<br />
<br />
<br />
Producer’s Edge Magazine<br />
PO Box 23-1256<br />
New York NY 10023-1269<br />
877.822.2897<br />
Info@ProducersEdgeMagazine.com<br />
<br />
<br />
EDITORIAL<br />
Editor In Chief/Grand Wizard Drew Spence<br />
Senior Editor Will Loiseau<br />
Team Editor <br />
FEEDBACK FLOWS BACK<br />
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DeParroducer’s<br />
Edge...<br />
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ToyoduarymI haagdazaincehantcaelotocaplicbkouopk<br />
store and I have to say, Very Nice<br />
Job u have an excellent magazine.<br />
I’m an indie producer so its ni<br />
exclusive distributors 800.747.4546<br />
5 Producer’s Edge Magazine Fall Winter<br />
3. Edits and Masthead<br />
4. Letters<br />
8. iStandard Producer Showcase<br />
Beast of the Beats 2008<br />
9. Winner: The Letter “C”<br />
10. Dynamic Producer Conference<br />
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Drum Works Part I<br />
12. Drum Works over<br />
13. Audio<br />
TurntableofContentsIssue03Fall2008/Winter 2009<br />
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Special Feature;<br />
One for All, All for One<br />
50. Korg M3 with Rich Formidoni<br />
58. Roland MV-8800<br />
with Mike Acosta<br />
64. Roland Fantom-G with Warren<br />
‘Hanna<a title="Producer's Edge Issue 03 page 1" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=1"> </a>
<a title="Producer's Edge Issue 03 page 2" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=2"> </a>
<a title="Producer's Edge Issue 03 page 3" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=3"> Producer’s Edge Magazine PO Box 23-1256 New York </a>NY 10023-1269 877.822.2897 Info@ProducersEdgeMagazine.com EDITORIAL Editor In Chief/Grand Wizard Drew Spence Senior Editor Will Loiseau Team Editor
<a title="Producer's Edge Issue 03 page 4" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=4"> FEEDBACK FLOWS BACK DeParroducer’s Edge... </a> ToyoduarymI haagdazaincehantcaelotocaplicbkouopk store and I have to say, Very Nice Job u have an excellent magazine. I’m an indie producer so its ni
<a title="Producer's Edge Issue 03 page 5" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=5"> exclusive distributors </a> 800.747.4546 5 Producer’s Edge Magazine Fall Winter
<a title="Producer's Edge Issue 03 page 6" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=6"> 3. Edits and Masthead 4. Letters 8. iStandard P</a>roducer Showcase Beast of the Beats 2008 9. Winner: The Letter “C” 10. Dynamic Producer Conference Drum Works Part I 12. Drum Works over 13. Audio
<a title="Producer's Edge Issue 03 page 7" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=7"> TurntableofContentsIssue03Fall2008/Winter 2009 </a> Special Feature; One for All, All for One 50. Korg M3 with Rich Formidoni 58. Roland MV-8800 with Mike Acosta 64. Roland Fantom-G with Warren ‘Hanna
<a title="Producer's Edge Issue 03 page 8" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=8"> Intro Video Roland Prize Package Cane</a>i Live 3RD Place Letter “C” Final Results iStandard Producer Showcase Beast of the Beats 2008 Winner The Letter “C” Drew Spence: What a
<a title="Producer's Edge Issue 03 page 9" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=9"> What lessons would you say you walked away from a</a>fter the whole iStandard Beast of the Beats experience? What helped me win is playing more in your face type music. Some producers played son
<a title="Producer's Edge Issue 03 page 10" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=10"> 7th Annual Dynamic Producer Conference 3030 Publ</a>ishing Panel Stacks Publishing Panel Real Talk Producer Panel Part I Part II Itanwainstethnese7thmAarnanthuoanl DoyfnawmoricksPhroopdsuc
<a title="Producer's Edge Issue 03 page 11" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=11"> Dynamic Producer member’s who have already broken</a> into the industry. Our members are usually more than willing to give advice to other Dynamic Producer members. This is something that is incredibly
<a title="Producer's Edge Issue 03 page 12" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=12"> Drum Works This is certainly the easiest time t</a>o be a part of the music production community. Manufacturers are turning out high quality modules; numerous sound libraries are available, while softw
<a title="Producer's Edge Issue 03 page 13" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=13"> AudioRealism Drum Machine Virtual instrument Step</a> Sequencer PC VST, Mac OS X, AU $164.54 Available as electronic download Software Demo Griffin Avid Patches and Drum Kits additional sounds, effects
<a title="Producer's Edge Issue 03 page 14" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=14"> Play it Forward Sound sculpting is done within t</a>he Instrument/Parameters section. Clickingonthenamebringsupachoice of machine sources or custom samples. Note: The Tuning parameter is
<a title="Producer's Edge Issue 03 page 15" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=15"> too many controls on screen at once. We place som</a>e functionality in the sub-menus to extend your choices without having to remake the whole GUI layout. What drives Audio Realism to move in this
<a title="Producer's Edge Issue 03 page 16" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=16"> 16 Producer’s Edge Magazine Fall Winter</a>
<a title="Producer's Edge Issue 03 page 17" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=17"> Roland SP-555 Drum Loops processed through SP FX </a>engine Samples of Adobe Loopology and Big Fish Audio material rendered through SP-555 Roland SP-555: Creative Sampler with Performance Effects ~$595US
<a title="Producer's Edge Issue 03 page 18" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=18"> up all the pads with recorded patterns. Over-acti</a>ng. The rotaries have a nice firm feel and the pads will be familiar to anyone who’s spent some time with the Fantom series. The unit itself is pe
<a title="Producer's Edge Issue 03 page 19" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=19"> Big Fish Audio Classic Sounds Series: TR 909, TR </a>808, The Beat Machine, Vintage R and Blister Pak $99.95 “I just can’t mess with software, dawg” He didn’t mean sequencers like Pro Tools or the littl
<a title="Producer's Edge Issue 03 page 20" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=20"> Words by Will Loiseau Faenedbealcakb,orbaotitvh</a>e dfrioamgnobsetaict makers, musicians, producers, engineers and music lovers whose opinions I value has been essential to my creative development.
<a title="Producer's Edge Issue 03 page 21" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=21"> instruction manuals. The hookup and controls on t</a>he ZAP are as simple as it gets. The MIDI cable plugs into the MIDI out slot and goes to the MIDI in of the sound card or interface. One end of the
<a title="Producer's Edge Issue 03 page 22" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=22"> </a>
<a title="Producer's Edge Issue 03 page 23" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=23"> Spectrasonics Stylus RMX REALTIME GROOVE MODULE </a> GroovescreatedusingXpandedLibrary and Classic Stylus RMX material. $299 and $399USD for Xpanded version AU/VST/RTAS Spent Cartridge Yomuodcualne
<a title="Producer's Edge Issue 03 page 24" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=24"> Needle in a Haystack You have multiple ways to o</a>rganize the massive library around your chosen workflow. The Core library breaks down into the Groove Elements; hosting all the loops, organized by te
<a title="Producer's Edge Issue 03 page 25" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=25"> These Xpanders have been around for a minute for </a>$99 each, but Spectrasonics has seen fit to bundle all five for an amazing value at $399. Each maintains the Stylus system of having construction kits
<a title="Producer's Edge Issue 03 page 26" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=26"> Fxpansion BFD 2 Acoustic Drum Production Workstat</a>ion WIN/MAC Standalone VST/AU/RTAS $399USD Expansion Packs ~199-248USD One Step backwards… Itsasmtaprtleeds.wMithy agqaumeesptlafonr awnasinfitnoit
<a title="Producer's Edge Issue 03 page 27" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=27"> shows the usual controls like mute, solo, record-</a>enable and phase flip. To the far left is the FX/Sends button. This brings up an alternate view where I see a stacked view of my effect slots where, i
<a title="Producer's Edge Issue 03 page 28" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=28"> Stepping up to the Plate I suffered slight </a>cracks and pops at the initial install. A call over to Fxpansion gave me an FAQ link with optimal settings for slower machines. The list takes you to
<a title="Producer's Edge Issue 03 page 29" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=29"> AccessMusic VirusTISnow All the viral Infection </a>you need in a tabletop box. YoSuynmthusstbbyenaoww.arIfeyoofuA’vcecensesveMrupsaicusaenddttohepilralyinweiothf one, driven by the physical ap
<a title="Producer's Edge Issue 03 page 30" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=30"> AnyideasthatmightbeusedinthenextSnowtypeproduct? </a>We considerably slowed down our products’ life cycle and you can expect the Snow to be around for quite some time. To us, the TI is a development plat
<a title="Producer's Edge Issue 03 page 31" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=31"> AKthAeI.foTnhdesvtertyhomugehntsionabofuthiwshc</a>aotmhpipa-nhyopeliacnitds rap used to be and what it used to mean in terms of sound and even the purchasers dedication to the artform. The pads are a
<a title="Producer's Edge Issue 03 page 32" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=32"> There are still raging debates about the magic sw</a>ing and characteristic sound of the different MPC units. Could you pleaseclearthisupforusandplacethenewestMPCreleases in historical context? All of t
<a title="Producer's Edge Issue 03 page 33" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=33"> forums, etc.All play a roll in new product develo</a>pment.Akai is moving in a great direction. We are having a lot of success where others are losing market share. The future for Akai is looking better
<a title="Producer's Edge Issue 03 page 34" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=34"> what matters most. It is designed to be used by a</a>nyone who wants a professional sounding machine with a lot of sounds.You can edit the pitch, filter and decay settings for the sounds so you can get a
<a title="Producer's Edge Issue 03 page 35" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=35"> We do have relationships with artists. We are for</a>tunate they come to us and choose to use our gear on their own because it does exactly what they want it to do. Having a certain artist using your gea
<a title="Producer's Edge Issue 03 page 36" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=36"> get hooked Straight Outta NYC Super Sampler</a> 200 MBs Straight Outta Heat Seekers 2 Notorious: Hip Hop NYC
<a title="Producer's Edge Issue 03 page 37" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=37"> Demo Sounds and patch preview Printable t</a>emplate for accurate grid patterns Korg Kaoss Series and the Kaossilator The Chaos Order Thwehriechatrhe oKnalyosstwdoeswiganysanind tec
<a title="Producer's Edge Issue 03 page 38" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=38"> AA batteries so you can get to work right away. I</a>t has100 effect programs; a step down from the KP3 overkill of 128. If you’ve ever had a chance to spin through the programs in any Kaoss pad you
<a title="Producer's Edge Issue 03 page 39" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=39"> Open Labs MiKo Timbaland Edition Words by Saga</a> Legin Total workstation solution combining music and studio technologies. “I’ve made the new Timbaland Special Edition MiKo with Tim’s Tou
<a title="Producer's Edge Issue 03 page 40" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=40"> takes approximately 25 to 30 min! Once cloned the</a> quality of the sound is far less than I expected. This could be due to the inexpensive Presonus mic pre being used. The sheer size of the folder tha
<a title="Producer's Edge Issue 03 page 41" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=41"> Karsyn: Live performance workstation for virtual </a>instruments. VST host [max 32 instances] with audio effects capable of processing live audio. ReWire master device. Automatically scroll through prese
<a title="Producer's Edge Issue 03 page 42" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=42"> </a> ProofEditorWillLoiseau saysthey are 100 Proof! After creating Reason, Ernst Nathorst-Böös has fou
<a title="Producer's Edge Issue 03 page 43" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=43"> Teddy! Warren G’s the mag </a> 43 Producer’s Edge Magazine Fall Winter
<a title="Producer's Edge Issue 03 page 44" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=44"> Necro; wish you were here, man </a> 44 Producer’s Edge Magazine Fall Winter
<a title="Producer's Edge Issue 03 page 45" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=45"> iKey Audio Heatmakerz billboard SONY Creati</a>ve 45 Producer’s Edge Magazine Fall Winter
<a title="Producer's Edge Issue 03 page 46" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=46"> 46 Producer’s Edge Magazine Fall Winter</a>
<a title="Producer's Edge Issue 03 page 47" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=47"> Access Music gives us access to their talent! </a> Hi mom! 47 Producer’s Edge Magazine Fall Winter
<a title="Producer's Edge Issue 03 page 48" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=48"> L to R Domingo, Devo Springsteen, Dame Grease, St</a>eve Pageot, Jimi Kendrix, Steven “Boogie” Brown and Amadeus Nicole Sanzio, Kev Mitchell, James Mtume, Wendell Hanes The Dynamic Producer
<a title="Producer's Edge Issue 03 page 49" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=49"> Damn that DJ - a match made KG and T</a>he Mack break it down. Do you think editor Will uses Reason? Hmm, I wonder... Mike, MV and the mag Can the Letter “C” lift it? Pedro and DM
<a title="Producer's Edge Issue 03 page 50" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=50"> KORG M3 The merging of preferred control point</a>s. Korg Hardware Specialist Rich Formidoni. Thfeabtulerensdinfrgomand/ioffrecreonmtbpinroindguoctf lines have become the latest trend in workstati
<a title="Producer's Edge Issue 03 page 51" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=51"> What about something like using quantizeonthewayi</a>norquantizing after? You have the option to do both on the M3. There is a little menu right on the main sequence screen, that’s next to the word Reso
<a title="Producer's Edge Issue 03 page 52" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=52"> itself. With the addition of the KARMA engine, it</a>’s just capable of blowing people’s mind. That KARMA engine is lifted directly from the OASYS. Every single element of the KARMA that is in the OASYS
<a title="Producer's Edge Issue 03 page 53" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=53"> control and the Editor/Librarian and the FireWire</a> interface, the M3 becomes a huge studio upgrade in addition to a standalone interface. So now, here is another hard question I am going to force you
<a title="Producer's Edge Issue 03 page 54" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=54"> Now, on the other side of the coin, me being a ke</a>yboard player, I am pretty familiar with the way all these companies lay out drum sounds. So there’s usually a kick on the C, a snare on the D, and th
<a title="Producer's Edge Issue 03 page 55" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=55"> Another question is software integration. The lat</a>est and greatest hardware workstations have the ability to control the software DAW and the software DAW can control the workstation. Is there anythin
<a title="Producer's Edge Issue 03 page 56" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=56"> work, where you saved your work so far. Basically</a>, you just come up with a loop in less than a minute, and every time you come up with it, it will be different and awesome sounding. I love you man,
<a title="Producer's Edge Issue 03 page 57" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=57"> 57 Producer’s Edge Magazine Fall Winter</a>
<a title="Producer's Edge Issue 03 page 58" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=58"> MV-8800 exclusive Drum Kits by Mike Acosta !! </a> Roland MV-8800 With Roland Hardware Specialist Mike Acosta Prhoadrudcwear’esEwdogrkestaktieosnalnodokwahtat modern options and feature
<a title="Producer's Edge Issue 03 page 59" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=59"> really screw up your sound. You need to understan</a>d what the compressor does, and how it works. Just because youslapacompressoronyourdrums,it doesn’tmeanit’sgoingtomakeitsound better. There are so man
<a title="Producer's Edge Issue 03 page 60" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=60"> http://www.rolandus.com/go/mv-8800_demo/ to your</a> sample manager list and choose another sample for something that’s already loaded in thereandthenyouselect it and then would now add a second sampl
<a title="Producer's Edge Issue 03 page 61" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=61"> to triplets, to reggae flame to samba, like</a> all these weird timings. They are all in there as an actual template that you can use and apply to any one of your drum tracks in real-time. What
<a title="Producer's Edge Issue 03 page 62" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=62"> LAYERS OF MEANING If you wanted to lay</a>er eight samples, technically you can only do four on the MV, but if you did four on one pad and then you did another four on another padandthenhitthe
<a title="Producer's Edge Issue 03 page 63" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=63"> Roland Fantom-G with Warren ‘Hanna’ Harris Flagsh</a>ip workstation ROMpler. Roselarniedshwasorbkesetantioonnsq.uitCeuattrionlgl reecdegnetlyprwoidthucthtse lMikVe 8th8e00Va-nSdynFtahntaonmd solutions
<a title="Producer's Edge Issue 03 page 64" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=64"> sound is a sound a cat may use so much that it de</a>fines him. You hear a track and you know it’s him or her because you hear that same bass or lead sound. You can’t say any one sound area is better tha
<a title="Producer's Edge Issue 03 page 65" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=65"> </a>
<a title="Producer's Edge Issue 03 page 66" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=66"> Yamaha Motif XS Impressions and Expression PART </a>I with Phil Clendennin Musician and Yamaha specialist Phil Clendennin wants you to get more out your Motif XS. When I say more I mean expr
<a title="Producer's Edge Issue 03 page 67" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=67"> the reasonable synthesizers just made is hard</a> for some keyboard players to noises, bleeps bloops - if it was a high get used to but those instruments play sound, you call it a lead; if there
<a title="Producer's Edge Issue 03 page 68" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=68"> “.thereissomethinglike1,150some oddpresetsinaMoti</a>fXS.Whointhe world needs 1150 sounds? A Piano makes one sound; back in day you had a Fender Rhodes it made one sound. Keyboard players walk in wit
<a title="Producer's Edge Issue 03 page 69" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=69"> world needs 1150 sounds? A Piano makes one sound;</a> back in day you had a Fender Rhodes it made one sound. Keyboard players walk in with over 1,100 sounds at a gig. Man, they couldn’t pay somebody to p
<a title="Producer's Edge Issue 03 page 70" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=70"> ABLETON LIVE 7 Multi-track and MIDI sequencer Win</a>/Mac VST, AU ReWire Instruments included 119 USD By Jeff “Madjef” Taylor Abplreotdounct7feisatLuirve., Lthivaet’shahsowbeIe’mn agroiunngdtosinsctaer
<a title="Producer's Edge Issue 03 page 71" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=71"> reassigns your pads or keys to reflect thecurrent</a>lyselectedbank.Nowthere’s no need to search for or manually midi note numbers. Drum racks will give many hip hop and R&B programmers that final push n
<a title="Producer's Edge Issue 03 page 72" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=72"> IK Multimedia SampleTron WIN/Mac Standalone VST, </a>RTAS, AU 269 USD LaustaqufraerstherswofetwtoaorekaRlOooMkpaletrIKopMtiuolntimfoerdaidadSinagmtphleMoogwsohuicnhdbtrouyoguhrt production. Even the folk
<a title="Producer's Edge Issue 03 page 73" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=73"> and pitch and offers the most transparent results</a>. (PS/TS) Pitch Shift Time Stretch separates the controls for pitch and tempo and allow independent adjustments to each. This is best used to match t
<a title="Producer's Edge Issue 03 page 74" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=74"> Native Instruments KORE 2 Unified hardware contro</a>ller, VST host and librarian Standalone WIN/MAC VST/AU/RTAS 399 USD I’bmecgaouisneg ittoiscahlalrNdattoivdeeIsncsrtirbuemaenndtsaKnOy RshEor2t saumc
<a title="Producer's Edge Issue 03 page 75" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=75"> (gradually transforming) between Sound Variat</a>ions. F1 is context sensitive and F2 opens the browser and hardware settings. The small speaker icon is a pre-listen or audition button. SoftKore (Wh
<a title="Producer's Edge Issue 03 page 76" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=76"> a single sound patch with different FX patches- b</a>efore even getting to the FX settings. The newest crop of software is quite powerful with huge gig-chewing libraries and you will need to keep up wit
<a title="Producer's Edge Issue 03 page 77" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=77"> </a>
<a title="Producer's Edge Issue 03 page 78" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=78"> e-phonic Drumatic 3 Drumatic VE Virtual Drum Synt</a>hesizer PC VST Free OuvirrtuDarul minsWtruomrkesntfseadtuerseignneodw ttourbnrsintgo ythoeu the necessary waveforms and sculpting tools synthesize d
<a title="Producer's Edge Issue 03 page 79" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=79"> started programming synths. I discovered Sync Mod</a>ular and a bit later Reaktor by Native Instruments. Both these are modular software synths and give you the opportunity to play with audio s
<a title="Producer's Edge Issue 03 page 80" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=80"> design. How important to the producer is a fundam</a>ental understanding of how a drum machine engine works and how can creating original and new percussive sounds be utilized? For a producer it a
<a title="Producer's Edge Issue 03 page 81" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=81"> program, so they saw that I could do it. I did th</a>at for ten years up until 1998. I was the main voicing person for the K2500 and the PC88 and all the various voicings of the K200 and the MicroPiano.
<a title="Producer's Edge Issue 03 page 82" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=82"> Very plucky over his awesome creation! The work </a>of art that is Plectrum is simply the sound. It is a collection of finished voiced instruments, whose purpose is only to let you play them. As a m
<a title="Producer's Edge Issue 03 page 83" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=83"> Each Plectrum instrument is original in the sense</a> that it brings to your fingertips unique sounds from prepared instruments and found objects, tuned and voiced to play with a responsiveness, ambience
<a title="Producer's Edge Issue 03 page 84" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=84"> Lukecage Sound Designer Itoprteosbtaibtloyuot.cT</a>cuhrerred’swshoilmeeptlhaiynigngdtifhferteranctkaboauctktihneydorurmwshinp this one. It’s a Lukecage moment. You probably snatched the drumsfromarecen
<a title="Producer's Edge Issue 03 page 85" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=85"> Who wouldn’t want to get paid to practice, and in</a>fluence people in their homes to create more music. That’s what an artist wants to do anyway -they want their music to be heard and understood. People
<a title="Producer's Edge Issue 03 page 86" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=86"> formats,onekindoflookslikeaRoland step drum machi</a>ne [Redrum] and the other one kind of looks like an older Akai sampler, [NN-XT] but for the most part, it’s still one big sampler. I can put all my so
<a title="Producer's Edge Issue 03 page 87" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=87"> Additional resource: Special </a> PDF details entire process step-by-step with audio
<a title="Producer's Edge Issue 03 page 88" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=88"> Tonal Sculpting My kick is very sharp and short [</a>13]. I return to the tube- modeled effects and add power to the kick and finish off with a Time and Pitch adjustment, preserving neither to elongate m
<a title="Producer's Edge Issue 03 page 89" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=89"> Mastering Part III: Tools of the Trade By L-ROX, </a>Redsecta Mastering, Los Angeles MaasntderMinigxinsgtusdtuiodsiosa,reanddehfienriteelwyed’lliffloeoreknatttthhaendiRffeecreonrdciensg. We’re also g
<a title="Producer's Edge Issue 03 page 90" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=90"> treated rooms that reflect little or no sound bac</a>k to the microphones which is important for projects that want to addvocaleffectsatmixdown.Thereare cases where people track inside rooms and capture
<a title="Producer's Edge Issue 03 page 91" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=91"> with the meter. You would then use a chart to mak</a>e notations as you go through the frequency spectrum to get a rough idea of how much, in terms of decibels any given frequency is being picked up at y
<a title="Producer's Edge Issue 03 page 92" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=92"> Keep the length of the cable from being excessive</a>; don’t purchase 50ft. cables if you only need 12 feet of wire (but if you get a really good deal and have a pair of wire clippers around and are comf
<a title="Producer's Edge Issue 03 page 93" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=93"> in your ears only, or in the mix) are also highly</a> desired options. Patching/Routing – A lot of mastering engineers stick to using a set chain of processors, some always EQ before compressing, an
<a title="Producer's Edge Issue 03 page 94" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=94"> the other, which will always vary from proje</a>ct to project, I’ll stick to the types of signal processors used in Mastering,whichrealisticallyareinuse in both software and hardware form by masteri
<a title="Producer's Edge Issue 03 page 95" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=95"> known as Linear Time Invariant (LTI) designs, in</a> which phase increases linearly with frequency; this is known as linear phase. Don’t confuse this and thinkthatallpluginEQsarelinearphase; a lot of
<a title="Producer's Edge Issue 03 page 96" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=96"> VINTAGE SERIES AKAI S-950 REVISITED by Sean Maru </a>The Akai S-950 is not just an old school sampler. It is THE old school sampler. Introduced in 1988, it became the weapon of choice for a crowd o
<a title="Producer's Edge Issue 03 page 97" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=97"> side and use either the 10 digit key pad or the c</a>ontrol knob for entering values. Between using the short cuts (which are printed on the front of the unit) and simply remembering how many button pres
<a title="Producer's Edge Issue 03 page 98" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=98"> Sure the Akai S-950 looks all business but it dev</a>elopers had a sense of humor. Just execute the “halve bandwidth” function one too many times and all of the page lights will begin to blink and the
<a title="Producer's Edge Issue 03 page 99" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=99"> Looping Samples can be played un-looped, looped </a>forwards or as alternating loops. The 950s auto looping features proved to be useful. I don’t loop many “real” instruments these days but the few t
<a title="Producer's Edge Issue 03 page 100" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=100"> Pros •Great 12-bit sound •Easy to navigate user i</a>nterface •Many sample rates to choose from •10 outputs allows for flexible routing of sounds to mixer/DAW •Timestretch feature can be used/misused to
<a title="Producer's Edge Issue 03 page 101" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=101"> Ueberschall Elastik Urbanic INTHELOOPSERIES Wash</a> and Wear The general angle of production based loop libraries is to quickly get you up and running with a solid foundation to build the rest of your
<a title="Producer's Edge Issue 03 page 102" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=102"> composition of the tracks. They know this music a</a>nd deliver a highly usable slant whether they are tackling Rap or Reggae. This product should be added to the recent wave of sample libraries from co
<a title="Producer's Edge Issue 03 page 103" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=103"> or delays- so we offer multiple outputs so you ca</a>n route samples to different mixer channels. In any streamlined workhorse app, a great deal of functionality is left to the host sequencer. What are
<a title="Producer's Edge Issue 03 page 104" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=104"> Industry Insider Sinnecwe alansatlowgebe</a>sapsotkieefarobmouDt athvee Smith Instruments, the Prophet 08 [rack-mountable] desktop has landed. In a season marked by the return of retro pieces
<a title="Producer's Edge Issue 03 page 105" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=105"> anything from different companies together. So</a> after some initial talks, I decided to organize meetings at the Audio Engineering Society [AES] Convention, trying to organize everybody
<a title="Producer's Edge Issue 03 page 106" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=106"> I designed. And I am not done yet. </a> But I think most people would agree that filter is probably the center of any synthesizer sound, even more so than the oscillators quite o
<a title="Producer's Edge Issue 03 page 107" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=107"> Are you concerned with the comparisons between </a>your Prophet and the older ones? Oh, I welcome comparisons.Tome,it’s pretty clear that it’s not exactlylikeaProphet-5, it’s not exactly like
<a title="Producer's Edge Issue 03 page 108" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=108"> from our customers is that they really love the s</a>ounds that are in there. It’s a littler trickier these days, it’s like I was just saying about how many different types of musicians use synthesizers.
<a title="Producer's Edge Issue 03 page 109" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=109"> thinking about purchasing it, in an industry that</a>’s turning further and further away from analog, synthesizers, and going into the virtualrealm,whatdoyouwanttosay,orwhat statementmaybedoestheProphet0
<a title="Producer's Edge Issue 03 page 110" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=110"> J U S T B L A Z E I’avnedbIe’venawlwatacyhsinbge</a>tehne caureioeursoaf bJuosutBthlaezgeefaor shoemsetatrimteed on. I had a chance to pick his brain at the Guitar Center Sessions where Pete Rock, Just
<a title="Producer's Edge Issue 03 page 111" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=111"> was the most terrible fraud of a beat machine eve</a>r! It had no Sequencer, it was basically just a sample playback unit and if you wanted to have four minutes of music…you’d have to play your drum trac
<a title="Producer's Edge Issue 03 page 112" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=112"> “It’s damaging when you don’t do a</a> good record, when you do something corny and whack and a hook that makes no sense. But when you do something in this time and
<a title="Producer's Edge Issue 03 page 113" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=113"> Creator Innovator </a> Legend “There’s something on every record. You can make any record into a beat. I mean, even in the early days, cats made music out of anything.
<a title="Producer's Edge Issue 03 page 114" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=114"> How is the 2500 working out? Good. It’s still goo</a>d. It’s not that different from the MPC2000XL. They added a few more things. That’s about it. You know what I mean? But you know. It kind of remind
<a title="Producer's Edge Issue 03 page 115" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=115"> Yeah. The real shit. With the real foot pedal a</a>nd all that, same vibrato! I’m incorporating all of that in my music. Now when it comes to engineering your session, what is it that you must have in
<a title="Producer's Edge Issue 03 page 116" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=116"> say this. They’re going to lay their vocals down </a>and all that stuff. And then I’m going to take it back home and play with different beats. This might not even be the beat for the track. I made like
<a title="Producer's Edge Issue 03 page 117" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=117"> like the CDJs. ‘coz when you’re performing on st</a>age, they give you a clarity better than turntables ‘coz you’re dealing with the ground wires and the hum and shit like that. CDJs; the Pioneer joints
<a title="Producer's Edge Issue 03 page 118" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=118"> wriTer’s BlocK chAmPion hooK wriTer Words by Scar</a>pen rTing roPe noTes o be a champion hook writer you have to get away from the lyrics, and get closer to the music. If your nice
<a title="Producer's Edge Issue 03 page 119" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=119"> recommenDeD hiP hoP hooKs What did he say ? Thes</a>e are songs that are purposelyhardtorepeatsothatyouhavetogive ita2ndlisten. Thisisamasterfulwayofluringin a potential fan with strictly melody and con
<a title="Producer's Edge Issue 03 page 120" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=120"> </a> Theideaof spinning imaginary tales and exaggerating the hood-
<a title="Producer's Edge Issue 03 page 121" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=121"> people of color? It’s always been hard, but I </a>had fans as far back as 1992, when I would bless radio stations like Wildman Steve and Riz [WBAU Adelphi College radio 90.3] that was reaching Lon
<a title="Producer's Edge Issue 03 page 122" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=122"> for a while? Both, there is never one p-ssy, </a>you name it. Freaks is the sickest horror, Goodfellas way to make a beat in my mind, it’s all Describe your rough
<a title="Producer's Edge Issue 03 page 123" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=123"> Meet the new JUNO-STAGE, and get ready to </a>forge new ground with your live performance. Start with its first-class, versatile sound set. then, enter a new world of performance possibilit
<a title="Producer's Edge Issue 03 page 124" href="http://www.zmag.dk/showmag.php?mid=wqghpr&pageid=124"> 124 Producer’s Edge Magazine Fall Winter</a>
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