The latest in the Taurus series, Moog’s Minitaur is the first model in the series without pedals, the first apparent advantage it holds over the previous models is size and portability; at less than 3lbs and measuring only 8.5″ x 5.25″ this should easily fit into any stage or studio set up, options available for rack mounting, taking up 3U rack space. Also, retailing at a fraction of a price makes this a highly affordable piece of kit.

Each of the two oscillator’s are switchable between square and sawtooth waveforms, with independent volume controls and a pitch control for the second oscillator for tuning up to an octave below or above the other oscillator, with a separate dial to fine tune the whole instrument with a range of one semitone up or down. A useful feature when detuning the Moog, designed to prevent cancellation of frequencies; is the ‘under the hood’ software option for note sync, which when selected forces the phase of both oscillators to reset to zero degrees when a midi note is received.

The Minitaur features a single LFO generating a triangle wave, this modulates both VCO1 and VCO2 equally and can be synced to MIDI Clock anywhere from 4 semibreves to 64th-note triplets. For me the addition of the ADSR controls were a great selling point over the Taurus 3; although the hardware controls only appear to have switchable Decay and Release controls, the USB software controller “rev 2” has the very useful option to assign independent Decay and Release times, using the front panel. The Minitaur also retails at a fraction of the cost to the Taurus 3, making it a more affordable option.

Another fantastic feature of the Minitaur Editor/Librarian software control is that the Minitaur itself can later recall these presets from the front panel controls without the software running. Additionally, ‘under the hood’ controls allow you to reassign CV and Gate inputs, so for example you can assign the pitch and modulation keyboard controls to LFO rate and level (perfect for syncing dubstep ‘wubs’ in a live set).

The Minitaur also has capabilities as an external filter, lending the same rich analogue tones it has as an instrument, to any audio of your choice and really bringing home the insanely good value for money this kind of gear offers. The number of applicable uses the Minitaur has, combined with the high quality bass sounds you can create with it makes this equipment a must have for any studio, or live set up.

It’s well worth getting your hands on one of these little tinkers:

List of Front Panel Controls:

•VCO2 Frequency – Sets the frequency offset of VCO2 from VCO1 from -1 Octave to +1 Octave. Center is unison with VCO1.

•Oscillator 1 & 2 Saw/Square Waveform Selector – Selects a Sawtooth wave (LED OFF) or Square wave (LED ON) Signal for VCO1 and 2.

•VCO1 Level – Sets the level of VCO1

•VCO2 Level – Sets the level of VCO2

•VCF Cutoff – Sets the Cutoff Frequency of the 4-pole Moog Lowpass VCF from 20Hz to 20KHz

•VCF Resonance – This sets the gain for the amount of signal from the output of the VCF fed back to the input of the VCF. This creates a peak in Frequency response at the Cutoff Frequency that can be increased all the way to self-oscillation.

•VCF EG Amount – Bi-polar control sets the (+) or (-) Amount of Envelope Generator modulation of the VCF. Center is no Envelope Generator modulation.

•LFO Rate – Sets the frequency of the LFO. Range is from 0.01Hz to 100Hz

•LFO VCO Amount – Sets the Amount that the LFO modulates the VCO

•LFO VCF Amount – Sets the Amount that the LFO modulates VCF

•VCA EG Attack – Sets the attack Time of a Minimoog-Style ADSR Envelope Generator used to modulate the VCA. Time ranges from 1 msec to 30 seconds.

•VCA EG Decay/Release – Sets both the decay time to the sustain level and release time of a Minimoog-Style ADSR Envelope Generator used to modulate the VCA. Time ranges from 1 msec to 30 seconds. The Release segment of the EG is enabled by the Release On/Off switch.

•VCA EG Sustain – Sets the sustain level of a Minimoog-Style ADSR Envelope Generator used to modulate the VCA.

•VCF EG Attack – Sets the attack Time of a Minimoog-Style ADSR Envelope Generator used to modulate the VCF. Time ranges from 1 msec to 30 seconds.

•VCF EG Decay/Release – Sets both the decay Time to the sustain level and release time of a Minimoog-Style ADSR Envelope Generator used to modulate the VCF. Time ranges from 1 msec to 30 seconds. The Release segment of the EG is enabled by the Release On/Off switch.

•VCF EG Sustain – Sets the sustain level of a Minimoog-Style ADSR Envelope Generator used to modulate the VCF.

•Release On/Off Switch – Enables (LED On_ or Disables (LED Off) the Release segments of both Envelope Generators.

•Glide On/Off Switch – Enables/ Disables the Glide function

•Glide – Sets the rate of Glide when the note controlling the MINITAUR changes.

•Volume – The Master Volume of the MINITAUR’s synth Engine.

•Fine Tune – Adjusts the frequency of the VCOs +/- 1 semitone.

•MIDI Indicator LED – Indicates incoming MIDI activity

•LFO Rate Indicator LED – Indicates the rate of the LFO.

Back Panel:

•Audio Out – 1/4″ Unbalanced jack.

•Headphones — Jack for stereo headphone output.

•Audio In – 1/4″ Unbalanced jack accepts  line-level input.

Analog CV Inputs:

•Pitch CV – 1/4″ TRS Jack accepts 0 to +5V signal (internally processed for 1 V/Octave) via passive Expression Pedals or CVs.

•Filter CV – 1/4″ TRS Jack accepts 0 to +5Vsignal via passive Expression Pedals or CVs.

•Volume CV – 1/4″ TRS Jack accepts 0 to +5Vsignal via passive Expression Pedals or CVs.

•Gate – 1/4″ Jack accepts a 0 (Off)/ +5V(On) Gate signal to trigger the unit’s EGs.

MIDI:

•MIDI (DIN) – Standard DIN MIDI input for MIDI Control of the MINITAUR

•MIDI (USB) – Type B USB connector for connecting MINITAUR to host for USB MIDI.

You can use this guide to create your own system to the same specification, or as a template for a lower performance mac of a similar standard to the basic apple range, but at a fraction of the cost.

Here are a list of the main components we’re planning to use and links to buy them are attached below:

Component links:

CPU – i7-3770K

Motherboard – Gigabyte SKT-1155 Z77X-UD5H

Graphics – Nvidia Geforce GT640

RAM – 16GB Corsair Vengeance

System drive – Sansdisk SSD 240GB

Storage Drive 1 & 2 – 3TB SATA3 HD Seagate 3TB x 2

Case – CoolerMaster Silencio 550

Power – Corsair 600W CXM Builder Series

Cooler – Arctic Cooling Freezer i30

Cables – 2 x SATA2 Cables

Mountain Lion

The FreqAnalyst is a frequency spectrum analyser, highly effective when used in conjunction with the Triple EQ also included with the pack. Having a separate channel strip for each plug in is important to give an increased range of control, a higher level of detail and the freedom to use the analyser pre or post EQ.

Also included in the package are the Blue Cat’s Chorus, Flanger and Phaser, each using a similar interface; presumably this is for ease of use and clear control. All three boast effects ranging from adding subtle depth to your mix – particularly useful for this is the ‘Spread’ control featured on all three for a noticeable stereo widening effect.

Last but not least, the Blue Cat’s Gain Suite has a number of effective uses, including control over the gain on multiple channels in real time. Considering this is also MIDI controllable this is a considerably useful feature. The dual control feature allows you to not only control left and right at different levels, but alternately can be used on two channels with a mid/side setup, this allows you to increase the stereo depth, without the risk of creating unwanted phase if the track is played by a listener through a mono speaker, a problem that is increasingly common as the iPad is one of many devices with a mono speaker that is widely used.

All six plug ins can be fully automated and have a distinctive sound quality that will keep more experienced users coming back to them when the situation calls for it. These are well worth downloading and you’ve literally nothing to lose by doing so, as they are all completely free to use.

Blue Cat Audio Standards:
• Available as: Mac-AAX, Mac-AU, Mac-RTAS, Mac-VST, Win-AAX, Win-DX, Win-RTAS, Win-VST, Win x64-DX, Win x64-VST.
• Native DSP code for optimal performance.
• Full MIDI control and automation support with silent, zipper-free parameters update, advanced response control and MIDI Learn.
• No CPU load on idle: when the plug-in is fed with silence, the processing smoothly shuts down, to optimize the CPU usage of your Digital Audio Workstation.
• Skinnable and customizable user interface with transparency management.
• Smooth Bypass: activate/deactivate the plug-in with absolutely no noise.
• Undo/Redo.
• Full featured integrated presets manager.
• Any sample rate supported.

Tech 21 seems to have it all figured out for bass players. The
SansAmp Bass Driver DI pedal offers vintage tube tones, bright modern
sounds, gnarly distortions and everything in between.

The pedal is able to emulate vintage tube harmonics and blend it with
the direct sound. Also, the presence knob enhances the definition of the
upper frequency content. Two-band EQ gives you good control of the amount of treble and bass (and the mids are boosted as you reduce the treble and bass).

This pedal possesses three different outputs: an affected XLR, an affected
1/4”, and a parallel-unaffected 1/4”.

Besides the amazing sound you can get out of this little pedal, it can also
be powered by phantom power (+45 volts) through the XRL Output, or by a 9V alkaline battery or DC power supply.

Key features

PRESENCE: Controls the amount of definition and upper harmonic content.

DRIVE: Adjusts the overall gain structure and overdrive.

LEVEL: Regulates the XLR and effected 1/4″ output levels.

BLEND: Allows you to mix the direct bass signal with SansAmp
Tube Amplifier Emulation circuitry (which is particularly useful for
basses equipped with piezo pickups).

BASS & TREBLE: Are active EQ controls, specifically tuned for bass
guitar that cut or boost +/- 12dB.

Check out the dealers on Amazon for a good price on this one:

For additional information, visit Tech21NYC.

The TE-2 Tera Echo produces a rich and dynamic new ambience effect that goes way beyond normal delay and reverb. The DA-2 Adaptive distortion – unlike regular distortions pedals – creates distortion tones that adapt in real time to different registers and playing dynamics. The result is truly amazing; dialed-in distortion that sounds great wherever you play on the neck, plus incredible clarity on chords, even with high-gain settings. Finally the MO-2 Multi Overtone uses your guitar’s rich harmonic characteristics to morph your sound into a wide range of unique and expressive tones.

These three new pedals, especially when used alongside one another, give the guitar player a range of sounds that were previously impossible to create outside of a recording studio.

All three react immensely sensitively to a wide range of dynamics, pitches, and input tones  - providing unparalleled expression while playing.

Waves has once again teamed up with one of the world’s hottest mixing engineers to develop a set of high-class plugins with a signature sound. The collection from Grammy-award winning Manny Marroquin (Rihanna, Shakira, Maroon 5, Linkin Park, Bruno Mars) consists of a Delay, Reverb, EQ, Tonal Shaper, Distortion and Triple D(DeEsser, DeHarsher, DeBoxer).

Each and every Signature Series plugin has been designed to capture the artist’s distinct sound and production style, using custom multi-effect processing chains designed by the artists themselves. For experienced and aspiring audio professionals alike, the Waves Signature Series streamlines the mixing process, and delivers high-quality results instantly. The Waves Signature Series currently includes plugin collections from Chris Lord-Alge, Jack Joseph Puig, Tony Maserati and Eddie Kramer.

The Manny Marroquin Signature Series Collection is not officially available yet, but you can sign up at Waves.com to be among the first to hear about the release. Dave Pensado has been raving about his preview copy – and that’s an endorsement glowing enough for us.

The SM57 is a cardioid dynamic microphone made for clean reproduction
of acoustic instruments such as guitars, trumpet, drums and even vocals.
Also, it is widely used to mic up amplified instruments such as guitars, bass and keyboard. The two most popular uses for the SM57 can be found in both studio and live environments: miking the snare drum (top and/or bottom) and a guitar amp.

Also, the SM57 is known for its durability. By investing in this
microphone, you are almost guaranteed that the microphone is going to
work all the time under extreme circumstances for an extended period of
time. For example, it can resist rough environments (i.e. smoke, rain and
snow) which may be present in live performances, as well as accidental drops to the
ground.

Check out these two “Ultimate Drop Test” videos; the people from Shure test the reliability of the SM57 and SM58 (the SM58 has the same body as the SM57 – the only difference is its grill
design) by dropping them from different heights. Even from a helicopter
hovering 200 feet above the ground!

Shure SM57 Ultimate Drop Test

Shure SM58 Ultimate Drop Test – With Helicopter!

The Shure SM57 can be purchased for the affordable price of £132.30.

Specs

- Transducer Type
Dynamic.

- Polar Pattern
Cardioid.

- Frequency Response
40Hz – 15 kHz

- Sensitivity
(1kHz): -54,5dBV/Pa / 1,88 mV/Pa.

- Weight
284g

The Shure SM57 is available for a good price from Amazon:

The Dubmaster – Liquid Delay is a BPM synchronized delay with a special feature called DubRhythm, which allows you to set the smooth non-rhythmic distortion that makes the specific smoked sound known from Jamaica Reggae and Dub tracks. It includes all the necessary features for setting the wide spectrum of various fascinating sound echoes: Delay Module for setting various number of stages 1-8, feedback amount, LR pan, Dry/Wet feature. The original, beautiful liquid sound is also generated by the unique FX module called Liquid Phase. It’s a special modulation effect that combines specific phase modulators and flanger.

It allows you to produce a wide spectrum of variously colored echoes – from crystal glittering sounds through stoned Jamaica vintage to total psychedelic twisted modulations that really surprise you. The Dry/Wet knob for adjusting the level of the effect is included as well, of course. The original liquid sound is also enhanced by the filter unit with three analog modeled Low-pass, Band-pass and High-pass filters with adjustable value of Cut-off, Resonance and smoothly adjustable level of Drive, which makes the classic saturated distorted sound. In addition the Dubmaster – Liquid Delay also contains a free running Low frequency oscillator which can modulate the filter by the Saw, Sine, Triangle and Square waves with adjustable level of rate and depth.

The Dubmaster – Liquid Delay is recommended to be used on single FX channel together with additional reverb.

It sounds great together with dub beats and percussions. It sounds beautiful with every acoustic guitar or piano. But the Dubmaster is not only the Raggae/Dub delay, it also sounds great in other musical styles from nu-jazz to abstract hip-hop, from pop to electronic music, breakbeat, psytrance or chillout. Excellent sound is also achieved in conjunction with virtual analog synthesizers, electronic SFX sounds or experimental digital beats.

Features

• BPM Synchronized Dub Delay unit with Feedback, Pan and Dry/Wet control. Also includes special feature called DubRythm for smooth non-rhythmical time distortions in classic dub/reggae style.
• Module for set-up number of echo stages ( from 1 to 8 )
• Special FX module called “Liquid phase effect unit” with parameters like: Tone, Depth, Frequency, Jet, Dry/Wet and unique crystal clear liquid sound.
• Virtual analog filter stage with Low pass, Band Pass, High pass filters with juicy liquid analog sound and classic parameters like Cutoff and Resonance + non-linear saturation effect with adjustable parameter Drive.
• Free running Low frequency oscillator ( LFO ), which can modulate cutoff of filters with waves like Saw, Sine, Triangle and Square with adjustable amount of rate and depth.
• Control parameters of Input and Output sound level and Bypass On/Off switch.
• Preset manager.
• Digital algorythms written in C++ / Assembler based on codes from DSP chips.
• More than 40 presets modeled for using with drums, percussions, guitars, bass and other instruments.

Requires

• Pentium III 1200 Mhz.
• 256 MB Ram.
• Windows 2000/XP/Vista/7.
• VST/VSTi compliant host (Cubase, Nuendo, Fruity loops studio etc.)

Features

• 4 frequency bands, each one with independent controllers for noise gate, dynamics, distortion and feedback.
• Innovative and original distortion algorithms.
• Band dynamics: alien compressor or expander, synchronized noise gate and more.
• Multi-band stereo: Phase corrected multi-band stereo effect + optionally process in mid/side mode for more stereo field tweak-ability.
• Melohman feature: midi controlled preset morphing or randomization. Remixers’ absolute must.
• Great on guitar, bass, synth, drums and any living creature in general.