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Issue 253Making the future since 1992

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Issue253

|June2012

|UK

Edition

music making for technology and Technique music making for technology and Technique

Learn their studio secrets INSIDE

Louis LarocheSee him take apart his remixesPLUS Pro sampling tips on DVD

FiRSt FOR hOt neW GeAR

FM253 June 2012 £6.25

eXCLUSIVeROLAND JUPITER-50Get the review – Only in FM!

TheFuture

Music

Guide

toFilth

|LouisLa

Roche

|Skrillex|Fatboy

Slim|R

olandJupiter-50

|GetThatSound:W

olfgangG

artner|Logic,Liveand

Cubasetutorials

|AND

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in theStuDiO

SkrILLeXFATBOYSLIMSkrILLeX

Contents | This Issue

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INCLUDES VIDEOl

IN THE STUDIOWITH: Louis La Roche

This rising star of the production andremix world talks projects so far andtakes us through two of his remixesand more on video!

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CONTENTSIssue 253 | June 2012

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This Issue |Contents

5

REVIEWSIn-depth tests of all

the latest gear

INCLUDES AUDIOl

74 Roland Jupiter-50

INCLUDES AUDIOl

78 u-he DIVA

INCLUDES AUDIOl

80 Toontrack EZ Piano

INCLUDES AUDIOl

82 Best ServiceGalaxy X

INCLUDES AUDIOl

84 Waves InPhase

INCLUDES AUDIOl

86 FabFilter Saturn

INCLUDES AUDIOl

88 Noveltech Character

INCLUDES AUDIOl

90 Heavyocity Evolve

INCLUDES AUDIOl

92 Nord C2D

94 Mini Reviews

INTERVIEW: Skrillex

We catch up with the busiest man inDance to talk favourite plugs and gear

INCLUDES AUDIOl

REVIEW: Roland Jupiter-50

Fancy a Jupiter-80 but looking for somethingslimmer, sleeker and cheaper? Step right up

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TUTORIALSPro techniques for

power DAW users

46INCLUDES VIDEOl

Limit Your Options

with Ableton Live 8

Want to make music?Just say ‘no’ to choice!

56INCLUDES VIDEOl

Exploring Retrologue

in Cubase 6.5 Discoverits new built-in virtualanalogue synth

68INCLUDES AUDIOl

Master the ES2 Router

in Logic 9 Via its skillsat warping and routing

Contents | This Issue

8

09 Freakyloops UTKU S. Presents Dubstep Basses Vol 2

10 Industrial Strength Dubstep Massive

11 Loopmaster Artist Series Hauswerks – A Spectrum of Haus

12 Loopmasters Presents Swedish House Essentials Vol.2

13 5 Pin Media Epic House Riffs

14 Loopmaster Artist Series Opolopo Electro Funk

15 Loopmasters The Sound of Ghetto Funk

16 Frontline Producer Presents Studio Bass Ultimate Collection

01 Pablo Decoder Presents Peak Time Berlin Drums/Synths/FX

02 Loopmasters Presents Club Bass Volume 1

03 Loopmasters Hard & Dirty Complextro By Utku S

04 Freaky Loops Utku S Presents Complextro Vol 2

05 Noise Factory Elements Vol.1 Dance Effects

06 Delectable Records Dirt Elements Synth/Bass/Drum/FX

07 Loopmasters Presents Miami Tech Drums/Synths/Bass/FX

08 Inspire Audio Loops & Snippets Vol 1

BONUSSAMPLESTry these great trial packs on our DVD or online Vault. Like what you hear? Buy the full packs online!

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Interview | FatboySlim

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FatboySlimSay hello to the new-look, all-digitalNorman Cook – but Danny Scott findsthat the move away from the Atari andAkai hasn’t been plain sailing…

Fatboy’s setup looks verydifferent to how it did lasttime FM visited

FatboySlim | Interview

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The last time Future Music wasinvited down to Norman Cook’sBrighton home was back in2000. He’d just finishedrecording Halfway BetweenThe Gutter And The Stars, theeagerly-awaited follow-up tothe multi-multi-multi-million

selling album, You’ve Come A Long Way, Baby.“Bloody hell! That seems like a long, long timeago,” he says with a heavy sigh. “And I was a verydifferent person back then. Life was… different. I’djust sold tons of albums and made more moneythan I ever thought possible. That kind of messeswith your head a bit, but I was having the time ofmy life. I loved making music, I loved playing gigsand I just wanted those good times to last forever. Ipartied… and I partied fucking hard!”

“Then, about three years ago, I realised thatthings needed to change. It was all getting a bitout of hand, so I finally quit drinking. In fact, Iquit everything. All the naughty stuff. Well,everything except fags. I’d got to that age whereI just wasn’t enjoying it anymore. I went intorehab, got myself some help and, all of a sudden,there was a new me.

“I’ll be honest with you, I don’t think I’d everplayed a gig without the help of some drug – be italcohol or something stronger – and I didn’t think Icould enjoy music unless I was as high as a kite.But I haven’t touched a thing for three years and…I still love music and I still love DJing. Doing itstraight has given me a whole new lease of life. AndI can actually remember the gigs!”

In the studio, things are changing, too. Fatboyaficionados will know that he’s a fan of old-schoolgear like the Atari, the Akai S-950 and the mighty303, but all that vintage kit has been packed away.“We’ve got builders in at the moment,” he explains,“and I just wanted to make sure my musicaltreasures weren’t going to get damaged!”

The Atari still gets plugged in for the occasionalproject – more of that later – but his current dailystudio is all housed in a couple of MacBook Pros.“Yeah, I’ve been dragged, kicking and screaming,into the 21st century,” he grins. “But the problemis that I’m still struggling to get my head around it.Welcome to the future, eh!”

FM: So, what prompted the move to alaptop-based setup?Fatboy Slim: “It wasn’t my idea at all. I wascompletely happy working with the Atari and theAkais, but everybody around me kept saying,‘Norm,you can’t carry on like this’. I suppose I was bulliedinto it by my management. They just kept pointing

out all the positives of Ableton. The way you canlash bits of songs together.

“Logically and technically, I knew it made senseto upgrade my working practices. Even if you justlook at something like my DJ sets… the crew weregetting fed up with working with vinyl. Locking upvisuals was a massive problem. Mixing from track totrack was a hit and miss affair. Sometimes it worked,sometimes it sounded awful! Eventually, DarrenEmerson and Jon Carter took me to one side andshowed me what was on offer. I think I was scared ofchanging things, just in case it didn’t work as well aswhat I was used to.”

What was your first new bit of kit?“Serato. Darren and Jon persuaded me it was timeto move on. And, of course, as soon as I took the

blinkers off and realised what all the DJ technologywas capable of, I fell deeply in love with it. Seratoopens a whole new visual door… you can get farmore creative in terms of images for the live set. Inthe past, my crew had to more or less guess whattune I was going to play and what speed I was goingto play it at. Serato removes those random elements.

“Then again, that’s one of the things that I reallyenjoyed about DJing. I liked the mistakes. I liked thefuck-ups. With Serato, you have to plan things a bitmore… you have to be a bit more organised.Luckily, that changeover period coincided with mequitting drinking. I think the old me would havefound it difficult to be ‘organised’, but things like thatare a lot easier with a clear head.”

And that convinced you it was time for a change inthe studio?“Changing things in the studio was a lot moredifficult. And it continues to be difficult. Obviously,there are artistic and creative elements to DJing, butit’s very different to sitting there in the studio andwriting a song from scratch.

“I’ve been making music on the Atari for over 20years. Most electronic musicians of a certain ageprobably started in exactly the same way – the Atariand the S950. With just those two bits of kit and amixing desk, you could make a tune. I made You’veCome A Long Way, Baby that way. The Atari and theAkais bought this house. They changed my life.

“And deep down in my heart of hearts, I’m stillnot sure about changing that way of working. Ifyou’re a guitarist and you’ve been using a ’60s

Fender Telecaster with a ’60s Voxamp for years, there’s really noneed to change your setup, isthere? People don’t come up toyou and say,‘Ugh, you’re stillusing a Vox amp? You shouldchange to this Line 6 plug-in’. Tome, bits of gear like the Atari, theS950 and the [TB-]303 are just as

groundbreaking and important as the Telecaster andthe Vox amp. We shouldn’t dismiss them justbecause there’s a new software model in the shops.”

How do you feel when you look at two laptopsrunning Ableton? That’s your studio!“I know. It’s weird. It still doesn’t feel right.”

Have you made a tune on Ableton?“I’ve got lots of little snippets, but I always getbogged down by how I’m supposed to get from thelaptop to the outside world. The temptation is tojust stay inside the laptop and that only really allowsyou to create a certain type of music.You can hear itwhen you listen to the radio… There are tons of

The S950 and the 303 are just as importantas the Telecaster.We shouldn’t dismissthembecause there’s a softwaremodel

Fatboy Slim’s recent switchto Ableton hasn’t comewithout its teething problems

Interview | FatboySlim

54

songs out there that have been written without amusical keyboard. They’ve been written in hotelrooms and on planes. Somebody hunched over alaptop, tapping on their QWERTY keys.

“I’m not moaning. I’m not saying that music’srubbish. I’m just saying that it’s different and… Idon’t really want to make that kind of music.”

What’s the last musical project that you worked on?“The Rizzle Kicks single, Mama Do The Hump. Iswitched on the laptop, looked at the screen forseveral hours and then thought,‘Nah, let’s goupstairs’. I hadn’t switched on the Atari formonths, but it felt great. I dug out my floppy discs,dusted everything down and just started playing

loads of samples to Jordan and Harley. At times, Icouldn’t help but smile, because I worked out thatthe Atari and Akais were probably older than thelads. They looked at my set-up and kind of said,‘What the hell’s all this?’ They were so used toeverything being in the box.

“But as soon as I started firing off a few samplesand they heard that crunched-up, lo-fi Akai sound,they loved it. In the end, we had a Number 2 single.No laptops involved at all.”

Any chance of some new Fatboy material?“It’s just not at the top of my list. I’ve got a babydaughter… I want to see her grow up. But there’salso the problem of writer’s block. With the Atari, Icould pull out some vinyl, sample a few bits andpieces and get a groove going…”

But you can do that in Ableton. It’s probably eveneasier in Ableton…“I know! Look, you don’t have to convince me. Iknow what Ableton’s capable of. [He switches on thelaptop and plays a squelching, heavily-filtered tune.]I made this yesterday. I get sent about 50 or 60 tunesevery day and I go through them, looking for stuffto play in my set. Sometimes, there might just be abassline that I like or a drum-break. If I find four orfive different elements from different tunes, I putthem all together and create a new piece of musicthat I can play out live. It’s a mash-up, really.

“But, as I said, before, I sort of come to astandstill when I try to get the laptop to talk to theoutside world. I get frustrated and then… the

moment’s gone. I switch everything off and go intothe kitchen to make a cup of tea.

“I’m going to have to bite the bullet at somepoint. I know I’m going to have to sit here and makea tune in Ableton. It’ll be good therapy for me.”

What about software synths and the like…“They’re on there and I have a play with them, butthey all sound a bit samey – metallic and twangy.Sure, you can get the most incredibly complexnoises coming out of them, but they don’t reallyinspire me. I know I’m not the first person to saythis, but we’re getting to a point where everyone isgoing to have an unlimited musical palette. If youwant a certain bass sound, you can just pull it fromthe internet. If you want a sound that goeswow-woooh-widdly-widdly, you can find it on

Massive. I don’t need all that. I don’t need all thefireworks of digital music. All the clever-cleverglitchy-ness. I get a bit bored by it. I was cutting upsamples 20 years ago. I want to go somewhere else.

“Look… please don’t make me out to be amoaning old Luddite who doesn’t want to change.Yes, I am a bit of a moaning old Luddite, but I’m notagainst ‘change’ per se. I don’t think that the Atariand the Akai are the only legitimate tools to makemusic. Ableton is a fantastic piece of kit. I justhaven’t found a way to link my creative urges toworking with a laptop. It’ll come. I’m almost there.”

If you were a young kid coming to Electronic musicfor the first time, would you still go for the old gear?

“Ooh… that’s a tough questionbecause I’ve spent most of myadult life living with that soundand that way of working. And it’sgiven me huge amounts ofpleasure. Anyone who’s used anold Akai sampler will neverforget the first time theymanaged to get the filters to

work. Controlled by MIDI and twisting the soundof some crusty old drum loop from a bit of vinylthat cost you 50p. Those memories never leave you.

“But if I was 18, I don’t think I’d be interested inthe Akai. I’d be looking at Ableton. I mean… c’mon!I can get two bits of music, two different tempos anddifferent feels. I can chuck ’em into Ableton and itwill find a way to join them together.

“Can you imagine if I’d had something like thatto play with back in the Big Beat days? Christ, itwould have been madness! For me, the whole thingabout Big Beat was that anything goes. Pullsomething from here and here and let’s see whathappens. Getting that to work on the Akais wasbloody hard work. A lot of the time, it was all aboutfeel.You chopped and changed the time-stretchesuntil it sort of felt right. Sometimes, the whole thingended up rather rickety, but that was half the fun.

“Look… don’t even start! I know you can do allof that on Ableton. I almost managed to make theswitch a couple of years back. My managementhooked me up with Hervé for the Machines Can DoThe Work single. There were some real old-schoolsounds on there, but all the main work was done inAbleton. I came out of the session filled withenthusiasm and immediately stuck Ableton on thecomputer. The compressors, the filters, the EQ…yeah, it was all very familiar. I guess I just need thatlast piece of the jigsaw puzzle.

“I suppose the strange thing is that, if I canfinally get on to Ableton, I will have come full circle.I started out with the Atari, the Akai and a bunch ofsamples. Ableton is just a modern version of thatset-up. It’s a great manipulator and sequencer ofsampled blocks of audio. When I look at it likethat… well, I really ought to get my act together andstart making some fucking tunes!”

want toknowmore?Fatboy Slim headlines the Big Beach Boutique at Brighton’sAmex Stadium on 1st & 2nd June. www.fatboyslim.net

I’m going to have to bite the bullet. I knowI’mgoing to have to sit here andmake a

tune in Ableton. It’ll be good therapy forme

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FatboySlim | Interview

“DJing was what first got me into Dancemusic. The only reason I actually startedmaking my own tunes was because Icouldn’t find stuff that I actually wanted toplay. If those tunes had been available atthe time, I might not have even botheredgetting myself an Atari.

“DJing has always been a huge part ofwhat I do. Once the whole FatboySlim-artist-thing took off, I suppose quite alot of people stopped seeing me as a DJ,

but that’s what I’ve always been. That’s myfirst love. That’s what I do best.

“Unfortunately, I’ve been doing it for 30years and, even with the best will in theworld, you eventually start going through themotions. And alcohol became a huge part ofthat. I thought the only way I could givepeople value for money was if I was out of itas well. I wanted to be part of the crowd.

“After rehab, I was genuinely worried thatI wouldn’t be able to DJ – I thought I’d be

crap! Knocking the booze on the headcoincided with discovering Serato. So,you’ve got a new version of me using newtechnology. It was amazing! It felt like I wascoming to DJing for the first time. All thosethings I’d dreamed about doing for years –those mad mixes, the bonkers edits – couldall be done in Serato and you could matchit all to some amazing visuals.

“God knows how many years I’ve beencarting vinyl around with me, but all that’schanged. These days, all I need on stage arethe CDJs, the dummy CDs, Serato and aRane 57 mixer. There’s a laptop telling mewhere I am in the set, but I tend to keep

that out of the way. I don’t want to spendmy time looking at the screen when I shouldbe looking at the crowd.

“The only scary thing about it all is thattechnology could actually do the job withoutme being there. That would be awful. Inever want to get to that stage. I still wantto be in charge of what happens up there.I still want to get halfway through a setand think, ‘Such and such a track wouldreally work here’. You can do that withSerato. You just need to work out,tempo-wise, where you can fit it in the set.If it doesn’t quite come off… who cares.That’s all part of the fun, innit!”

Fatboy’s LiveSetup

Cook’s found a freshenthusiasm for DJing thanks to

his laptop and Serato setup

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Technique | Get ThatSynthSound

technique

Welcome to Get That Sound.Each month, we’ll be explainingstep-by-step how to recreatefamous sounds: synths, basslines,drums and more…

VIDEOONTHEDVD

Don’t miss the movie onour DVD! These star soundshave a full movie withvoiceover showing youexactly how theywere made!

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GetThatSynthSound |Technique

1 Let’s start by laying down afour-to-the-floor kick drum at130bpm. Notice that in 818, the kick

drum is tuned to a G#, which is the root ofthe key that the intermittent piano stabsplay. Ultimately, the key of the trackcomes across as G# minor, because theloudest synth sound centres on a B (whichis the minor 3rd), but we’ll get to that...

2We’ll need an analogue-stylesynthesiser for the first part with atleast one oscillator, two assignable

LFOs and a low-pass filter. Steinberg’sRetrologue – free with Cubase 6.5 upwards– fits the bill, but you can follow alongwith your weapon of choice. Draw in G#3notes on every beat, now listen carefullyand adjust the Amplifier envelope’s Attackslider to give that pumping, sidechain-compression-like effect. About 1000msshould do the job.

3 Now on the modulation matrix, wewant to set LFO1 to control Pitchby -12 semitones (an octave).

Activate Sync on the LFO and then set theRate to 1/16. Similarly, we’ll use thematrix to set LFO2 to control the filter’sCutoff by the maximum possible. Again,we’ll need to set the Rate to Sync at 1/16,but this time set LFO2’s waveform to a

sawtooth to attain that sharp, choppingmotion. The filter shape should be LP6and the cutoff knob should be reduceduntil the sound is tight – about 500Hzworks on Retrologue. The final stage isreally important. Set the pitchbend uprange to +12 semitones. Later we’ll berelying on the pitchbend controller to turnthe single-note pumping into somethingthat more resembles 818’s riff.

4With the first patch in place, openan additional instance of yourchosen synth and copy the MIDI

part from the previous instance on to it.Again, set the Amplifier envelope A sliderto about 1000ms to fake that pumpingcompression effect. This time, however,we’ll need a Pulse waveform for Osc 1,with its width set to about 45%. Closer to50% sounds too plain and obviouslysquare-based, whereas much lower startsto sound too thin. In the modulationmatrix, set entries for LFO1 to control thefilter’s Cutoff by the maximum amountand also the Pitch by about -1.5semitones. Activate LFO1’s tempo Sync,set the waveform to a sawtooth again, andincrease the Rate to 1/16. This part willhave to reach up much further with itspitch, so we’ll set the Pitchbend up rangeto +15, which lands on that high B (theminor 3rd interval mentioned earlier).

5 To complete the illusion, we’llneed to brighten up the two synthsand separate them in the stereo

field. Rather than using an EQ and apanner separately, Wolfgang seems to havea habit of giving his parts separate EQcurves for the left and right channels. Wecan approximate this effect by shelvingabout +6dB at about 2kHz on each of thesynths, on opposing channels. The secondsynth part could also do with a low-pass atabout 14kHz but this should be applied tothe whole stereo signal.

In many people’s estimations, 818 is one of thestandout tracks on Gartner’s debut album,Weekend In America. The bulk of it is basedaround a sparse drum mix and a couple ofpumping synth patches firing in rapid 16thsequences. We’ll be focusing on the synthsounds, which are full of life and character. Itsounds like there’s some sidechain compressiongoing on, but for the sake of simplicity we’regoing to emulate this effect with envelopes.Underpinning these synths is a heavily processedRoland TR-808 bass drum, with a verypronounced, saturated attack. We can also hearprocessed bursts of white noise, a single pianochord and more electronic drum machinesamples including the ride, clap and snaresounds from a Roland TR-909. It’s the incidentalnoises that make this type of track work…

wolfgangGartner,818

Reviews | BestServiceGalaxyX

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t he word ‘convolution’ usuallyprompts thoughts of reverbsand impulse responses.However, the creation of one

file that can morph with anotherneedn’t be limited to reverbs, and analternative version of this science isat the heart of Galaxy X, a new‘Engine’-powered instrument fromBest Service. It uses convolutiontechnology to allow a wide collectionof sound sources to be warped by an‘X-File’ modulation waveform toproduce hybrid, varied results.

Triple crownThe full version of Galaxy X representsthree libraries rolled into one, witheach installing from its own DVD.Accordingly, when you first open theEngine Player, you’ll find separate FX,Keys and Loops libraries. Each featuresa series of sub-folders allowing you tohone your searches to relevant

instruments. The most eclectic is theLoops library which reminds me ofNI/Heavocity’s Evolve, with a rangeof loops mapped to each key in eachof the sub-folder categories.

You can load a patch name and,from one key to the next, be treated toa range of sonically-complementaryloops, ranging from minimalistunderscoring to full-on bombasticwarfare. All loops snap to the tempo ofyour host project but the GUI itselfplays a huge role in the process ofproducing such great sounds.

At the top, you’ll find up to threeinitial sound Sources per program,each with its own bypass and levelcontrols. Then, down the left-hand sideat the Pre-X stage, modules allow youto dial in effects and sound-shapingtools with Dirt providing distortion andbit-crushing, Pre-EQ controlling toneshaping and Contour allowing you toset a ‘treatment’ for the sound from a

list of choices, such as Heavy, ClickAttack and the irresistible Nuke. Belowthis, a real-time Beat Repeater isincluded, while the right-hand sidefeatures the Post-X section. Here youcan configure levels, automationparameters and the internal reverbsection, entitled Space.

This features a range of convolutionimpulse responses of real and unrealspaces, so it’s intuitive to tailor yoursound to an appropriate spatialtreatment. Below this are the Filter andColour sections for further tone control,before stereo treatments such asTremolo and Auto-Pan can be inflictedvia Rotate.

The joy of XAt the bottom, you’ll find the ace upGalaxy X’s sleeve, the ‘sonicconvolution’ control called X. Thisfeatures a waveform, called an X-File,which is mapped to the Mod Wheel sothat it can be progressively introduced.Next to this are further shapingcontrols for this ‘convolutionmodulation’ file including its size,timing and tuning, to name but three.The prominent ‘X’ in the centre of theGUI glows increasingly red as itseffect becomes more pronounced andto say this feature is a sounddesigner’s dream is no exaggeration, assuch a wide range of tones can beproduced here. The same Engine GUIis available to all three Galaxy Xlibraries which feature a greatcollection of fully-warpable soundeffects in the FX category and aslightly more conventional (at leastbefore you start warping) Keys libraryof keyboard instruments.

We can’t think of anotherinstrument quite like Galaxy X: itsapproach to convolution – not justproviding reverb algorithms butsound-shaping tools themselves – isunique. It’s hugely rewarding too, sobe sure to check it out.

BestServiceGalaxyX | £219Convolution means reverb, right? Not any more.Jono Buchanan gets all cross-modulated withBest Service’s brilliant Galaxy X…

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The Galaxy X is enormous fun,easy to use and capable ofunique sonic results.

WhAt iS it?Integrated system for FXconvolution in one virtualinstrument

cOntActBest Servicewww.bestservice.de

hiGhLiGhtS1 Unique sound-manipulation tool2 X-File takes theconvolution concept intonew domains3 Three libraries in one

SPecSComplete production kit:X-Keys, X-FX and X-Loops,1,000+ ready-to-playinstrument layers, 15GB ofsource sounds, 1,000+multi-sampled source keyinstruments, 5,000+ sourceloops, 2,000+ source effectsounds, 1,400 convolutionX-Files for completelyaltering the source sounds,easy dynamic use ofconvolution using the ModWheel, X-Eye for visualisingthe amount of convolution,Pre-X and Post-X effectsSystem Requirements:Mac: OS X 10.5, 10.6 and10.7, Intel Mac 1.8GHz,1GB RAMInterfaces: Standalone, AU,VST, RTAS (32-bit)PC: Windows XP, WindowsVista, Windows 7, 32-bitand 64-bit, Pentium/AthlonXP 3.0GHz, 1GB RAMInterfaces: Standalone,VST (32-bit and 64-bit),RTAS (32-bit)

INCLUDES AUDIOl Click Heavy, as such choices, of listBelow Nuke. irresistible the and Attack this, a real-time Beat Repeater is

side right-hand the while included, features the Post-X section. Here you

gure levels, automation can confireverb internal the and parameters

Space. entitled section,