Recording - December 2010 - 20

as they make for more interesting and less “loopy” tracks. Intros, fills, grooves and variations, are all neatly and consistently labeled. When you buy any of the first three volumes, you’re given access to a download of 354 individual single-hit samples of the kit used to create them. Volumes XV and XVI especially are meant to go together; XV has sets at 60, 80 and 120 BPM, and XVI has sets at 50, 80, 100, and 160 BPM. The 80 BPM material on the two volumes is different and there’s no overlap; recorded at the same sessions, there was simply too much of it for only one volume, so it was divided up over the two for space reasons. Apparent “holes” in the file numbering for these sessions vanish when they’re combined in one folder. These are straightforward rock grooves with a lot of variety, recorded and edited cleanly on a solid kit with a little bit of room ambience (but not so much that the drums can’t mesh with other tracks in a mix). Volume XVII, “Signature Rock Grooves”, has a different format than the previous two; it has a dozen sets of drum tracks, each one named to hint at a famous rock song whose overall sound and style is emulated. Examples include “When the Led Breaks”, “LaGranZZ”, “Hot4Teach”, and “Highway To Heck”. These are great fun! They’re not exact copies of the originals, but evoke the feel and style in a way that will connect to listeners on a deep level. Volume XVIII is called “Piccolo Grooves” and features the same kit as above but with one substitution: a 13” x 3” steel piccolo snare, with a snappy, aggressive tone that really cuts through a mix. 60, 80, 100, 120, and 140 BPM groove folders are provided. I like the in-your-face attitude the piccolo gives these loops, and this library not only has more loops than the others but also features a folder of 264 single-hit samples right on the CD-ROM, not only of the snare but the other elements of the kit. I consider this library my favorite. But they’re all winners. Christian Donlon has again produced clean, useful, no-nonsense drum libraries that any rock producer can get into. At these prices, why not pick up a couple and take your drummerless productions to the next level?—MM Line 6 FBV MkII Pedalboards FBV Shortboard MkII, $199; FBV Express MkII, $99; www.line6.com I am seeing more computer-control music products that make sensible use of existing frameworks; instead of trying to reinvent the wheel and come up with their own “clever” (read: proprietary and exclusive) control schemes, they provide ways to make use of control capabilities that are already there in the systems they’re being added to. What’s even better is a device that can do both—be proprietary when that makes sense, and be seamlessly interoperable when that makes sense. That’s why Line 6’s FBV MkII pedalboard controllers are such a treat. There are two models, the FBV Shortboard MkII and the FBV Express MkII. Their construction quality is similar: solid metal chassis, smooth pedals, sturdy switches (each with its own on/off LED), built

to take a beating. The Shortboard has 14 switches and one or two pedals (there’s a 1/4" rear panel jack for an optional expression pedal), and the Express has five switches and one pedal. On both units, the last switch is hidden under the toe of the pedal; you push down hard to press it, and it sends a control message of its own (if desired) while also switching the pedal between two possible functions, your currently-active choice indicated with an LED. What makes these pedals exceptionally handy is that they can serve double duty. With an Ethernet cable hooked up to the RJ-45 connector on the back, they can communicate directly with Line 6 effects and amp hardware, with front-panel markings for the controls indicating functions that can now be controlled with your feet—amp channel switching, effects selection, tempo tap, volume/wah/”tweak” pedals, etc. The Shortboard, when added to a tabletop or rackmount POD X3, turns it effectively into the POD X3 Live pedal multieffector I reviewed in our January 2010 issue. However, if you use a USB connection instead, these pedalboards become generic MIDI control devices usable by any DAW with a MIDI Learn function. Check out the screenshot for the free FBV Control application for Mac OS X (10.4.11+) or Windows (XP/Vista/7); you can set each control to a particular message type, set switches to momentary or toggle action, and customize parameter ranges. In the screenshot example, I have set up four “piano pedals” for Modartt Pianoteq and some toggled functions for IK Multimedia SampleTron. Note the highlighted switch that has its on and off values restricted to a narrow range, so the effect I’m controlling (in this case, SampleTron reverb amount) switches between “mostly off” and “mostly on” rather than fully dry and wet.

20

RECORDING DECEMBER 2010


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Table of Contents for the Digital Edition of Recording - December 2010

Recording - December 2010
Fade In
Contents
Talkback
Recording’s 2010 Holiday Gift Guide
Theme Music for TV—A Production Report
Royer Labs R-101 Ribbon Microphone
Recording SFX—A Career Option?
Primacoustic IsoTools
Avenson Audio IsoDI
Getting Your Music Heard In Today’sCommercial Culture
Preview: Yamaha AvantGrand
It’s Your Music—Know Your Rights.Chapter 9: Trademark Basics
Sonoma Wire Works GuitarJack Model 1and FourTrack 4.0.1
Readers' Tapes
Advertiser Index
Fade Out
Recording - December 2010 - Recording - December 2010
Recording - December 2010 - Cover2
Recording - December 2010 - 1
Recording - December 2010 - Fade In
Recording - December 2010 - 3
Recording - December 2010 - Contents
Recording - December 2010 - 5
Recording - December 2010 - Talkback
Recording - December 2010 - 7
Recording - December 2010 - Recording’s 2010 Holiday Gift Guide
Recording - December 2010 - 9
Recording - December 2010 - 10
Recording - December 2010 - 11
Recording - December 2010 - 12
Recording - December 2010 - 13
Recording - December 2010 - 14
Recording - December 2010 - 15
Recording - December 2010 - 16
Recording - December 2010 - 17
Recording - December 2010 - 18
Recording - December 2010 - 19
Recording - December 2010 - 20
Recording - December 2010 - 21
Recording - December 2010 - 22
Recording - December 2010 - 23
Recording - December 2010 - 24
Recording - December 2010 - 25
Recording - December 2010 - 26
Recording - December 2010 - 27
Recording - December 2010 - 28
Recording - December 2010 - 29
Recording - December 2010 - 30
Recording - December 2010 - 31
Recording - December 2010 - 32
Recording - December 2010 - 33
Recording - December 2010 - Theme Music for TV—A Production Report
Recording - December 2010 - 35
Recording - December 2010 - 36
Recording - December 2010 - 37
Recording - December 2010 - 38
Recording - December 2010 - 39
Recording - December 2010 - Royer Labs R-101 Ribbon Microphone
Recording - December 2010 - 41
Recording - December 2010 - Recording SFX—A Career Option?
Recording - December 2010 - 43
Recording - December 2010 - Primacoustic IsoTools
Recording - December 2010 - 45
Recording - December 2010 - Avenson Audio IsoDI
Recording - December 2010 - 47
Recording - December 2010 - Getting Your Music Heard In Today’sCommercial Culture
Recording - December 2010 - 49
Recording - December 2010 - 50
Recording - December 2010 - 51
Recording - December 2010 - 52
Recording - December 2010 - 53
Recording - December 2010 - 54
Recording - December 2010 - 55
Recording - December 2010 - Preview: Yamaha AvantGrand
Recording - December 2010 - 57
Recording - December 2010 - It’s Your Music—Know Your Rights.Chapter 9: Trademark Basics
Recording - December 2010 - 59
Recording - December 2010 - 60
Recording - December 2010 - 61
Recording - December 2010 - Sonoma Wire Works GuitarJack Model 1and FourTrack 4.0.1
Recording - December 2010 - 63
Recording - December 2010 - Readers' Tapes
Recording - December 2010 - Advertiser Index
Recording - December 2010 - 66
Recording - December 2010 - 67
Recording - December 2010 - 68
Recording - December 2010 - 69
Recording - December 2010 - 70
Recording - December 2010 - 71
Recording - December 2010 - Fade Out
Recording - December 2010 - Cover3
Recording - December 2010 - Cover4
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