Mackie Introduces New Ultra-Affordable Compact Mixers
Mackie today announces the launch of the new Mix Series Compact Mixers with three new models:
Mix Series mixers are the most affordable mixer produced by Mackie. Designed to maintain great sounding audio from any source, the new line of compact mixers offer a feature set perfect for smaller applications. Building on Mackie’s impressive 25-year history of designing reliably rugged mixers, the new Mix Series delivers proven sound quality and straightforward features that don’t compromise in performance.
“Not every application is complex. Sometimes you just need to get the audio from point A to point B, but that doesn’t mean you should have to sacrifice on quality,” commented Matt Redmon, Mackie Sr. Product Manager. “That’s why we’ve given users a new choice – an affordable mixer series with the Mackie stamp of approval, so users on a budget never have to compromise.”
The Mix5, Mix8 and Mix12FX compact mixers feature the right mix of I/O, EQ and routing for applications that don’t require a lot of inputs or multiple racks of output. Ideal for singer/songwriters, small band rehearsals or instrumentalists on the go, Mix Series mixers deliver high-quality Mackie preamps and electronics in proven high headroom, low-noise designs. Additionally, Mix12FX offers a selection of 12 integrated effects including reverbs, choruses and delays to easily create mixes that sound great. Each model features an all-metal chassis, high-quality components and a sleek rugged design that’s built to last.
“And if your application requires a little more, you can simply step up to our bestselling ProFX, our flagship VLZ4 or Onyx lines,” Redmon concluded. “Either way, wouldn’t you rather mix on a Mackie?”
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Internationally renowned B-boy crew Massive Monkees have enjoyed worldwide breakdancing success for well over a decade. Their notable global wins include the 2004 International World B-Boy Championships in London, and in 2012, they became the first American dance crew to win Korea’s famed R-16 breakdance competition. In honor of their accomplishments and their ongoing community service, in 2004 former Seattle Mayor Greg Nickels proclaimed April 26 as Massive Monkees Day, with the city hosting an annual celebration of the date.
This year marked the group’s 15th anniversary, and the 28-member Massive Monkees dance crew threw a “massive” street party to commemorate the milestone. The after party, held at Seattle’s ultra-hip Gallery 2312, was attended by many of the world’s top breakdancers, who flew in from around the globe to celebrate. Also in attendance were celebrity DJs including Crazy Legs from New York’s legendary Rock Steady Crew, rising star DJ Lean Rock, and Rock Steady Crew B-girl and DJ Kaotic Blaze.
“It’s one of dance music’s highest profile events,” observes Massive Monkees producer Benito Ybarra. “Gallery 2312 was really a great venue for this event. It’s one of the city’s hot spots.”
Recently, Gallery 2312 replaced its old sound system with new Mackie SRM650 loudspeakers. With its application-specific speaker modes and 1600W of High-Definition sound, Mackie’s SRM650 loudspeakers provide Gallery 2312 owner Jonathan Moore with the power and sonic flexibility required for the multi-purpose venue.
“Good sound is a big part of the events and programs we hold at 2312,” says Moore. “Whether it’s a party with a DJ, a gallery opening, or whatever, music is always a critical part of the celebration. To have great sounding, reliable gear like Mackie SRM speakers is a great fit for us.”
Ybarra adds, “I call on Mackie for sound at these kind of events because their stuff sounds fantastic. Massive Monkees have been working with Mackie for years, and we’re definitely as supportive of them as they are of us.”
Mackie’s local Seattle base is also an asset, says Moore. “It is always a plus to be able to work with folks that are accessible and can stop by and check things out as opposed to dealing with brands that might not even have a rep in the northwest, or whose HQ is somewhere around the world,” he says. “We definitely have a shared sensibility and a common understanding.”
This video tutorial deals with setting velocities within the sequencer_megababy plugin in Reaper.
Using the Left Click of the mouse whilst holding down the CRtL(win) or CMD(mac) keys you can create edit the velocity of each beat or if you combine it with the ALT key you can control the velocity of the entire row.
Behringer V-Amp Pro – Editor
Simple yet effective CTRLR panel to connect to Behringer V-Amp Pro via midi to allow editing of sounds.
Unfortunately no way of saving presets at present because I’m not aware of how to do this effectively – work around would be to save on the V-Amp itself manually.
That said access to Speaker Cabinets, Modulation effects and parameters plus more control over reverb, autowah and delay is now available.
Turning the DRIVE on and off you will have to adjust the dial until it hits centre(12 o’clock) to turn on and double click the dial to turn it off – buttons don’t seem to work.
You will have to do this to turn EFFECT on and off – it’s not the tidiest solution granted but it works.
Hopefully I’ll get to grips with CTRLR and figure out the button problem and a workaround for saving presets – when I do I will update.
You’ll need to download CTRLR to get this to work.You find at the link below.
Beginners strumming lesson – 1 2+(3)+ 4 +
Down Down up Up Down Up
Over the past few months I have been using a different way of programming drums in Reaper.
This has involved using a JS plugin called sequencer_megababy – the benefits of using the plugin as opposed to piano roll is a much quicker workflow.
You can create up to 16 patterns all of which can be triggered via midi – either keyboard or by entering a note in piano roll.
The following video is a basic tutorial on setting up sequencer_megababy with drums to create a 1 bar pattern and then a 2 bar pattern.
I will be following up this tutorial with more in depth tutorials showing what else can be accomplished.
(note: this is the first time that I’ve used iMovie and it was a bit of a learning curve so please bear that in mind thanks.)
This is my first attempt at creating a panel using CTRLR. A fantastic program created to help you gain control of all your midi equipment.
You will need to download the software to use this panel – you can get it from the link below.
You will need to read the documentation on how to install and use CTRLR but it is pretty easy.
This being my first attempt there maybe glitches but I will rectify any that I find – if you find any by all means message me via the comments below and I’ll have a look into them.
If you find this useful please share on any any platform you see fit.
Please bear in mind that this project took me a good few days to accomplish – entering code and hunting mistakes was painstaking to say the least.
That said the benefit is that I now have ultimate control over my TG55 – and it is great fun.
This was created on a mac and as such has been tested standalone and via reaper using the AU plugin component.
The AU component or VST will have to be in your DAW VST folder – once installed you can load up the panel.
I’ve created this so that you can use all four elements – you will need to use your TG55’s front panel for some editing such as Initialising an instrument but everything else can be edited via the panel – snapshots can be created but I’ve found this to be a bit tricksy – I tend to save a finished sound on the TG55 itself to be on the safe side.
Loading from the TG55 to the panel is beyond my knowledge as of yet but when I can get my brain decluttered of syses information I will tackle that next.
I hope someone get’s some use out of this, I know I will and it was a steep learning curve.
Control any MIDI enabled hardware: synthesizers, drum machines, samplers, effects. Create custom User Interfaces. Host them as VST or AU plugins in your favorite DAWs.
2. [VOICE] Key & Indicator Selects the normal voice play mode in which any of the TG55’s preset, internal or card voices can be played via a MIDI keyboard or other controller connected to the MIDI IN connector.
3. [MULTI] Key & Indicator Selects the multi-play mode in which up to 16 voices can be controlled 16 different MIDI channels via an external MIDI sequencer.
4. [DEMO] Key Activates the built-in demonstration pieces — a great way to hear what the TG55 can do after you set up your system.
5. [UTILITY] Key Accesses the TG55. utility functions including MIDI parameters, master tuning, transposition, overall velocity curve selection, effect on/off switching, memory card formatting and save/load operations.
6. [LIQUID CRYSTAL DISPLAY Panel] This 16-character x 2-line backlit liquid crystal display panel shows selected voice or multi-play setup name in the voice or multi-play mode well as function names and parameters in the utility and edit modes.
7. [EDIT/COMPARE] Key & Indicator Activates the voice edit mode when a voice between 1 and 62 is selected the drum edit mode when voice number 63 or 64 is selected, or the multi-play edit mode if the multi-play mode is selected. Also activates the com function when in any edit mode, allowing quick comparison of the original and edited voice or multi-play setup.
8. [STORE/COPY] Key Used to store edited data to an internal or card memory location. Also selects several handy data copy functions in the TG55 edit modes.
9. [PAGE -] and [PAGE +] Keys These keys arc used primarily to select the various function screens in TG55 voice, multi-play and drum editing modes, as well as in the utility mode.
10. [< and >] Cursor Keys Move the screen cursor from parameter to parameter in many of the TG55 editing functions.
11. [-1/NO] and [+1/YES] Keys Select voices and multi-play setups, and are used to edit parameter values in any of the TG55 edit modes. Either key can be pressed briefly for single stepping in the specified direction, or held for continuous scrolling. These keys are also used to answer the “Sure?” confirmation prompt when saving or initializing data.
12. [DATA ENTRY] Control The [DATA ENTRY] control is the fastest way to select a value or item from a large range when editing. It can also be used to select voices in the voice play mode while the [ENTER] key is held.
13. [ENTER] and [EXIT] Keys The [ENTER] key is used to enter function subsets while editing, initiate data save and initialize operations, start demo playback, etc. The [EXIT] allows you to immediately exit from editing function subsets, exit from any editing or utility mode, stop demo playback, etc.
14. [SELECT] Key Allows selection of voice elements and filters during voice editing.
15. [MEMORY] Key Selects the data bank — preset, internal or card — from which voices or multi-play setups will be selected.
16. [DATA and WAVE Card] Slots The DATA card slot accepts Yamaha MCD64 or MCD32 Memory Cards for storage and retrieval of TG55 voices, multi-play setups and system data. The WAVE card slot accepts, pre-programmed wave cards — i.e. cards containing sets of sampled waves for use in TG55 voices.
17. [PHONES] Jack Accepts a standard pair of stereo headphones (1/4″ stereo phone plug) for headphone monitoring of the TG55 sound without the need for external amplification equipment.
18. [MASTER VOLUME] Control Adjusts the volume of the sound delivered via the rear-panel OUTPUT jacks and the front-panel PHONES jack.
“AWM2” is an acronym for YAMAHA’s second-generation 16-bit Advanced Wave Memory. This is a digital waveform storage and reproduction system that rivals the quality of the finest compact disc players, providing unprecedented clarity and realism in the reproduction of acoustic instruments and other natural timbres. Technically speaking, AWM2 deals with 16-bit wave data sampled at 32 or 48 kilohertz, 24-bit internal signal processing, and high-resolution 22-bit digital-to-analog converters.
The TG55 contains 2 megabytes of of sampled waveform ROM, so you have a choice of 74 built-in waveforms from which to construct voices.
Elements and Voice Architecture
Each TG55 voice is composed of one, two or four “elements.” The only limitation is that the maximum polyphony of the TG55 is 16 (i.e. the maximum number of notes that can be played simultaneously is 16). This means that a 1-element voice can produce the full 16 notes, while a “layered” 2-element voice can produce 8, and a layered 4-element voice can produce 4.