Pro tools 8 First Impressions
How I love Pro tools 8, let me count the ways. Well the boys at Digidesign have certainly put in the hours to create something most streamlined and beautiful. You know how pro tools 7.4 had that hard and sterile looking GUI? Well Pro tools 8 is very easy on the eye, it looks slick. But looks aren’t everything but it doesn’t take long to realize this is one mean peace of music creation software.
After only a couple of weeks I can only tell you what strikes me first, after all writing a comprehensive review on Pro tool 8 would have me at this keyboard to the wee hours of the morning, it really is that extensive.
Ok, what I like.
Notation.
Midi to score feature is going to be great for passing on my compositions for horn and string arrangements, I can’t write notes and humming it to a would be session musician just doesn’t cut it. Love it!
Um..Mini Grand, sounds great to my ears, maybe not to a concert pianist but within a pop style mix, purfect!
Pro tools 8 with the Mini Grand
The DB-33 organ, growls like the real thing, I’ve heard NI’s B4 and there is a difference in tone but I’m not particularly concerned whether an organ sounds exactly like a real Hammond, I just want a good sounding organ and this one sounds lovely.
Pro tools 8 with the DB-33
Automation is much smoother, you know how in previous versions nailing your automation with a mouse was real tricky.
Smoother automation edits
The new AIR plugin in list is extensive.
New Frequency Shifter plugin
• Effects Plug-ins:
• Chorus
• Decimator
• Distortion
• Dynamic Delay
• Enhancer
• Ensemble
• Filter-Gate-Sequencer
• Flanger
• Frequency Shifter
• FuzzWah
• KillEQ
• MultiChorus
• MultiTap Delay
• Nonlinear Reverb
• Phaser
• Reverb
• Spring Reverb
• StereoWidth
• Talkbox
• Vintage Filter
Now that’s a sweet list ain’t it? I haven’t even begun to scratch the surface of what these can do for my creativity but I’m real happy about having all these new options, Previously trying to find these effects from third party developers was time consuming and expensive.
Ok, check out the above graphic, this is real nice, see how you can highlight GRID mode and SHUFFLE mode at the same time, a new feature in Pro tools 8. This is really helpful, one less move when pushing around those regions. Also the Universe is great new feature. Just above bars and beats you can see a series of blue lines which overview the layout of my tracks without having to waste time zooming out. Clicking around this box will navigate me to that particular area in a flash.
As I said, there are so many features but is it really worth that expensive upgrade?
Well I think it’s a bit pricey but then again consider replacing just what I’ve listed here with third party products and you’d be up for thousands.
In a nutshell Pro tools 8 is empowering and it’s more of a one stop shop than ever.
Improved midi performance, state of the art design, a super plugin database, awesome virtual instruments. yep sold me.
A definite thumbs up!
BTW Upgrading from 7.4 to PT8 was a breeze, I thought I would at least lose a few of plugins with incompatibility issues but surprisingly they have all survived.
If I find more interesting stuff I’ll post it here soon.
Happy playing,
Mike de Velta
Fernandes Revival Stratocaster RST-85
Fernandes Stratoscaster
After a recent purchase of this Fernandes RST-85 Stratocaster I am compelled to write a mini review of this most exquisite and under valued guitar.
For years I have eyed many a Stratocaster and thought one day I’ll have to bite the bullet and fork out a couple of thousand hard earned Aussie dollars for a genuine Fender, I mean you don’t get better than that do you?
Well I’m not convinced. When I first spotted this Fernandes RST-85 Stratocaster I was instantly drawn to it’s aesthetics, you no what I mean, some Strat copies look down right doggy, they “feel” and look cheap but even from a distance you could tell the finish on this Fernandes was immaculate and it drew me immediately. Sweet maple neck drooling in Nitro cellulose, two piece butted solid alder body, and high quality replica 57 hardware. Man, this was looking good.
Well a week has passed after acquiring this little gem and with just a little adjustment to the neck relief and intonation I have been carelessly noodling the hours away with a humble satisfaction that this guitar is totally on par with any Fender Stratocaster I’ve ever played, it plays and feels “true”, the sound pops and that tone is right there where you want it.
Well how much for such an axe?
Well prices on Japanase built axes are steadily rising as an alternative investment to the already saturated and overpriced American Vintage guitar market. Some reports say the price has tripled in the last three years.
Get in quick though, prices like this won’t last forever and these babies are getting harder to find. I got mine for $450 Australian Dollars, an absolute bargain and if I spot another be sure I’ll be buying that one too.
For some cool information on Japananes axes head to Japanaxe . Those guys are extremely helpful and a special thanks to Wilson Lennard for helping me identify this particular model.
If you are seeking more information the thread below has some extra pics and discussion.
http://forum.japanaxe.com/phpBB3/viewtopic.php?f=2&t=1402&p=12370#p12370
Perth Blues Clubs Festival of Fret Review by Marcus Schultz
Festival of the Fret
By Marcus Schultz
Yes, the annual Perth Blues Club’s Festival of the Fret came and went last Tuesday on the 18th of November but it was definitely a night that will not soon be forgotten.
The first act eased the Club into its biggest night yet with the solo acoustics of Mike de Velta. His set combined a handful of original compositions as well as a mix of traditional blues standards. In an unusual fashion Mike played a 12-string electric acoustic as if it was a lap steel guitar for a number of songs from his extensive repertoire.
He played a few upbeat songs such as Room with a View, Red Dress and The Sailor Song with an instrument not too often seen as the Blues Club, a ukulele. For Life’s Like That he produced a harmonica and proceeded to accompany himself with his 12-string guitar (now played normally).
Mike de Velta finished up with two blues cover songs, Tony Joe White’s As the Crow Flies and a traditional blues titled You Gotta Move.
The house band consisted of an all-star line up with Bob patient on piano an organ, Wayne Freer on Bass guitar and Ric Eastman on drums. Backing Gerard Maunick, Mal Eastick and Lindsay Wells all on the same night, the house band seemed to have had their work cut out for them, but they didn’t seem fazed at all.
The next act, always a crowd pleaser, was Gerard Maunick. He and the house band jammed out some reggae, rock and blues numbers.
Some highlights of the set included South Bound, Back to the Crossroads, a rolling blues tune which drew a large crowd to the dance floor and Suzy Q.
The 12 bar blues shuffle that is Across the Border illuminated Gerard’s mastery over the guitar as well as demonstrated the raw talent that Bob Patient possesses.
Just before the band played their last number, Bob Dylan’s All Along the Watchtower, Gerard announced that they actually hadn’t had time to rehearse their set, but who could tell?
Mal Eastick is widely considered as Australia’s premier blues musician and who could argue? His style is a marvel to watch and is even more amazing to hear.
Mal played a set of all instrumental blues off his two albums The Southern Line and Spirit with a few covers thrown in. Mal opened with a song for his song entitled Blues for Aaron, followed with The E St Blues and then slowed things down with the sensitive Times Like These.
Mal paid tribute to two of his biggest influences by playing Lenny from the catalogue of Stevie Ray Vaughan and Freddie King’s I’m Going Down to San-Ho-Zay.
After playing a few more of his songs such as Two Love, The Jungle Funk and Swept Away, Mal ending with the fast and distorted Jumping with Stevie.
Finally, the time had arrived that we’d see one lucky winner take home the Fender Squire guitar signed by Gerard, Lindsay, Matt Taylor and others as Mal drew the winning ticket. Unfortunately, Dennis Raditch (apologies if I spelt that wrong) was absent from the Club on the night, however, I’m sure he got the best phone call of his life a bit later that week.
Having just flown back to Sydney I think it’s safe to say that Perth audiences will be waiting anxiously for Mal’s return to WA next year.
Lindsay Wells, a favourite at the Perth Blues Club was back again to mesmerize the audience with his natural talent and incredible stage performance.
Some highlights of Lindsay’s performance included Sugar Coated Love, ZZ Top’s La Grange and Jimi Hendrix’s Red House and Hey Joe where he played his guitar behind his head and between his teeth.
The final song of the night was something very rare and a real treat to see; Lindsay Wells invited Mal Eastick on stage to wrap up the festival. Together they played through a brilliant cover of Crossroads (also called Cross Road Blues) written by the late, great Robert Johnson and as performed by Cream.
After the applause of the audience died down, Lindsay and Mal played a slow blues encore in E, I’m in the Mood by John Lee Hooker.
The only thing that went through my mind as I left the was how are they going to top The Perth Blues Club’s Festival of the Fret next year?
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Typically associated with the Blues and Roots movement and acoustic in nature Mike De Velta's intoxicating compositions and performances are constantly on the move. A rich showcase of modern folk,blues and a hint of the eastern expressed through the shimmering and delightful tones of lap slide, ukulele and acoustic guitars.
