Clavia Nord Modular G2

Transcript

In This Issue July 2004 In This Issue Click article title to open Reviews People Antares Filter Arif Mardin: Producer Filter & Delay Plug-in (Mac/PC) Antares certainly don't believe in the 'less is more' maxim, if this new filtering effect is anything to go by. From Aretha Franklin to Norah Jones Arif Mardin has engineered and produced an incredible array of classic records from artists such as Aretha Franklin, Dusty Springfield, Diana Ross, the Bee Gees and Barbra Streisand — yet the runaway success of his recent work with Norah Jones threatens to overshadow even these achievements. ART Digital MPA Mic Preamp & A-D Converter This new dual preamp from ART combines imaginative valve circuitry with more digital output options than you can shake a stick at! Business End MPG evaluation of Readers' tracks Listen to the music while you read constructive comments Software-controlled Modular Synth from MPG (Music Producers Guild) members on SOS The Nord Modular offered a classic blend of flexible software readers' submitted recordings. and well-designed hardware in 1998. But can the improved Crosstalk G2 keep up with the soft synths of 2004? Your correspondence Digidesign Command 8 Replies to a few more of your letters, emails, and faxes. Control Surface For DAWs Learning Difficulties With fader controllers, you often have a choice of buying Leader something dedicated to one software package, or selecting a generic unit that gives versatility at the cost of tight So you think missing a lecture of your music tech course integration. Digidesign's Command 8 aims to offer the best won't harm your career prospects? Read on... of both worlds. Clavia Nord Modular G2 Disco DSP Vertigo 2.0 Resynthesizing Additive Soft Synth (Win) Disco DSP's additive synth plug-in offers both high-quality resynthesis, with up to 256 partials per note, and a novel 'spectral display' for editing your sounds. Focusrite Liquid Channel Recording Channel Combining Focusrite's cutting-edge preamplification and AD conversion with Sintefex's pioneering convolution technology, the Liquid Channel can mimic the most celebrated mic preamps and compressors ever designed. Could this be the only voice channel you'll ever need? FXpansion VST To RTAS Adaptor Plug-in Format Adaptor (Mac OS X & WinXP) As the name suggests, FXpansion's utility allows VST effects and Instruments to be used in Pro Tools, but how well does it really work? Korg Legacy Collection (Part 2) Readerzone Shaun Hayward & Joe Kenny Shaun Hayward & Joe Kenny of Chunc Productions reveal their gear setup and musical motivations. Studio SOS Peter May The SOS team help Peter May to brush up his drum sounds and put more life into his mixes. Writing Manuals Sounding Off Who'd want to be a writer of manuals? The endless showbiz parties, awards, book-signings and... hang on a minute... Wyclef Jean Producer In 1996, the Fugees came like a breath of fresh air into a world of hip-hop that was becoming stale around the edges. Now Wyclef Jean is a star in his own right, and has deployed his production talents for artists ranging from file:///H|/SOS%2004-07/In%20This%20Issue.htm (1 of 3)9/22/2005 8:54:39 PM In This Issue Virtual Instrument/Hardware Controller In the second part of our coverage of Korg's new collection of software instruments, we turn our attention to the virtual MS20, and the MS20-shaped hardware controller. Just how well do these renditions compare to the original? urban legends like Funkmaster Flex and Cypress Hill to Whitney Houston, Michael Jackson and even Tom Jones. Latest Sample CDs Logic Notes The Aux object might seem a little arcane, but it's the key to a variety of useful Environment workarounds. Sample Shop Reviews/appraisals of the latest sample CDs: Alma Flamenco MULTI-FORMAT; A Funky Future MULTIFORMAT; Vienna Overdrive GIGASTUDIO/EXS24 MKII; Cuckooland Completely Bonkers MULTI-FORMAT. Mission Pro SM6A Active Nearfield Monitors Although perhaps better known as a leading UK manufacturer of hi-fi speakers, Mission have now launched their first active nearfield specifically designed for studio use. MOTU 828 MkII Firewire Audio Interface (Mac/PC) Three years ago, Mark Of The Unicorn were the first manufacturer to bring out a working Firewire interface. Now, they've replaced the 828 with a MkII version offering high sample-rate recording, more flexible clocking, MIDI I/O and better metering — and, what's more, they've cut the price. Rode K2 Valve Microphone Rode have built on the technology from their respected NTK to develop this affordable new multi-pattern valve mic. Sibelius 3 Technique Logic's Aux object CLASSIC TRACKS: 'The Reflex' Producers: Duran Duran, Alex Sadkin, Ian Little; Engineers: Phil Thornalley, Pete Schwier When Duran Duran began work on their third album in 1983, they were already one of the biggest bands in the world — and with eight months of studio time and half a million pounds spent, huge expectations surrounded Seven And The Ragged Tiger... Demo Doctor Listen to Readers' own recordings Think your music is good? Listen to these tracks and read the good Doctor's analysis of their good and bad points... Future-proofing DP Projects Digital Performer Notes This month, Performer Notes concludes its look at DP's Consoles, and suggests some ways of 'future-proofing' your Projects against the relentless flow of application and plug-in updates. Longhorn and Harbal PC Notes The Harbal EQ-matching program benefits from some worthwhile tweaks. We report them, and discuss some new information about Longhorn, the next incarnation of the Windows OS. Mac/PC Scorewriter Over the last 10 years, Sibelius Software have built a reputation for providing what most musicians consider to be the leading score-writing software. Now, in version 3, they have teamed up with Native Instruments to provide MIDI config problems in OS X; enhanced playback facilities — but does this upgrade live up Garageband v1.1 update to the high standards set by previous releases? Apple Notes The launch of Mac OS 10.4, codenamed Tiger, is just Soundcraft Compact 10 around the corner, but in the meantime there's the 1.1 Desktop Mixer This slim new mixer has been designed from the ground up update of Garageband to be going on with. We reveal the improvements, as well as investigating MIDI configuration to cater specifically for computer studio users. But have problems in OS X. Soundcraft got the balance of facilities right? Steinberg Cubase System 4 PC Music Freeware Roundup USB Interface & Recording Software (Mac/PC) Buying your hardware and software from the same manufacturer is usually a good bet for hassle-free recording. Steinberg's latest package bundles their Cubase SL 2 sequencer with a four-in, four-out USB interface. PC Musician Thanks to the Internet and the generosity of talented programmers all over the world, it's possible to assemble a PC music software suite for no money at all. We round up some of the best download sites and freebie programs. Studio Electronics Modmax Filter & Phaser Pro Tools v6.4 update Analogue Effect Pedals Pro Tools Notes file:///H|/SOS%2004-07/In%20This%20Issue.htm (2 of 3)9/22/2005 8:54:39 PM In This Issue Two new effect pedals from the celebrated synth manufacturer provide serious modulation flexibility within a stomp-box format. Competition WIN Camel Audio Cameleon 5000 & CamelPhat v2 plug-ins Sound Advice Q. Do I need to compress my audio before A-D conversion? Q. How can I resolve an IRQ conflict? Q. How do I take care of my valve mic? Q. How does virtual surround work? Q. What kind of reel-to-reel tape recorder do I need? PT version 6.4 comes with some surprising and longawaited new features. Reason Notes starts here! Monthly column for Propellerhead Reason users SOS's 2003 Reader Survey told us that you want our help in getting the best from this popular package — and we're happy to oblige with a new monthly column. The Key Editor; v2.2 Cubase update Cubase Notes The Key Editor is a seemingly straightforward MIDI editor, yet under its surface lie a number of features that can really speed up your editing tasks. We explain, as well as reporting on the new version 2.2 Cubase update. The Secret Of The Big Red Button Synth Secrets After over five years, Synth Secrets reaches its conclusion (and conclusions!). Will we ever look at synthesis in quite the same way again? Using OMF to transfer Sonar files Sonar Notes This month we look at clever envelope tricks, as well as how to transfer projects between DAWs that speak OMF. Using Software Effects & Outboard Masterclass Get the most from your computer's CPU by learning how to put your effects plug-ins where they really count. Plus, find out how to increase your mixing power by incorporating hardware effects units into your software mixdown. Music Business Alternative Careers for Sound Engineers New Directions The music industry's down, but your passion for audio is still high. Fortunately, there are alternatives to working in the studio that can feed your fervency and still make you a living — perhaps even a better one. file:///H|/SOS%2004-07/In%20This%20Issue.htm (3 of 3)9/22/2005 8:54:39 PM Antares Filter In this article: On The Outside Under The Knife The Nitty Gritty Antares Filter £128 pros Antares Filter Filter & Delay Plug-in (Mac/PC) Published in SOS July 2004 Print article : Close window Reviews : Software Very comprehensive feature set. Can produce some unique effects, especially on busy sources. Good printed manual and thoughtful preset design. Extensive MIDI control and modulation options. cons Filters can't be overdriven, and sound too polite for many uses. Crowded, parameter-laden interface makes programming hard work. Filter curves in display aren't animated to show the effects of modulation. The lack of an HTDM version means it can't be used on aux tracks in Pro Tools TDM systems. summary The filters themselves aren't the most characterful around, and the interface is a bit indigestible, but its extensive delay and modulation options still make Filter a powerful tool for manipulating loops and beats. information £128.08 including VAT. Unity Audio +44 (0)1440 785843. +44 (0)1440 785845. Click here to email Antares certainly don't believe in the 'less is more' maxim, if their new filtering effect is anything to go by. Sam Inglis If you found a vintage synth with four multi-mode filters, each having its own envelope generator, LFO and delay line, you'd think you'd died and gone to analogue heaven. But these days, it's easy to dream up software devices with specifications way beyond what any of the hardware classics was capable of. Antares's Filter plug-in has all the above features and more, including two built-in step sequencers, a 12x12 modulation matrix, an evelope follower, extensive MIDI control and a variety of routing options. It's tempting to ask why they didn't just add a couple of oscillators and turn it into a full-blown synthesizer, but as it is, it depends on having a mono or stereo audio input, and can be used as an insert plug-in in any sequencer that supports VST, RTAS, MAS (Mac OS only) or Direct X (PC only) formats. Pro Tools users should note that there's no HTDM version, so you can't use it on aux tracks within a TDM system. This is a fairly major limitation, since as we'll see, Filter is more useful on mixes and submixes than on individual instruments. Authorisation is via challenge and response, and worked as expected in the review system. Annoyingly, no minimum spec is given, but I found that it just about ran on my ancient 300MHz G3 Mac, which is pretty good going for such a complex plug-in. In other respects, the printed manual is good, and the separate explanation of what all the presets do is equally welcome. www.unityaudio.co.uk www.antarestech.com file:///H|/SOS%2004-07/Antares%20Filter.htm (1 of 5)9/22/2005 8:55:00 PM On The Outside Antares Filter Test Spec Antares Filter v1.00. Beige 300MHz Apple Mac G3 with 256MB RAM, running Mac OS 9.2. Digidesign Mix system running Pro Tools v5.1.3. Antares describe Filter as 'The audio equivalent of a brilliant surgeon — who's a really good dancer.' One might add that it's the graphical equivalent of a hyperactive toddler — who's also got a migraine. Everything is crammed into one window, with lurid primary colours used to distinguish the four filters, and most of the controls extending no more than a few pixels across. None of the individual elements is too cryptic, but the overall effect is a bit overwhelming, and a multipage approach to interface design might have been more friendly. The centre of Filter's window shows a plot of level against frequency, with the responses of each of the four filters shown in a different colour. You can adjust the cutoff and resonance of each filter by clicking and dragging, but I was disappointed to find that the display is not animated to show how filter response changes with modulation. This means that the information it provides is useful only when filter frequencies are not being modulated — and modulating filter frequencies is precisely what Filter is all about. To the left of the frequency display is a set of buttons allowing you to select various series/parallel routing combinations. The individual controls for each filter and its associated delay line are at the top, whilst the modulation sources — LFOs and envelope generators — are ranged along the bottom. Immediately below the frequency display are Filter's step sequencers, while the area at the top right is where you set up modulation routings. Under The Knife Filter is certainly bristling with features in every area. The filters themselves can be switched between low-pass, high-pass, notch and band-pass modes, with slopes variable from two-pole (12dB/octave) to eight-pole (48dB/octave). Each of them has a Frequency Link pop-up, allowing you to tie its cutoff frequency to that of any of the others. All of the filters also have their own delay lines with variable feedback and up to two seconds of delay. Delays can be switched pre or post the associated filter, and like all of Filter's time-related elements, can be sync'ed to host tempo. Output from each filter stage can also be polarity-inverted and, unless you're using the mono-to-mono version of Filter, panned. The step sequencers, or Rhythm Generators as the manual describes them, are simply two strips divided into cells of equal duration; each cell can be either on or off, and their state is switched by clicking in them. When the sequencer reaches a cell that's switched on, it sends a trigger to any envelope set to receive it, and a maximum positive value to any modulation destination it's hooked up to. Red arrows can be positioned to set repeat points for each sequencer, while the single Run/Stop button behaves differently depending on whether, and how, the plug-in is sync'ed to host tempo. With the Rhythm Generators' Sync button unlit, a single press of Run/Stop starts the sequence, a second press freezes it and a third returns to zero. With Sync on, its behaviour depends on the plug-in's Master Tempo setting, and it can either act simply to turn over start/stop duties to the file:///H|/SOS%2004-07/Antares%20Filter.htm (2 of 5)9/22/2005 8:55:00 PM Antares Filter sequencer transport controls, or independently of them. When Filter is sync'ed to master tempo, starting playback in the middle of a song causes the Rhythm Generator position to jump to the appropriate point in the sequence, which is a nice touch. Each of the four 'function generators' at the bottom of the screen can be switched to show controls for an LFO or an envelope generator, although in every case, both are always available as modulation sources. A wide range of LFO waveforms is available, including some neat random shapes, and LFO rate can be sync'ed to host tempo or set freely in Hertz or beats per minute. When not tempo-sync'ed, rates for each of the four LFOs also appear as modulation destinations in the mod matrix. The EGs are equally well specified, offering graphically editable ADSR envelopes with an additional Hold time parameter for the Sustain phase. They Four LFOs and four envelope generators are can be triggered by active cells in always available as modulation sources, though they are edited on an either/or basis. either of the Rhythm Generators, or by a MIDI Note On message; you can choose which MIDI channels to assign to each of the EGs. An additional MIDI Gate mode works the same way, except that the Hold parameter is ignored, and the Sustain level is held until a Note Off is received. You can also insert a delay between an EG's receiving a trigger and firing, whilst the display can be set to show envelope parameters either in milliseconds or in precentages of the step sequencer's cell duration. The modulation matrix is straightforward to use. Sources include the four LFOs and EGs, the simple envelope follower, the two rhythm generators, and a variety of MIDI messages such as notes, mod wheel, velocity and pitch-bend data. All the key parameters for the filters, delays, LFOs and EGs are available as destinations. Sadly, though, there's no way to route a side-chain signal through the envelope follower; nor can the follower output a trigger for the envelope generators. Overall, Filter's interface is not difficult to understand, but I didn't find it particularly inspiring or intuitive either. It's definitely not one of those plug-ins where you can rely on happy accidents to create worthwhile results. The size of the controls means you're often squinting at the screen to find out what you're clicking on, and their sheer number makes programming anything interesting a bit of a hard slog. This is especially the case if you start from scratch, so it's handy that Antares have supplied a decent selection of editable presets, complete with suggested parameter tweaks. The Nitty Gritty Of course, it doesn't matter what the interface is like if a plug-in doesn't sound file:///H|/SOS%2004-07/Antares%20Filter.htm (3 of 5)9/22/2005 8:55:00 PM Antares Filter very good. So does Filter live up to Antares' claims for it? The best answer I can give is 'sort of'. As a surgeon, it's certainly capable enough, thanks to its 48dB filter slopes, but I can't imagine anyone buying a plug-in like this just to use it as an EQ. As a dancer, meanwhile, it's more Darcy Bussell than Patrick Swayze. Filter is certainly not the sort of plug-in to elbow its way through a nightclub, waving a glowstick with a deranged look in its eye. It's just too damn polite. The filter response is smooth and free from stepping or other artifacts, but never becomes unstable or threatens to self-oscillate, no matter how high you push the resonance. What is missed most of all is some form of soft-saturation algorithm to model what happens when you overdrive some analogue filters. There's no warm fuzziness on offer when you boost the levels, just peakiness that leads all too predictably to harsh clipping at the output. I searched in vain for settings that would beef up an analogue-style bass line or create a truly pounding kick drum. However, Filter does have some impressive tricks up its sleeve. Paradoxically, its strengths become more apparent the further away you move from straightforward filtering applications. It's definitely at its best when fed with a fairly complex source such as a complete mix, where it can supply all sorts of interesting effects. You can muck about with the spectral balance and dynamics to emphasise a particular instrument such as the bass, crisp up a dull hi-hat, bring drums to the front of the mix or push them to the back. More extreme settings can turn drum beats into resonant, metallic clangs, or warp tuneful source material into sinister, humming machinery. It can also produce some surprisingly delicate phasing and flanging effects, and if you want rhythmic delays that burble and chatter in interesting ways, you've come to the right place. Of course this is not the only filter-based effects plug-in on the market. An obvious challenger to Filter on the Pro Tools platform is Sound Toys' Filter Freak, which definitely has the edge in terms of raw sonic muscle. Filter Freak's 'Analog Mode' steamrollers Antares' design for conventional filtering tasks, whilst its neat animated display is also a useful aid to programming, and it comes in HTDM as well as RTAS formats (though there's currently no VST, Direct X or MAS version, and Filter Freak is a fair bit more expensive than Antares' plug-in). When it comes to more unusual effects, however, Filter Freak can't match the versatility of Filter, and the scope for radically altering loops and beats is far greater in Antares' plug-in. An alternative comparison here might be Ohm Force's Ohm Boyz. Despite offering multiple delay lines and two resonant filters, it still can't match Filter's wealth of parameters or MIDI controllability, but Ohm Force's quirky interface lends itself to serendipitous tweaking in a way that Filter's doesn't. Like Filter Freak, Ohm Boyz can also supply the grit and dirt that are missing from Antares' plug-in. There is some fairly strong competition around, then, but there's also no denying that Filter has a uniquely comprehensive combination of features. Users who are prepared to put a little work into programming it will find it capable of a wide range of results, some of which would be difficult or impossible to achieve with other plug-ins. It wouldn't be my first choice for straightforward filtering functions, but it provides good scope for more offbeat effects, and would certainly repay file:///H|/SOS%2004-07/Antares%20Filter.htm (4 of 5)9/22/2005 8:55:00 PM Antares Filter attention from anyone looking for original treatments for sampled loops. Published in SOS July 2004 Sound On Sound, Media House, Trafalgar Way, Bar Hill, Cambridge CB3 8SQ, UK. Email: [email protected] | Telephone: +44 (0)1954 789888 | Fax: +44 (0)1954 789895 All contents copyright © SOS Publications Group and/or its licensors, 1985-2005. All rights reserved. The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. The views expressed are those of the contributors and not necessarily those of the publishers. Web site designed & maintained by PB Associates | SOS | Relative Media file:///H|/SOS%2004-07/Antares%20Filter.htm (5 of 5)9/22/2005 8:55:00 PM ART Digital MPA In this article: ART Digital MPA Variable Input Impedance Mic Preamp & A-D Converter Digital Facilities Published in SOS July 2004 In Use The ART Of Preamp Design Print article : Close window ART Digital MPA £799 Reviews : Preamp pros Affordable. Variable input impedance. High- and low-voltage tube stage options. Digital output as standard. cons A new dual preamp from ART combines imaginative valve circuitry with more digital output options than you can shake a stick at! No headphone output. summary A good general-purpose mic preamp that offers both tonal flexibility and quality at a sensible UK price. information £798.99 including VAT. Sonic8 +44 (0)8701 657456. +44 (0)8701 657458. Click here to email www.sonic8.com www.artproaudio.com Paul White Photos: Mike Cameron ART have been in the business of making affordable, effective signal processors and effects units since the mid-'80s, but in the early days their large overlapping product range and ever-changing cosmetic design may have hindered rather than helped their sales effort. Today, their styling has settled down a little, and their manufacturing has been moved to China in order to keep the retail prices low. This combination of American design and low Chinese manufacturing costs has enabled them to bring some quite sophisticated products to the project studio market at very attractive UK prices. One such is the Digital MPA mic preamp under review here, which combines discrete Class-A input circuitry with valve gain stages, variable input impedance, and comprehensive digital output options at up to 192kHz. Variable Input Impedance Presented in a smart and ergonomically friendly 2U format, the Digital MPA comprises two identical channels of microphone preamplifier with digital outputs fitted as standard. Over the past few years, the idea of variable input impedance has gained favour as a means of more optimally matching specific microphones to the preamplifier, though most users simply adjust for what sounds most musical, rather than what is technically correct. This somewhat esoteric feature is provided here as a continuously variable control that adjusts the input impedance from 140(omega) to 3k(omega). Most mics are happy working into around 600 (omega), but increasing the impedance will often increase the gain slightly and file:///H|/SOS%2004-07/ART%20Digital%20MPA.htm (1 of 4)9/22/2005 8:55:04 PM ART Digital MPA also impart a sense of warmth. By contrast, a lower impedance tends to produce a slightly thinner, tighter tone. The unit has a curiously semi-retro look, with large metal knobs and mechanical VU meters on the one hand providing a counterpoint to modernistic LED illuminated perspex buttons and LED bar graphs. Class-A input stages are popular in mic preamps, because they don't suffer from crossover distortion and they don't use huge amounts of negative feedback, which has been known to compromise transient performance. Here, the circuits have been designed to give low noise, not only at the high gain settings normally quoted in the spec sheets, but also at medium and lower gain settings, where some less sophisticated designs fall down. The quoted Equivalent Input Noise (EIN) is -133dBA, which compares well against the more typical values of around -128dB quoted for the majority of mixers and mic preamps. From the input stage, the signal feeds into a tube gain stage where the user is presented with another choice, this time between high and low plate voltages. Low plate voltages impart a slightly artificial, but often musical, warmth to the sound, while higher plate voltages produce more of a traditional tube sound, which I think is far more subtle. Interestingly, the audio bandwidth extends to 48kHz in low-voltage mode and to well over twice this figure in high-voltage mode, though where the digital output is used the final frequency response will naturally be determined by the choice of sample rate. Balanced XLR and jack inputs are available on the rear panel to accept mic- or line-level sources, while a further unbalanced, high-impedance instrument jack is available on the front panel. Connecting to this overrides the rear-panel connections. There's also a TRS insert jack for placing compressors or equalisers in the signal path. The gain adjustment comprises a rotary control, with a 45dB gain range, followed by a +20dB gain switch, where the latter brings in additional gain via the tube circuitry. There's also a further 10dB of gain available using the Analogue Output control, so overall up to 75dB of gain is available. A single-pole (6dB/octave) highpass filter, variable between 10Hz and 200Hz, is available for each channel independently, as are +48V phantom powering and phase reverse. Digital Facilities Digital outputs are not uncommon on modern mic preamps, though in many cases they are provided as plug-in option cards. Here everything is built in as standard, and in addition to the usual AES-EBU XLR and S/PDIF co-axial phono outs, there's also a dual-function optical output connector. Depending on the setting of the front-panel selector button, the optical output either carries a file:///H|/SOS%2004-07/ART%20Digital%20MPA.htm (2 of 4)9/22/2005 8:55:04 PM ART Digital MPA traditional stereo S/PDIF signal or an ADAT-format signal. The rear panel also includes an ADAT input, and when ADAT mode is selected, anything coming in on ADAT channels three to eight is passed straight through to the ADAT output, while the two mic preamp signals are sent out on ADAT channels one and two. When using the S/PDIF or AES-EBU formats, the sample rate may be selected by means of a rotary switch on the front panel to be 44.1kHz, 48kHz, 88.2kHz, 96kHz, 176.4kHz, or 192kHz. There's also a BNC word-clock input as well as another BNC connector to pass the word clock along to another device. When locking to the ADAT optical input, the sample rate must not exceed 50kHz, which should accommodate the varispeed range of a 48kHz ADAT machine. The signal feeding the digital converters passes through another gain control with a range of 'off' to +10dB, so that the converters can be set to operate at an optimum level as shown by the digital level meters. Where required, the 24-bit signal may be dithered down to 16 bits within the Digital MPA (selectable via a front-panel button), though in most instances it is best to record and mix at 24-bit resolution, dithering down to 16 bits immediately prior to CD burning. LED ladder meters monitor the digital output level, while the VU meters can be switched to read the analogue output level or the tube stage output level. In tube mode, there is around 15dB of headroom above 0VU before the tube saturates in highvoltage mode, or 10dB headroom in low-voltage mode, so the meters give a fair idea of how much tube flavour is being added to the sound. In high-voltage mode, the distortion is actually very low until the signal gets within 6dB of clipping, above which the tube acts somewhat like a soft limiter. In low-voltage mode, the increase in distortion is more progressive. In Use I tested the Digital MPA with different models of large- and small-capsule capacitor microphone, recording voice, acoustic guitar, and accordion, as I had some obliging musicians on hand. I was generally impressed by the clean, transparent sound of the unit, which I used mainly in high-voltage mode, though the low-voltage option is also sensibly subtle and adds a pleasant warmth that doesn't get messy unless you really drive the tubes too hard. The variable input impedance produces a noticeable but again quite subtle effect, and I found all my mics sounded best when the impedance knob was close to, or just above, its centre 600(omega) position. Once you get beyond a certain quality of mic preamp, it can take a long time to judge exactly how good the performance is, as there are numerous factors that can influence the sound you're getting. However, the Digital MPA achieved a good sound right off with little or no effort, which is always a good sign! In fact the only feature I really missed was a headphone output, which I find helpful when setting up. The quality of the converters also seems to be good, as I made a number of recordings by feeding the S/PDIF output directly into my MOTU audio interface file:///H|/SOS%2004-07/ART%20Digital%20MPA.htm (3 of 4)9/22/2005 8:55:04 PM ART Digital MPA and got great results. However, it's probably fair to say that the performance at the higher sample rates probably won't give a huge increase in quality, because to take advantage of high-resolution audio you need to use extremely accurate and sophisticated converters, which invariably cost many times more than this unit does. Nevertheless, the Digital MPA works well up to 96kHz, but what was most important to me was that it sounded good at the real-world sample rates of 44.1kHz and 48kHz. The variable input impedance of the Digital MPA allows you to achieve a variety of different tonal colours from a single mic. The ART Of Preamp Design The Digital MPA is a very clearly presented piece of equipment that does everything you'd expect of a microphone preamplifier. The versatile tube stages are useful in shaping the tone you want from your microphone, as is the variable input impedance, but behind all these options the basic sound is good. Having a digital output as standard is always welcome, but ART have gone the extra mile here too by including ADAT support and optical S/PDIF options, so the Digital MPA should be able to integrate into just about any kind of recording system. Realistically, you're never going to get truly high-end performance at this UK price, but what ART have achieved within their design budget constraints is extremely creditable. The Digital MPA is a good-sounding all-rounder of a mic preamp with the bonus of some user adjustment to influence the tonality of the end result. I discovered no obvious weaknesses when using it on typical studio sessions, and when it is teamed up with some decent mics it is capable of greatsounding results, which is after all the bottom line. Published in SOS July 2004 Sound On Sound, Media House, Trafalgar Way, Bar Hill, Cambridge CB3 8SQ, UK. Email: [email protected] | Telephone: +44 (0)1954 789888 | Fax: +44 (0)1954 789895 All contents copyright © SOS Publications Group and/or its licensors, 1985-2005. All rights reserved. The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. The views expressed are those of the contributors and not necessarily those of the publishers. Web site designed & maintained by PB Associates | SOS | Relative Media file:///H|/SOS%2004-07/ART%20Digital%20MPA.htm (4 of 4)9/22/2005 8:55:04 PM Clavia Nord Modular G2 In this article: Description Sounds Patches & Performances Polyphony & DSP Usage Beneath The Covers The Editor & Its Modules Morphs In/Out Group Note Group Oscillator Group LFO, Envelope & Shaper Groups What Next? Filters & Mixers Switch, Level & Logic Modules Sequencer Group Effects Group Delay Group Model Behaviour MIDI Group Conclusion Clavia Nord Modular G2 £1595 pros Much improved performance controls. Great new modules, including DSP effects, acoustic modelling and MIDI Out! More stand-alone accessibility than its predecessor. Combines the interface and programming potential of a software synth with the portability and performance of a hardware instrument. Still sounds great. More memory locations; can store complete multitimbral setups. cons Clavia Nord Modular G2 Software-controlled Modular Synth Published in SOS July 2004 Print article : Close window Reviews : Keyboard The Nord Modular offered a classic blend of flexible software and well-designed hardware in 1998. But can the improved G2 keep up with the soft synths of 2004? Paul Nagle When I first encountered the Nord Modular, it seemed to herald an exciting new era in synthesizer design. In 1998, it was a brave and innovative step to offer an affordable synth system which used drag-and-dropbased software to construct its patches while leaving the synthesis to the DSP in the accompanying controller keyboard. However, rather than take up the challenge, the majority of hardware synth manufacturers steered clear of this concept, until computers became powerful enough to start running synthesis software unaided by external DSP. Since then, most of the innovation in synth design has been in software-only instruments, with one or two notable recent exceptions, like Hartmann's Neuron or Roland's V-Synth. Like its predecessor, the G2 is controlled by very DSP-light front-end software, all the synthesis calculations taking place in the hardware keyboard. Undaunted by this, Clavia have decided to demonstrate their faith in their parthardware, part-software approach to synthesis, and have forged ahead with a 'second-generation' Nord Modular, the G2. This is just as well, as the 1998 Modular is now looking rather long in the tooth compared to some of 2004's software-only synths. The G2 therefore represents an opportunity for Clavia to file:///H|/SOS%2004-07/Clavia%20Nord%20Modular%20G2.htm (1 of 18)9/22/2005 8:55:08 PM Clavia Nord Modular G2 Limited polyphony a frequent problem in many patches — that forthcoming voice expansion might be necessary if polyphony is an important purchase factor. No sample RAM — a missed opportunity in my book. Doesn't import patches from the original Nord Modular. The G2 is currently still missing some useful modules from the original Modular. summary A remarkable synthesizer in terms of programming potential, accessibility, configurability and versatility. There are more 'ilities' I could add, but you get the picture. If you're an adventurous sound designer, or if you prefer to trust hardware for live performance, or both, the G2 is a dream come true. bring their Modular concept up to date for sound designers, but of course with its hardware keyboard, it also has advantages to offer over software for live performers. It could be a dream instrument for both programmers and performers — so how does it fare? Although there is much that is familiar from the original Nord Modular, Clavia have opted for a drastic overhaul with the G2 — most strikingly in the areas of control and performance — and have responded to practically every criticism levelled at the earlier model. There are one or two omissions, but we'll come to those in due course. Before starting, it's important to understand that this is a complex, powerful instrument with over 150 modules currently available. Fortunately, many of these are comparable to those of its predecessor, so it would be helpful to re-read the earlier SOS reviews, starting with the initial two-parter in April and May 1998, and also the later version from July 2000 that brought the Apple Mac into the fold. Description There are already three types of Nord Modular G2 (see the 'Model Behaviour' box at the end of this article), but this review will concentrate on the G2 — by information happy coincidence the version I would have personally requested. This model Clavia Nord Modular G2, has a three-octave keyboard with aftertouch and velocity sensitivity (including £1595; G2X, £TBC (but expected to be in the region release velocity), plus Clavia's expressive pitch stick and modulation wheel, as of £2200); G2 Engine £795; seen on the Nord Lead series. Octave Shift buttons extend the keyboard's range Voice Expansion option by ±2 octaves when driving the internal sound engine, and in conjunction with the £295. Prices include VAT. Shift key, this transposition can be applied to externally controlled instruments Hand In Hand +44 (0) too. 1579 326155. +44 (0)1579 326157. Click here to email www.handinhand.uk.net www.clavia.se Test Spec G2 OS and Editor version reviewed: v1.10. The original Nord Modular communicated with its software editor via a dedicated set of MIDI ports. Not only did this confuse some users (and some MIDI interfaces), but it felt like a workaround awaiting a better solution. Fortunately, that's just what the G2 offers — its USB connection provides all the necessary connectivity with the editor, leaving the MIDI ports to do their traditional thing. There's even a MIDI Thru socket this time! I'm pleased to report that during the review period, I never once lost contact with the modular — and I certainly couldn't say that with the last version (3.03) of the original Modular's editor. The G2 editor only supports one attached Modular — unlike the older editor, which could address up to four. The G2 has a generous four audio inputs, plus a tight-fitting XLR mic Input, complete with built-in preamp and dedicated level control. If used, this XLR connection disables Input 1. Adjacent to these, on the busy rear panel, are four audio outputs. No digital I/O is present, but the 24-bit, 96 kHz A/D and D/A converters do at least give excellent audio quality. file:///H|/SOS%2004-07/Clavia%20Nord%20Modular%20G2.htm (2 of 18)9/22/2005 8:55:08 PM Clavia Nord Modular G2 Gone from the front panel are the 18 unlabelled knobs and lone two-line LCD of the former Modular. The G2 boasts multiple displays and a panel endowed with rotary encoders and buttons galore. Replacing 18 knobs with eight knobs and some buttons might seem, at first glance, like a poor exchange. However, the G2 borrows a concept seen on such classic The Nord G2's user interface is a vast instruments as the Oberheim Xpander improvement over that of the original Modular, with its endless encoders and LED — a series of small displays above the collars, and displays above each of the encoders that change according to the encoders so that the control legending can assignment of each encoder. You be changed at any time. choose which controls are important and make them available for tweaking on a patch-by-patch basis; the result is that five separate 2x16 displays manage to convey more useful information at a glance than many instruments with a fixed set of controls. In conjunction with a row of Nord-Lead-3-style endless rotary encoders surrounded by a ring of LEDs, you can see up to eight values at any time. Buttons underneath the encoders can quickly toggle values and are ideal for on/off-type functions. Jumping between 'pages' of assigned controls is as quick as hitting buttons; a series of five buttons at the right of the top panel are labelled Osc, LFO, Env, Filter and Effect, and each of these has a further three sets of pages where knob assignments can be stored. When you select a different 'page' of controls, the knobs' LED collars and the LCDs update to reflect their new values. In total, 120 parameters are accessible directly in this way, and this transforms the G2 into a performance instrument par excellence compared with the old Modular. Your knob assignments needn't be confined to those of the button labels either — you are free to assign any control to any page, although it makes sense to use them as far as possible. On the G2, far more actions can be performed without ever needing to switch on your computer. Knob and Morph assignments can be performed directly from the G2 hardware (for more on Morphs, see the box over the page). As before, the complete patch can be edited from the hardware alone; if you press the Patch button (adjacent to the red Store button), the navigation keys will take you around every module, where you can make tweaks, knob assignments, morph assignments and so on. The additional displays give far greater parameter visibility than the old single-LCD version, and editing a patch this way is surprisingly painless. However, what you cannot do is change the modules or cabling — for that you need the software editor, which I'll come to shortly. Normally, the multiple displays show module names and their assigned parameters, with parameter values represented by the position of the lit LED in the encoder ring. By pushing the Display Mode button, you can read the numeric value of the parameter instead, with the parameter name replacing the module file:///H|/SOS%2004-07/Clavia%20Nord%20Modular%20G2.htm (3 of 18)9/22/2005 8:55:08 PM Clavia Nord Modular G2 name. The G2 architecture includes a built-in arpeggiator and vibrato oscillator plus glide and bend settings. You don't have to use up any modules to enjoy these — they are always present and accessible from the Patch Settings button. The arpeggiator is basic, as we've come to expect from Clavia, but it's great that it's there. Similarly, using the built-in vibrato LFO might be a valuable resource saver. Other Patch Settings include level, the global clock tempo, and the number of voices you've requested for your patch, although as on the previous Modular, whether you get the polyphony you want depends to some extent on the DSP load you place on the G2 when you program it (see the box below). Sounds Factory sounds on an instrument such as this are always going to be a varied bunch; with the tools on offer it's hard to imagine any two programmers taking the same approach. Thus, a quick spin through the factory sounds reveals familiar Nord tones, acoustic guitar simulations, complete sequenced performances, many analogue emulations, electric pianos and so on. Many of these patches also include useful Variations. Here are a few choice examples, which you can also hear at www.soundonsound.com/soundbank. 'Haunted': Various vowel filters are employed in this eerie pad. 'Koto' and 'Acc Guit': These two make good use of the string oscillator. 'BackTo72': A very analogue-sounding solo patch. 'StringVariations': A highly playable collection of solo and ensemble strings. 'G2Padding': A rich, warm pad. 'Trance2_DZLW': Five sequences including synth voices and percussion. 'Alien': A simple but atmospheric patch using stereo delays and reverb. 'Transporter': Beam me up, Scotty... 'Feng Shui': An impressive series of sound effect variations. 'YetAnotherOrgan': Like the name says... 'Bells': Deep, realistic bells created by no less than 11 oscillators. 'Arpeggiaperc': An example of the arpeggiator in use (with delay). 'Fat Bass NL2': Just in case you've forgotten how good the Nord filter sounds... 'Fat Lead 1': Some lead variations that should cut through pretty much anything. 'Laika': Strummed string oscillators make up this subtle, evocative Performance. 'Beatbox': Another Performance ably demonstrating use of the sequencers and percussion. 'Jinglebellscape': A marvellous evolving Performance. I won't say any more, just listen... Patches & Performances file:///H|/SOS%2004-07/Clavia%20Nord%20Modular%20G2.htm (4 of 18)9/22/2005 8:55:08 PM Clavia Nord Modular G2 Sounds are organised into 32 banks of 128 patches. If all these were filled, there would be a total of 4096 patches. However, there is insufficient memory for this number, and the manual suggests that 1200 is a more feasible maximum to expect. Nevertheless, it still makes a lot of sense for the G2 to organise its memory this way, as related patches can be grouped in the same bank for ease of access. You can select patches either by the order in which they are stored, in alphabetical order, or by category (there are 15 to choose from); you use the G2's Shift key in combination with the Down navigation key to toggle the selection criteria. The Up and Down keys then select different banks, the letters of the alphabet with which patch names begin, or categories. Patch selection is made by turning the patch encoder and hitting the Load button when you reach your choice. As on the previous Modular, up to four patches can be running on the G2 at once, each in a memory location that Clavia refer to as a Slot. This means that the G2 is up to four-part multitimbral, as each Slot is able to hold a separate patch running on its own MIDI channel. You can also layer patches by holding down several 'Active Slot' buttons simultaneously. Performances are new to the G2 — and what a welcome addition they are! Finally, a single selection can serve up a complete four-part multitimbral setup. There are 1024 Performances in total, arranged into eight banks of 128. Performance mode is accessed via the button of the same name, and you then make your selection in the same way you do for patches. Splendidly, the four patches in each Performance are not merely references to the main pool of patches — they are memories in their own right. Similarly, knob assignments can be freely made for the entire Performance — so you might create a set of mixer assignments gathering all patch volumes onto adjacent knobs, for example. Just as with patches, memory restrictions may mean you do not have enough space to fill every one of these Performances. Having worked with the previous Nord Modular for some years, I often made collections of patches based on favourite configurations of modules. So how I longed for something like the G2's Patch Variations — of which there are eight in every patch. Each Variation can have unique parameter values, knob assignments, morph settings, and so on. The only restriction is that modules and connections are fixed across all Variations. Nevertheless, this really extracts the maximum mileage out of the patch locations on offer. Variations are accessed by a row of dedicated buttons, by the left and right navigation keys, or via MIDI controller 70, and are stored automatically when the patch is saved. Unlike loading a whole new patch, Variations do not cause the DSP to be recalculated, so you can switch between them far more quickly and smoothly. file:///H|/SOS%2004-07/Clavia%20Nord%20Modular%20G2.htm (5 of 18)9/22/2005 8:55:08 PM Clavia Nord Modular G2 Polyphony & DSP Usage The G2 is described as 'up to 32-voice polyphonic', but typically, the patches I created in the software editor (see over the page) offered between eight and 10 voices. Once you start to add complexity and/or effects, polyphony can drop to a meagre three voices all too easily! I endeavoured to build a basic 32-voice polyphonic synthesizer with two oscillators, two envelopes, and a filter and mixer section — but as soon as I added even the most basic LFO, polyphony dropped to 28 notes. Adding one of the more complex LFOs (LFOShpA), left me with just 20 voices — and this was before I dabbled with effects or other 'frivolous' modules. In common with the older Modular, the G2 cannot dynamically organise its polyphony. As a patch is loaded into a slot, the synth's entire resources are recalculated, momentarily silencing any output. So to gain greater polyphony, it is wise to deactivate unused slots. This is done using the Shift and Slot keys together. One feature that didn't get ported from the old editor was the floating DSP count that informed you of the processing requirements for each module. This restriction may be due to the fact that many of the G2 modules are self-optimising according to the role they perform, and so no one figure for load can be applied to a given module. The G2 editor therefore requires that you learn a more trial-and-error approach: you become aware of the typical DSP needs of each module by watching the Patch Load section on the Editor's display. Fortunately, swapping one module for another is a doddle courtesy of a pull-down menu available at the top left-hand corner, and all comparable cable connections are remade automatically, which is neat. With practice, and after gleaning tips from the factory patches and excellent online user community, I began to discover better ways to use the available resources. For example, in a multitimbral setup, choosing a single slot to provide effects and then routing patches into this slot (via the internal buss system) means the available DSP stretches that bit further. Furthermore, some modules have drop-down menus (such as some of the oscillators) and these use fewer resources compared to those with radio buttons — but the payback is that when you select a new item (such as a waveform) from one of these menus, the G2 goes briefly silent whilst it recalculates the load. There is a theoretical limit of 254 modules per patch — 127 in the Voice Area and 127 in the FX Area, but in practice, you will max out the Patch Load way before you use all of those! The DSP load for the Voice Area part of the patch is represented by the 'VA' box, and that for the FX Area by the 'FX' box. There are separate boxes for Patch Load and Memory but the end result is the same — if either area goes red due to DSP overload, the patch will be muted until you delete some modules. Beneath The Covers Internally, what has changed? Well, the G2 has RAM set aside for effects such as reverb and a delay of decent length. It has an internal buss system so that file:///H|/SOS%2004-07/Clavia%20Nord%20Modular%20G2.htm (6 of 18)9/22/2005 8:55:08 PM Clavia Nord Modular G2 signals can be routed internally amongst its four Slot memories and it is also now capable of generating MIDI information from its internal modules — sequencers, LFOs, envelopes and so on. Add in all manner of tweaks to the editor software (which was already a fine working environment) and you can begin to appreciate that Clavia have not been idle. Improvements are still being made. Not all the former modules have been ported over from the first generation of the Modular, and although Clavia have claimed that most will reappear or equivalents will be implemented, work is still in progress as I write this. More seriously, there is no way to import patches from the original, short of manually recreating all your patches by hand — a significant disappointment if you want to upgrade and have a large collection of your own patches. The G2 also doesn't have any sample RAM, so there is no possibility of incorporating short audio samples into oscillators. In my opinion, this would have made the G2 far more 'complete', but Clavia didn't seem terribly keen on the idea when I put it to them, perhaps because the G2 has no means to store samples on board, or perhaps because they have a specific philosophy that precludes the use of samples. But who knows what the future will hold, and whether the DSP currently allocated to reverb and delay could be cunningly reprogrammed to allow a short, volatile sampling capability? After all, we've even seen sampling turn up on some of the latest hardware modulars, such as those from Doepfer and Analogue Systems. Finally, SysEx dumping of Patches and Performances is now a reality — the function is invoked by holding down the Shift and System buttons. The data duly spills from the MIDI Out socket, at which point you can store it in your sequencer and thus ensure the correct sounds are available for each song. This was a feature much requested by owners of the previous Nord Modular. The Editor & Its Modules The editor component of the G2 is the front-end software required to create new patches, assemble collections of modules and cable them all together. It requires a PC running Windows 98SE, 2000 or XP and should be at least a 450MHz Pentium II with 64MB of RAM and a USB 1.1 port. This is not terribly demanding by today's standards, and both my main studio PC and my ageing laptop coped with it effortlessly. Installation of both the required USB driver and the Editor went without incident, the first being handled by the usual installation wizard and the second by the installer on Clavia's supplied CD. Incidentally, you can download and install the software yourself if you're interested in seeing what it looks like, even if you don't have the synth present. file:///H|/SOS%2004-07/Clavia%20Nord%20Modular%20G2.htm (7 of 18)9/22/2005 8:55:08 PM Clavia Nord Modular G2 Once you're up and running, you'll notice that the currently selected patches are loaded into the editor automatically. The patch that is, as Clavia put it, 'in focus' — that is, the one that is ready to edit via the synth's panel — is also 'in focus' in the editor software (note: it is possible to play one patch and edit another if you alter the focus using the Focus/Copy button on the panel). There are 15 different module groups accessed via tabs running along the top of the window. Clicking on a tab reveals all the available modules, and holding the mouse over an individual module icon displays it in actual size. To add any particular module to your patch, you either double-click on it or drag it to the position you want on the workspace. You can set up so-called Initial Patches containing favourite modules — although only two of them — so that you can get on quickly with the business of patch construction. This is similar to the concept of Templates on the old Modular, but having just two of them seems rather stingy. In common with v3.0x of the old Modular's editor, the G2 editor's desktop workspace is divided into two areas, Voice and FX, between which you can toggle using the 'V' and 'F' keys on your computer keyboard. The Voice Area comprises the parts of a patch that are common to each voice — oscillators, filters and so on — and typically this is where you would build your main synth. The FX Area, on the lower portion of the screen, features modules that are common to all voices. As you rarely want a separate reverb on every voice of a synthesizer, this is the logical place to build your effects configurations. In practice, the only restriction is that the FX Input module must be placed in the FX Area — otherwise, you are free to build your patch how you like, available DSP permitting, of course. So if you do want a separate effect on every voice of your polyphonic synthesizer, the software won't stop you placing the modules accordingly — but you might not have enough spare processing power for the resultant patch to work! As explained in the 'Polyphony & DSP Usage' box on the previous page, it pays at all times to keep an eye on the Patch Load and Memory boxes while constructing a patch — these show the overall DSP allocation. Modules can now be coloured in a fixed selection of rather fetching, pastel hues. This is handier than it may seem, particularly in speeding up navigation through busy patches. Many modules have on/off controls that are invaluable for programming, as they effectively deactivate the module but maintain its connections. Of the other editor features, the Parameter Overview window deserves special mention — not least because it is the slickest method to assign the G2's physical controls. Using drag-and-drop techniques, this menu offers the speediest way imaginable to assign and view all 120 parameters. If you want to record parameter tweaks to an external device or sequencer, the neatest way is with the Auto Assign MIDI Controllers function. This is far neater than individually assigning a MIDI controller to each knob, although this is still file:///H|/SOS%2004-07/Clavia%20Nord%20Modular%20G2.htm (8 of 18)9/22/2005 8:55:08 PM