammy effect, and a “Classic/Chords” switch lets players select either mode (although this isn’t foot-operated unless you take your shoe off and use your toes to… well, look for yourself). The Whammy is built to withstand the rigors of the road with a rugged all-metal chassis, pedal and footswitch.  Go to www.harman.com

AUSTRALIAN DISTRIBUTOR: CMI Music and Audio www.cmi.com.au

TWO 24 INCH TELLYS... AH, SCREENS. COOL

Not sure if this is cheating or clever–CADAC is demonstrating its new CDC eight digital production console to the US Theatre Sound industry as a sponsor of the Live Design Broadway Sound Master Classes. CADAC’s US theatre sound distributor, RF Productions will be showing the new console to theatre design professionals and students during a manufacturers’ showcase sessions at the 99 seat Abe Burrows Theatre at the NYU (less than a hundred seats–no hiding from question time then). While the launch of the CDC eight has focused on the console’s role in spearheading CADAC’s move into the wider sound touring and installation sectors, the CDC eight still hangs its hat on CADAC’s heritage of providing theatre sound consoles.

With that theatre market firmly in mind, the CDC eight offers a high input count on a desk with a compact footprint–we all know that promoters hate “pulling” seats to make room for a sound mix position. It also has 40 configurable output busses which can be programmed as groups or matrixes, and additionally there are 16 internal VCA groups. Altogether, the console provides up to 128 input channels and using the input selection on each channel to sum two inputs together, that can be expanded to a potential 256. Keeping everything under control the CDC eight offers what CADAC call a “high agility” user interface with two 24 inch (590mm) 16:10 HD touch-screen control surfaces and a third smaller LCD touch-screen dedicated to system control and automation. CADAC has a “theatre development program” for the desk looking towards potential compatibility with its own J-Type SAM theatre automation software. The Live Design Broadway Sound Master Classes provides CADAC the opportunity to address an audience of dedicated theatre sound professionals, but most importantly it offers them quality time with the industry’s top designers in a relaxed, intimate setting. We’re still not sure if that’s cheating. Ask them yourself at www.cadac-sound.com

PLAY CRUEL TRICKS ON SHORT SOUND ENGINEERS

Argosy is a US-based company that specializes in studio and technical furniture. Its range of desks that are designed to hold mixing consoles and outboard gear have become so popular that Argosy can afford to create and sell units aimed at particular mixers. So, for example, it has a model specifically for Avid C24 consoles, Tascam DM3200 and DM4800 mixers, and the SSL Nucleus–and that’s just to name a few. A more recent addition to its range is an Argosy G-Series desk custom-designed to house one or more Presonus Studio Live consoles, which is a kind of testament to how much of the market Presonus is grabbing with its Studio Live series. However, as we snooped deeper into the Argosy website in a never-ending pursuit of journalistic integrity we stumbled across this new model.

It’s called the Argosy Aura 520 Sit-Stand and it’s a more generic style of studio workstation desk that–yep, the legs are motorized. If your guest sound engineer prefers to stand while they mix or they’re just generally too close to the ground thanks to short genes, at the flick of a switch the height of the desk, mixing console and 14 RU space of outboard processing mounts (7 a side with an optional 11 extra on top) can be lowered or raised to suit even to a point where an operator can comfortably stand behind the mixer. There’s no mention whether the motorized legs can be fitted to any of the other specialized desks, but we’re sure that if you asked nicely… It gives a whole new meaning to the request, “can you lift the mix a little overall?” Check out www.argosyconsole.com

Way back in primary school most of us only got crayons and Plasticine to chew on–sorry, to play with. And when it came to those embarrassing, annual school concerts it was all cardboard cut-outs and improvised broomsticks.

Not any more for the kids at Helensvale Primary on the Gold Coast in Queensland. They just got themselves an 1100-seat performing arts centre complete with full AV, lighting and sound facilities including a DiGiCo SD11 console. The DiGiCo got the nod because of its programmable features and touch-screen that allows operators to set up foolproof presets and templates for teachers who are more used to operating… well, crayons and Plasticine–okay, modern teachers are a lot more adept at using technology in the classroom, but you get the idea.

It’s not the only idea Helensvale Primary had. Its performing arts centre is available for hire to anyone else, creating a much-needed income stream in our cash-strapped education system. Other schools and institutions like dance academies (there’s a million of ‘em in Queensland) can rent the facility.

Interesting. A lot of existing performing arts centres, many of them owned and run by the local councils with tight budgets, enjoy a fair swag of crucial business in the latter part of the year as all those schools put on their wind-up shows. Creating a venue such as at Helensvale Primary is an exciting project for system integrators and suppliers, and despite the joys of a pre-programmed SD11 on hand you’d expect there’s still new job opportunities for professional AV, lighting and sound technicians, too. That’s all great news for the industry, but will some of the older, established venues take a hit?

Maybe. It’s fair to suggest too that a lot of grizzled, backstage technicians in those theatres might breath a small sigh of relief at dodging the dreaded, end-of-year “dance school season”.

For more information on the DiGiCo SD11 see www.digico.biz

AUSTRALIAN DISTRIBUTOR: Group Technologies www.grouptechnologies.com.au

After more than a decade Ben Folds Five are releasing a new album and, as you might expect from these guys, they’re doing things very differently. Taking social media in its stride the band has put out a Facebook appeal to its fans to make a “pledge” towards the creation of the album–we’re talking presales, in other words–as a means to fund the project. You can pledge to buy lots of stuff like the entire works as a download, a CD, a signed CD (an extra ten bucks), vinyl releases, tee-shirts and combinations of all the above. It’s not an empty promise and the lads have been busy in the studio. An “unmastered” version of a single called Do It Anyway from the album can be downloaded for free or you can hear it on Soundcloud. No surprise, by the way, that there isn’t a recognised record company in sight. BFF are doing this all themselves and asking the fans to change the way music is released. They are also careful to leave an escape route open stating it’s “a work in progress” and that they may “change course when necessary”, but fair enough–who wouldn’t slip in some fine-print on a venture like this? There is an added incentive that if you exchange social links with the BFF Facebook you’re automatically made a Vice President of Promotions. Sounds cool, however we suspect the salary package may be disappointing.

So far it all seems to be working brilliantly with a whopping 183% of the pledge target being reached and some of the items up for grabs pre-sold out (if there is such a thing). Does this mean BFF will chuck in a few extra songs? Good question. If you’re an indie band and this revolutionary new approach to making music looks like the answer to all your problems you should know that BFF have a very healthy fan base to start with. They didn’t have to reach out too far.

A lot of people from both sides of the studio mixing console will be watching the success of this project closely. A lot of emerging bands with a good-sized following will be watching as well. And AT will, too.

We’ll keep you posted.

FAMOUS ELECTRIC CHAIR "OLD SPARKY", THE GROUND LOOP YOU REALLY DON'T WANT.

This is one of those stories that’s gaining momentum so fast we’d better tell you now, before the Chinese whispers effect of the internet turns it into a best-selling novel, block-buster movie and subject of a full US senate enquiry–all starring Tom Cruise.

The start of all the fuss was an anonymous letter published on a hip-hop blog site. The letter was written by (apparently) a former record company executive who is now so riddled with guilt over his participation in a dastardly plot that he’s come clean–anonymously remember, so don’t be too impressed. The bottom line of this letter is that back in 1991, during a secret meeting of music executives, it was decided that gangster rap should be specifically encouraged and promoted by a collective of record labels to increase the level of violent street crime. Why? Because those same companies had invested heavily in America’s privatized prison system. The more prisoners inside The Joint, the more money the US government paid those prisons, thus a healthy return on the investments. The nasty lyrics in gangster rap incited the youth of America to glorify crime and do bad things, getting themselves jail time and filling the coffers of the record labels.

As a theory it’s not bad, although it’s lacking a grassy knoll and fuzzy pictures of the Loch Ness monster. Evidence so far is thin and it ignores the fact that most gangster rap lyrics are incomprehensible at the best of times. But here at AT we’re ahead of the game. We know exactly what will happen next–we’ll be told to listen to all those gangster tunes again backwards to hear the real, hidden message. It’s the ol’ backwards-satanic-message-embedded-in-the-song trick that’s been around since the 1980s. For once, maybe it won’t work. For most of us, listening to those rap songs forwards was enough, thanks.

What happens? Hopefully something good, because this could potentially be a dog’s breakfast. If you’re in Melbourne this Saturday, 12th of May, you might want to check out this crazy collaboration. In typical Red Bull style, there’s a sense of chaos about it, but you know that in the end, the result could potentially be world-beating. Driving the ensemble is Tamil Rogeon, the violinist from Melbourne’s live hip-hop/funk ensemble True Live, American hip hop lumiary Aloe Blacc, the Australian Youth Orchestra, a couple of beatmakers, DJs and hip hop artists. Thanks to Hayden for the tip.

Tickets are available from the Melbourne Recital Centre or www.beatsuite.redbull.com.au

The Reason Producer Conference is a day of seminars, panel discussions and product demonstrations. As you’ll have guessed, the theme is Propellerhead’s Reason virtual studio software, and the Melbourne Producer’s Conference provides an informative guide to production and music today – covering many aspects of being an electronic musician, including:

• Synthesis & Programming

• Sound Design, Arrangement, FX and Powerful Routing Techniques

• Mixing in the box, Mastering your music,

• The Legal side of Electronic Music Production

The practical demonstrations will feature product demonstration by both Propellerhead product specialists and other local artists. You’ll be exposed to plenty of music production tips and tricks as used by seasoned industry professionals, covering many aspects of electronic music songwriting, sound design, mixing and mastering.

Through discussion with professionals from the business side of the music industry you’ll gain an insight to the various avenues in digital media for artists to promote themselves and their music. You’ll also hear about copyright, licensing, artist royalties, performance fees, the changing roles for record labels, and more.

ON THE GUEST LIST

M-Phazes – ARIA award winning producer

Mattias Häggström Gerdt – Propellerhead Product Specialist

Danny Bonicci – Director at Liquid Mixes, Ableton Certified Trainer

Tony Mantz – Owner Jack the Bear’s Deluxe Mastering Studio’s Melbourne

Jennifer Tutty – Entertainment Lawyer & Owner of Studio Legal

Con Kalamaras – APRA Writer Services

James Brooke – Licensing & Label Manager, 405 Recordings, Xelon Entertainment

Chris Steller – Musiclink/Korg Product Specialist, & electronic music composer

Ross Garrett – D’Opus, Mercury Switch Lab, Musiclink Audio Technology Dept

WHEN/WHERE?

Saturday 23rd of June, 12pm – Sunday 24th of June, 2am

 @ The Order of Melbourne
Level 2, 401 Swanston Street
Melbourne VIC
Ph: 03 9663 6707

MORE INFO

Ross.Garrett@musiclink.com.au
0413 321 244
www.musiclink.com.au

Myles Mumford: The session was a test of an idea: do a live recording to eight track tape with filming and stills, both for the fun of it and to give something back to the bands. I’ve produced a lot of albums, worked with a lot of bands over the years and make a living from doing it but a lot of bands struggle to earn decent money from making music. I thought I’d put together a fun project that I would enjoy but would also give something to the musicians in the way of a fun day, a high quality product outcome and a different take on their music. So the first gig went ahead on Sunday featuring Roussemoff, Howl at the Moon, Ryan Nico and The Overlanders and Heavy Beach. There were around seven people on various cameras (both stills and film) which will eventually be edited and released online and possibly as seven inches. The venue was Red Triangle Pool Hall in Fitzroy which is a visually interesting space that also has pretty cool acoustics but sadly it also has six flights of stairs and no service lift – I got my monthly workout in a few hours. Was a great day, lots of fun, a cool vibe and a great community spirit not to mention a killer set of performances.  Got a fair bit of interest from various bands so I’m sure we’ll be doing more of it…

Gear: DIY 51x rack with Neve, API, germanium and Five Fish preamps, DIY 1176-2 compression through Chiton desk (early ’80s broadcast desk with six mic channels and four stereo strips) for submixing to an Otari MX5050 1/2-inch eight-track tape machine.

It’s getting chillier, which means fewer festivals, and more reason to bunker down in the studio, or do a bit of routine maintenance. This issue we asked Andrew Steel to give us some solid pointers about acoustic treatment in the real world, and he’s pulled out 14 key pieces of advice about stuff that a lot of people get wrong. It all comes from years of experience with regular studio Joe’s and the wild and wacky things they get up to. We also had a chat to Roger D’Arcy from Recording Architecture about his 25 years in the studio design business, and to local designer John Sayers and acoustician David Spargo on what they’ve been up to.

As well as the usual news about what’s been happening around the studio traps, we’ve added a bit of live news too. Digging deeper into our feature stories, we have a great article from Andrew Bencina, who made tracks in the Outback, and helped set up a recording studio for a community project. It’s a great read, and insight into a vibrant artistic community, that is benefiting from the support of great people, and a gang of local pro audio distributors who chipped in with some top gear.

We also find out how the sound was created for Battlefield 3 – one of the most realistic war games going around – from EA’s DICE audio team. What it takes to build your own Arduino doomsday MIDI controllers with Author & Punisher’s Tristan Shone. How Steve Levine recreated ’60s soul music with a combination of old and new school techniques. And had a chat to Eddie Kramer about his earlier years, and how he developed his approach from a mix of classical and pop recording techniques.

On top of all that, we’ve got some an evaluation and tips on how to use Plugin Alliance’s BIG4 bundle’s M/S tools, a roundup of some of the best 500 series compressors for your lunchbox, a look at ADAM’s A77X 3-way monitors, and Turbosound’s mini Milan MiO package.

We’re also excited to be partnering with the Propellerhead Producer’s Conference again this year. The last time this was around was a few years ago and was well worth the entry back then. The tickets have been slashed this time round (even though it was sold out last go round) and it’s still full of great panels where you can ask industry insiders about how to get your music out there, as well as witness a lot of great Propellerhead demos. Read about it below.

All the best, and happy reading.

Mark Davie