1. technology and computing
2. mp3 and midi

Spring 2015 Issue | Vol. 107
SweetNotes
®
From the Editor.........................................................1
Pedal Power..............................................................7
Taylor Updates the 600 Series..................................1
Hands On: DW Design Series Frequent Flyer Kit.....7
Synth Tricks:
Roland MX-1 Mix Performer.....................................7
A Great Year for True Analog Synths........................2
Behringer XR18 X Air................................................8
How to Practice Effectively......................................4
Studio Tips for Musicians.........................................8
Manley’s Force..........................................................4
Hands On: Hughes & Kettner Triamp MKIII..............8
Hands On: DigiTech TRIO Band Creator...................4
Focusrite Clarett Interfaces......................................8
BOSS ES-8.................................................................4
Hands On: Music Man Majesty Artisan....................9
Inside Sweetwater....................................................5
Hands On: Antelope Audio Satori.............................9
Hands On: Apogee Ensemble Thunderbolt..............5
In the Groove.............................................................9
Gibson Les Paul Monitors.........................................5
Inside the Sweetwater Difference..........................10
Hands On: Waves DiGiGrid IOS.................................6
Marshall Reissue Milestone Amp..........................10
Hands On: Orange Crush 35RT.................................6
Customer Studio: Arnell Newman..........................10
McDSP Adds VST Support in Version 6....................6
Arturia BeatStep Pro and AudioFuse.....................11
TAMA Superstar Classic Custom Kit........................6
Meet Forrest Powell................................................11
from the editor
Spring is sprung! This is the time of year when
I evaluate all my gear — studio and live. Is it
serving me? What needs to be upgraded? Have
new things come out that can do the job better?
Can I arrange things more ergonomically?
Maybe a new wiring scheme would make
things more flexible or allow new possibilities.
What’s the weakest link in each chain, and how
can I improve it?
But it’s not just gear that gets the spring
cleaning treatment. This is also the time of
Editorial Director
year when I take a good, hard, unbiased (well,
[email protected]
as much as possible) look at myself musically.
Have I made progress in the past year? Did
I achieve the goals I set last year? What goals
should I be pursuing this year? Then, there are two tough questions: What are my strengths (so I can
continue to improve them) and what are my weaknesses (so I can focus on them in the practice room)?
Mitch Gallagher
Take advantage of the fresh start that spring offers — it’s a great time for new gear, new music, and new
musical goals!
Taylor Updates
the 600 Series
616ceV2
614ceV2
Taylor Guitars introduced the updated 600 series guitars at the 2015 Winter NAMM show. These guitars (614ce, 616ce,
and 618e models) sport torrefied spruce tops, Taylor’s Expression System 2 (ES2) electronics, customized bracing, and
more. The guitars’ torrefied spruce tops deliver an aged and played-in tone for great response and resonance. Taylor is also
using protein glue for optimized tonal transfer between key wood components for improved tone.
You’ll notice that the Taylor 600 series guitars boast exceptionally vibrant tones with a unique character. Taylor went back to
the drawing board and redesigned their bracing patterns to get the optimum response out of these maple-bodied acoustics.
They optimized back and side bracing to add rigidity to the sides and to enhance top and back movement, giving you a
richer, warmer, and more complex voice. They also put the maple back and sides through a special seasoning process to
enhance their resonance. Also new for 2015 are the “Brown Sugar” dark-stained back and sides.
If you play plugged in, then you’re going to love the Taylor ES2 electronics. The key to this fantastic system is the
3-section proprietary pickup located behind the saddle. Because it’s integrated into the Taylor 600 series’
saddle, the ES2 pickup provides you with remarkably clear and accurate sound. A master volume control
and a pair of tone controls let you dial in your acoustic sound, while a discreet phase switch offers
vital onboard feedback suppression. The updated Taylor 600 series acoustic guitars take these beloved
instruments and give them increased response, resonance, and tone that will have you mesmerized as
soon as you get your hands on one.
> >Taylor Guitars 614ceV2
> >Taylor Guitars 616ceV2
> >Taylor Guitars 618eV2
Sweetwater price $2999.00 Sweetwater price $2999.00 Sweetwater price $2799.00
Sweetwater.com/614ceV2Sweetwater.com/616ceV2Sweetwater.com/618eV2
618eV2
inside this issue
(800) 222-4700 | Sweetwater.com
SWEETNOTES | SPRING 2015 | PAGE 2
A Great Year
for True
Analog Synths
SYNTH
TRICKS
By Daniel Fisher
If you were lucky enough to go to the 2015 NAMM show this past January, you already know that
this is one of the best eras ever for synthesizers with 100%-analog audio paths (all analog VCOs,
VCFs, and VCAs). Basically, this means that the analog electric audio “wiggle” that starts in the
oscillator remains a true analog signal until it comes out of the synth’s output jacks. It was never
digitized into quantized steps and then converted back to analog at the end of the chain.
physical abuse. Sometimes you’d have to re-tune the oscillators every song or two as the synth
warmed up or risk sounding like sour milk.
You may be asking, “If that’s such a wonderful thing, why did analog mostly disappear off the
store shelves by the mid ’80s?” The two biggest reasons were sampling keyboards and the
Yamaha DX-7 FM synthesizer. The samplers could reproduce pianos, choirs, and car crashes in
ways that were near impossible to match with analog. And the DX-7’s bright and metallic FM
synthesis would soon be featured on almost every ballad and dance song well into the ’90s.
So why did we put up with it? Well, for starters, the digital synths were cheaper and lighter. They
could play more notes, and you could store hundreds of presets that came up as fast as you could
press a button. And they stayed perfectly in tune. But, sadly, we collectively stopped sculpting our
sounds in real time except maybe to move a slider to make the sound brighter, faster, or more
reverberant. An entire generation of musicians missed out on the joys of true synthesis.
Through the dark ages of synthesis, knobs almost completely disappeared in favor of a few
buttons and a single data slider (ugh!). You had to look at a 2-character LED to figure out what
parameter you were adjusting, and you could never adjust two parameters at the same time.
Plus, analog synths were very touchy about room temperature, voltage levels, ground noise, and
Daniel Fisher taming the
System 55 behemoth.
See the System 55 in action at
Sweetwater.com/System55LTD.
Then, as the new millennium approached, “virtual” synthesizers and on-screen editors matured enough to be
considered professional tools. You could at least see all of the parameters on the screen. But it still required
moving a cursor or one virtual knob, button, or slider at a time. I believe it was these tools that reminded
musicians of the old days when they could move anything just by reaching for it.
Now, a decade and a half into the new millennium, we have an astonishing selection of analog synths to choose
from. There are loving re-creations of famous synths as well as entirely new configurations. And they’re much
more stable, robust, and often have many of the modern features we’ve come to expect (via digital components
that are not in the audio path).
The first analog synths we’ll talk about are the Moog Modulars. These are unapologetically faithful re-creations
of the legendary modular behemoths that once roamed the earth. Barring
the invention of a time machine so that you could have Dr. Moog make
you one in 1973, this is the only way to acquire a new System 55,
System 35, or Model 15 modular synthesizer. Not only
do you get a knob, button, or jack for everything, but you
also get plenty of front-panel real estate to spread them
comfortably apart. They encourage you to try adding yet
another patch connection and tweak several knobs at
once. The panel graphics are all readable (without reading
glasses), and there’s plenty of room for your fingers.
Moog Model 15 Limited-edition Reissue Modular Synthesizer
Sweetwater price $10,000.00
Sweetwater.com/System15LTD
Moog System 55 Limited-edition Reissue Modular Synthesizer
Sweetwater price $35,000.00
Sweetwater.com/System55LTD
Get tech support 24/7 at Sweetwater.com/sweetcare.
Moog’s other analog synthesizers also feature 100% analog audio
paths but use digital components to add many requested features
as well as new tools that were unimaginable in the ’70s.
These synths include the Voyager XL, Voyager, Sub
37, Sub Phatty, and Minitaur. All of these have
the ability to store presets, to be controlled
from either analog control voltages (CV) or
MIDI, and to lock to external MIDI clock from
sequencers, drum machines, and DAWs. They each
have a perfect balance of front-panel knobs and buttons,
along with additional under-the-hood features that allow for
incredible complexity. And, if you’re looking for a true Moog
analog synth module at a rock-bottom price, check out the
Moog Sub 37 Tribute Edition
Sweetwater price $1499.00
Werkstatt-01 Analog Synthesizer Kit ($289). After an
Sweetwater.com/Sub37TE
evening of light assembly (no soldering), you’ll have access to
a genuine Moog oscillator, legendary 4-pole lowpass ladder
filter with resonance, amplifier, envelope generator, and LFO,
along with a 13-note button keyboard. Along the side is a 16 x 16 grid of control voltage patch points, allowing
you to rewire the synth to itself and to external synths and effects in creative ways.
Korg has also been delighting analog synth fans for several years now. Their
flagship true-analog synth, the Korg MS-20 Kit is a full-scale re-creation of their
legendary MS-20, first released in 1978. Over time, used MS-20 prices climbed
to over $4,000 as musicians appreciated
the unique sonic signature found in
its powerfully resonant lowpass
and highpass filters, its 33
ER
Moog Minimoog Voyager XL
Sweetwater price $4995.00
Sweetwater.com/VoyagerXL
E!
At the 2015 Winter NAMM show, Korg surprised the synth world again with its re-creation of the beloved ARP
Odyssey duophonic analog synthesizer. Like the MS-20
the all-analog Odyssey is 87% the size of the
C L Mini,
USIV
original and adds MIDI in and USB connections, a headphone out, a Drive switch, and three switchable filter
types allowing you to re-create all three versions of the original model. You can even choose between the white
front panel (only available at Sweetwater!) representing the first ARP Odysseys or the black and orange front
panel representing the final production version of the original, vintage Odyssey. And, because they are
truly analog synths, you can use control voltages with its keyboard CV in and out, gate in and out, and
trigger in and out, as well as a controller pedal in and portamento footswitch in.
EX
The real magic of these Moog Modulars comes from the sound of their handwired analog components. Trying
to describe the massive sonic power of these synths, either in words or with online videos, is almost pointless,
as nothing compares to actually being the musician who’s pressing the keys and turning the knobs. Without a
doubt, they are pricey ($35K, $22K, and $10K), but if your studio, school, or awesome collection of musicians
can justify one, they’ll never tire of experimenting with it.
SW
SWEETNOTES | SPRING 2015 | PAGE 3
EETWAT
ARP Odyssey
Sweetwater price $999.99
Sweetwater.com/OdysseyWTLTD
ARP Odyssey
Sweetwater price $999.99
Sweetwater.com/Odyssey
And finally, Sequential (by Dave Smith) is releasing a modernSequential Prophet-6
day tribute to Smith’s groundbreaking Prophet-5 analog
Sweetwater price $2799.00
polysynth: the Prophet-6. As you might have guessed, it
Sweetwater.com/Prophet6
now has six fully analog voices instead of five and adds many
modern features including studio-quality reverbs, delays
(standard and bucket brigade device), chorus, and phase shifter.
Although the effects are digital, 24-bit/48kHz resolution and true bypass maintain the pure-analog signal path.
Also onboard is a 100%-analog independent stereo distortion effect. The Prophet-6’s polyphonic step sequencer
accommodates up to 64 steps and up to six notes per step, letting you build sequences polyphonically, with
rests and external MIDI clock sync. There’s also a full-function arpeggiator that you can sync to external MIDI
clock as well.
Korg MS-20M and SQ-1 Limited-edition Bundle
Sweetwater price $1199.99
Sweetwater.com/MS20MSQ1LTD
patchable 1/4" jacks, and its groundbreaking External Signal Processor. By buying it in kit form (no soldering),
you can now own a re-creation of the MS-20 that also features modern MIDI input and USB connections for
only $1399.99. If you’d prefer a tabletop version (no assembly required), check out the MS-20M and SQ-1
Synthesizer and Sequencer Limited-edition Bundle.
Bargain hunters will love the MS-20 Mini analog synthesizer ($599.99), which has all the features of the 1978
MS-20 except that it’s 86% of the original size and adds MIDI in and USB connectivity.
With all of these amazing all-analog synthesizers
to choose from, we invite you to take advantage
of your knowledgeable Sweetwater
Sales Engineer to help with your exciting
selection process.
Get tech support 24/7 at Sweetwater.com/sweetcare.
SWEETNOTES | SPRING 2015 | PAGE 4
Manley’s Force Is with Us!
GIG
BAG
ESSENTIALS
By Don Carr
A gig bag can be the most convenient way to carry your instrument. Whether
you’re going to a friend’s house for an impromptu jam or doing a world tour, the
gig bag’s grab-and-go accessibility is hard to beat. Many gig bags also have lots of
storage pockets, so make sure that you pack them with the things you really need!
There’s a reason you’ll find Manley studio gear in practically any top-flight studio out there: pros demand the best for their projects, and
Manley sets the industry standard for uncompromising, great-sounding equipment. Their incredible Force microphone preamp is just the
latest example. Packed with four preamps from Manley’s outstanding Core channel strip, the Force gives you all the features you’re looking
for in a top-of-the-line tube preamp — and it’s a fantastic value to boot.
The Force uses the same input level control and switch arrangement found on the Core’s preamp stage. It also borrows the Core’s mic
input transformer and 12AX7 vacuum tube gain stage. Each channel includes an XLR input plus a high-impedance direct input, as well
as a variable pad, a highpass filter, a phase-invert switch, phantom power, and a high/low gain switch. This versatile preamp also uses a
universal power supply. Seven-segment LED metering allows for accurate monitoring on each of the Force’s four channels. And though this
unit comes in at a very down-to-earth price, Manley did not skimp on the details. The Force is
> >Manley Force
handbuilt in California, and Manley uses only top-grade components inside and out.
Sweetwater price $2250.00
Sweetwater.com/Force
This is a great opportunity to add a pro-caliber preamp to your studio setup. Call your
Sweetwater Sales Engineer and experience the Force for yourself.
Hands On
DigiTech TRIO Band Creator
By Don Carr
As a guitarist, you spend a fair amount of time alone practicing, writing, and
honing your craft —necessary, but not always exciting. What if you had a bassist and drummer who were
always available, ready to learn your song the first time you played it, well-versed in multiple styles of
music, and who started and stopped when you wanted, and played at your tempo? Now you can have it all
with the DigiTech TRIO Band Creator!
The Essentials
No matter how little storage space you have in your gig bag, keep these handy to
be prepared for whatever may come your way:
More than a static, preset-pattern generator, the TRIO is a band creator in a pedal. Plug in your guitar,
press the footswitch, and the TRIO learns your chords and rhythm by listening to what you play. Press the
footswitch again, and the TRIO automatically generates bass and drum parts to match.
• Extra strings
• Picks
The TRIO has seven different musical genres to choose from and 12 different musical styles within each genre, selectable via the Genre
• Strap
and Style knobs. The TRIO can learn three different song parts (for example, verse, chorus, and bridge). All of these features are selectable
• Slide and capo
during playback, allowing you to “audition” different interpretations of your song. The Alt Time button offers another variation, usually half• Soft polish cloth
time or double-time. The bass and drums have individual level knobs, and there’s a tempo knob to slow down or speed up your song.
• Clip-on tuner
The TRIO’s outputs are optimized to sound great whether you’re listening through your guitar
• Hearing protection
> >DigiTech TRIO Band Creator
amp, headphones, or a mixer. Two different, appropriate guitar sounds, per genre, can be
• Adjustment wrenches specific to the instrument in the bag
Sweetwater price $179.95
selected by pushing the GUITARFX button. This enables you to use the TRIO with just your guitar,
• Cables specific to the instrument in the bag
Sweetwater.com/TrioPedal
a cable, and a set of headphones.
Nice to Have
This is the stuff that you might be able to live without, but you’ll be happy to see it
when you need it:
• Small flashlight
• Leatherman-type multi-tool
• Peg winder and string cutter —
­ a guitar-oriented multi-tool such as Farley’s JP Deluxe Guitar Tool or Planet Waves Pro-Winder
• 9-volt and AA batteries
• Extra cable
• Extra strap
• Strap blocks
• Pencil, pen, Sharpie, and paper
• Phone charger
The gig bag’s usefulness doesn’t end there; it’s an excellent place to keep your
phone, wallet, keys, etc., during a gig or rehearsal. It’s usually close by, and the
zippered pockets will keep everything from getting lost.
This list should keep you prepared and performance-ready at all times. That way
you can concentrate on the whole reason you have any of this stuff, which is to
make music!
BOSS ES-8
Packed with all kinds of often-requested
features and functions, the BOSS ES-8
effects switching system lets you patch in your favorite pedals and
take your sound to new heights. You have access to eight loops,
allowing you to craft elaborate effects chains with unprecedented
routing flexibility. Store up to 800 presets in the ES-8’s onboard
memory along with external control parameters such as delay time for each patch. This powerful switcher utilizes an analog circuit to keep
your tones clean and pure at all times. The ES-8 also gives you the option of either true bypass or buffered bypass for each loop. Large LED
and LCD displays offer preset info and are easy to read in any lighting situation.
You can create custom combinations of effects and assign them to banks for single-switch access in Memory mode. Manual mode lets
you control each loop independently. This intelligent switching system even lets your delay tails spill over when you switch loops instead of
cutting them off. And you can use up to three control pedals and two expression pedals for in-depth control over your sound and effects.
Two amp channel switching controls and MIDI switching are also built into this robust and versatile unit. It goes without saying: the BOSS
ES-8 effects switching system is going to become very popular here at Sweetwater! Call your
> >BOSS ES-8
Sales Engineer today and find out more.
Sweetwater price $699.00
Sweetwater.com/ES-8
Moving? Moved? Want more than one copy? Call us or e-mail us your new address, and don’t miss an issue of SweetNotes!
SWEETNOTES | SPRING 2015 | PAGE 5
Inside
By Chuck Surack
June 12 and 13 are rapidly approaching! What’s so important about
those two dates? That’s when our annual GearFest takes place in
2015! GearFest is the biggest music/pro-audio gear event of the year,
and it takes place right here, on our Sweetwater campus. Best of all,
unlike industry trade shows and other events, GearFest is open to the
public, and it’s completely free!
SAVE THE DATES!
FRIDAY, JUNE 12 AND
SATURDAY, JUNE 13
So what will you find at GearFest? Think of it as two days of total immersion
in music and music-making gear, where you’ll be surrounded by thousands
and thousands of other musicians, engineers, and producers from all over
the country, and even from around the world. GearFest features tons of free
workshops on all sorts of music- and gear-related topics, panel discussions,
musical performances, live product demos, gear giveaways, fantastic food,
and much more — you can even get your guitar restrung for free. It’s a chance
to rub shoulders with the pros in a casual environment — Grammy winners,
chart toppers, innovators, and iconic performers. And, of course, there’s gear!
From amazing finds in our flea market tent to the latest technology, it’s all
at GearFest. Hundreds of manufacturers fill booths under big-top tents, and
Hands On
Apogee Ensemble Thunderbolt
By Mitch Gallagher
Looking for a flexible interface to build your Mac-based studio around that offers tons
of connectivity, extremely low latency, lots of extra features, and world-class converters? Prefer Thunderbolt
connectivity? Then, I’ll cut right to the chase: check out the Apogee Ensemble Thunderbolt!
The original Ensemble garnered a lot of fans for its feature set and great sound quality. But with the Ensemble Thunderbolt,
Apogee has pulled out all the stops. You can run up to 30 inputs and 34 outputs simultaneously, with up to 24-bit/192kHz
resolution. The Ensemble Thunderbolt has eight killer mic/line preamps, two with hardware inserts for connecting external
compressors, EQs, and other gear during tracking. You get stereo monitor outs, plus eight more balanced analog outs on
a D-sub connector. You also get dual ADAT-optical I/O for 16 more ins and outs at standard sample rates that can also
operate at high sample rates using S/MUX. S/PDIF and word clock in and out round out the back-panel I/O, along with dual
Thunderbolt 2 ports.
Up front, you have two independently addressable headphone outputs, four assignable multifunction soft buttons (I use
them for talkback, monitor mute, etc.), two big control knobs, and 10 switches for controlling the inputs. Then, there are
four jacks: two guitar-level DI inputs and two guitar-level outputs. The outs can function either as “thru” jacks that can send
the incoming guitar signal on to an amp with no latency, or you can use them for re-amping direct guitar signals you’ve
recorded into your DAW. The front panel also sports a built-in stereo mic that can be used for talkback or to capture lo-fi
“crushed” sounds — the built-in mics even show up as inputs in your DAW.
The Ensemble Thunderbolt is easy to configure, and you can control all the necessary functions from the front panel. If you
want to dig deeper, you also get Apogee’s free Maestro software, which gives you access to every parameter, along with
enhanced routing capabilities, advanced metering, and more.
Best of all, the Ensemble Thunderbolt is a DMA (direct memory access) device, which means it hooks itself straight into your
Mac’s brain. This direct connection reduces latency to being essentially non-existent. There’s no need to use a software
mixer in addition to your DAW to manage latency — just plug in the Ensemble Thunderbolt, arm a track in your DAW, and
go! It doesn’t get any simpler or more straightforward than that. This one feature alone sets the Ensemble Thunderbolt apart
for me (not that everything else wasn’t great) and made a huge difference in how quickly I could get tracks recorded and
ideas laid down.
> >Apogee Ensemble Thunderbolt
Sweetwater price $2495.00
Sweetwater.com/EnsembleTB
If you’re looking for an interface for your Mac studio, one that can accept
whatever signals you need routed in and out, deliver awesome sound
quality, and feature industry-leading latency performance, then look no
further. The Ensemble Thunderbolt rocks!
they’re eager to meet you and show off their wares. You can get hands on with
the newest toys, ask questions, try things out — it’s incredible.
We start planning each year’s GearFest as soon as the previous one closes its
doors. It’s a massive project, not only from a planning standpoint but also in
executing it all. But we’re thrilled to do it, because we get to meet so many of
our friends and customers face to face, see old friends from around the globe,
and host an absolutely amazing event.
I hope that you’ll be able to join us this year. Make your plans now; you can
get more information, see the schedule and who’s going to appear, learn about
travel and accommodations, and even pre-register (which gets you in way
faster than waiting to register at the door) at Sweetwater.com/GearFest. See
you there!
Cherry Burst
Tobacco Burst
Cherry
Les Paul
Monitors
Gibson adds Les Paul style to your listening experience with their new Les Paul Reference
Monitors. Featuring non-woven carbon woofers and carbon-coated titanium tweeters, the Les
Paul Reference Monitors deliver clear sound with impressive punch and detail. Available with
4", 6", and 8" low-frequency drivers, and in three finishes, these front-ported designs enhance
bass response and feature built-in limiters that ensure you’ll never overdrive or damage your
speakers due to signal spikes. If you’re a Gibson fan or just want a cool look for your studio or
home theater, the Les Paul Reference Monitors fit the bill.
The lightweight yet rigid non-woven carbon woofers in the Les Paul Reference Monitors serve
up powerful, punchy bass that sounds full but not overbearing. Whether you’re just listening
to music for pleasure or mixing a major project, you’ll get the full story of what’s going on in
the bass region. With input options for balanced XLR, balanced TRS, and RCA, these speakers
are ready to integrate into any recording or playback system. Adjustable treble and bass level
controls let you fine-tune the monitors to your mixing room for maximum accuracy. They’re also
perfect for creating a “hyped” sound for playback systems and home theater.
Even if it didn’t say Gibson on it, the contoured flame maple front baffles on the Les Paul
Reference Monitors would still make their heritage clear. Available in Cherry, Tobacco Burst, and
Cherry Burst, the Les Paul Reference Monitors are sure to make an impression on anyone that
enters your studio or listening room.
> > Gibson Les Paul 4 Monitor (Cherry)
Sweetwater price $599.00 ea Sweetwater.com/LP4C
> > Gibson Les Paul 6 Monitor (Tobacco Burst) Sweetwater price $799.00 ea Sweetwater.com/LP6TB
> > Gibson Les Paul 8 Monitor (Cherry Burst) Sweetwater price $999.00 ea Sweetwater.com/LP8CB
Check out our exclusive videos, features, and hands-on reviews at Sweetwater.com/insync
SWEETNOTES | SPRING 2015 | PAGE 6
Hands On
Waves DiGiGrid IOS
By Mitch Gallagher
Waves has long been known as one of the top plug-in developers in the world.
From EQs to compressors, ’verbs to channel strips, guitar amps to synthesizers, Waves has every category of plug-in covered. But now, the company
has partnered with console specialists DiGiCo/Soundtracs to create a new family of hardware devices under the DiGiGrid moniker. The line includes
networkable audio interfaces for native DAWs on Mac and PC, Pro Tools-specific I/Os, and MADI interfaces. In an interesting twist, some of the audio
interfaces can also provide dedicated DSP power for running Waves and compatible third-party plug-ins (called the SoundGrid DSP server), taking the
processing load off of your computer’s processor and also providing latency-free mixing and tracking. I had a chance to check out the DiGiGrid IOS, a
two-rackspace unit that comprises eight microphone preamps, eight balanced line outputs, two independent stereo headphone outputs (with separate volume controls), digital I/O
(S/PDIF and AES/EBU), MIDI I/O, word clock I/O, and more. The front panel sports LED meters to indicate incoming signal present and overload and the status of 48-volt phantom
power for the eight inputs. The IOS connects to your computer via Ethernet, and multiple units can be connected using a simple Ethernet hub. Whether you need a streamlined onebox solution for working at home or a mega-I/O rig for a major post-production facility, DiGiGrid can scale to whatever you desire.
Two for One
Waves recently made a change to their
licensing that gives us all a big bonus:
when you purchase any Waves plug-in
or bundle, you not only get the Native
licence, but you also get the SoundGrid
license, free of charge!
The DiGiGrid IOS comes with several software essentials: SoundGrid Studio, which manages the SoundGrid network on your computer; eMotion ST Mixer, which provides latency-free monitoring for tracking and also
allows for standalone use of plug-ins; and StudioRack, which serves as a hub within your DAW for running chains of plug-ins, managing presets, and offloading DSP processing to the SoundGrid server in the IOS.
In use, the DiGiGrid IOS, with its software, fulfills its duties in perfect form, providing tons of DSP processing power, taking the load off of your computer, handling latency-free monitoring, and providing an easy way to
deal with chains of up to eight plug-ins per rack, which can all be saved as a preset and moved from DAW to DAW. The whole thing installs easily. It’s a breeze to operate, and
> >DiGiGrid IOS
it sounds great: clean, clear, dynamic, and natural.
Sweetwater price $3196.00
Sweetwater.com/IOS
If you’re looking to up the interface and plug-in power in your studio, check out the DiGiGrid IOS and its brethren; you’ll get stellar audio quality, tons of flexibility, DSP
processing power for plug-ins, easy expandability, loads of control and routing options, and so much more. It’s a great solution for any studio!
McDSP Adds VST Support
in Version 6!
Hands On
Orange Crush 35RT
By Don Carr
Orange Amplification has a new line
of small combo amps that literally “crush” the size/price/
performance barrier. Using the four-stage preamp from the
Crush Pro Series, the new Crush 12, 20, 20RT, and 35RT all offer
great tone, versatility, and options. I had a chance to spend some time with the Crush 35RT, which is the
largest and the most full-featured member of the family. Here’s what I found.
The Crush 35RT features 35 watts and a special-design Orange Voice of the World 10" speaker — plenty of
power for a rehearsal or small gig. The closed-back design of the cabinet provides lots of body and thump, so
it mics up well to accommodate a larger gig. The 35RT has two footswitchable channels, clean and dirty, with
serious depth and complexity; the two channels capture the sound and feel of the Orange Rockerverb in a
solid-state format. The onboard digital reverb adds the perfect halo, and the buffered effects loop allows you
to easily interface effects. The 35RT is a gig-ready, grab-and-go amp!
With its compact size, the 35RT is also a brilliant practice amp that retains its killer tone at bedroom volume
levels. There’s a headphone/line output featuring Orange’s CabSim, which faithfully reproduces the sound of
a miked cabinet, so all of that tone is available at any volume level. With the onboard chromatic tuner and an
aux in, the 35RT is a complete practice solution.
> >Orange Crush 35RT
Sweetwater price $259.00
Sweetwater.com/Crush35RTOR
Versatility, features, and tone add up to make the Orange
Crush 35RT a great addition to your amp arsenal, and the price
makes it a ridiculous value.
We’ve been fans of McDSP plug-ins
at Sweetwater for years — they
sound fantastic and give you the
sonic tools you need to address almost any mix situation.
And now, an even wider audience can tap into the superb
sound of McDSP plug-ins, because the new version 6
update adds VST and VST3 plug-in support! And McDSP promises that
the VST versions will offer the same impressive performance as the
original plug-ins, with a 64-bit audio path for supreme fidelity and the
ability to handle levels above +0dB without unwanted clipping.
McDSP’s version 6 update also adds support for Pro Tools users using the Avid S3 and S6 consoles, with premapped controls, so you can instantly get your hands on your mix. Also, McDSP has increased the sample rate
capabilities of the DE555, Retro Limiter, and ML4000 plug-ins to operate at up to 192kHz. Other updates include
redesigned user interfaces to give you larger grab areas for faders, bigger dots on plots, and more parameter control.
From music production and post production to sound design, McDSP’s line of plug-in processors has served
professionals admirably for over a decade. And with VST and VST3 support in addition to AAX, RTAS, and AU, McDSP
plug-ins are now accessible in virtually any DAW environment. If
> >McDSP Retro Pack HD v6
you’ve been looking for new plug-in processing solutions, now’s a
Sweetwater price $399.00
great time to check out McDSP!
Sweetwater.com/RetroPk6HD-e
Superstar Classic Custom Kits
Drawing inspiration from 40 years of classic drum innovation, the no-compromise design of TAMA’s Superstar Classic Custom kits raises the bar for discerning
drummers everywhere. Built from super-resonant, thinner-gauge, all-maple shells and utilizing premium Power-Craft II heads, Superstar Classic Custom kits will inject
your playing with remarkable warmth and depth, enhanced lower frequencies, and clear, powerful projection. If that wasn’t enough, these kits also include a deep,
ultra-rich-sounding 6.5" x 14" snare. In keeping with their groundbreaking designs from the 1970s, TAMA has decked these phenomenal kits out with a classic TAMA
T-badge, streamlined low-mass single lugs, and 100%-steel hoops. On top of that, high-end touches, such as TAMA’s revolutionary Star-Mount suspension system,
L-Rod and Omnisphere tom holder systems, and bass drum claw hooks, ensure that Superstar Classic Custom kits are at the top of their class.
TAMA Superstar Classic Custom kits are available in durable, eye-popping Classic Cherry Wine, Silver Snow
Metallic, Mahogany Burst, and Transparent Black Burst finishes and in classic 5-piece or contemporary
7-piece configurations.
Get tech support 24/7 at Sweetwater.com/sweetcare.
> >TAMA Superstar Classic Custom Kit
Sweetwater price $899.99
Sweetwater.com/CL72SMHB
SWEETNOTES | SPRING 2015 | PAGE 7
Pedal Power
Hands On
DW Design Series
Frequent Flyer Kit
By Don Carr
In my job here at Sweetwater creating demonstration videos of guitar gear, I get to
hear, play, and see tons of amazing pedals. Here’s a list of eight overdrive,
distortion, and fuzz pedals that I’ve recently put to the test, and they’ve all
caught my ear for different reasons. Check ’em out!
Wampler Thirty Something —
Class A, British, ’60s-era small
combo mojo in a pedal
MXR Il Torino Overdrive —
Amp-like responsiveness,
well voiced, two gain stages
$239.97
$119.99
Fulltone Fulldrive 3 —
Super-versatile, low-to-medium gain
overdrive with separate JFET boost
The hardware that comes with the kit is lightweight and easy to use. The DW STM
mounting system for the rack tom connects to the ratchet bass drum mount. You
also get True-Pitch Tuning rods with mini-turret lugs, low-mass kick drum spurs,
and the fantastic MAG throw-off on the snare drum. Add to all of that the greatlooking White Onyx finish, and you have one killer, compact drum kit.
JHS Morning Glory —
Ultra-transparent, lower-gain
spectrum boost and overdrive
$199.00
$143.20
Ibanez TS808 35th Anniversary —
The classic reborn
$199.99
Fulltone OCD —
Huge rock tone
$127.20
The DW Design Series Frequent Flyer Kit is a super-cool compact drum kit
that brings with it all of that great DW construction and sound. It’s perfect for the
working drummer who is out playing many different kinds of gigs — from basic
cover-band-type situations where you have to play a wide range of musical styles
to style-specific gigs such as pop, jazz, or Latin.
This drum kit comes with an 8" x 12" rack tom, an 11" x 14" floor tom, a 12" x
20" kick drum, and a 5" x 14" matching snare. The kick drum and toms feature
8-ply construction, while the snare has 10 plies of North American maple; both
utilize DW’s HVLT shell construction.
Seymour Duncan 805 Overdrive —
High-headroom, 18-volt-capable
overdrive with a wide sonic palette
$140.00
By Nick D’Virgilio
electro-harmonix
Big Muff Pi —
Legendary smooth fuzz
and singing sustain
$80.40
The Design Series Frequent Flyer Kit has a very full sound. The snare has a
beautiful crack to it while being quite sensitive. I was able to lay into it with loud
rimshots and, at the same time, bring in and out buzz and ghost strokes that
didn’t get lost in the mix. The toms were easy to get in tune, and have a nice,
round tone. I used clear Remo Ambassador heads on the toms, so I got the attack
from the stick while hearing definite pitch and a full sound. The kick drum is
fantastic; it does not sacrifice big, beefy low end because of its size. It definitely
has projection and warmth.
DW had the working drummer in mind when they came up with this drum kit.
It will fit in the back of just about any car. So when it comes time for the gig or
recording session to start, you can know with confidence that you will have a
fantastic drum kit right in front of
> >DW Design Series Frequent Flyer Kit
you that will get the job done.
Sweetwater price $1199.99
Sweetwater.com/DDFP2004WO
Roland MX-1 Mix Performer
A mixer rarely catches the attention of so many of us here at Sweetwater the way the Roland AIRA MX-1 Mix Performer has. This remarkable gadget is equal parts
mixer, sequencer, and effects engine, and it all comes together elegantly to offer you one of the most sophisticated performance tools in the electronic music world.
For starters, the MX-1 provides you with a unique set of I/O, which includes six channels of analog ins, S/PDIF digital connectivity, and four USB ports for the rest of
your AIRA gear, which transmit audio, MIDI, and sync information. There’s also USB connectivity for your computer onboard, which passes MIDI, so you can use the
MX-1 as a control surface, and also audio, so you can play back tracks from your DAW. That makes the MX-1 an amazing live performance mixer.
One of the coolest aspects of the AIRA series is the way Roland took devices such as a drum machine, a bass synth, and even a vocoder and turned them into
instruments you can actually play live. This same philosophy manifests in the MX-1 in a particularly cool way, and you can see it at work with just a quick glance
across its surface. The mute buttons are located right at the bottom of each channel, making it convenient to quickly bring whole instruments in and out of the
> >Roland MX-1 Mix Performer mix. Likewise, there’s a DJ-mixer-style cue onboard that lets you audition instruments before you set them live. DJs will also feel at home with the channel filters,
Sweetwater price $599.00
and there’s a step-sequencer-driven effects engine capable of controlling the overall sound of your mix. Top it off with a sophisticated sync engine with transport control, and the MX-1’s
Sweetwater.com/MX1
place in the center of your rig is a no-brainer.
Check out exclusive videos, features, and hands-on reviews at Sweetwater.com/insync
SWEETNOTES | SPRING 2015 | PAGE 8
Behringer XR18 X Air
Keeping pace with the changing face of audio technology, Behringer’s XR18 X Air has all the ins and outs that define it as a mixer but adds
the power of wireless control, a USB interface, and so much more to the mixing experience. For the studio or the stage, the XR18’s built-in
Wi-Fi router puts control of levels, processing, routing, and more onto Mac, PC, and Linux-based computers, and iOS and Android devices
via free apps, and all without the hassle of setting up an external router. If a crowded-as-it-is Wi-Fi environment is a worry, there’s an
Ethernet remote port for establishing a direct connection to your computer.
The XR18 features 16 MIDAS-designed preamps with mic/instrument combo jacks, two hi-Z inputs, six auxiliary sends with XLR
connections, main left and right outputs for your stereo mix, MIDI I/O with 5-pin connections for control surfaces or MIDI interfacing, and a
dedicated Ultranet output for Behringer’s Powerplay personal monitoring system — all conveniently situated on the front panel. And it ships
with rack ears for rackmounting and rubber bumpers for protection when using it as a stagebox.
The XR18 has the digital power to out-perform any analog mixer you have been using. With 40-bit floating-point DSP providing low latency and preventing internal overloading, the sound quality and processing
power is astounding. The 18 x 18-channel bidirectional USB interface provides recording capability and adds DAW tracks and virtual instruments into the mix. The XR18 is equipped with four of Behringer’s awardwinning X32 effects engines, accessing four processors for room, reverb, delay, and chorus effects. Plus there are EQ and dynamics processing on each channel and the outputs. Don’t worry about compromising
computer speed to use quality vintage-gear-modeled effects plug-ins — the XR18 includes software simulations of some of the most iconic sound processors ever made, all
> >Behringer XR18 X Air
inside the onboard mix engine. Behringer’s XR18 X Air is more than just a mixer; it’s total production power in a convenient, compact, lightweight format.
Sweetwater price $699.99
Sweetwater.com/XR18
Hands On
Hughes & Kettner Triamp MKIII
By Mitch Gallagher
Studio Tips
for Musicians
By Nick D’Virgilio
Getting ready to go into the studio and record with your band?
Land a session date with a big-time producer? The studio can be
one of the most magical places on earth for a musician; when
you hear your creations come back through the monitors, it can
be very exhilarating. Here are a few tips to hopefully make your
time in the studio fun, productive, and stress-free.
• Be prepared. If you are in a band going into the studio, make
sure you are as rehearsed as possible; it will save you a lot of
headaches and money. You don’t want to spend an hour or two
figuring out parts, riffs, fills, or anything else that you could have
worked out beforehand.
• Make sure your gear is record ready. If you are a drummer,
then have all of your heads changed and tuned as accurately
as possible. If you’re a bass player or guitarist, make sure your
strings are changed and your instrument is perfectly intonated.
These are little things, but you don’t want to waste valuable
studio time on things you could have done prior to the session.
• Don’t be late. I could easily put this as my number one tip. If
you are in a band hiring a studio and an engineer and you show
up late, then you are basically throwing your money away. If you
are hired as a session musician and show up late, then you can
almost guarantee that you will never get called back for another
session. Be early!
Of course, things sometimes just don’t go as planned, so you
may have to improvise and figure out, on the fly, how to fix
whatever problem arises. That’s also a big part of what it means
to be a musician. But if you prepare yourself and your gear ahead
of time, then your studio experience will almost always be a
pleasurable one.
Six power tubes. Nine preamp tubes. Six channels. MIDI control.
Onboard noise gate. Switchable effects loop. Enhanced Red Box
speaker-emulated DI output. Master insert jacks. Built-in TSC tube
status monitoring. A total of 42 different voicings. Fifty, 100, or 150
watts of output power. To say the Hughes & Kettner Triamp MKIII
is a flexible, full-featured guitar amp is a major understatement!
The Triamp MKIII starts with six channels, each tuned to a particular voicing: California Clean, British Clean, British Lead,
Brown Sound, High Gain, and Modern High Gain. Each channel has its own set of gain, volume, and EQ controls. On the
back end, you have six power tube sockets that you can load, in pairs, with just about any octal tube: 6L6, EL34, 5881,
KT66, KT77, KT88. So you could install two 6L6s, two EL34s, and two KT88s (or whatever combination you want). Then, using three front-panel switches,
you can independently turn pairs of power tubes on and off; this means you can match the exact power tubes (as well as tone, response, and feel) to each
preamp channel. And, you can combine two different types of power tubes (say, EL34 and KT66) for completely new “hybrid” amp tones. It’s mind-boggling,
and it really works. You can even change power tubes on the fly, while the amp is powered up!
When you combine all those preamp voicings with the power tube possibilities, you get one monster of a tone machine. Then, add in all of the rest of the
Triamp MKIII’s features, and you get an amp that is simply unrivaled in flexibility. Best of all, I couldn’t find a combination that sounded less than wonderful.
The hardest part is choosing which one you want to use!
For the studio, the Triamp MKIII would cover pretty much any tone, for any genre. And onstage, you can
either tweak your tone to perfection or assemble a mass of incredible tones that you can incorporate into
your set list. It’s a total beast!
> >Hughes & Kettner Triamp MKIII
Sweetwater price $3999.00
Sweetwater.com/TRIAMPMKIII
Focusrite Clarett Interfaces
Blending Focusrite sonic quality with ultra-fast
Thunderbolt connectivity, the new Clarett interfaces
feature cutting-edge transformer-modeled preamps,
crystal-clear conversion, outstanding dynamic range,
and vanishingly low (sub-1ms) interface latency that
lets you monitor and track in your DAW software without any signal delay. The latency specs handily beat out other
interfaces that utilize Core Audio/ASIO drivers, effectively unlocking your DAW’s real-time processing mojo.
Clarett interfaces also sport new preamp designs that model the impedance and transformer resonance of Focusrite’s original ISA transformer-based mic
pre, giving you classic Focusrite sound at the touch of a button. All Clarett interfaces feature the same superior dynamic range and class-leading conversion
technology. With 24-bit/192kHz sample rates and a world-class dynamic range of 116dB A/D and 118dB D/A, you’ll capture every sonic nuance.
There are four interfaces in the Clarett range, and they all include ADAT optical I/O, MIDI I/O, and headphone outs with dedicated volume pots. If you’re
producing music on the go, there’s the 10-in/4-out Clarett 2Pre and 18-in/8-out Clarett 4Pre. The 1U rackmount Clarett 8Pre features 18 ins and 20
outs, word clock out, and detailed hardware metering. The flagship 26-in/28-out Clarett 8PreX features extended ADAT I/O, separate rear-panel mic and
line inputs, and detailed hardware metering, as well as dedicated phantom power, polarity invert, and highpass filter on each channel.
Get tech support 24/7 at Sweetwater.com/sweetcare.
SWEETNOTES | SPRING 2015 | PAGE 9
Hands On
Music Man Majesty Artisan
IN THE
GROOVE
By Mitch Gallagher
Dream Theater’s John Petrucci has amassed quite a line of signature guitars
from Music Man; 6-strings, 7-strings, higher-end, entry level — these
outstanding instruments cover a wide range of tonal and musical applications and offer maximum
playability whether you’re playing a simple melody or shredding arpeggios at light speed. Now, the
Petrucci signature family has expanded with a new arrival: the Majesty Artisan.
The Majesty Artisan features a more traditional look, yet it still incorporates all of the Petrucci-specified
features, such as his signature floating trem with built-in piezo pickup for acoustic tones, Schaller locking
tuners, dual DiMarzio Illuminator humbucking pickups, and more. The guitar has a through-neck design,
featuring a mahogany body/neck, with a laser-etched maple top, an ebony fingerboard, custom JPMajesty inlays, 24 stainless-steel medium-jumbo frets, fully shielded electronics, and an onboard preamp
providing instant gain boost when you push on the volume knob. The Majesty Artisan is available in 6- and
7-string versions; I received the 6-string in the gorgeous Marrone finish for my evaluation.
In use, the Majesty Artisan is incredibly comfortable to play: weight balanced, nicely contoured,
with a fast neck carve that just begs you to let the notes fly. The flat neck radius works for
chording and for single-note lines. The pickups provide an articulate, rich tone, with controlled
bottom end. The 3-position pickup selector actually gives you four choices in conjunction with
another knob/switch that changes the configuration when both pickups are on. You can easily go
from bright, clear, chiming tones to chunky, crunchy rhythms to soaring, singing leads. Then, pop
on the gain boost and push it over the top for roaring chords and screaming leads. Hit another
switch, and you’re instantly playing a sparkling, ringing acoustic tone. Talk about versatility!
Tone, sustain, flexibility, versatility,
craftsmanship, the Music Man
Majesty Artisan has it all.
> >Music Man John Petrucci Majesty Artisan Sweetwater price $2800.00
Sweetwater.com/Majesty6Marr
Hands On
Antelope Audio Satori
By Nick D’Virgilio
Ever found yourself in your studio trying to program drums for your next great song,
and they're just not sounding right? For non-drummers, it can be a difficult task to
make MIDI drum parts sound as though a real drummer is playing. Below are a few
pointers on how to get realistic life and feel into your programmed drum parts.
1. Get yourself behind a real drum kit and play.
When you sit behind a real drum kit, you'll be able to see and hear where all of the
sounds come from and how they relate to each other. This doesn’t mean you have
to learn how to play drums, but it will give you perspective on how a drummer sits
behind a drum kit, where the feet and hands go, and how the components relate.
2. Keep it simple.
Remember that human beings only have two hands and two feet, and drum grooves
— most of the time — only utilize three of those limbs at a time. Synthesizers and
drum plug-ins usually have all kinds of different sounds up and down the keyboard.
Resist the urge to use all of them at once.
3. Make sure the sounds relate to one another.
Unless you are Terry Bozzio or some other drummer who uses an enormous drum
kit, more times than not, you only have a 5- or 6-piece kit. One or two rack toms,
one or two floor toms, a kick drum, and a snare. Try to stay within a soundset and
use sounds that relate to the style of music you are programming for. For instance, if
you're programming a drum part for a country or heavy-metal song, then electronic
sounds such as the iconic Roland 808 kick and snare might not be the best choices.
By Mitch Gallagher
“Satori” is the Japanese word for enlightenment; illumination; comprehension. Not only are these all desirable
things if you’re a spiritual seeker, but they are also equally important when you’re attempting to divine the truth
about the audio that you are creating, recording, mixing, editing, and mastering. This makes “Satori” the perfect
name for the new mastering-grade monitor controller from Antelope Audio.
A single-rackspace unit that can be remote-controlled via USB using an app running on your computer, Satori offers eight balanced stereo
inputs, four balanced monitor outputs, a subwoofer out, four independent stereo headphone outs, and three different options for talkback:
built-in mic, external mic (there’s an input jack for one on the back of the unit), or USB mic from computer. You can choose to use stereo
inputs 5–8 as an 8-channel stereo summing mixer if you like, and you can adjust each input’s and each output’s level +/-6dB to balance
things out for accurate monitoring and comparisons. Speaking of accuracy, Satori features digitally controlled analog signal paths, with
0.5dB accuracy.
Extra features include monitor dim and mute, the ability to route talkback to any or all of the four headphone outs, independent source
assignment to each headphone out, and unique mono functions that allow you to invert the polarity on either or both channels, reverse left/
right channels, and monitor in mono either by summing or subtracting the two channels — making it easy to identify phase problems.
The functions you need to access are available from the front panel, or to dig deeper, just use the free remote-control app. You can even
shrink the app window down to a compact floating window that always stays on top when you’re working in your DAW and gives you
access to volume, mute, and talkback.
In short, Satori provides all the I/O and functionality you need for even the largest studio,
with convenient control capabilities and absolutely stellar sound quality. To achieve audio
enlightenment, look no further than Antelope Audio’s Satori!
Drum Programming Tips
for Non-drummers
> >Antelope Audio Satori Sweetwater price $1475.00
Sweetwater.com/Satori
4. Take a look at written drum patterns.
A good way to understand where drums fall in a typical rhythm pattern is to take a
look at some written-out drum music. You can find all kinds of notated patterns on the
Internet that will show you the basics.
5. Give your programming some feel.
Although drummers try very hard to play in time and practice with metronomes, they
don’t play on a grid. Even the best drummers on the planet only sometimes land
exactly on a tempo’s grid — and that is a good thing. That is what gives a groove its
pocket. The kick and snare should move very slightly in front of or behind the beat. I’m
not talking about rushing or dragging; I’m talking about slight variations, so the drum
groove doesn't sound stiff. Don’t just hit the quantize button at 100%! There are some
nice options for quantizing in every DAW on the market that will move the drum hits
around just enough to help the drums breathe. Try any or all of these options and don’t
be afraid to get in there and move some things around yourself.
6. Don’t just program in 4-bar patterns.
Most of the time when a drummer goes into the studio to record a song, he or she will
play the whole song from beginning to end. Even though the song could have a chorus
that repeats three or four times, the drummer will play each one a little differently
because he or she is human. Programming the same pattern for each section is good,
but it is also a good idea to change the feel ever so slightly on each section.
I hope these ideas will help you in creating killer grooves for your next song!
Moving? Moved? Want more than one copy? Call us or e-mail us your new address, and don’t miss an issue of SweetNotes!
SWEETNOTES | SPRING 2015 | PAGE 10
As I’ve noted before, I first was introduced to Sweetwater
when I was a regional manager for AKG, and Chuck was
running his fledgling company, Sweetwater, out of his
house. I admired his goal of adding value and his strong
commitment to doing the right thing.
By the time I came onboard in ’96, he’d consistently applied
this philosophy and built a healthy and rapidly growing
business and moved into a larger space. I took responsibility
for a great sales team of 26 Sales Engineers. Fast-forward
to 2015, with our current team of 247 (including the folks
going through Sweetwater
University) and a sales increase
of more than 10 times what
it was my first year, and it’s
obvious that we’ve continued
to experience pretty dramatic
growth over the years. On behalf
of every employee at Sweetwater,
I sincerely thank you for trusting us
and allowing us to serve you!
Inside the
Jeff Radke
The goal for me has always
been to keep the “mom and pop” small-business customer-serviceoriented culture at Sweetwater healthy and intact as we continued to build
our business. The strong one-on-one relationships we develop with our
customers and the deep relationships we have with our vendors allow
us to provide an extremely high level of service that we refer to as the
“Sweetwater Difference.” The best way for us to accomplish this is by
keeping our team intact and here long term.
So, that’s all well and good, but how is the execution? Well, the average
length of tenure for Sales Engineers here a year or longer (we added 37
Sales Engineers to the team last year and 73 over the last two years)
is currently 6.2 years in an industry where tenure is often measured in
months, so I’d say that things are working out very well! Beyond exceptional
compensation (hey, the environment can be perfect, but folks need to pay
their bills, too!), here are just a few of the things we’ve done to help ensure
that our team has a great environment at work:
• A state-of-the-art sales floor with plenty of room, lots of natural light,
acoustics conducive to a professional environment, and modern,
ergonomic workspaces. Heck, we even have a huge slide between our
second-floor sales area and the ground floor!
• Multiple large conference rooms and smaller meeting rooms for
comfortable and convenient training sessions.
• Our in-house Downbeat Diner is much more than just a “diner.” Our
head chef ran a collegiate culinary program, and every dish is made from
scratch with a huge variety of dishes served each week. We also have an
amazing pastry chef. The local newspaper’s restaurant critic wrote that
she had “produced one of the best pie crusts [he had] ever had.”
• We recently opened the Crescendo Cafe in our expanded dining area,
which includes a large lounge area with an awesome stage, a high-end
coffee bar featuring locally produced Utopian coffee, and state-of-the-art
equipment from Modbar Modular Brewing Systems, another very cool
local company.
• Our local store is more than doubling in size and will be opening in June.
• We have a huge Gear Lending Library where Sales Engineers can check
out and take home everything from microphones to PA systems to get
hands- and ears-on experience in their studios and onstage.
I could list a lot more, but I wanted to hit a few of the high points. If you are
ever in Fort Wayne, please stop by for a tour. We have an amazing concierge
who will be happy to show you around and give you some ideas on the best
restaurants and shopping in town, too!
Rock and Roll!
Jeff Radke
Executive Vice President of Sales
Chief Sales Officer
Plug Into a Piece of
Marshall History!
In 1987, Marshall celebrated 25 years of amp building with their
original Silver Jubilee Series. Players immediately took notice
(including Slash, whose new band
was about to take the world by
storm). These amps celebrated a
milestone for Marshall, and they
sounded suitably impressive. Plus,
the striking silver vinyl covering
made Silver Jubilee amps instantly
identifiable — and collectable.
Then, just a year later, they were
discontinued. Players have coveted
these amps ever since.
Now, Marshall delivers a new reissue
of the Silver Jubilee, the 2555X. This
2-channel, 100-watt head captures
the vibe and look of the original
Silver Jubilee, and it adds cool
improvements. Like its predecessors,
the 2555X includes high- and lowoutput switching. If you’ve ever heard
a 100-watt Marshall at full roar, you’ll
appreciate how this feature lets the
2555X sing at both arena and club levels. Multiple speaker jacks let
you easily match this head up with your favorite cabinet — or with
a matching, silver-covered angled 2551AV or straight 2551BV cab.
Though the reissue amp head pumps out the same great tones that
made the original Silver Jubilee amps so sought after, this edition
gives you even lower-noise performance and improved reliability.
Whether you’ve been chasing down a Silver Jubilee amp for years or
just want to satisfy your craving for genuine Marshall tone at its best,
you’ll love this reissue head and cabs. Call your Sales Engineer and
plug into a piece of Marshall history!
> > Marshall 2555X Head
$1899.99 Sweetwater.com/2555X
> > Marshall 2551AV Slant Cab
$1299.99 Sweetwater.com/2551AV
> > Marshall 2551BV Straight Cab $1299.99 Sweetwater.com/2551BV
Customer Studio
Arnell Newman
and Soulistic360
Located just outside Chicago, Arnell Newman’s Soulistic360 studio has grown into an impressive facility in its four
years of existence. Newman got his start assisting at commercial studios in the Chicago area before establishing
Soulistic360. “A lot of the people I was working with had a lot of requests,” says Newman. “So I decided to build my
own studio, actually located in my home.” Now converted to a full facility featuring a generous live room, a “B” room (equipped with its own PreSonus StudioLive
board), and a full control room, Newman’s studio has evolved to suit his clientele. “We started out doing voiceover work, and now we do live sessions with full bands,” he says. “We’ve worked with jazz bands, R&B artists,
rock bands, and gospel bands as well.” At the heart of his setup is a Pro Tools DAW, and several processing plug-ins are put to good use on projects. But as Newman notes, “I also use outboard preamps and compressors.” He lists
Avalon preamps and TubeTech compressors among his favorite go-to gear, and he favors Neumann mics for vocals. And, speaking of gear, Newman’s go-to source at Sweetwater is his Sales Engineer, Brian VanDeKeere. “Brian
is really knowledgeable. He’s spent a lot of time explaining benefits and doing comparisons with the gear. I’ve been working with Brian for at least five years now.” As Soulistic360 moves into the future, Newman is exited about
new approaches and ventures. “We’ve appropriated a room for doing live streaming during sessions,” he says. “We want to incorporate high-definition cameras.” For now, as always, Newman continues to welcome artists to his
studio. “It’s a very warm and welcoming place. Whether you’re local or you’re a major-label artist, your time is appreciated and valued.”
Get tech support 24/7 at Sweetwater.com/sweetcare.
SWEETNOTES | SPRING 2015 | PAGE 11
Arturia BeatStep Pro
and AudioFuse
Over the past few years, we’ve watched as Arturia has steadily made greater strides into the world
of electronic music hardware production, so we were more delighted than surprised to see them
showcase two cool new products in early 2015 — check them out.
> >Arturia BeatStep Pro > >Arturia AudioFuse
Sweetwater price $249.00 Sweetwater price $549.00
Sweetwater.com/BeatStepProSweetwater.com/AudioFuse
THE BIGGEST PRO-AUDIO AND MUSIC
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The 14 x 14 AudioFuse USB audio interface offers an incredibly smart set of I/O in a totally
convenient format. On the analog side, you get four channels of high-end sound,
starting with a pair of DiscretePRO microphone preamplifiers with insert
points for external processing. These pres are reminiscent of a classic
recording console but far less noisy than most vintage-style gear. That
transparency really comes through thanks to a set of high-end digital
converters, which capitalize on precision clocking to deliver incredibly
accurate imaging. The extreme low latency of the AudioFuse is a real bonus
when you’re tracking, with round-trip latency as low as 3ms. All of the AudioFuse’s
main controls are easy to access right from the top of its compact chassis. And since this USB audio
interface will work with your Mac or Windows PC, as well as your iOS or Android device, its small
size is sure to come in handy.
FRIDAY, JUNE 12 AND
SATURDAY, JUNE 13
Ind
With tabletop synth rigs once again
becoming a major part of the electronic
music scene, many artists have been looking
for reliable and flexible hardware sequencers
they can use to run the show. At Sweetwater,
we’ve been only too happy to turn our
customers on to the Arturia BeatStep
Pro. This self-contained yet impressively flexible hardware sequencer combines two independent
melodic sequencers, each with 64 steps per sequence, with a versatile 16-channel drum sequencer.
Each of the melodic sequencers allows you to store up to 16 sequences per project and save 16
projects. That’s a ton of creative power! Performance effects — including a looper with a touch
strip, a randomizer, swing setting, and more — also let you add variety to your shows. And with
the BeatStep Pro’s capability to interact with DAWs, hardware synths, iOS apps, and other MIDIcontrollable gear, the sky’s the limit when it comes to putting this remarkable gadget to use.
SAVE THE DATES!
5501 U.S. Hwy 30 W
Fort Wayne, IN 46818
Register to Attend at Sweetwater.com/GearFest
Forrest Powell
friend had blazed a trail here some years before, and his accolades for
Sweetwater were very encouraging (and ultimately revealed to be true).
Technical strengths: I have used quite an array of microphones,
preamps, interfaces, DAWs, and PA speakers and have played many guitars.
Actually putting the gear to use is a lot different than pointing at it on a
shelf. I have designed professional production houses and constructed my
own QRD diffusers, studio desks, and acoustic traps.
Instruments you play: Guitar and piano. Being from North Carolina, I
suppose that gives me some bluegrass roots. I like to pick at an acoustic.
Above all, I tend to enjoy listening to and writing classical works.
Name: Forrest Powell
Position at Sweetwater: Senior Sales Engineer
Start date: April 24, 2006
Where are you from originally? I hail from Raleigh, North Carolina,
and spent the first two-thirds of my life there. It’s a wonderful place with
wonderful people; I’ve found the same in Indiana. Lucky me!
Why did you first apply for a job at Sweetwater? I needed a career,
rather than just a job. It was a very challenging decision to move far away
from my hometown, but it was a risk that I’m quite happy I took. A close
Gear you own: Avid Pro Tools HD Native, DSM2s, Artist Control and Mix
surfaces; M-Audio BX8 D2s; various preamps and compressors; an absurd
number of mics; some nice guitars; and six terabytes’ worth of plug-ins.
Family info: My wife, Emily, and our absolute joy, our son, Grayson. I’d be
remiss if I didn’t mention our beagle and bagle hound; they count, too.
Other stuff we should know about you (hobbies, talents, interests,
etc.): I’m a woodworker on the side. My latest project is a cello. I’ve also
developed a fondness for German cars, woe be unto my savings account.
Personal motto: I steal Martin Short’s motto from Men’s Journal: “Have as
many laughs as you can. Surround yourself with people who are going to
inspire you with their positive outlooks, and try to cut out the deadbeats.”
What did you dream about doing for a living when you were
growing up? I dreamt about being able to make music and somehow still
be secure. To that end, I am living my dream in more ways than one!
What do you enjoy most about being part of the Sweetwater team?
The way Sweetwater embraces the concept of each person being unique
but also being responsible for their own success is fantastically rare. I’ve
shared in the dividends of community, of us caring about each other, and I
met my wife, my dearest friends, and some of my most respected mentors
in this place. I’ve learned many valuable life lessons here. Every business
I’ve encountered elsewhere, regardless of industry, has paled in comparison
to the warmth and the promise Sweetwater continues to thrive on and draw
out of its people.
What is the most important thing you’ve learned at Sweetwater? I
am ultimately and unquestionably responsible for my own success, my own
failure, and my own perspective in any circumstances life may offer.
Check out exclusive videos, features, and hands-on reviews at Sweetwater.com/insync