Conclusion:

An audio interface is a real pillar to kickstart your music production and, as you’ve seen, it doesn’t need to break the bank to be good! If you liked this article and want to know more about producing, recording and setting up your studio, why not reading these articles:

• Music Production 101: Tips and Tricks for Beginner Music Producers;
• What is Sampling in Music?;
• Building Christmas themed Pedalboards

The post Best Budget Audio Interfaces Under £250 (2021) appeared first on Andertons Blog.

Best USB Microphones for Gaming

Similarly to podcasters, Twitch streamers and gamers need a USB microphone with a cardioid pickup pattern, to keep their voice as the main focus. There are many models now with built-in pop filters, which give even more security and control over your recording.

Best USB Microphone for Vocals and Instruments

If you’ve bought a condenser mic for podcasting and gaming, that’s also going to be a good option for your vocals and instrument recordings. There are plenty of options with an integrated stand so they can comfortably sit on your studio desk while you’re recording!

The 5 best USB microphones (2021)

5. Marantz MPM1000U

This is probably the best option for those who are approaching podcasting and live streaming and want a good mic at an affordable price point. The Marantz MPM1000U is a condenser microphone delivering high-quality recordings with extended frequency response and low noise. Plug it straight into your laptop or phone and start recording your next episode!

4. Audio-Technica AT2020USB+

Audio Technica have developed a USB version of the AT2020, delivering the same incredible quality in a compact and standalone mic. The AT2020USB+ is ideal for podcasters, YouTubers and anyone who wants to record on the go. It features a built-in headphone jack with volume control that allows you to directly monitor your microphone signal with no delay. It also offers mix control that blends microphone and pre-recorded audio.

3. Shure MV7-K

If you’re looking for a professional solution for your live streams and podcasts, the Shure MV7-K is the right one for you. It’s the brand’s first hybrid USB/XLR microphone, meaning that you’ll be able to connect it both directly into your laptop and into your audio interface!
It incorporates a highly directional dynamic design and voice isolation tech to provide the best rendition of your voice possible. What’s more, the built-in touch panel allows you to quickly tweak and adjust the sound to your likings.

2. RØDE NT-USB

The NT-USB is the USB microphone in the RØDE NT line, that offers high-quality condenser mics for any application. The NT-USB plugs directly into your laptop, mobile phone and tablet and also features a headphone output for monitoring. The cherry on top is that it also comes with an all-metal pop shield, a handy desktop stand and a 6 meter USB cable, allowing you to have your recording studio anywhere you go!

1.  RØDE NT-USB MINI

The best USB microphone in our chart is the RØDE NT-USB MINI compact desk mount microphone. It packs excellent audio quality in a small footprint, making it the best option for podcasters, live streamers or music producers always on the go, who don’t want to sacrifice quality. The condenser capsule is designed to isolate your voice, keeping it crisp and clear, moreover, the NT-USB MINI has a built-in pop filter that eliminates ambient noise and distortion. The integrated free software RØDE Connect also makes podcasting more fun, allowing you to use up to 64 custom sounds.

Best USB Microphones

Conclusion

USB microphones are a great portable addition to your studio gear. They’re versatile and allow you to record podcasts, videos, live streams and music wherever you are. They’re also an affordable and very appreciated Christmas (or birthday, or anything, really!) gift. If you’ve enjoyed this article, keep reading our blog for more inspirations and learning articles:

• Music Production 101: Tips and tricks for Beginner Music Producers
• Amp Distortion Vs Distortion Pedals – Which is better?
• How to Use Modular Synthesisers
• Best Guitar Pedals of 2021… so far!

The post The Best 5 USB Microphones (2021) appeared first on Andertons Blog.

Headphones

Headphones are essential for a variety of tasks, from checking the tracks you’re laying down in your DAW, to recording to mixing. Bonus: they’re also going to spare you from your neighbour’s complaints about volume! There are two main types of headphones:

• Closed-back, which deliver optimal isolation and good sound quality (good for mixing)
• Open-back, which deliver excellent sound quality at the expense of lesser isolation (good for tracking)

At Andertons you can find first-class closed-back headphones under £150 to get started without breaking the bank. Some of our favourites are Audio-Technica M50x, AKG K240 and Beyerdynamic DT770 Pro, but you have an incredible wealth of options to fulfil your needs! We also rated our favourite cans between £20-£40 to give you our opinions on the best most affordable options on the market.

If you don’t want to risk being tangled, you can also go for wireless headphones, like Boss’s Waza-Air.

If you’re looking for a less isolated, more natural response, open-back headphones are for you. Some of our favourite budget options are AKG K240 MKII, Roland RH-A30 and Beyerdynamic DT990.

Best Headphones under £150

Speakers

Headphones are excellent for all audio-related tasks, but you must have seen that in all serious studios they have speakers. Let’s debunk the myth that one is better than the other. Headphones and speakers are complementary, as they make you experience sound in two different ways. Using headphones, it will seem like the sound is coming out of your head, because both your ears are fed the same signal at the same time. So you’ll hear all panning, reverbs and more in great detail. Speakers make you experience your song with the interference of the external ambience. The key to a great mix is having both of them, to have both a surgical and more natural approach!

Studio speakers are referred to as nearfield monitors and they’re different from consumer speakers because they respond to sound in a flatter and less coloured way to let you have good feedback of what the actual sound is like.

Before buying your monitors, check the size of your room and choose a suitable cone. Ideally, you can go between 5” to 7” for a medium-sized room and be sure it will sound good. Some of the best active studio monitors for your home studio are Yamaha’s HS5 and HS7 (both in black or white), Adam Audio’s T-Series T5V, Tannoy Gold 5 or 7 and KRK Classic 7”.

If you want help with choosing your speakers, we put together a guide to give you all the info you need when buying your first set of nearfield studio monitors. You can read it here.

Best Affordable Nearfield Studio Monitors

Microphone

If you want to record your vocals or a vocalist’s, you’ll need a microphone. There are two main types of microphones: dynamic and condenser. The former is designed to capture loud and focused sounds, such as vocals and drums specifically in a live situation. The latter can capture softer sounds at a better quality and are ideal in a studio. There is no black or white though, you can combine both to give new nuances to your vocals and instruments.

You can find great condenser microphones on a budget like the SE Electronics SE X1S, AKG C3000 and Audio-Technica AT2035. If you’re willing to invest a little more on a life-long mic, we stock some of the best world-class microphones such as Neumann TLM102, AKG C414 XLII and Warm Audio WA-14. Some dynamic mics are excellent for studio purposes too, like Shure’s SM7b, one of our all-time best-sellers. Try it for warm, crispy vocals or go crazy with preamps; you won’t regret it.

Microphones also require accessories like microphone stands, clips, pop filters and we stock all of it and more!

Best Condenser Microphones under £200

Cables

You’ll never have too many! Cables are essential to connect all your gear and make it work as it should. There are a lot of types of cables. Let’s start with the most famous analog ones: Jack and XLR. The former is mostly used for line instruments (synths, guitars, bass…) and can be TRS (tip, ring and sleeve) hence stereo or TS (tip, sleeve) or mono. XLR cables snap into place and they’re commonly used to transmit a balanced signal when recording.

RCA cables are recognizable because of their white and red heads. They’re mostly used for analogue audio devices (like a tape recorder) to achieve stereo and are super common in DJ equipment.

In recent times digital cables have become a staple in countless studios. We’re talking about MIDI cables that for instance send digital information (like tempo and notes) from your DAW to your synth. USB cables are also a modern producer’s bread and butter, as many pieces of gear now feature USB connectivity to take a lot of hassle off your shoulders.

If you want a quick fix to have all your recording staples in one place, might be worth having a look at our bundles! You’ll find audio interfaces with mics and accessories and speakers with cables to get you going in no time!

Part II: Taking your first steps into music production

Now that you have all the gear, it’s time to get your hands dirty creating your first track. In this section we’re going to give you some tips and tricks regarding all the different life stages of a song. But first, here are some key terms that are a producer’s bread and butter.

A basic music production glossary

• ADSR: This acronym stands for Attack, Decay, Sustain, Release. Together they form the ‘envelope’ of a sound. This term is mostly found on synths and is essential to shape their sound. Turning up the attack will result in a softer start of your note, turning up the release will have your sound fading in volume over a longer interval of time once you’ve released the key, short decay means a short burst of sound. Play around for unique results.
• Audio Sample Rate: it’s a measure that determines the number of frequencies captured in digital audio. Major DAWs usually offer you 3 sample rate options: 44.1kHz, 48kHz and 96kHz. Let’s skip the Nyquist and physics explanation and go to the core. 44.1kHz is the standard sample rate used in CDs and many audio recordings. It reproduces frequencies up to 20kHz, which is the limit of the human ear. Higher sample rates like 48kHz and 96kHz mean more measurements per second, so a more faithful reproduction of the original sound. There are no rules when deciding what sample rate to use, just be sure to stick to one in your project and don’t change it while it’s a work in progress!
• Bouncing: exporting an audio file to a format like wav or mp3. Can be done offline or in real-time (meaning you’ll hear the track playback. It’s standard practice when using outboard gear).
• Compression: Reducing the dynamic range of a sound to level out between loudest and quietest parts.
• DAW: stands for Digital Audio Workstation, and it’s the name indicating software for music production like Ableton, Cubase, Reason… where you can play, record, mix and master your tracks.
• EQ: Short for Equaliser. Equalisation is the process of removing or boosting certain frequencies inside a sound by reducing or increasing gain. For instance, you might want to remove very low frequencies that make a mix muddy or boost the high end in vocal tracks.
• FX: Short for Effect. Effects are many and different and they are fundamental tools to shape your sound. Common effects are reverb, delay, chorus, flanger and distortion. All DAWs have built-in plugin effects, you can also find them in the form of external devices, such as pedals.
• Gain: How loud a signal is before it enters an amp.
• Gate: It’s a tool helping you to remove certain frequencies below a specific threshold. It’s really useful if you want to create glitchy sounds.
• Input: The source of the audio chain. You usually connect an audio cable such as a TRS or an XLR to send audio data from your instrument or vocals.
• Jack: Another name for the TRS/TS cable.
• Latency: Latency is the time it takes for your hardware and software equipment to read the sound signal that’s being played, process it, and play it into your speakers. Your guitar sends an analogue signal that your software needs to turn into a digital one and back into an analogue one to play it to you. That process is responsible for latency.
• Loop: A repetition of an audio section.
• Mastering: The process of taking an audio mix and make it ready for distribution.
• MIDI: A digital language that allows digital music devices to communicate. It was first developed in the ‘80s, when the growing amount of digital hardware called for a standardised language to make them compatible.
• Mixing: the process of taking tracks and blending them together via volume adjustments, EQs, compressors, reverbs and more.
• Plugin: it’s a software add-on that enhances your DAW with effects, virtual instruments and processing tools.
• Sample: a piece of audio data taken from a larger file. It’s the smallest unit of measurement in digital sound.
• Stem: a stem is a sub mix of a larger mix. Stems are usually composed of the main elements of a song, i.e. drums, synths, vocals, backing tracks and so on, grouped together to go into the mixing phase.
• Tempo: The speed of music, usually measured in BPM (beats per minute)
• Tracking: the process of recording audio tracks that make a song.
• VST: Stands for Virtual Studio Technology. It’s a format for plugins to add instruments and effects to your DAW.
• Wet/Dry: It’s the balance between a processed signal and the original one. It’s usually found on effect plugins to determine how incisive they are on a sound.

Creating your first track

Although there is no formula to laying down a track, here are some tips to start jotting down your first ideas and developing your workflow. As we all know, multitracking is the standard way of recording music, where multiple tracks are recorded separately and combined in a mix.

Create a track to follow

One of the key steps when recording a song is finding a tempo or BPM. This will allow you to record all instruments in sync and craft a song structure. All DAWs have the option to activate a click track and some have the option to use ‘Tap’ tempo. This means you can click on a button following the rhythm you hear in your head and your DAW will set a BPM for you.

You can even use a pre-recorded drum loop, that you can find in your DAW’s library. That’s a really handy way to get a song started!

Song Structure

Again, nothing’s set in stone about a song structure. However, here are some of the most popular song patterns:

Bridge and Chorus are usually the most important parts: a bridge builds up the intensity which releases into the chorus, which is the more memorable part of the song.

Building Elements – Tracking

Once you have these sections in mind, you can start recording the elements of your song. A good idea is to write a chord progression, that can slightly change throughout the song. This can be the basis on which you start laying your bass, additional synths and vocals.
Don’t overlook the arranging phase: a song can get repetitive, even though it has all the right elements in place! Some ideas to spice up your mix are: removing some elements to create quieter and louder sections, including new instruments starting at different points, or change the panning (aka the direction the sound is coming from) of some instruments.

This is the real creative phase, so probably the best tip we can give is just to let things flow, not giving yourself restraints on what to use and how you should use it. Browse for samples that inspire you, use your gear in an unconventional way (tip: try sending MIDI from a synth to another!), use your vocal chops as percussions… The possibilities are endless!

Editing

Leave the editing phase for a later stage, after you’ve recorded all your tracks. This process is essential to clean up your vocals, select takes, adjust volumes and all the things that make your track ready for the mixing phase. As to vocals, one of the main processes is to tune them. From the slightest imperfection to real hardcore tuning, one of the best plug-ins is Melodyne, which analyses the track bit by bit and breaks it down for you.

Another famous tool is Antares Auto-Tune, a real-time pitch corrector suitable both for studio and live performance. You can decide to use it in a more “humanized” way or put it to 100% wet and enjoy the alteration. Other things you need to look out for when editing are: noise, clips (when the audio signal is too loud and spikes up creating a glitch in the recording), and sibilant consonants like ‘s’ that can be easily defeated by a De-esser.

Production

After you’ve polished your tracks, it’s time for the second round of creativity, which is the production phase. We refer to production as the process where you add effects to your tracks, create transitions and add other sonic intrigue; put simply it’s here where you make your track unique. Here are some quick tips to spice up your production:

• Velocity: you made a sick beat but it feels a little bit too tight and dehumanized, especially if you quantized it to the bone. Try changing the velocity of the hits (especially hi-hats) to create a groovier and more natural rhythm!
• Sidechain: if there’s an effect you (almost) can’t go wrong with, this is it. Sidechaining consists of activating an effect through another track, that is set to a threshold. It is commonly used with Compressors and noise gates, especially between kick and bass to give that wonderful bouncy atmosphere.
• Reverse tracks: it can be a cool way of creating “organic” build-ups before you get to the chorus. Try reversing a snare and you’ll hear a nice ramp perfect to launch your drop!
• Vocal chops: if your song has a vocal track, try to slice it into pieces, especially with vowels, and use them as percussion! It can be an interesting and unique alternative to drum samples.
• Effects: this is not a proper tip, but effects are essential to your production! A delay in the right place can make a huge difference in your track. Whether you prefer digital effects (plug-ins) or outboard gear, experiment with your chorus, reverb, distortion and combine them to achieve incredible results!

Mixing

Mixing is an art of its own. It’s the process of gluing your tracks together to make them sound cohesive and complete. It’s usually carried out using tools like EQs, Compressors and Reverbs, as well as directly acting on your tracks’ volumes and panning.

A good way to get your song mix-ready is by grouping your tracks into coherent chunks, called STEMS. An example of stem could be a synth track and its effects, different snares grouped together, or a series of backing vocals. Once you’ve successfully streamlined your project, you can create a new one dedicated to mixing, so you can always go back to your original project to edit or retrieve elements.

Many DAWs offer mixing templates you can choose from, which come in handy if you’re mixing for the first time. One tip we can give you is to find out the overall feeling you want to convey with your song, and push it as much as you can while you’re producing. Try to have your tracks sounding as you want them to, rather than having to tweak them in the mix!

One of the pillars of mixing is EQ, short for equalisation. All sounds are made of frequencies, that are measured in Hertz. Equalising is the art of boosting, reducing and balancing all the frequencies in the mix to get a clear sound where all elements are present and work well together.

Mastering

What’s mastering? If you ask around, some people might tell you it makes the song “louder”. However, mastering is a very simple but subtle process, that requires great training and ears. The main things you achieve through it are: making the track’s perceived volume louder; making the track translatable to different kinds of speakers & making the track generally sound better.

If you’ve already mixed your song by yourself, a good tip would be to hand the mastering phase to a pair of fresh new ears… and speakers. In fact, a great deal of mastering depends on the speakers used and the acoustic treatment of a room.

The main tools for mastering are EQ, compression & a limiter. Compression is essential to balance out volumes because it makes loud parts sit in the mix and turns up quieter ones. It glues up all elements of the song to create a cohesive product. A limiter is the final stage in the mastering process. It’s a special kind of compressor that sets the overall loudness and makes the track competitively louder, without allowing any clipping or distortion to happen.

After mastering your track, it will be ready to be uploaded to all major digital stores and streaming platforms!

Conclusion

So we gave you all the tools and notions you need to start producing your own music. Even though it might be a daunting process in the beginning, nobody is born knowing everything. Just keep going and practising, trying out new gear and never be afraid of making mistakes!

If you liked this article, you might enjoy reading these ones as well:

• Introduction to nearfield studio monitors guide
• Andertons Scoreboard – £20-£40 Headphone Review!
• What is a drum machine & why do you need one?
• How to build a budget pedalboard

The post Music Production 101: Tips and tricks for Beginner Music Producers appeared first on Andertons Blog.

What if I want to control my modular from my keyboard or my DAW?

Think of it like two people who speak different languages. An interpreter can be the point of mediation to solve the issue. In the same way, modular synths speak CV, while other pieces of gear and software speak MIDI. A MIDI-to-CV converter is essential to make the signals coming from your laptop or keyboard turn into a message that your modular can decipher. It sends Pitch CV and Gate information to your modular so it sounds exactly as you want.

How do I create a modular synth patch?

Unlike hardware synths, the modules in your modular communicate and work only if you make physical connections. This is referred to as patching and consists of uniting modules’ inputs and outputs via patch cables.

Creating your first patch may be a little daunting if it’s your first foray into modular synthesizers. It’s a good idea to outline the plan for the signal flow before you get started, so you don’t feel lost under a mess of patch cables!

There are millions of ways to create a patch, which is why people love modular synths. But ultimately it depends on what modules you have available and how creative you’re feeling. Here’s a simple example of signal flow.

The VCO creates a waveform, the VCA controls the amplitude of that waveform, and the mixer adjusts that signal to line level and sends it out ready to be recorded.

Excellent, so we can create a continuous sound, now what? Let’s look at one more example but this time with a few more modules to give us greater control.

In this example, we’ve added a sequencer, envelope, and VCF. The sequencer sends pitch information to the VCO, and gate information to the VCA via the envelope which shapes the character and length of the note. If you’ve heard of the term ADSR, this is what the envelope achieves, essentially telling the VCA how to open and close for each note. The pitch information from the VCO feeds the VCF before the VCA. A VCF is used to tonally shape the sound, somewhat similar to an equaliser on a hi-fi or guitar amp.

These two patches are some simple examples, and ultimately there is no right or wrong way to create a patch as long as you like the end result, so experiment!

If you need a visual guide to get going with your modular system, we crafted a unique tutorial to help you take your first steps, from setting up your modules to creating your first patch:

How do I record my synthesizer and sync it to my DAW?

So, you’ve created the perfect patch worthy of the next Brian Eno album, but how do you sync and record it into your project?

There are multiple ways to integrate and synchronise a synth with a DAW setup. The best one for you will depend on what you want to achieve and your end goal. First of all, gear up with a first-class audio interface, like Apollo Twin by UAD, Focusrite 4i2 or Apogee Duet 3. You can also consider using a mixer like the Allen and Heath ZED14 or the Yamaha MG12 if you’re wanting a more advanced setup. 

Let’s look at probably the most common and easiest way. Treat your synth like any other instrument and patch from your master output into your recording interface, set the gain, and hit record. Working this way we are treating the DAW as an audio recorder, or a tape machine. Once we have the sound or sequence recorded it is possible to edit, cut, move, repeat, and sample it in the DAW if desired. The downside to this approach is that we can’t tempo synchronise the DAW and modular except for doing it manually during the performance or via editing once we have captured the audio.

An easy way to bypass this problem is to enter a MIDI to CV converter module into your modular system. Using one of these modules in your setup allows you to control CV with MIDI data from external devices such as MIDI controllers/keyboards or your DAW. For example, it is possible to modulate the resonance of a VCF using automation in your DAW, start and stop your sequencer at a specific point in the project, or synchronise the frequency of an LFO to match your project tempo. One downside of MIDI to CV is the limitation of MIDI resolution to 128 values. You can imagine this as 128 individual steps from the minimum value of a parameter to the maximum value. Some people feel this resolution isn’t high enough for parameters such as the frequency on a filter and can hear the steps when the frequency is swept. This is where the analogue world has the advantage of practically infinite resolution between two voltages.

How about a DC-coupled interface?

Some keen readers may be thinking, “my recording interface outputs analogue signals like the ones that go to my speakers… why can’t I use those to control CV on my modular synth?”, and they would be correct to think that! Some DAWs, notably Ableton Live, have created CV Tools that allow you to send CV from your DAW to your modular synth, or any CV compatible hardware via a DC-coupled audio interface. This may sound confusing but a DC-coupled audio interface is just one that allows you to send DC voltages in and out where most audio interfaces try to block this. The recording interfaces that are DC-coupled actively use this as a selling point and you can see the ones we stock here:

DC-coupled Audio Interfaces

No matter your sync approach, the end goal is to get an audio signal from your modular into your recording interface. Modular setups generally work with audio signals that are a lot louder than a typical keyboard or guitar output and may distort the preamps on your interface, so it is advised to pad down the end of your modular chain with a mixer that can output the signal at line level. Products such as the Behringer 305 can achieve this and fit neatly in a Eurorack setup.

How to build your own modular synth

The most exciting part of a modular synthesiser is that it’s completely customisable. You can mix and match all types of modules from different brands, to create a sound that is unique to you. If you want to build your own modular synth, at Andertons we stock everything you need to get started!

CASE & POWER SUPPLY

First and foremost you need a case to host your modules. The things you’ll want to look at are its HP (horizontal pitch) and if it’s powered. HP is the measuring unit for modules. The more HPs, the more modules you’ll be able to fit into that case. For example, Arturia’s Rackbrute 6U Eurorack case can connect up to 32 modules. If your case is already powered, then you’re all good to go. Otherwise, you need to get a power supply module like Tiptop Audio’s μZEUS. 

Modular Synth Cases

VCA

A VCA is essential to control the volume of your oscillator and is often the unsung backbone of a modular system. Go for one like Studio Electronics’ Modstar VCA Amp, which allows you to control the volume in two ways/stages at once!

FILTER

VCFs shape the oscillating sound. A very basic filter will subtract harmonies from your sound, formally known as a low pass filter. A more advanced option is Roland’s System 500-VCF 521 that includes 2 low pass filters and 1 high pass filter.

EFFECTS

Effects are a chapter of their own. You can really get crazy with your effects, from granulators to reverbs to delays. This is where you can really create your personal synth and ‘voices’ never heard before. 

Some of our favourites are Earthquaker’s Afterneath Reverberation machine, Eventide EuroDDL Eurorack Delay Module and Dreadbox Dystopia Noise / Crush / Filter. 

Eurorack Effects Modules

PATCH CABLES

As we said before, patch cables are essential to make the connections between modules and have it sound as you want. You can find them in all colours and sizes, here are some of the best you can find at Andertons:

Conclusion

This is just an insight into modular synthesis, but it really is a universe to discover and shape! If you want to know more, you can stick around and check out our guides:

• Synth 101: a Guide to Synth Terminology 
• A Guide To Modular Synths
• Desktop Synth vs Modular Synth
• The Best 5 Guitar Effects Pedals for Synths (2021)

The post How to Use Modular Synthesizers appeared first on Andertons Blog.

(please note, some models may not appear depending on stock!)

PO-12 Rhythm – Drum Machine

The PO-12 is a drum machine and sequencer with 16 sounds to choose from. The sounds are a combination of synthesized and sampled drum sounds, and the overall character is kinda old-school 808-style. You can save up to 16 patterns and switch between them on the fly. You can also apply and save effects to your patterns, as well as tweak the individual drum sounds to individualise your ideas.

• 16 sounds, combining synthesized and sampled drums
• 16 effects to choose from, record parameters within your pattern
• 16 patterns (with 16-steps each) that can be written and saved
• Step multiplier allowing you to repeat selected sounds

PO-14 Sub – Bass Synth

The PO-14 Sub is, as the name suggests, a bass synth. It has 15 built-in bass sounds to play with, as well as a nifty micro drum machine to accompany your subby fatness. You can tweak the pitch and length of each note in your 16-step pattern, as well as apply master effects to the whole thing. As with all of the models, you can save up 16 patterns of your own.

• 15 sounds using real synth engines
• A built-in micro drum machine to add percussion to your basslines
• 16 effects to choose from, record parameters within your pattern
• 16 bass styles, from smooth low-pass to glitchy square wave
• 16 patterns (with 16-steps each) that can be written and saved

PO-16 Factory – Lead & Chord Synth

If the PO-14 is the bass synth, this is the lead. As with the Sub, it was 15 sounds and a micro drum machine on board to add a bit of movement to your parts. A 16-step sequencer records your pitch, note length, drum parts and effects, and you can save up to 16 patterns to easily recall later.

• 15 sounds using real synth engines
• A built-in micro drum machine to add percussion to your lead lines
• 16 effects to choose from, record parameters within your pattern
• 16 arpeggio and chord styles to add a variety of dynamics and sounds
• 16 patterns (with 16-steps each) that can be written and saved

PO-20 Arcade – Chiptune/Game Synth

As the name suggest, the Arcade makes a whole bunch of slick 8-bit videogame-style sounds. Some retro, some modern, all super cool and super musical. The Arcade goes far beyond just sound effects; it has built-in drum sounds, bass sounds, arpeggiation, chord drones, effects and much more. You can pretty much make an entire track with this thing – madness.

• 16 sounds to choose from, including synthesized arcade-style sounds
• A built-in drum machine
• Comprehensive chord mode with 128-chord chaining
• 16 effects to choose from, record parameters within your pattern
• Intuitive arpeggiator to add texture and movement to your jams
• 128 patterns with pattern chaining for fully-realised song ideas

PO-24 Office – Noise/Groove Sequencer

The Office literally uses sounds sampled from an office environment. We’re talking floppy disks, keyboards, the works. Its advanced sequencer also allows you to incorporate additional drum and synth sounds to build unique, organic-sounding grooves. You’ve got 16 sounds in total, with 128 patterns (and chaining), 16 built-in effects and a unique solo function.

• 16 sounds to choose from, including sampled office equipment and old-school hardware
• 16 effects to choose from, record parameters within your pattern
• 128 patterns with pattern chaining for fully-realised song ideas
• Step multiplier allowing you to repeat selected sounds
• Solo control for isolating certain sounds and pausing your jams

PO-28 Robot – Synth & Sequencer

The PO-28 Robot is a lead synth and sequencer, and comes complete with a micro drum machine. Pick from 8 lead sounds, create a pattern and tweak the note parameters (including pitch and length) accordingly. Next, you can add a beat or some sort of percussion to the mix, as well as Teenage Engineering’s signature punch-in FX. On top of this, you can select an additional sound and play live melodies over the top.

• 8-bit synthesized sounds
• 15 sounds and a built-in micro drum machine
• Combined live play and sequenced parts for improvisation on the go
• 128 patterns with pattern chaining for fully-realised song ideas
• Step multiplier allowing you to repeat selected sounds
• 16 effects to choose from, record parameters within your pattern

PO-32 Tonic – Advanced Drum Synth

The PO-32 is another dedicated drum machine, but with a number of tweaks that take the functionality up a couple of notches. It offers 16 initial sounds courtesy of a complex onboard synth engine – complex in that you can transfer your own VST sounds onto it. This essentially means you’ve got an unlimited number of sounds to play with.

• 16 sounds that can be swapped out via VST data transfer
• Step multiplier allowing you to repeat selected sounds
• 64 patterns with pattern chaining for fully-realised song ideas
• 16 effects to choose from, record parameters within your pattern

PO-33 KO – Sampler & Sequencer

The KO was released slightly later than the initial range, and offers some rather special functionality. It’s a sample with a built-in microphone; you can record, tweak and sequence your own custom samples, from your own voice to an acoustic drum kit. It intelligently maps out drum samples, offers full sequencing, allows you to record effects into your sequence – huge creative potential.

• Built-in microphone for recording your own samples
• 40 seconds of sample memory
• 16 patterns with pattern chaining for fully-realised song ideas
• Step multiplier allowing you to repeat selected sounds
• 16 effects to choose from, record parameters within your pattern

PO-35 Speak – Sampler & Sequencer

Again, it’s in the name. The Speak is a synthesizer aimed at creating weird and wonderful vocal sounds. Sample your vocals (using the built-in microphone), and apply 1 of 8 vocal styles, plus 1 of 8 built-in effects and let the weirdness flow. It’s also got built-in transpose and scale features for tune making, as well as that cheeky micro drum kit that can be tweaked on the fly.

• Built-in microphone for recording your own samples
• 120 seconds of sample memory
• 16 patterns with pattern chaining for fully-realised song ideas
• 8 effects to choose from, record parameters within your pattern
• Transpose and change scale of your sampled parts
• A built-in micro drum machine to add percussion to your jams

How to create a pattern on a Pocket Operator

To create a pattern, you first need to choose your sound. This could be a kick drum, a bass sound, a glitchy sample – it depends on the PO. Hold the Sound button (top left) down and tap any of the 16 main buttons to choose your sound.

Next, toggle Write mode by pressing the Write button (bottom right) – you should see a small circular recording icon show up on screen. Now you can choose where you want your sound to in the 16-step sequence (also using buttons 1 to 16). If you want a 4 to the floor, for example, select a bass drum sound, toggle Write mode, and click buttons 1, 5, 9 and 13 – you’ll see the corresponding points in the sequence light up. Now press play, and you’ve got your basic pattern. Apply the same process to each sound you want to include, and you’re away!

How to sync pocket operators with each other

Like with most classic hardware synths, Pocket Operators accept most universal clock signals (audio clicks at routine intervals to determine a BPM). They also send these signals, allowing you to daisy chain them into eachother. All you need to do is connect them up with stereo 3.5mm cables; go from the line out (right) of one PO into the line in (left) of another, then select your sync mode. There are 6 sync modes to choose from, allowing you to select from a combination of mono/stereo in, mono/stereo out and more – see below:

You can toggle the sync modes by holding down the button just below the second knob, then tapping the BPM button. You’ll see the modes change. If you’re connecting 2 POs, you’ll ideally want the first unit to be SY1, and the second unit to be SY4.

Once you’ve got your pocket operators sync’d up, just press play. The audio will carry all the way through to the last one in the chain. At this point you can easily send the whole mix into your interface, headphones, speakers – it’s up to you!

How to sync pocket operators with other synths

The syncing method described above also applies to other hardware. When you look at synths and controllers from the likes of Moog, Elektron, Arturia and many others, you’ll see that they also have the 3.5mm sync connections – all you need to do is connect them in the exact same way. This makes it super easy to incorporate pocket operators into existing setups, whether it’s desktop, digital, Eurorack – you name it.

How to record pocket operators

The signal coming out of the line out connection on the right hand side is audio. This signal varies depending on your sync setting (see above). To make sure you’re getting the clearest signal to record with, it’s worth picking up a 3.5 stereo jack to 2 x TS mono jack cable (see example below). This will either allow you to record your Pocket Operator in full stereo (using two channels on a mixer or interface) or record it in mono, with the other channel being used to send the sync signal onwards. Click here to check out our full selection of cables.

How do Pocket Operator effects work?

As mentioned above (in a number of places), all of the Pocket Operators have a number of effects built in – from delay to distortion and everything in between. Some of the POs allow effects to be applied to specific sounds, whereas others simply let you stick effects on the whole mix.

You can apply these effects by holding down the FX button (usually the second button below the second knob) and tapping 1 of the 16 numbered buttons. Each one of these buttons will have its own allocated effect. If you do this while the Write button is toggled, it’ll apply the effect at the point that you tap it in the sequence. This allows you to create really dynamic beats and ideas.

Pocket Operators on Andertons TV:

Summary

By now, you should feel a little more in the know when it comes to Pocket Operators. What they are, how they work, and why you need some! If you think we’ve missed anything get in touch – or if you’ve enjoyed reading, share this article with your pals!

While you’re here, check out the rest of our Learn content, or head over to our site to find loads more exciting Teenage Engineering gear. Thanks for stopping by!

The post How To Choose The Best Pocket Operator For You appeared first on Andertons Blog.

Best Reverb Pedals 2022

Delay

The second most-known (arguably!) effect in musical history is delay.

Delay happens when a sound source is recorded and repeated to simulate an echo. Echo occurs in nature when the original sound and the reflecting surface are far enough to make the reflection sound like a distinct separated repeat or tap of the original sound.

If the delay occurs in a short (milliseconds) period, it’s called a “slapback”, as the two sounds are almost overlapping. Any longer than that starts becoming a distinct delay.

The first man-made delay was the tape echo, invented by Les Paul, who used tape to record a portion of guitar performance and to play it back. The first delay pedal to appear in history was the BOSS DD-2 in 1981, which featured the now famed bucket brigade chip (or BBD). It was the first chip that allowed the user to access delay without any moving parts. This was a major innovation, as tapes were often unreliable due to the complex moving mechanics involved.

BEST DELAY & LOOPER PEDAL FOR SYNTHS: TC ELECTRONIC FLASHBACK II

A great modern version of a tape delay can be found in TC Electronic’s Flashback. This stompbox features both tape and analogue delay styles, with an algorithm that faithfully reproduces the flutters and warbles of the past (check here for more lo-fi pedal fun).

This multi-delay pedal is featured in countless pedalboards across the world and is a versatile and creative device with an incredible price point.

One of our favourite features is TonePrint: a series of presets made by pro musicians around the world that you can download into your pedal using the USB port placed on top of it. Using the TonePrint app you’ll even be able to create your own presets!

The cool thing about Flashback is that it’s also a looper pedal. Setting the delay to LOOP mode, you’ll get access to the built-in recorder and will be able to record your performance and also overdub it!

Best Delay Pedals 2022

Distortion/Overdrive

Distortion occurs when an audio signal is too loud to handle for the output device. It sounds good because it adds harmonics and character to the sound that wasn’t originally there, making it more aggressive and perceptively louder.

When we talk about distortion pedals, we can also refer to two other types of distortion: overdrive and fuzz. Overdrive is a subtler but still very powerful way to distort your signal, the difference is that it preserves more of the original sound, making it more natural.

Fuzz is the most extreme type of distortion, you can think of it as boosting your amp to the max and seeing what happens. It provides a very heavy and noisy signal, so much that the original tone can’t be clearly distinguished. In the synth-sphere, it’s ideal to create sinister beats with your drum machine.

The first distortion pedal was the Gibson Maestro Fuzz-Tone released in 1962, created to reproduce a bass signal distorted by accident by an output transistor.

Best Overdrive/Distortion Pedal FOR SYNTHS: BOSS OD-3

The Boss OD-3 is the ultimate pedal for overdrive and distortion. It combines great tone possibilities with an affordable price. Give your synth a crispy, warm distortion rich in harmonics, perfect to recreate valve-like sounds straight out of the ‘60s. Combine it with your favourite mono synth to get some warm, brutal bass and glitchy leads, or create wicked pads. It’s a musicians’ favourite and can be seen in the setup of many electronic artists like Rival Consoles.

The OD-3 will create smooth, warm saturated textures, with no excess even when it’s maxed out. The overdrive quality is a similar sound to a classic overdriven bass amp.

Best Distortion Pedals 2022

Chorus

Chorus is an effect that thickens your signal copying it numerous times, colouring the copied signals and playing them back slightly delayed. These split signals function as “voices”, whose timbre and pitch is modified to create a “chorus” impression, adding width to any sound.

Many synths, like the Korg Minilogue XD and the Juno, have a built-in chorus, as a classic synth effect. However, a chorus pedal can take this sound to the next level, and give you deeper and dedicated control. Chorus first emerged in Hammond Organs in the 1930s, when one signal was detuned on purpose. The first chorus pedal to appear on the market was the BOSS CE-1.

BEST CHORUS PEDAL FOR SYNTHS: WALRUS AUDIO JULIANNA CHORUS PEDAL

One of the best chorus pedals for synths is undoubtedly the Walrus Audio Julianna Stereo Analog Chorus & Vibrato Pedal. A lush analogue pedal with the standard controls and the possibility to choose from sine and triangle waves for a smoother or hastier intensity. The Julianna also features a random mode that jumps between the two for more varied results!

Walrus’s pedal is perfect for adding incredible layers to live performances, thanks to the lag control, which makes your sound swell like it were in the sea. The Julianna is a stereo pedal, which can be hard to find! This means it works wonders with a stereo synth, allowing you to have both channels affected independently and retaining any original stereo width of the sound.

Bonus: If you love the vintage, nostalgic sound of the Roland Juno chorus, TC Electronic have just launched the June-60 v2 stereo chorus pedal!

Best Chorus Pedals 2022

Multi-Effect Pedal

If we’ve got you excited so far, but you’re still not sure what pedal to get, a multi-effects pedal could be just the ticket!

Multi-effects units process a digital algorithm on the fly, rather than allowing your signal to pass through resistors and other analogue components that change your tone within a single stompbox. These effects units use DSP chips, and as the world perfects digital chips for computer technology, our digital effects improve. With these powerful machines, you can have loads of effects at your fingertips, and what’s more, you can have multiple types of the same effect to experiment with.

You also have access to effects you wouldn’t normally buy on their own, such as ring modulators or maybe vibrato. The debate over analogue or digital is always present and many might say that these digital stompboxes don’t live up to their single analogue counterparts. However, there is no valid reason to prefer one over the other, if only your personal taste (see more below!).

BEST MULTI-EFFECT PEDAL FOR SYNTHS: EMPRESS EFFECTS ZOIA

The top of the pops in terms of multi-effects is Empress Effects’ ZOIA. More than a stereo pedal, it’s a real modular synth in a stompbox format. With more than 80 “modules” to choose from, you’ll be able to create your chain, however simple or complex you want it.

Start from the basic reverb and delay and start modulating your sound with LFOs, pitch shifters, bit crushers and more. Any effect you can think of, it’s there! If you want to push it even further, you can create your own synth starting from a simple oscillator and building your way up to a polyphonic beast.

ZOIA is also a looper pedal, ideal to enhance your synth’s built-in sequencer or to loop a synth that has none. So you can have your loop station and your pedalboard all in one handy place!

Best Multi-effects Pedals 2022

Synth Pedals – Essential tips & terminology

So now you’re excited to buy your fresh new pedal, great news! Here are some extra tips and terminology explanations you need to know about effect pedals and how to use them with your synth!

Types of effect pedals

Mono vs Stereo

The first distinction comes in when talking about inputs and outputs. You can have 3 types of pedals according to these criteria: mono in/mono out, mono in/stereo out, stereo in/stereo out. Stereo pedals are the most versatile ones, as they can be converted into mono using only one output, which is not possible the other way round. Moreover, they will allow your pedal chain to be stereo and your synth signal (if it’s a stereo synth) to remain stereo when all effects are bypassed.

Digital vs Analogue

Just like synths, even pedals can be either digital or analogue. The main difference between the two is that analogue signals are continuous, which creates that wholesome and pure feeling. Analogue pedals use transistors and capacitors to create the effect. On the other hand, a digital signal is binary and is represented with ones and zeroes. Digital pedals use digital signal processing (DSP) chips to turn your analogue signal into a digital one, process it and convert it back into analogue.

There is no reason why you should prefer one over the other. It all depends on how you like your sound: go for analogue if you prefer a warmer and more natural sound, go for digital if you prefer a crispier and cleaner tone, that said, you can get very warm and natural sounds out of digital pedals!

How to connect a pedal to your synth

First of all, you have to keep in mind that your synth will send out at least 20dB more than an electric guitar, so you’ll need to keep your synth volume down to avoid distortion and noise, especially with fuzz pedals that don’t react well to low impendency.

Second of all, you can choose between plugging your synth directly into the pedal or use it as a “send” (aka an effect channel or bus) in your DAW.

In the first case, you’ll need two jacks if your pedal is mono or four if it’s stereo. Link the output(s) of your synth into the input(s) of the pedal, and link the output(s) of your pedal into a line input(s) in your audio interface. When you open your DAW and start playing your synth, you’ll hear the synth voice is completely effected. However, many pedals have a wet/dry knob so you can easily control the effect intensity.

If your pedal doesn’t have a dry/wet knob or you simply want to have more control over your effect, you can set it up as a “send” (in the same way as using an effect plugin, but your pedal is doing the job) in your DAW. In this case, you will need the same amount of cables for mono/stereo, but a different routing.

Your pedal input will have to be plugged into your audio interface output, so it receives an audio signal from there. The pedal output will go into the interface input, sending back processed audio. When this is done, you’ll need to create an auxiliary channel in your DAW, setting inputs and outputs as you’ve assigned them. Now you’ll be able to control how intense the effect is on other tracks directly from your DAW, and you’ll also be able to modify it further.

Dealing with impedance – DI Boxes and Reampers 

Guitar pedals normally expect a signal like the one coming from an electric guitar, which is around -20dBu. Synths and keyboards can easily overload the pedal, as their output level is between 3x to 10x times the one of an electric guitar. You could deal with it simply by turning down the volume of your synth, but a better solution is definitely using a reamper. This is an attenuator that adjusts signal level while maintaining a decent signal-to-noise ratio. A great example is Radial Engineering’s EXTC-Stereo, which serves as an interface and reamper between your stereo pedals and your pro audio equipment. Some pedals are able to handle this with “input pad” volume adjustments or line-in, so be sure to check the pedal you’re buying. 

DI Boxes are also extremely useful when you’re linking a typical line input into a mixer, dedicated synth amp or recorder. They will help to adjust the signal in-line between the last pedal in the chain and the line input.

DI Boxes and Reampers

Conclusion:

If you’ve come this far without stealing a pedal from your guitarist friend, well done! Now that you’re ready to expand your synth sound to new horizons, browse Andertons’ selection of effects pedals for synths!

You’ll find everything you need, from analogue to digital, from reverb to the craziest multi-effects.

You might also want to read:

• How to build a budget pedalboard
• Using Guitar Pedals with a Synth
• Guitar Multi-Effects vs. Single Pedals

The post The Best 5 Guitar Effects Pedals for Synths (2022) appeared first on Andertons Blog.