ISSUE 7 Credits EDITOR Roberta Pia 0131 229 8227 roberta@reddogmusic.co.uk DEPUTY EDITOR Alex Marten 0131 229 8227 alex@reddogmusic.co.uk CHIEF WRITER Roberta Pia STAFF PHOTOGRAPHER Andy McKay (Purrrfect Photography) CONTRIBUTORS Kirsten Adamson, Signe Akmenkalne, Will Baker, Garry Boyle, Martyn Hopkins, Phil Hopwood, William MacConnachie, Craig Ross, Graeme Urquhart, Rod Vaughan, Punit Yaatri. Shop Photographs DN Anderson www.dnanderson.co.uk ADVERTISING Roberta Pia 0131 229 8227 If you would like to advertise in The Dog, please email marketing@reddogmusic.co.uk Front cover ILLUSTRATION The 16K Design Works DESIGN & ART DIRECTION The 16K Design Works 0131 661 3737 info@16kdesign.com www.16kdesign.com PRINT Cocoa Creative Consultants 0800 644 0646 info@cocoadesign.co.uk www.cocoadesign.co.uk CONTACT Red Dog Music 1 Grassmarket, Edinburgh EH1 2HY 0131 229 8211 info@reddogmusic.co.uk www.reddogmusic.co.uk
SUMMER 2012 THE DOG 3
DOG EDITORIAL top DOGS REDDOGMUSIC PRESENTS THE
REDDOGMUSIC’s
What’s on the Red Dog Music stereo this Issue
Hiya pals!
Hall & Oates ‘You Make My Dreams Come True’
Did you know...?
There are seven wonders of the ancient world. There are seven continents in the world. There are seven colours of the rainbow. There are seven days in a week. There are seven basic musical notes. And this is the seventh issue of The Dog...
S
ome people say that the number seven is a lucky number. The Pythagoreans called it the perfect number. According to Harry Potter, it’s the most powerful number of all. Here at Red Dog Music HQ, we reckon it’s a pretty special number because it brought us an interview
“According to Harry Potter, it’s the most powerful number of all” with formidable techno-heads, Black Dog – a very rare occurrence indeed. They’ve provided us with some pretty entertaining reading material so flick to page 7 if you want some intelligent, yet witty insight into the deep, dark realms of techno-addled minds. In addition to this; we got some helpful tips from the studio on how to
4 THE DOG SUMMER 2012
record electric guitar, we took a magical mystery tour down the long and winding road of Roland’s vintage synth history, the Red Dog Music team have picked their favourite products for you to drool over (watch you don’t get any on the magazine though, it’s not drool-proof) AND your ever faithful Dog Evangelist has taken a little time out of her day to gush about her musical heroes, The Prodigy.
The three Ms: moustaches, mullets & major keys. What could go wrong?
Mi Ancla ‘Mindy Gledhill’ A winsome song of anxiousness, longing and hope. Sung in Spanish with lyrics that sound like kisses.
Sean Hayes ‘Alabama Chicken’ It’s f***ing brilliant. End of.
Simian Mobile Disco ‘A Species Out of Control’ Bleeps, blops, twings, zargs and doofs with an educated groove.
John Williams ‘Jurassic Park’ Theme TUNE No explanation necessary. Emphasis on tune.
Please Note: We’re not saying that 7 is, in fact, a magic number. We’re just saying it might be!
Check ou
r blog at.
blog.redd
..
ogmusic .co.uk
SUMMER 2012 THE DOG 5
Over the years, The Black Dog has been through many incarnations and, of late, the sound seems to have taken a darker Techno edge (no complaints). Apart from Ken himself, would you say there’s much of the original DNA still there? Interview by Graeme Urquhart and Roberta Pia
Temple Of Transparent Balls
“ We don’t want to stand still and produce the same thing over and over and over again.” 1993 (General Production Recordings)
Bytes 1993 (Warp Records)
Spanners 1995 (Warp Records)
6 THE DOG SUMMER 2012
I
n 23 years, we’ve only been through 4 incarnations which isn’t a lot for a band, or a collective - and the current one is 10+ years old. So, we wouldnt say it’s “many” at all. As artists, we don’t want to stand still and produce the same thing over and over and over again. Why anybody would want to do that is beyond us. As for the original DNA? Well, the DIY ethic, which was present at day one of TBD, is still there. And at the very core of the band, there is still a deep love for techno, shamanism, cyberspace, magick, the beautiful, and the bizarre. The faces may have changed over the years, but the motivation to “make the events occur that we want to occur” has always
SUMMER 2012 THE DOG 7
THE BLACK DOG been the same. To us, there are definite threads of continuity. We don’t doubt that some people have been put off by the new sound and the harder edge. No disrespect to them but, as we said above, we’re not about doing the same thing forever and ever and ever. • With 3 people in a studio writing sequenced music, I imagine it could get a bit cramped around the sequencer, how do you cope with this? (ie. please describe your writing process a bit). Not really. We have 7 machines in the studio, as well as machines in our homes. When Ken is offgrid, travelling, we use the internet. So it’s never been a problem. There’s no fixed process for writing, we just go with the ideas in our head, and build it up from there. There’s no magic formula, musical roles, or set way of working. Sorry. • How would you say the Techno scene compares to what it was 10-15 years ago? We don’t think it really matters. They were great times, but the past is spent. We enjoy the time we are in and what’s coming. Constant references to, and reverential treatment of the past can be a little boring and rose-tinted. Twenty years ago, it cost £1000 for a SCSI hard disk. Now, you can get a terabyte for less than £100. These are great times to be making Techno. More softsynths than you can ever use! Yes, of course, we feel for the bands, magazines, clubs, festivals and events that have folded and withered as the scene has shrunk and withdrawn from the gaze of media attention. But, as we said above, we’re not living in the past. • Apart from yourselves, of course, who do you feel is making the best impact in the Electronic/Techno scene at the moment? Ha, flatterer! It’s kind of you to say it, but we don’t consider ourselves “best”. We do what we do and people can like it or lump it. Uncompromising to our very last breath. There are lots of artists whose work we admire. And for many different reasons. But right now, we are enjoying Perc, Sigha, Shifted and Blawan. Roland
TB303
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THE BLACK DOG
• Most Techno seems to be predominantly “minimal” sounding nowadays. While this seems to have had a positive effect on the sound quality of a lot of it, do you feel that in some ways this has led to “the baby being thrown out with the bathwater” (ie. clean but bland)? We know what you mean, we often joke that the top 20 of BeatPort all
“ These are great times to be making Techno.” sound exactly the same. But, in fairness, techno thrives on the dancefloor, which is where stripped down electronic music works extremely well. The gap between the disparate strands of techno has increased over the years, virtually to the point that “listening techno” and “minimal techno” have become seperate genres in their own right. • A bunch of Techno folk seem to have gone all Dubstep, should we expect the same from The Black Dog?
Music For Adverts (And Short Films) 1996 (Warp Records)
Silenced 2005 (Dust Science Recordings)
Radio Scarecrow 2008 (Soma Quality Recordings)
Further Vexations 2009 (Soma Quality Recordings)
If switching over from techno to dubstep is making them happy, all well and good. We won’t be wagging any fingers. We’ve been interested in, and messing around with dubstep beats for a number of years now and I’d hope that people wouldn’t accuse us of being bandwagon jumpers. That said, we won’t be “going all dubstep” any time soon. No one genre is going to enslave us. • As with the majority of electronic acts nowadays, your live sets seem to be generally laptop based Ableton Live, I presume - and while this is totally understandable for various reasons (portability, keeping beer out of your 303, etc.), do you miss purpose-built
musical hardware other than controllers when performing? Not really. It was stressful and expensive to transport it, and you’d always be wondering if it would work when you got there. Did somebody remember to bring all the midi leads? It was a logistical nightmare. And I’ve permanently damaged my lower back muscles from lugging the OB8 and DX7 in and out of venues. Nowadays, my home studio consists of an iPad and a Samsung laptop for HDD recording. Our Roland gear - the 808, 909, 303, 202 & 101 - will forever be in our hearts, and I recall with great fondness the times we used to tweak them in front of a live audience. But I’m really enjoying the experience of being portable now. • If it doesn’t exist already, what would your ideal piece of music gear be like? A thought-to-midi input controller which doubles as a pocket pussy.
“ I’m really enjoying the experience of being portable now.”
BLACK DOG’S
ROLAND ROUND-UP Roland
SH101
Roland
MC202
•
Roland
TR 808
Roland
TR 909
Desert island tracks? It’s 2012. You can put everything onto an iPod and use a solar panel to charge it. That way, you’ll have access to your entire music collection, and won’t have to diddle about selecting individual tracks. However great the song is, you would get sick of hearing the same one for weeks, months and years.
Check out www.roland.co.uk for a closer look...
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THE BLACK DOG
Humanity’s technological prowess has moved way beyond the windup gramophone and 78rpm record. • Detroit or Berlin? They both have their merits, but Sheffield does it for us. • There are a lot of occult references in your titles; do you think The Great Beast, Aleister Crowley, darned his socks? Unlikely. The only needles he mentions are syringes. He probably got his scarlet women to do it. When he wasn’t f***ing them up the a**e and ruining their lives. • According to Wikipedia, the black dog is “often said to be associated with the Devil, and its appearance [is] regarded as a portent of death”. Are you associated with the Devil, and is your appearance a portent of death? A lot of superstition and folk fears spring from Cynophobia. The particular manifestation, of the archetype which you speak of, was a large beast with glowing red eyes, whose appearance foretold of a death in the family, or village, of the person that saw (or felt) its breath. It’s still seen in some parts of Devon and Dorset. There was another historical variant that scratched at church doors and scared the faithful within. Over the years, these images have been applied to all supernatural black dogs, malignant or benign. The medieval dogmatic mind has no other frame of reference, than to label them all as demonic. • Do you have, or have you ever had, a black dog as a pet? If so, did it like listening to techno? If so, what kind of techno did it like best? Yeah, Ken has a black labrador who likes watching speaker cones vibrate. But, Soulfly and Lightning Bolt are his favourite bands. iPad and Ableton Live
• Your first full length album was released on Warp Records, which other Warp artists do you rate? Rob Hall is a throughly nice human being but, to be honest, we don’t pay much attention to what Warp is doing these days. • Your Dadavistic Orchestra side project takes inspiration from Dada artists such as Man Ray and Salvador Dali. What is the square root of lobster? 4 crabsticks.
“ Techno thrives on the dancefloor. ”
Ov Mind, Ov Magick 2009 (Dust Science Recordings)
Music For Real Airports 2010 (Soma Quality Recordings)
Liber Dogma 2011 (Soma Quality Recordings)
• Tell us a funny Black Dog story. All the proud historic nations of Europe will surrender their independence and individuality to become part of a corrupt and inefficient bureaucratic super-state, where everybody will live happily ever after with a single currency unit called the “uro”. Or something. Sniff out The Black Dog on the world wide web at... www.theblackdogma.com
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REDDOG
PRODUCT
PICKS!
A few of the Red Dog Music staff take time out to tell us what they think are the coolest bits of gear in-store at the moment. Let’s meet them and find out what they think rawks...
Godin 5th Avenue Kingpin P90 Hollow Body Electric Guitar (Red Dog Price: £675)
Picked By:
Name:
Kirsten Top Tune... Cate Le Bon ‘Shoeing The Bones’ It’s a great song and deserves more views on YouTube. The video is weird; the guitar solo is cool... You’ll like it.
Alternative Recommendation Peerless Gigmaster Custom OR Peerless Tonemaster Custom
O
h My GODIN! With its gentle curvilinear hollow body and Godin’s custom polished black finish, it’s no wonder the 5th Avenue Kingpin P90 caught my eye. This classic 50’s archtop design wouldn’t have looked out of place in the hands of Elvis, with its tastefully
“plays like a dream and looks sexy too!”
and produces a greater end result. I LIKE! After much acoustic finger-picking and aesthetic admiration, I finally plugged it in and what a lovely sound it has. Going in to a Fender Deluxe with a little bit of reverb is a great combo for this guitar. It has a warm rich tone on the clean channel and the P-90 pick-up really crunched nicely with a bit of overdrive. It’s fullsounding and has a very evenly balanced tone. This guitar is the business. It’s versatile, plays like a dream and looks sexy too! At just £675, it’s a steal for such a wonderful instrument. I (insert heart logo here) Godin.
designed chrome tailpiece and tuning pegs, plus a black pick-guard to match the body... it’s hot stuff. It has a rosewood fingerboard and silver leaf maple neck that plays beautifully. It’s really lightweight too - just as well, as you’ll want to play this thing all day! The laminated wood top, back and sides are made of Canadian Wild Cherry and manufactured in Canada – as are all Godins, in fact, where they have SIX different factories spread out over 1000km. Why not just have one giant guitar factory? Well, Godin believe Buy online at that having smaller factories ogMusic.co.uk dD Re promotes a more intimate the and use code ‘dog2’ at working environment, which checkout to get 5% OFF gets everybody more involved your purchase or come into the shop for a demo!
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JMP1 Marshall Guitar Amplifiers (50th Anniversary 1970s Edition) (Red Dog Price: Valve Combo £589, Valve Head £519)
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hese JMP1 Marshall amps sound stunning when you plug a Les Paul in and turn them all the way up FULL. Because of their low wattage, you can make these wee beasts moan and squeal
tone that has more gain than the previous JTM1, along with its own unique preamp structure and rear panel gain boost switch, the JMP1 is ideal for everything from big rhythm to searing lead for fans of 1970s rock. The JMP-1H head and JMP-1C 1 x 10” combo are all-valve 1-watt amps, specifically designed and voiced to produce the sound of Marshall products made in the 1970s. The Marshalls of this decade had a solid punchy mid, a tight bottom-end and an aggressive yet musical overdrive when “cranked”, making them the with beautiful Marshall encrusted signature sound of many of the 70s feedback, without blowing your roof most popular and influential artists. off. A perfect recording tool, or The JMP-1H and JMP-1C both alternatively you could try plugging use two ECC83 (12AX7) dual-triode one into a 4x12 - yowzerz! Plus they valves to shape the tone and gain look totally cool and retro too. structure in the preamp. The Class-A, Reflecting the second decade of parallel single-ended power-amp business - and a decade that will topology employs two ECC81 (12AT7) forever be remembered for its impact dual-triode valves to wring every last on rock music - the JMP1C is remidrop of harmonic magic from its cirniscent of 1970s Marshall amplifiers, cuit. The added bonus is that you most notably the JMP. Featuring a get that distinctive Super Lead tone but at the neighbourfriendly volume of 1-Watt. The additional attenuation offered by the Low Power button on your amps rear-panel drops the power even more, should you need to do so. These are certainly not the cheapest small valve amp on the market. However, you are getting a Buy online at RedDogMusic limited ‘Made in .c o.uk and use code England’ collectable ‘dog2’ at the checkout to ge - a timeless piece t 5% OFF your purchase of history from this or come into the shop legendary company. for
“you can make these wee beasts moan and squeal”
a demo!
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Picked By:
Name:
Phil
Top Tune... Soundhog ‘Whole Lotta Helter Skelter’ (The Beatles Vs. Led Zeppelin) Last week when I was doing one of the most boring jobs in the world (grouting the tiles in the bathroom) I put on Radio 6 and what I heard was something quite special; something that put a huge smile on my face and gave me a second wind to conquer my mundane task. Arguably the worlds two greatest Rock n Roll bands mashed together to create one of most beautifully energetic noises that I have heard in a long time. I’VE GOT BLISTERS ON MY FINGERS!
Alternative Recommendation Marshall JTM-1H and Marshall JTM-1C
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PICKS!
Markbass Minimark 150w Bass Amp Combo (Red Dog Price: £749)
Picked By:
Name:
Will
Top Tune... Charles Wright and the Watts 103rd Street Rhythm Band ‘Express Yourself’ Great bass line, great vocals, inspiring lyrics.
Alternative Recommendation Orange TB500C Terror
M
arkbass amps, now available in Scotland! Red Dog Music, to be more precise. Recently, we decided to start stocking these fantastic, funky bass amps and combos. The focus of this particular review is the Markbass Minimark, an ideal companion for any bass player looking for amazing tone in an ultra light package. The Minimark is about the size of two
“amazing tone in an ultra light package.”
the VLE function (Vintage Loudspeaker Emulator) that, when dialled in to around 2 o’clock - if you close your eyes - sounds like it could well be a 15 inch vintage Celestion you were hearing. The other main control is the VPF (Variable Pre-shape Filter); although there are no other EQ controls aside from these two, combinations of the pair enable a wide range of useable tones. I have been demonstrating this amp as much as I can - every eyebrow has been raised when this tiny unit causes the price tickets to rattle on all the acoustic guitars! Come in and hear it for yourself.
shoeboxes and not much heavier, to be honest. In fact, I can lift it with my little finger - a great feature for the city bassist relying on public transport. But how can a 100 watt combo of this size be any use? Answer: by almost breaking the rules of physics. The sound pressure levels this thing produces are awesome. The Minimark is MORE than capable of keeping up with most small ensemble gigs and sounds much fuller than its two 6 inch cones would suggest.. The amp can also power a separate cabinet Buy onlin and you have the option RedDogMusice at .co.uk and use code of turning the speakers of ‘dog checkout to ge 2’ at the the cabinet off if you just t 5% OFF your purchase want to hear the extenor co into the shop me sion cab. A nice feature is for a demo!
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Yamaha APX1200 Electro-Acoustic Guitar (Red Dog Price: £1115)
T
hree words: ridiculously-reliable, ridiculously-playable and ridiculously-lovely. As I’ve mentioned in previous reviews, I often wander out of the office to take a magical mystery tour through our acoustic guitar department. The Yamaha APX1200 caught my eye one day, mostly because of its simple, delicate appearance. I like the unique design of Yamaha guitars; they’re unlike most other acoustic guitars, so you can spot one from a mile off and, if you like their style, you’ll end up falling in love with them. Most people, when picking an acoustic guitar, wouldn’t immediately think to buy a Yamaha - I guess because they’re most famous for pianos, boats, motorbikes, etc... But when Yamaha make guitars, they
make them LIKE A BOSS. The APX1200 is my favourite of the APX range, simply because it feels like a dream to play. It’s so easy to get your hands around, making it the perfect guitar for the beginner who wants to invest in a guitar for life. It’s extremely versatile; so what-
“impossible to put down once you’ve picked it up”
ever your style - whether you’re an intricate-finger-picker or a punk-assstrummer – the APX1200 (or any of the APX range, for that matter) will get the job done and then some. The bonus of spending that little bit more on the 1200 model, is that it’ll last a lifetime, it sounds just that little bit better, and it looks lovely. If I hadn’t already bought my Takamine TAN15C, I’d certainly invest in this little beauty. In saying that; if I was looking for another guitar to keep my Takamine company, this would be the one - no doubt about it. It’s so comfortable and easy to play that it’s nigh on impossible to put it down once you’ve picked it up. In short, Buy online at the APX1200 is an absolute RedDogMusic.co.u dreamboat of an acoustic k and use code ‘dog2’ guitar – and we all know at the checkout to get 5% how good Yamaha are at OFF your purchase or com making boats... e into the shop for a demo!
18 THE DOG SUMMER 2012
Picked By:
Name:
Roberta Top Tune... The Roches ‘Hammond Song’ The first time I heard it, I was reduced to complete silence. It has this amazingly calming quality, must be something to do with the three-part harmonies. One of my favourite things to do is ask someone to shut their eyes, and then play them this song through a pair of good headphones. Every person that listens to it properly reacts the same way. It’s one of these songs that shuts you up and humbles you and all you’ll be able to say afterwards is, “woah dude.”
Alternative Recommendation Takamine ETN30C FXC
P R O D U CT
R E D D OG
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PICKS!
PIC
BOSS BR80 Multitrack Recorder
sE Electronics sE2200A mk1 Condenser Microphone
(Red Dog Price: £225)
A
s summer approaches and the weather improves, I want to get outside more. I want to spend nice days in the park or, better still, in a beer garden. This presents a problem to me as I love writing and making music; however, the recording part of this is usually an indoor pursuit. There are iPads, smart phones and field recorders available, and they’re great for getting ideas down, but if I want to record and produce to a high quality with multiple tracks on the go, then what is there? The answer is the Boss BR80 portable recorder. This tiny but powerful box of tricks is a portable multi-track recorder which allows you to record up to 8 tracks on top of each other - but there is a lot more to this than meets the eye. It operates in 3 main modes: MTR (multi-track recorder), Live Rec and eBand. Let’s look at each of these in turn... Multitrack mode (MTR) is an 8 track recorder. All you have to do is
fire your guitar, mic or anything else through the input and hit record! Built in are loads of pro quality Boss guitar, vocal and mix effects, so you can enhance your sound wherever you are. In addition to these features, there is also a drum machine with over 300 patterns for instant rhythm.
“enhance your sound wherever you are” Live Rec mode reboots the machine into a portable field recorder and the exceptional built in mics give absolutely crystal clear stereo recordings. And last but not least, eBand mode is a powerful practice tool with loads of built-in tunes to play along with AND the option to import your favourite song and slow it down so you can learn faster. If you want a portable, fun and powerful recorder for all seasons, look no further than the BR80!
Picked By:
(Red Dog Price: £119)
Picked By:
Name:
Dave G Top Tune... The Melvins ‘A History of Bad Men’ Epic, Filthy, Heavy, chunky, Joy. Ooooooft!
Name:
Alex
Top Tune... Si Begg ‘The Bleeps’ Old Skool 90’s acid rave updated for the dubstep generation. Have it. Have it large.
Buy onlin
RedDogMusice at .co.uk and use code ‘dog checkout to ge 2’ at the t 5% OFF your purchase or co into the shop me for a demo!
20 THE DOG SUMMER 2012
Alternative Recommendation Zoom R8 Multitrack Recorder and Interface
Alternative Recommendation Roland DR80C Condenser Mic
T
he sE2200A mk1 is our best-selling studio condenser microphone. It’s a simple, classic, large diaphragm condenser mic, manufactered by microphone connoisseurs, sE Electronics. The SE2200A mk1 has been used on a plethora of hit albums so, I think that means it’s pretty good.
“not only does it look cool, it’ll make you sound AMAZING.”
The sE2200A mk1 draws on and improves the fantastic features that won the original sE2200 a plethora of awards across the board. It has since become an industry standard and is used in tudios and bedrooms around the world. This mic is ideal for either vocal or instrumental recording, making it an extremely versatile studio microphone. With its improved design and cosmetics, you can now have all the versatility of the original sE2200, only with much better performance, at a ridiculously ow price. We know what you’re thinking – BARGAIN. Come in and try it for yourself.
This particular model – the mk1 - has a low cut filter, 10dB pad and comes complete with a rugged aluminium shock mount. The metal body has a matte-silver metal plate finish so it looks and feels nice and slick. The base unscrews to provide easy access for either servicing, or for just for exploring how the thing works and the grille design offers excellent physical protection of the capsule without affecting the Buy online at acoustic space around it. So, RedDogMusic.co.u not only does it look cool, it’ll k and use code ‘dog2’ at the make you sound AMAZING. checkout to get 5% OFF your purchase or com e into the shop for a demo!
SUMMER 2012 THE DOG 21
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Go-Go-Gadget!
IK Multimedia iRig Mic Prepare for the future: this is a handheld microphone that’s designed for use with your iPhone, iPod Touch and iPad. So, if you need to record some vocals, using an app on your iOS device, this unidirectional condenser-electret mic (bit of a mouthful, but that means it’s good) will make the job a walk in the park. Whether you want to record yourself singing, rapping or you just want to record a speech that you prepared earlier; the iRig Mic is here to help you get the best sound possible. It’s rugged, durable and very easy to set up – just plug it straight into your device and you’re good to go. ABC, it’s easy as do-re-mi.
Fender Gig Stand A modern-design and very simple to use fold-up guitar stand from Fender. Designed to prop up most electric guitars but remains compact, portable, durable and very lightweight. In fact, it’s SO lightweight; it could fit easily into your back pocket - exactly what every guitarist will be pining after when they’re on the road. It unfolds in seconds, weighs just a little over your average guitar cable and, as guitar stands go, it looks pretty cool. In fact, if James Bond used a guitar stand,we reckon he’d use the Fender Gig Stand.
22 THE DOG SUMMER 2012
Levy’s Guitar Strap I never thought I’d be extolling the virtues of a humble guitar strap but this MS-26 Levy’s guitar strap is just so good I’ve got to tell someone. Mine comes in a subtle shade of faded green and is constructed from two separate layers of suede, stitched together. It features the tried and tested, two-piece loop-in/loop-out design so
there are no uncomfortable or unsightly buckles to get in the way. In its unadjusted form, the strap has my guitar sitting just where I want it, but its length can be adjusted by altering the number of loops. Best of all, the suede is nonslip so your guitar doesn’t slide away from you, even if you jump around mid-solo.
Music Nomad: ‘The Guitar ONE’ Korg Monotron Delay As with the original Monotron, this is a little monster of an analogue synth. Featuring the same filter that was originally introduced by the legendary Korg MS10 & MS20, it has all the same whack and attitude, but in a smaller, more portable unit. The Monotron Delay does what it says on the tin – it includes Space Delay, so you can bash out some lovely analog-style echoes, as well as a new LFO (Low Frequency Oscillator) feature, so you can modulate your pitch, either with the traditional triangle or the new square waveshape. It also features an aux input jack, so you can stick delay on any audio source you like and in-built speakers for making tunes on the go.
If you want your guitar to remain sparkly clean, look no further than The Guitar One from Music Nomad. It’s an allin-one guitar cleaner that is designed to look after your guitar and keep it looking shiny new for longer. It cleans, polishes, waxes and protects with a specially designed formula that includes white Brazilian carnauba wax that creates a shield for your beloved axe and will make it look almost brand new again. It also features a UV Protectant so you can sit out in the sun at festivals for longer, serenading the masses. It’s also biodegradable, smells great AND every bottle bought contributes money towards helping independent musicians through MusicNomad.com… It’s a no-brainer.
Godin Guitars
presents
presents
We’re very proud to announce our new range of Godin guitars. After speaking to a few of the Red Dog Music team, we’ve deduced that musicians love Godin guitars for the following reasons: 1. They’re built in Canada. 2. They’re made with exceptionally good materials. 3. They play beautifully. 4. They’re a slightly more unusual version of a Fender or Gibson. 5. They’re lovely guitars.
“Rock machines to the Core”
“the perfect vintage style guitar” The 5th Avenue Series (Between £600 and £900)
The Core ies Seeenr £700 and £900) (Betw
particular Rock machines to the Core – this amongst series will no doubt cause a stir )board. Each guitar rawkers across the (fret d mahogany bere cham re featu rs guita of these y set necks, ogan mah , tops le bodies with map rds and fully 24 ¾” scale, rosewood fingerboa bridges by adjustable wraparound Resomax y. blime Core h. Graphtec
24 THE DOG SUMMER 2012
This range of Godin guitars takes us back to the good old days, when archtop acoustic guitars were the cream of the crop. The 5th Avenue Series takes the soul of a 1950s archtop guitar and combines it with today’s playability to create the perfect vintage style guitar. With more projection & volume in the low/mids than traditional archtop acoustic guitars, the voluptuous tone makes these gorgeous instruments an absolute dream to play without being a financial nightmare.
SUMMER 2012 THE DOG 25
presents
“they’re almost too good to be true” The Session Series (Between £600 and £700)
If blues, rock and country music rocks your socks off, Godin‘s Session Series guitars will tick all the boxes and then some. Featuring a classic electric guitar style with Godin’s signature unique twist, in the shape of a very affordable instrument – they’re almost too good to be true. The Session features a rock maple neck with rosewood or maple fingerboard, Canadian Laurentian Basswood body, 2x Godin GS-1 single-coils housed in a vintage white pickguard and a Godin humbucker in the bridge, along with a 5-way switch, 1x volume and 1x push/pull tone knob that splits the humbucker. Tasty guitars indeed.
26 THE DOG SUMMER 2012
composing this music. I became inspired by the potential to use this music to help others with Autism and also to explore the immense power of music as a valuable therapeutic tool.” Since that time there have been an increasing number of similar breakthroughs as a result of people listening to BrainHeart Music.
SP T
“MY life WAS suddenly changed as a result of composing this music.”
L I GHT so me Sheddi ng light on of our favourite musica l thi ngs ...
BRAINHEART MUSIC After witnessing a silent, 4 yearold autistic boy speak again after listening to his music, Punit Yaatri decided to focus all of his musical energies on this, under the moniker BrainHeart Music. Below, he tells us how he discovered the secret to curing people with specific conditions and illnesses through the art of music. Prepare to be amazed.
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What is ‘BrainHeart Music’?
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rainHeart Music is the creation of Edinburghbased composer, Punit Yaatri. It is specialised therapeutic music that has the ability to synchronise the electrical activity of the brain and heart (a physiological state known as coherence) which leads to enhanced health. In 2006, Punit personally witnessed the powerful effect of his music when it enabled a completely silent 4 yearold autistic boy to speak for the very first time in his life. This discovery was a complete surprise to Punit who had originally composed this music, an album called ‘STAR’, as a result of a profound spiritual experience that came to him out of the blue. Physicists in France & Holland found out about this
story and decided to test the effects of ‘STAR’ using brainwave and heart monitoring technology (EEG & ECG). Their exact words to
“everybody can benefit from the power within music.” Punit were, “What you claim your music to be, Brain-Heart music, is absolutely correct... within seconds of your music being played we observed the electrical activity of the Brain and Heart link up.” Punit says, “My life was suddenly and unexpectedly changed as a result of
These have included a 21 year-old severely autistic boy who began communicating with his mother for the first time in 18 years; a middle-aged man who has suffered all his life with insomnia who now no longer needs sleeping tablets to achieve deep sleep and the latest documented effect has been with an 87 year-old man suffering from Alzheimer’s & Dementia. This case study has shown some remarkable effects of the use of this music which has basically reconnected this man with his family having previously been “lost” to the illness. This is in addition to a significant reduction in the amount of sedatives and tranquilisers being needed to control his symptoms of disorientation and anxiety. Although this case study is in the early stages of research, the obvious relief to his family of having their father returned to them is unquestionable. When asked about how BrainHeart Music works, composer Punit Yaatri said,” What I’ve discovered from the many varied testimonials that I’ve received over the past few years is that there is something very unique that distinguishes BrainHeart Music from other therapeutic music. BrainHeart Music is not merely relaxation music. It is evident that the music
is working in a profound way and one that has a deeply transforming quality within it.” Punit says that he is aware that these effects cannot be fully explained as yet. He added, “I never set out to create transformational music but that has been one of the most amazing discoveries about the music I compose. It is inspired music and it happens very spontaneously. The music calls me. Something definitely happens during the process I go through when a piece of music comes to me. I am generally inspired by a melody that then unfolds and expands into a symphonic piece which is then recorded. I‘m still fascinated by the profound effects that simply listening to this music can have on people and specific conditions and illnesses. I’m currently carrying out more research into these effects as I believe that everybody can benefit from the therapeutic power within music.” “I believe that Sound and Frequency are music technologies being used to shape the future of human experience. BrainHeart Music is on the frontier of new breakthroughs in ‘vibrational’ healthcare that will ensure the wellbeing of future generations to come.” cont...
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Shedding light of our fav on some musical thiourite ngs...
Success story!
BrainHeart Music & Autism C
laire Copland had never heard her 4 year-old autistic son, Callum, speak. Callum had been a lively baby but suddenly became a silent toddler who did not seem to like company and hated going to playgroup or being with other children.
“He wandered around with a kind of glazed look and he didn’t react to anything” Time passed and things didn’t improve. Claire recalls, “As well as not talking Callum didn’t understand anything you said to him. He wandered around with a kind of glazed look and he didn’t react to anything you said.” Claire and her partner David became more and more concerned about their wee boy. Claire then heard of a new form of music therapy called BrainHeart Music and decided to give it a try cont...
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SP HTT LIG
some light on Shedding favourite of our l things... musica
Success story!
cont... Afterall, what did she have to lose? Within hours of hearing this music, called BrainHeart Music, she heard her wee boy Callum speak for the very first time in his life. Claire beamed, “We can’t believe the effect this music has had. It’s like I’ve got my little boy back.”
“We can’t believe the effect this music has had. It’s like I’ve got my little boy back.” Claire took the BrainHeart Music CDs home and continued to play them to her son at night while he slept. The change in him was remarkable. She enthused, “Callum talks all the time and can’t wait to play with other children. He used to hate going into my friend’s houses but now he can’t get in there quick enough. The difference in him is amazing.” She added, “The other night he said he loved me. It was the best gift I’ve ever been given.”
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Latest breakthrough in 2012.
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nn’s father Tom was diagnosed with Alzheimer’s & Dementia in 2005. She was told by her father’s doctor that “no care home would have him” due to his high levels of anxiety, depression, anger, frustration and aggression. When she finally did manage to get him a place in a care home, he was constantly being sedated with tranquillisers to calm him. This sadly resulted in him deteriorating rapidly, losing weight and sleeping for sometimes 20 hours at a time. When he was awake, he was verbally and physically abusive to the care home staff. Whenever Ann came to visit her father, he would be asleep, heavily sedated. She was losing him and it was heartbreaking for her and her family. As a last resort she decided to give BrainHeart Music CDs, called ‘In The Company of Angels’, ‘STAR’ and ‘Archangel Symphony’ a try, after all, what did she have to lose?? What happened next was nothing short of miraculous. For 7 weeks BrainHeart Music CDs were played continuously to Ann’s father,
Tom. Immediately his aggression, frustration and anxiety vanished. One staff nurse commented how Tom’s face had even become “serene”. He began eating properly again and for the first time in 5 years, he showed affection towards his daughter Ann and even remembered his grandchildren! Most significantly, from the time the music was first played, Tom did not require ANY sedation or tranquillisers. Even his pain medication was dramatically reduced. Ann’s prayers had been answered…she was getting her father back.
“Immediately aggression, frustration and anxiety vanished.” So profound was the change in Tom that the manageress of the care home has now requested BrainHeart Music to be played continuously for all the residents in the home. Already she has seen how much more calm and peaceful the residents and staff have become. She is delighted. To find out more please visit: www.BrainHeartMusic.com
beyond
etro
The History Of Roland Synths
Roland’s new Jupiter-50 was unveiled at the Frankfurt Musikmesse in March and though it sits at the cutting-edge of new technology, it’s a synth that sits firmly in line with Roland’s synth philosophy and history.
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he Jupiter 50 is a streamlined version of last year’s flagship Jupiter-80 and both instruments fit neatly into Roland’s 40-year story of pioneering synthesizer development. As the Jupiter name suggests, these new synths are related to one of most iconic synth lines ever created – the genre-defining Jupiter-8. Using the most innovative analogue technologies of the time, the Jupiter-8 was released in 1981 and provided musicians with a rich palette of synth textures. Its reliability and ease of use on stage made it a go-to instrument for the electro crowd of the time. Its built-in arpeggiator and deep sonic potential satisfied the synth elite and awed countless Duran Duran fans. Now, not a lot of people know this, but the original desire was also to provide
acoustic sounds, but the limited technology of the day meant that this goal remained out of reach. This is where the Jupiter80 and new Jupiter-50 come in. Building on Roland’s original philosophy, they both deliver unparalleled expressiveness and sound creation capabilities. Packing Roland’s SuperNATURAL technology, both models are equipped with the detail and nuance to reproduce acoustic sounds to near perfection as well as the most powerful synthesizer sounds in Roland’s history. But to understand the future you need to look to the past. From its very first synth back in 1971, Roland has strived to deliver the best sounds and this musician-focussed philosophy has produced generations of classic synths and even inspired entire genres of music.
“they deliver unparalleled sound creation.”
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Here are some of the best...
Jupiter-4 Jupiter-8
SH-1000
1971
The History Of Roland Synths
1981
Unlike anything else, the Jupiter 8 had a split keyboard, oscillator sync, cross modulation and polyphonic portamento. Its broad sonic range meant the electro pop community quickly adopted it as their synth of choice, and it appeared on the roster of stadium-filling artists such as Duran Duran, Heaven 17 and Erasure. Its big, roomfilling sounds defined the pop-music of a generation.
Roland’s first synth was Japan’s first synth. The SH-1000 was strikingly different from contemporary modular Moog and ARP synths. Although it lacked the duophony, pressure sensitivity and the performance control of its rivals, it more than made up for it in sheer sonic character and personality.
1978
The Jupiter-4 was Roland’s first true polysynth, and showed how Roland wasn’t worried about following the competition. The Jupiter-4 had just a single Voltage Controlled Oscillator (VCO) per voice and it only had 10 presets. However, the trademark chorus and arpeggiator knocked spots off its rivals and acclaim quickly followed.
The SH-101
Juno-6
1982
1982
Proving that Roland was as stylish as it was advanced, the SH-101 ran on batteries and you could wear it! In a decade dominated by outlandish fashion, the SH-101 was designed for posing on stage. Bizarre hairstyle and makeup optional – and that was just for the guys.
The Juno-6 was the first Roland synth to use Digitally Controlled Oscillators (DCOs). Traditional VCOs were prone to detuning at high temperatures, leaving musicians bereft onstage – but the new DCOs were completely reliable.
System-100 1976 This beautiful semi-modular monophonic synth comprised five modular components, all built around the central Synthesizer 101 module – a self-contained mono-synth with tons of sliders and raw power. The System100 is an ultra-rare and much-coveted beast.
Midi
1983
The next innovation to come from the Roland camp was more substantial than a single synth. MIDI was the fruit of collaboration with Sequential Circuits, Yamaha and Korg. These manufacturers invented a uniform connectivity that would enable users to link synths made by any manufacturer.
JX-3P
1984
Roland’s first polysynth to feature a sequencer, the JX-3P was named after the three Ps: Programmability, Polyphony and Presets. It was followed by the JX-10 (1986), which was by far the most programmable synth of the time.
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The History Of Roland Synths
XP series workstation 1995 The XP-series were Roland’s first workstations. They were powerhouse keyboards capable of recreating hundreds of voices. With patches galore, they offered intricate sound creation. Six years later Roland would evolve the workstation range further still with the Fantom series. Essentially a mobile sample-based studio, the Fantom enables musicians to build and layer their own tracks on the fly.
The History Of Roland Synths
JD-800
The JD-800 combined digital precision with the look and feel of a top-of-the-range analogue synth. Teeming with knobs and sliders, musicians could once again enjoy the tactile thrill of creating new sounds, but with the confidence and control of digital synthesis. A return to the roots of synthesis.
V-Synth SH-201
2006
The SH-201 was a great-value synthesizer, offering quick, fun sound creation through its array of knobs and sliders. However it is the forensic level of sound creation that really set this apart. The SH-201 was Roland’s first hardware synth to offer VSTi integration and came with comprehensive editor/librarian software giving users easy access to hidden parameters, fitting neatly into computer-based studios.
1991
2003
Roland assembled its most advanced technology and crammed it all into the V-Synth. It offered a multi-sampling keyboard, real-time looping and tempo-warping. Among other features were PCM oscillators, user sampling, multi-effects and COSM processing. The V-Synth remains a force to be reckoned with to this day, in the guise of the second-generation V-Synth GT.
Gaia SH-01
Jupiter-80
2011
An absolute beast of a machine, combining monstrous analogue-modelling power with pristine, beguilinglyrealistic acoustic sounds underpinned by Roland’s SuperNATURAL technology and behaviour modelling. This is a Roland synth four decades in the making – play one and you’ll understand why.
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2010
Blending digitally-perfect sound with the simplicity of analogue controls, it easily passes for retro, but the concept is radically different. With generous polyphony and a versatile triple-core analogue modelling engine, the GAIA is an authentic, super-affordable synth.
SO
the Jupiter 50 might be the most recent synthesizer but it’s part of a rich history of innovation. Always focussed on usability and value, Roland has consistently delivered cutting edge performance and inspiring sounds at an affordable price.
R e c o r d i n g
There is a mind boggling array of different methods when it comes to capturing a full, bright and truly satisfying guitar tone... uitar amplifiers all vary significantly when it comes to the way in which they project sound and tone, as do the results from DI outputs found on most full-sized amps. Ultimately, there is no right or wrong just guidelines. So, get your funk on and do some experimenting.
G
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Recording ElectricGuitar
Recording ElectricGuitar efore even starting the miking up process, make sure that your amp isn’t pushed up hard against a wall so it has room to breathe and try to insulate it from the ground with a riser, chair, or empty crate. This can help to avoid your mic picking up any vibrations - especially if you want the amp cranked to the gigawatts! However, bear in mind that different amp heights will have different reflective audio properties in any given space. When setting up your amp for recording, ensure the tone controls and any effects are as you would like, and work well in the space you are recording. Space is KEY. Whatever you choose; remember, your amp doesn’t need to be at an ear punishing volume to capture the sound you want. Most studio sessions with guitar don’t involve an amp with the master at eleven, so you’ll have to achieve the sound you need with your recording technique.
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til you find the sound you’re after. Placement can have just as big an effect as the type of mic itself. To begin with, place the mic directly in front of the loudspeaker grill and in line with the centre of the speaker cone. This is the position in which you are most likely to capture all the amps top-end bite. As you move the mic towards the outer edge of the cone, you will lose the detail of the top end but be compensated with inc-reased warmth. You may also decide you need both a centred and off-centred mic so you can achieve the sound you want with a blend of the two! Let your ears choose your path.
“Most studio sessions with guitar don’t involve an amp with the master at eleven!”
First thing to do is try out a close miking position. Although most engineers would probably use a dynamic model you can use any type of microphone condenser, dynamic or ribbon. Just like amplifiers, mics of the same type can vary in characteristics across brands so if you have the option, try them all un-
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The next leg of the journey is the” far” or “ambient” mic. As with the close mic, you can use any type, but the engineer’s mic of choice would be the condenser. You can try any position you like in the space - even behind the amp if it is an open-backed model. Again, a centred position, about three feet in front of the cone, is a good starting point for capturing the detailed wails from your beloved axe. Using an ambient mic will give you a really full creamy tone – however, be aware that depending on the positioning, the recorded sound will give an impression of the space between the mic and amp, which might not be the sort of vibe you want!
inally, for those of you looking for an un-amped sound or fancy a wee bit of software modelling, there is the DI option. Even if you just want to record the untainted sound straight from you guitar, always use a DI if you can. The DI signal is an invaluable backup signal to record even if you think you are happy with the sound you get from miking. If you take your DI signal post stomp boxes, you’ll need a speaker simulator (either software or hardware) of some sort otherwise you will get a really grating sound as the output from guitar effects are designed to be amped. Most recording setups now have built in effects, compression, EQ and even virtual amp modelling and miking, so having a clean signal to begin with gives a lot of room for manoeuvre. DIs are great for stage and studio use, however, the average guitarist won’t
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own one and if you don’t, check your amp for a DI output. They key is to trust your ears and monitor the sound with headphones as you make tweaks. Where possible; record several signals (or as many as your recording device can handle at one time!) so that you have options when it comes to the mix. A combination of close mics, far mics, and DIs means that you’ll be spoilt for choice - and that’s before you even get to pann-ing, compression and any other post recording processes you might want to add. Guitarists are the first in line to rival sound engineers for fiddling with settings - just make sure you’re not stuck in the spare room ‘til Christmas!
“Where possible; record several signals.”
by William MacConnachie, (Swanfield Studios)
Who is William MacConnachie? With over 15 years of experience playing and recording guitar in, and for, various bands; and having escaped the world of Electronics Retail Management last year, I am now one of the “Swanfield Duo”. This involves being a recording/mix engineer, Technical Manager and getting stuck in with the day to day running of the Studio. Having had a part in most Studio sessions in the last 12 months, I have carved out a reputation as Swanfield’s inhouse “Guitar Guru”.
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DigitalJones Digital Jones are a live electronic band who lean heavily towards the impure They combine driving programmed beats with fierce
live drums and coarse, growling bass lines; all of which sit eagerly underneath emotion-laden vocals and beautful, soaring trumpet lines. Digital Jones create a musical atmosphere that is simply perfect for the dancefloor.
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DIGITAL JONES
DIGITAL JONES
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WHAT’S YOUR FAVOURITE TRACK OFF YOUR ALBUM ‘CLICK CLACK’ AND WHY?
It’s a toughie but probably ‘Time’. It’s a really good representation of our sound and it’s also been one of our favourites to perform live recently.
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TELL US ABOUT YOUR SONGWRITING PROCESS.
“Our most enjoyable gigs so far have been club nights.”
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How did you come up with your name?
Nikki (our frontwoman) has a friend called Kenny Mclean. One evening, when they lived together, he regaled her with a tale of drunken banter between himself and another pal. As well as putting the world to rights, they also invented an imaginary band. I’m not sure who was in it, or what genre of music they played, but this fantasy band’s name was ‘Digital Jones and the
Digi tal Ki tlist
Sweatshop Boys’. When Nikki heard it, she had to have it! We dropped the ‘Sweatshop Boys’ as we weren’t sure that part was so commercially viable. So aye, the name ‘Digital Jones’ was born from the imaginings of an alcoholaddled mind. Nowt deep, ken? Kenny has been thanked in the credits of the album.
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DESCRIBE YOUR MUSIC IN THREE WORDS. Intelligent soulful filth.
TELL US ABOUT YOUR FAVOURITE DIGITAL JONES GIG.
Probably our favourite gig so far was playing Devil Disco in The Bongo Club. The system in there is made for our bass-driven sound, so it was an absolute joy to hear and see how the crowd were reacting. Our most enjoyable gigs so far have been club nights. I think our sound is received best when heard by an audience gagging on a beat and a good dance.
Roland SPDS, Roland KD7, Akai MPC, Apple Mac with Ableton, Focusrite Saffire Pro 14, Alesis Micron, Korg, MS2000, Moog Slim Phatty and a Roland Juno D. 42 THE DOG SUMMER 2012
Once a year, we go to a cottage up North, in the middle of nowhere. We stock up on whisky, ale and cheese and set up in the front room. We build ourselves a fire and after getting 2 hours worth of white boy funk out of our systems, we get cracking writing some tunes! We jam things out until an idea starts to come together. We do that a lot for four days, making sure we have frequent cheese breaks. We record anything that sounds promising and then take the ideas back to Phil’s studio (Sonic Lodge) and develop them into “choons”. We are all very fond of our time in the cottage. And cheese.
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WHAT ARE YOUR FAVOURITE BITS OF MUSIC GEAR?
IF YOU COULD RECOMMEND ONE ALBUM FOR PEOPLE TO SIT DOWN AND LISTEN TO, WITH HEADPHONES, FROM START TO FINISH – WHAT WOULD IT BE AND WHY?
Bjork’s ‘Vespertine’. We all love this album. It’s a sort of aural textured cocoon, a soothing balm for the mind, another world full of liquid beats, soaring strings and ethereal vocals that you comfortably slip into. It’s kind of like a blanky, the one that you fall asleep in front of the TV under - only this one is much more likely to inspire movement and wonder. So, it’s actually nothing like the blanky in front of the TV... but you get the gist.
“Sweaty, grinding bodies and fast beating hearts”
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IF YOU WERE ON DEATH ROW, WHAT IS THE LAST SONG YOU WOULD LISTEN TO?
Together In Electric Dreams by Paul Oakley
Who are?
Digital Jones? dinburgh-based ensemble, Digital Jones, have a signature sound which has already gained them a substantial following on the Scottish scene. A mutual affection for P funk, Disco and Electro threw multi-instrumentalist Philip Mcbride and vocalist Nikki Kent together a number of years ago, and they have been blasting down the barriers of musical cliché ever since. Born to play out, Digital Jones have entertained crowds of devotees at regular Edinburgh gig spots and high-profile shows have included Kelburn Garden Party, Fontana’s Cover Up at the exclusive Ginglik and, most recently, supporting soul legend Marlena Shaw. For media information about Digital Jones, send an email to digitaljonesband@gmail.com
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WHAT IS DIGITAL JONES’ FAVOURITE MUSIC FESTIVAL AND WHY?
Kelburn Garden Party. Such beautiful people – both the organisers and the attendees – and so much thought has been put into every detail. It’s a really dreamy event and always has an excellent line-up of local and big name artists. It’s the best boutique festival in Scotland by miles.
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TELL US A FUNNY DIGITAL JONES STORY.
We once met Bodger from ‘Bodger and Badger’. That didn’t actually happen but we wish it had.
WHAT IS YOUR MESSAGE TO THE WORLD? HIYA!
Moog x 4. Can we have another 3 please?
WHICH ARTISTS HAVE INFLUENCES THE MUSIC OF DIGITAL JONES?
Radiohead, Massive attack, Justice, Metronomy, Bjork, Portishead, Prince and Little Dragon.
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WHAT DO YOU WANT YOUR MUSIC TO ACHIEVE?
Sweaty, grinding bodies and fast beating hearts/world peace.
Online Access myspace.com/digitaljones
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The Thrills and Skills of an Aging Guitar Repairman
I
t is said: “Do something long enough and you’ll become good at it.” I know of a few cases where this maxim is applicable and guitar repair is certainly one of them. To correctly assess an ailing guitar, you have to fully understand the instrument, inside out. One of the old-school tests for metalwork apprentices was to be given a lump of metal and told to fashion it into a hexagonal nut. Those successful in completing this task were then told to file the hexagon into a perfect circle. Then, once that was done, back into a hexagon again. This seemingly harsh discipline not only
“if we don’t try out these new methods, we will stagnate” separated the men from the boys but also ensured participants possessed the requisite mental tenacity - as well as the levels of manual dexterity - required to achieve their final goal. Next month, I will be celebrating 25 years as a professional guitar repairman. Every time I reflect on what I’ve learned, the more I realize how much more there still is to learn- it’s a never-ending process. No matter how often I’ve carried out a relatively routine job, I’ve come 46 THE DOG SUMMER 2012
to accept that there’s always an exception which disproves the rule. In fact, it’s this continuous variation that makes the work interesting and keeps me on my toes. In recent times, some enlightened Luthier’s suppliers have come up with labour/time saving devices, which supposedly simplify certain
“Ultimately, engineering is a truth of sorts” procedures. A good friend and fellow repairer argues that many of their gadgets effectively attempt to de-skill and devalue our craft. I prefer to take a more pragmatic view and am of the opinion that if we don’t try out these new methods and tools, we will stagnate and become too set in our ways. Why, some of them even work! I would ask, however - what is it about guitarists that enables them to covet hand-made, point to point wired amplifiers, but at the same time enthuse about a machine which supposedly can level and re-profile the frets on an entire guitar neck without any human intervention…? Throughout my years in business, I’ve always tried to tell it like it is and avoid the inevitable hype, even when to do so is to court ridicule and appear an unfashionable oddball. Actually, that’s probably exactly what I am. Ultimately, engineering is a truth of sorts and one I hope to continue the pursuit of for the rest of my days. www.rvguitars.co.uk
Dr. Fretlove returns next time... SUMMER AUTUMN 2012 2011 THE DOG 47
RoundUp
A LOOK AT SOME OF THE BEST PRODUCTS IN THEIR CATEGORY, ThIS ISSUE IT’s...
Stage PianoS Stage Pianos are a music industry standard. Almost every musician, at some point in their life, will need/want/have to use one for something or other. So, you want to be sure you’re getting the stage piano to suit your needs. Whether it’s for communal use, personal use, or just to play Elton John songs in your bedroom with, we’re pretty sure one of the following will float your boat. All ridiculously good in their own way, we present the mutt’s nuts of our Stage Piano range...
S
“could easily compete for the title of Ultimate Digital Piano” Yamaha
imple. Legendary. Classic. The CP80 was first unleashed in 1976, and changed the sound of popular music as the world knew it. Yamaha, being the innovative bunch that they are, recognised the legendary status of what they had created, so decided to re-release an incredible 3-strong range of CP pianos (CP1, CP5 and CP50), led by the revolutionary CP1 - an instrument that could easily, and confidently, compete for the title of Ultimate Digital Piano. The beauty of the CP series - and the reason they’ve been coined “electric grands” – is down to their authentic sound and their live performance convenience. If Yamaha can make trustworthy modes of transport, then we can most definitely trust them implicitly (CP33, CP50, when it comes to musical instruments. CP300, CP5)
CP Series from £915
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Round Up
Round Up A LOOK
UCTS IN THEIR CATEG AT SOME OF THE BEST PROD
A LOOK AT SOME OF THE BEST
ORY, ThIS ISSUE IT’s...
oS Stage Pian
T
he benefits of these stage pianos are, first and foremost, their build quality – they are quite simply industrial pieces of rock, so they’ll last you forever. They’re also exceptionally well designed and laid out in a very clear and concise fashion, so if you don’t have any keys experience, DON’T WORRY; you’ll figure it out in no time. The special feature of the RD Series is the Piano Designer, which allows you to tweak your keyboard to exactly how YOU want it to sound. It also features a bunch of presets, so you can pre-prepare your sounds. They RD Series is easy to use and will make you feel completely comfortable and confident once you’re behind one, whether you’re an amateur or a professional.
“exceptionally well designed” Roland RD Series from £1449
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n true Roland style, these stage pianos are built to last. The difference with the FP Series is that they are geared more towards use in venues, churches, schools – basically, where a lot of people are going to be using the one piano. Again, it’s very easy to use but unlike the RD Series, you can’t do as much sound design with it; instead everything is built in and ready to rock the minute you sit down. If you want a piano sound, press the piano button; if you want a strings sound, press the strings button - simple as that. Special features include the Vocal Harmoniser, the Audio Looper, Audio Key (in other words, a sampler) and last but not least, in-built (FP4F and FP7F) speakers - very handy indeed.
Roland FP Series from £1275
PRODUCTS IN THEIR CATEG
ORY, ThIS ISSUE IT’s...
Stage Pian oS
“ready to rock the minute you sit down”
((RD300NX and RD700NX)
“a range of classic sounds, to strings that will tug on even the blackest of hearts”
I
n terms of good-looking stage pianos, The Korg SV1s are the cream of the crop. They bear an unusually curvaceous form, making them appear both modern AND retro, in a way that not many stage pianos are. The first thing you’ll notice about the Korg SV1 is the orange-tinted lit-up valve, proudly displayed at the front-left of the piano - this is where the warmth and full-bodied tone of these stage pianos lives. It sounds absolutely stunning, with a range of classic sounds from Rhodes pianos, to strings that will tug on those of even the blackest of hearts, right through to that unmistakable sound of Van Halen’s ‘Jump’ power chords. The vintage reverse-colour keys model (SV1-RV) is my personal favourite – SO retro. Thumbs up.
Korg SV1 from £1299
(SV1-73 and 88, and reverse key models)
online at
STAR P IChK! h hh hhhhhhhhhhhhhhhhhhhh h h e only ever have the Nord Stage 2s in
W
h for a couple of weeks before they sell h out, basically because they’re the best h sounding sample-based keyboards that h we have in the shop. Piano sounds, keyboard h sounds, synth sounds... all of them sound beautiful. h Investing in one of these will make you feel as if h you have five amazing keyboards in one and, h once you buy one, Nord will treat you like h royalty by constantly providing you with h free updates for it. Last but not least, it’s h built like a tank – to quote Guy, our h Recording Specialist, “you could beat a (Stage 2 h SW73, troll to death with it and then play the Nord Stage 2 76, at its funeral.” Also, they look really cool; Stage 2h88) meaning you will too, by proxy. h h
“You could beat a troll to NORD death with it.” STAGE 2
from £2559
h h h h h h h h h h h h h h h h h h h
Buy c.co.uk RedDogMe coudesi ‘dog2’
and us OFF ut to get 5% at the checko or come into se ha rc your pu r a Demo! the shop fo
P L E A S E N O T E ! P R I C E S A R E L I A B L E T O G O U P A S W E LL A S D O W N . C H E C K ONL I N E A T R E D D O G M U S I C . C O . U K FO R A LL T H E L AT E S T P R I C E S . 50 THE DOG SUMMER 2012
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THE DEPOT Studios In the last year, records by The Broken Records, Homework, The Little Kicks, The Banana Sessions, We See Lights and dozens of others have been produced here; as well as being home to The Mashup Session. Studio engineers - Garry Boyle and Craig Ross - take some time out to talk us through their favourite toys...
“The better the speaker, the better your judgment.”
Dynaudio Bm5a Our main studio speaker. Packs a punch and is very transparent. May be the best investment we have ever made. The better the speaker, the better your judgement.
Avid Omni / Hd Native / Pro Tools 10 System We just updated our recording system to the HD Native. More channels, sounds more open and clear and, functionality-wise, a huge advancement.
Plug-ins from SSL, Universal Audio UAD and Waves augment this rig and the outboard beautifully.
Brauner Phantom Vocal Mic One of several great vocal microphones we have. This one is like a laser. The clarity of this mic is astounding. After the singer, the mic is the next most important thing.
Roland Re201 Space Echo Everyone loves this. Everyone. From the late 70s, this one is the real deal. SUMMER 2012 THE DOG 53
Neumann Km84i
The Engineers!
from 1978, this little pencil mic is one of the best for acoustic instruments (such as acoustic guitar). They don’t make them like they used to.
Les Paul Studio Custom We have several guitars lurking about the studio (a Strat, P-Bass and Stingray Bass included) but for some reason
“At the heart of every good recording is a great drum sound” Works flawlessly and sounds amazing. If you ever find one in as good a condition as this, buy it.
DW Collectors Series (Birch 20x20, 12x12, 16x16 shells and Maple 13” Snare) A new addition to the studio is this stunning DW Kit. At the heart of every good recording is a great drum sound and this kit is one of the best we have ever recorded. Includes matching snare.
Summit Audio TLA 100a Killer boutique compressor based on the La2. One of the few boxes that makes a vocal sound fuller and bigger just by passing a signal through it. Compression goes from gentle controlling to pretty obscene but without ever pumping (that is what the 1176’s are for!).
API 560 Eq A killer 10 band EQ from API. Used on Kick / Snare drums on a daily basis. This thing could carve a great kick sound out of a cardboard box which, thanks to the DW, we try not to do. 54 THE DOG SUMMER 2012
people just get drawn to this one. It is also guaranteed to get a joke about its sustain in the first 10 seconds, usually before it is plugged in.
Garry Boyle is a top notch Edinburgh music producer who works both as a recording engineer for The Depot, as well as assistant engineer for Stuart Hamilton at Castlesound. As well as studio recording, he’s also done a lot of live recording at venues in and around Edinburgh. If you want to check out his work or get in touch about getting some professional studio/live recording done, visit cpproductions.com
The Hanger Just outside the control room is a massive open stone space we use to re-amp drums and vocals. It has about a 9 second decay and is one of the most bonkers natural reverbs about. For more info, check out The Banana Sessions latest album, Mixtape.
Amp Booth The back room of the studio is our amp room. Always miked up and ready to go, it houses a Mesa Boogie, an Orange, a Marshall 1968 combo and a Fender Delux. Just patch in through in the control room and swap between these top recording amps until you find the one that suits you. (Also available - JCM 900, Fender Twin and Engl Stack). 0131 551 6709 depotstudios.com
Craig Ross is an active musician on the Edinburgh music scene, playing with Broken Records (brokenrecordsband.com) and his own project, Easy Tigers (soundcloud. com/easy-tigers). As well as this, Craig has also engineered and produced some of Scotland’s most wellknown up and coming bands, including We See Lights and The Little Kicks.
Chosen by Roberta Pia
P
icture the scene: T in the Park, 2005. My two best pals and I are standing right at the front of the crowd. It’s Sunday night. We’re tired but this is our last chance to go mental. We start high fiving everybody around us. “High fives all round!” we say, with a big smile on our faces. The Prodigy appear on stage and the crowd goes wild... but too wild for us. My friend ends up passing out about a minute into the show and somebody grabs her and passes her to the security guard at the front of the stage. We go with her, obviously (much to my dismay since it was my first Prodigy show, but needs must and all that). We all get carted off to the festival hospital. When we get there, we’re told that our friend has to stay but we should go back to the campsite and wait there for her. The lady in
the hospital tells us she’s going to take us back the quick way. We stumble our way back through the dark, the fireworks to mark the end of 2005’s T in the Park start thumping through
“My friend ends up passing out about a minute into the show” the air and lighting up the night sky. All of a sudden, we’re walking through Artist Village (ah, the quick way) and it happens. A limousine pulls up next to me with the windows rolled down. I turn to my right and see Keith Flint and Maxim in the back seat of the limo. I panic and shout, “Alright Prod? How’s it going?”
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But in my humble opinion, it just shows off another side of Liam Howlett’s musicality. From what I can gather, Liam was well into his hip hop first, before meeting Keith Flint and Leeroy Thornhill, who were firmly wedged into the rave scene at the time. I think both these styles are apparent all the way through Howlett’s song-writing; giving a cheeky nod to his own musical roots, whilst always maintaining the quintessential Prodigy sound.
This was my first Prodigy experience. Those who know my usual style of music would probably hazard a guess that my musical hero of choice would be somebody like Billie Holiday/Lauryn Hill/Aretha Franklin (delete as appropriate). What people perhaps don’t know about me is that I have two very prominent musical streaks. One side of me loves beautifully sweet female vocals. And the other side of me loves banging drum beats, squelchy synths, catchy as f**k vocal hooks, reaching for the lasers and so on, and so forth.
“I can’t quite put into words the feeling I get when a Prodigy song starts blasting through me.” Music makes me feel an awful lot of things but I can’t quite put into words the feeling I get when a Prodigy song starts blasting through me. In fact, nothing comes close. When I was the ripe age of 11, ‘Firestarter’ was unleashed into the world. The music
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video was constantly being played on MTV and I remember watching this terrifying dude with spiky hair and black eyeliner on, running around a tunnel like a maniac. In hindsight, I was scared shitless of him. But I must have watched it over, and over, and over again. This is when I fell in love with The Prodigy. Fat of the Land was one of the first albums I owned. I know what you’re thinking; I was a late starter. The rave scene had already been and gone and I was still only 11 years old. However, that didn’t mean I didn’t already have impeccable taste in music... *smirk* Once I’d got stuck into The Prodigy’s back catalogue, I began following everything they released. ‘Fat of the Land’ is, hands down, the “Elvis” of their albums for me, and I’m sure most of you will agree. But ‘Always Outnumbered, Never Outgunned’, believe it or not, is also up there with my favourite albums of all time. I guess a lot of Prodigy fans would disagree with that because, stylistically, it was quite different to anything they’d done before.
“I’d sit and listen to their tunes and think, ‘I wish I could make music like that...’” What I love most about The Prodigy is how many different musical influences you can hear in their music. Hip hop, techno, breakbeat, punk... When I first began listening to their music, I’d never heard anything like that being done before. It was mind-blowing. I’d sit and listen to their tunes and think, “I wish I could make music like that...” But as it happens, I’ve never been any good with technology. So, when The Banana Sessions got totally steam boats one night and had a wasted jam of ‘Breathe’ on the couch, we woke up the next morning and laughed about it. Then, once we’d sobered up, we decided to arrange a full blown Prodigy Medley. And before I knew it, we’d recorded it, made a music video and sent it to The Prodigy, to which Liam Howlett replied, “I dig it. It’s really cool.” Obviously, this was
the happiest day of my life. They ended up posting it on their own website, alongside a bunch of other videos that they liked, which is when I came across Bernard Purdie - Liam Howlett’s favourite drummer. After hearing this guy on the drums, I discovered where all of Liam’s tasteful yet filthy drum beats stemmed from. I think it’s safe to say that I’m obsessed with The Prodigy. So much so that I learnt how to two-step like Leeroy (if you don’t know how to two-step, I’ll teach you some time). The thing about them that I dig the most is that there are so many little intricacies in their music that you only notice when you really listen. Yeah, the tunes are totally and utterly banging but there are so many little jerks and jolts in the beats; vocal hooks that usually would exist only in my dreams; and no matter how hard they try, nobody does it like The Prodigy. And as if that wasn’t enough, they can rile up a crowd like nobody else with their epic live shows. It’s probably worth nothing that after every Prodigy show I’ve ever been to, John Paul Young’s ‘Love is in the Air’ has been blasted over the speakers to a very sweaty, very underthe-influence and completely discombobulated crowd. As we stumble away from the stage, we think: “How appropriate...” but the only words we can muster are, “TUNE!”
Liam Howlett, I salute you.
Listen to...
The Prodigy ‘The Fat of the Land’ (1997)
This was one of the first albums I ever fell in love with. It’s a musical rollercoaster; every single tune on it is incredible. For me, it’s the record that defines the quintessential Prodigy sound and has certainly made its mark in musical history.
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DOG 10BITS REDDOGMUSIC PRESENTS THE
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DOG 10BITS REDDOGMUSIC PRESENTS THE
Edinburgh based alternative-rock-pop band, Miasma, tell us what TEN bits of kit they can’t do without...
10 10
Akai APC40
The newest addition to our backline; it’s almost an entirely new instrument unto itself, allowing Mike to incorporate more “electronic/production” elements into our live set with greater fluidity & musicality than simply playing to a pre-programmed backing track. Most importantly however, it looks damn cool.
9 Korg Kaoss PaD
Allows Alex to alter his vocals with an insane variety of effects, using an intuitive two-axis touch pad (assigning different effect parameters to each axis for interesting combinations) great for making himself sound like a seagull and generally creating audible chaos.
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“improveS the quality of our guitar sounds to an insane degree.” MIASMA on the MXR Super comp
9
7
Who are..?
8
Rob’s bass distortion/fuzz “here comes the heavy bit” solution. Combined with his 6-string bass and an Ampeg SVT Classic, resulting in a MONSTROUS sound pretty much guaranteed to destroy ANY building or otherwise make you defecate your pants.
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About: An Edinburgh based alternative-rock-pop band, consisting of young but experienced musicians & songwriters. Miasma formed in 2009, with the current line-up completed in late 2010. Over a few sessions late 2010 & early 2011, they’ve managed to entirely selfproduce a unique & professional sounding record, utilising only our own “low-budget” resources. Listen for yourself at... www.miasma.tv
MIASMA on the Freshman Acoustic Guitar
2 ROLAND Juno Di
These locally manufactured guitars are brilliant considering the price & the professional sound quality. We’ve recently been achieving very desirable results in the studio with one of these bad-boys. Affordable, sexy, made of wood, sounds ace; that’s pretty much all we can ask for.
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5
“Affordable, sexy, made of wood”
Freshman Acoustic GuitaR
Miasma
5 This versatile multi-pattern condenser is the most extensively used mic in our arsenal. Holds up well in most applications: From the quietest sounds to Dom pounding on the drums! We prefer this mic to other similarly priced alternatives – it’s a very reasonable solution for those seeking studio-quality condensers on a not-too-ridiculous budget (i.e. us). 4
Name:
KIT
3 Electro Harmonix Big Muff Bass
This innocuous looking little red Boss pedal is surprisingly nifty for inventing new tunes and for looping/ jamming along with yourself. Alex has built up & saved most of our favourite grooves/beats, and even some of - what we consider - our best songs (in many instances almost by accident) solely on this wee baby.
AKG C4000
MXR Super comP
7 Guitar compressor pedals may seem somewhat analogous to a bike helmet; seemingly ‘inert’ & ‘mundane’, but also a technical necessity with critical benefits. The compressor helps keep all your notes at roughly the same volume level, which results in a more even/ consistent amp tone & has generally improved the quality of all our guitar sounds to an insane degree.
of
6 Boss Loop StatioN
8 Protools 10 & Mackie 1640I
Our entire album was made from scratch using pretty much this exact setup. Combined with a decent PC to run it all, there’s pretty much nothing we can’t do with this setup (within reason, of course). As for audio effects for mixing, we would personally recommend the Waves plugins, Avid’s own RTAS range and Izotope’s Ozone 5 is fantastic for mastering.
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This is a classic, lightweight & versatile stage keyboard and a staple choice for any band (and rightfully so). The instrument / piano sounds are fantastic and the envelope/attack controls can allow for some of the nicest pads ever. Mike used the Juno pretty much exclusively for all the “synthy” stuff on our album and it’s a reliable workhorse onstage as well as off.
1 KRK Rokit Power 8 G2’s /Beyerdynamic DT-150’s
We record, mix & master our stuff using these as our default set of monitoring devices. Using good quality speakers / headphones not only provides a flatter frequency response but also allows us to hear all sorts of intricacies in our mixes that are much harder to hear on most crummier consumer-level speakers.
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REDDOGMUSIC PRESENTS
DOG GUEST INTERVIEW THE
REDDOGMUSIC PRESENTS
GUEST INTERVIEW DOG THE
What is your kit list, gentlemen? Eugine: I play a Fender Telecaster and Yamaha Sax. Ferg: Fender Strat and a custom built Matamp amp with Ibanez tube screamer. Donal: I use a Fender Jazz Bass and an Ampeg bass amp. Eoin: Pearl Export Series drum kit with Sabian AAX symbals.
Ded Rabbit Oh, haven’t you heard of it? No, it’s not roadkill.
Even if it was, though, it wouldn’t be your average unlucky creature smeared over pavement it would be one with enough energy in its soul to stir up the afterlife (if rodents get an afterlife, that is) into one hell of a good time. That’s what this Edinburgh-based band of brothers is all about – indie pop with a kick of funk that will liven up even the grumpiest of souls. Interview by Signe Akmenkalne
First of all, why Ded Rabbit?
How did you first get into playing music?
Eoin: Dead Rabbit was in the film Gangs of New York. It was a gang of Irish immigrants. Fergus: And because we’re all Irish. We have Irish, Ukranian, Polish and whatnot roots. Basically a mishmash from all over the Europe. Eoin: And then we noticed that it would be cool to take out the e. You know, like Led Zeppelin.
Euge: Our dad used to jam with our two older brothers and that kind of got us into it. We were brought up listening to loads of music, too. Eoin: Tom, one of the older brothers, used to be into 80s heavy metal so he used to play me Guns’n’Roses and Van Halen and stuff and made me sing them in front of his girlfriends. That’s one way of getting into music, though!
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Find Ded Rabbit online at: iamdedrabbit.tumblr.com
“I’ve stopped being pissed for gigs because it’s easier to play.” Euge, your dancing at gigs is quite hard to not notice. Whenever you play I think you’ll trip over the wires. Has that actually ever happened? Euge: Yea, but probably because I would always get too drunk before the gig but now I’ve stopped being pissed for gigs because it’s easier to play. Oein: One time at Hendry’s Cellar you fell into my drum kit. Ferg: Got to stay out of the way of Eugine when he goes mental on the stage to protect my instruments! Euge: No, you have to embrace it! Eoin: Does that mean catch you?
Being brothers, does that make things easier or harder? Eoin: It makes it easier to connect on stage. It’s also easy to fight with each other.
Euge: You know what to expect from one another. Donal: That’s why we get on so well because it’s easy just to tell someone to f**k off. If it was a random, they’d get offended so it’s easier to say what you really think of others and what they’re playing. Euge: In the long run, depends on how big our egos get. Donal: No, we’re brothers so it’s not like we’ll ever fall out. We fall out every day but it’s as if nothing ever happened after five minutes.
Who are?
One of your songs, Milkshake, is dedicated to a homeless guy?
Name:
Euge: It’s for the man who sleeps on Bruntsfield Links. People call him Beaver Man but I think it’s nasty giving him names. I don’t think he knows he has a song, don’t know if I would want him to know. I’m just interested because we don’t know anything about him – where he’s from, why he’s there. He doesn’t seem unhappy about sleeping in pissing rain so I’m just wondering about that.
About: An Edinburgh-based band consisting of four brothers – Eugine on vocals and sax, Fergus on lead guitar, Donal on bass and Eoin keeping it all together on the drums. Originally from Yorkshire, they started playing together about six years ago and haven’t been quiet ever since. First influenced to pick up the instruments by their dad and two older brothers, they play contagious indie pop with some funky sax thrown in. These fine fellas have gigged all around Edinburgh and across Scotland, were featured on Jim Gellatly’s unsigned podcast and are about to release their second EP this summer.
Quite random but do you make New Year’s resolutions and are you still sticking to them? Eoin: My resolution was to stop smoking but I still smoke so that didn’t work. Ferg: Mine was to stop being so fucked all the time. That was two years ago and I’ve done it. Euge: I thought I’d try to be a bit less lazy. I’m still pretty lazy... just a bit less. Donal: Mine was not to be so forgetful, but I forgot to do it.
Ded Rabbit
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DOG NEWS&EVENTS REDDOGMUSIC PRESENTS THE
RED DOG MUSIC
U P C O M I N G
EVENTS
FEATURED • • •
Wed 27th June (7pm-10pm / £5)
• • •
THE DOG’S
RedDogMusic.co.uk Red Dog Music launches new website with £1,000 YouTube competition
T
o celebrate, we’ve announced our biggest competition to date – the Red Dog Music YouTube Competition. The competition asks customers to film themselves using ANY product out of the 1,000s featured on the new website; the customer whose demo has received the most views by Tuesday
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31st July will win up to £1,000 of music equipment of their choice from the website. If customers don’t yet own any of the products on the website, they’re invited to come into the shop to film themselves in-store. Full details and terms and conditions can be found at: www.reddogmusic.co.uk/ youtubecompetition
Featuring live music from RAGE (The Gospel According to Rage Against The Machine) and tune spins from DJ Steve Brown @ Sneaky Pete’s
IN-STORE • • • • • •
SAT 14th JuLY (4-6PM) •
• • • • •
Traktor F1 Tour
Edinburgh Edition ATTENTION all Digital DJs – this event is for YOU @ Red Dog Music • • • • • • SUN 15th JuLY (12-5PM) • • • • • •
Verden Demo Project Roadshow 2012
A bunch of local bands/artists audition for this year’s Youth Music Initiative Project @ Red Dog Music
SHO ONLPPING INE Use c ? ch e o d e ‘ d o cko g2’ u a ANY t to get t the 5% pur o ch a se! f f
1 Grassmarket, Edinburgh EH1 2HY | 0131-229-8211 | info@reddogmusic.co.uk
www.reddogmusIC.co.uk