Archive for the ‘News’ Category


Yamaha Tenori-On Orange: More Affordable Model, Coming Soon!

November 5, 2009

The new – and cheaper! – version of the popular Tenori-On is arriving soon at Dolphin Music. This instrument has captured the imagination of musicians and producers all over the world, including artists such as chart-topping Little Boots. Find out more about the new model…

Yamaha Tenori-On Orange - new, and more affordable model!

Yamaha Tenori-On Orange – new, and more affordable model! Buy Now Buy Now

The new Yamaha Tenori-On ‘Orange’ offers the same levels of creative power as the original Tenori-On, but has been made significantly more affordable!

For example, Yamaha have replaced the very cool but expensive magnesium casing of the original with a heavy duty and durable plastic casing .

Yamaha Tenori-On Orange. Limited stock arriving soon, pre-order now!

The original Tenori-On became an instant hit worldwide, and has been used by several influential artists such as Massive Attack, Bjork and chart-topping Little Boots. Now, this newer, more affordable version is set to make this incredible and innovative instrument even more popular!

All the same features and spec as the original apart from:

  • No Magnesium alloy body – white plastic frame on this model
  • Has orange LEDs instead of white LEDs
  • No screen on the back of it – has the interface
  • Does not run on batteries – mains only

The Yamaha Tenori-On Orange will be arriving soon at Dolphin…just in time for Christmas! But stock is limited…so pre-order yours now! Visit the Yamaha Tenori-On Orange product page for more info.


4 Weeks Of Rode: Shop With Dolphin, Enter to win a Rode M3 Mic!

April 28, 2009

It couldn’t be easier! Buy anything from the Dolphin Music website, between 24th April and 24th May, and you’ll be entered to win a Rode M3 condenser microphone! Dolphin Music 4 mics to give away, and will be picking a winner each week! Good luck!

Rode M3Want a Rode M3? Shop with Dolphin between 24/04 and 24/05 and you may be one of the 4 lucky winners!*

Whether you want to record acoustic guitars, mic a guitar cab or record drums, you’ll find that the Rode M3 offers outstanding condenser microphone that works great in the most diverse recording situations.

The Rode M3 is an extremely versatile microphone that is at home in the studio, on location, or wherever a low-noise wide-response cardioid condenser microphone is demanded.

An end address condenser microphone, the Rode M3 features a heavy-duty metal body, category leading low self-noise, three stage PAD (O, -10db, -20db), a battery status LED and a High Pass Filter.

The M3 also comes complete with windshield and a stand mount, and can be powered via a 9V battery or 24-48V Phantom.

  • Rugged metal body
  • Internal capsule shock mount
  • Switchable High-Pass Filter @ 80Hz-12dB/Oct
  • Three step PAD – Flat, -10dB and -20dB
  • Low handling noise
  • Heat treated high strength head mesh
  • 9V battery power or 24/48V phantom power
  • Battery status indicatorWhat’s Your Need?Rode M3: Guitars, drums and acoustic guitar

    Live or in the studio? Electric guitar, acoustic guitar or dums? The Rode M3 is suitable for a wide range of applications. Recording, stage, and location work are all well within the capabilities of this microphone. Its low noise and full frequency response ensure the sound quality is at a standard that is expected by today’s musicians and engineers.

    You may use either phantom power or 9V battery to operate your M3.


    “The M3 is hard to fault. It’s versatile, projects an open midrange tone… and comes shipped as a total package that’s competitively priced.”

    “the M3 is a hugely flexible microphone that will produce a good result almost irrespective of the application for which you intend to use it. The inclusion of a pad switch and high-pass filter on a microphone of this type and cost is almost unprecedented”

    “A well engineered microphone that is capable of handling just about anything, with a remarkable degree of competence for the price.”

    *Every customer who makes a purchase at between 24th April and 24th May 2009, will automatically be entered to win a brand new Rode M3 condenser microphone, worth £90 SRP.  One winner will be announced each week, starting Friday 1st May, then Friday 8th May, Friday 15th May and finally Monday 25th May. Good luck!



    I•ONIX U42S Lexicon ® streamlines the desktop recording interface

    April 23, 2009


    Brilliantly designed, The Lexicon I·ONIX U42S USB 2.0 Audio Interface Desktop of the I·ONIX Recording Series fits where it makes the most sense, between your keyboard and monitor. With all monitor and input level controls at your fingertips, you’ll wonder why no one ever thought of it before.

    The Lexicon IONIX U42S USB 2.0 Audio Interface features the newly designed dbx microphone preamps on every channel, the I·ONIX series is more than equipped to provide professional recordings that keep your music sounding its best.

    The Lexicon I·ONIX U42S records four analogue and two digital channels simultaneously.

    The Lexicon I·ONIX U42S USB 2.0 Audio Interface main features include:

    • USB 2.0 connection to DAW – up to 480Mbps
    • 44.1 to 96kHz sample rates, 24-bit resolution
    • Analogue ¼” and XLR combi-jack inputs on the rear panel for mic/line inputs
    • Analogue ¼” TRS (Stereo Main) outputs
    • dbx® high-voltage, ultra-low noise mic preamp’s on all analogue mic/line inputs
    • Supports Windows® and Mac® platforms 48V phantom power for each input pair
    • Input signal metering via 8 LED’s per channel Signal mixing and stereo bus signal metering
    • ¼” high output headphone connection(s)
    • MIDI In/Out
    • Zero latency monitoring
    • Low latency ASIO drivers
    • Lexicon Pantheon II VST/AU reverb plug-in
    • Software suite includes Steinberg®’s Cubase® LE4, and Toontrack® EZdrummer® Lite


    • Combi-jack Analogue Inputs: 4
    • Simult. Recording Sources: 6
    • Microphone Preamps: 4
    • Hi-Z Instrument Inputs: 2
    • S/PDIF
    • MIDI
    • Headphone Connections: 2
    • ¼” TRS Analog Outputs: 2

    Don’t sacrifice your desktop or your music.

    You care intensely about your music. It’s more than a pastime – it’s a passion. Lexicon understands your passion and it inspires us to innovate. Brilliantly designed, the I·ONIX Desktop Recording Series fits where it makes the most sense, between your keyboard and monitor. With all the level meters and gain controls at your fingertips when using your DAW, you’ll wonder why no one ever thought of it before.

    Featuring newly designed dbx® 60V high-voltage, ultra-low noise mic preamps on all 4 channels, the I•ONIX U42S is more than equipped to provide professional recordings that keep your music sounding its best. The preamps run on a high-voltage supply to guarantee stability and provide you with a superior recording across a wide dynamic range. Performance driven A/D – D/A converters ensure pristine 24-bit/96kHz audio to capture every subtle detail of your performance.

    The I•ONIX U42S can record four tracks at once and includes 4 combi-jack mic/line inputs with +48V phantom power, 2 TRS balanced line outputs, 2 hi-Z instrument inputs, 2 high power 1/4″ headphone outputs, S/PDIF and MIDI I/O. Dedicated knobs and meters offer easy access to input and output levels and locking combi-jacks make sure that a connection is not lost in the middle of a performance.

    Pantheon Hall

    The Lexicon name is synonymous with “the world’s best reverb.” The Pantheon™ II VST/AU reverb plug-in features 6 reverb types with 16 adjustable parameters, and 35 factory presets that range from Vocal to Live Sound and Special Effects. It’s easy to complete your mix and make your music sound its best with the exquisitely rich, full reverbs that made Lexicon famous.

    No compromise performance – ergonomic brilliance.
    Pure genius.



    Credit Crunch Music: Songs about the recession emerge

    March 27, 2009

    Pop music can’t help but reflect the hard times…

    Neil Young

    Neil Young – singing about the hard times…

    [originally from the Washington Post. For full article click here]  For Neil Young’s next release, “Fork in the Road,” the venerated, if occasionally vexing, rocker has created a concept album about electric cars. But Young takes a detour on at least two tracks to work with a suddenly popular songwriting topic: the cratering economy.

    On “Cough Up the Bucks,” Young wonders, in his high, nasally whine: “Where did all the money go?”

    And on the title track’s chorus, he turns indignant: “There’s a bailout coming, but it’s not for you/It’s for all those creeps hiding what they do.”

    Young’s contributions are just two of the more recent entries to the rapidly expanding recession-music playlist. It’s a mix that’s spilling over with tunes by artists who sound dejected, determined, enraged, anxious and, occasionally, sort of amused by the financial meltdown.

    Indeed, the global financial crisis is providing fodder to all manner of musicians, from rock legends and country singers to folkies and rappers. Contributions from rappers are especially notable, with more and more hip-hop artists forgoing, or at least decreasing, lyrics about excessive materialism in favor of ones about the common man’s economic grind, as heard on recent songs by Jadakiss (“Hard Times”), Cam’ron (“I Hate My Job”), Joell Ortiz (“Bout My Money”) and Willie Isz, a Georgia duo whose “In the Red” imagines a world without money.

    The members of Willie Isz have called the potent song a cross between John Lennon’s “Imagine” and the epochal Great Depression song “Brother, Can You Spare a Dime?” But it sounds more like a Southern-rap update of the Carter Family’s enduring 1930s anthem “No Depression in Heaven,” with Jneiro Jarel rapping: “If everything was free, the world would be a better place/For you and me/Don’t you agree?/No more poverty/. . . There would be no bank robberies/The crime life would stop/America would be at peace.”

    There’s also “Circulate” by Young Jeezy, the Southern rap star who last year released a chart-topping album loaded with lyrics about economic struggle. Called “The Recession” (although at the time of its release, in September, economists hadn’t declared that the U.S. economy was in a recession), the album marked a departure for the Atlanta rapper who became famous — and, yes, rich — spinning tales of dope boys living large.

    Although Jeezy didn’t actually strip his lyrics of references to his Lamborghini, he was suddenly questioning his free-spending ways, rapping: “Looking at my watch like it’s a bad investment.” In an interview with XXL magazine, he explained that he was something like a hip-hop Suze Orman: “When money was plentiful, I was the first one to tell you to stack it. Live your life with it. Now that money’s slowed up, I’ma be the first one to tell you to save it like they ain’t gon’ make it no more.”

    And yes, a wealthy rap star can still relate to the plight of the common man, Jeezy insisted. “I got family members, aunts, uncles and cousins and friends that still live their life,” he said. “It definitely affects me when I get the phone calls and somebody’s about to get put out of their house . . . somebody can’t pay their bills and there ain’t really a lot of opportunity out there for you.”

    In January, Nashville star John Rich dashed off “Shuttin’ Detroit Down,” a rant about the government’s hesitation to save the American automotive industry. “In the real world, they’re shuttin’ Detroit down,” Rich seethes. “While the boss man takes his bonus pay and jets on out of town/And D.C.’s bailing out them bankers as the farmers auction ground.”

    Country singer-songwriter Phil Vassar seemed to have presaged the housing crisis when he was working up the title track of his 2008 album, “Prayer of a Common Man.” It’s a country-gospel ballad on which Vassar sings almost pleadingly: “This house of cards I built is mortgaged to the hilt/And it’s sinking in the sand/Lord, hear the prayer of a common man.”

    The old folkie Tom Paxton took a different approach in writing about federal bailouts, turning satirical on “I’m Changing My Name to Fannie Mae,” an update of his topical 1979 song “I’m Changing My Name to Chrysler.” In the new version, Paxton sings: “I am changing my name to Fannie Mae/I am going down to Washington, D.C./I’ll be glad they got my back/Cause what they did for Freddie Mac/Will be perfectly acceptable to me.”

    The recent proliferation of songs about the economy is no surprise, given the long and rich history of tunes about hard times. During the Great Depression, musicians summed up the prevailing sentiments of the struggling country, whether it was Woody Guthrie singing his Dust Bowl ballads (“Do Re Mi,” “Tom Joad,” “I Ain’t Got No Home”), Blind Alfred Reed wondering “How Can a Poor Man Stand Such Times and Live?” or Yip Harburg writing about the disintegration of the American dream in “Brother, Can You Spare a Dime?”

    Now, the good news: Making music is still easy and affordable

    Making music is still very affordable. If you love music, you’ll always find a way to make it, either buying cheap new gear, or even used gear.

    You can get some good, decent gear for much less money than you’d expect – the cheapest brand new acoustic guitar at Dolphin, the Falcon FG100, costs a meagre £34.25. And you know what? It’s not half bad at all!

    A Squier by Fender Start Playing Affinity Special Pack costs just over £150, and for a package that includes a good guitar, practice amp, strap and lead, it’s  really good price!

    The Yamaha YPT200 keyboard costs only £69 and has a portable grand sound function. It’s pretty good – you can’t compare it with a Nord, of course, but the sound is good enough to get anyone started and playing their music.

    The Yamaha Pocketrak 2G is an affordable (portable) recorder for only £149…enough to get you started with some good live recordings of your songs.

    Several USB Audio Interfaces are also available for very reasonable prices, and most models also include some sort of music recording software, so it’s just a matter of plugging to your computer and start playing your music.  Some interfaces we can mention: the ESI MAYA44 USB (Includes Cubase LE) available for just £69.95, M-Audio Fast Track (only £69.99) and the Line 6 POD Studio GX which costs only £62.

    Who knows, maybe the economic recession will make people appreciate simplicity in music again…after all, a Chicago Blues Harmonica costs under £5, and if a harmonica was all that some seminal blues musicians had (such as Sonny Boy Wiliamson) then maybe it could be enough to some of you, too!

    And before we forget – the Take It Away scheme is here to help anyone who can’t afford to spend too much money in one go, and is now also available for online items.


    Dolphin Music Studio Spotlight: Whitewood Studios

    March 25, 2009


    Located in Liverpool’s Elevator buliding (also home to to Dolphin Music) is Whitewood Recordings Studios.

    Found located  in one of the cities most vibrant new areas, the Building itself  boasts The Leaf Cafe, numerous  big name artists and musicians alongside the most talked about young acts, graphic designers, software developers and dancers even grace a floor!

    All this activity seems to be leading to a valuable asset to Liverpool whilst offering facilites to the artss across a whole spectrum.

    Dolphin Music took a snoop around Whitewood Recording Studios and spoke to the two main chaps Robert Whitley and Danny Woodward. We talked pre-amps , the need for outboard equipment and what it takes to make a session smoothly. The live room is spacious and well stocked and their patter is relaxed and welcoming.

    Get in touch if your studio wishes to be inclued in this series of videos



    Upgrade any Microphone! Affordable XLR to USB Converter from Blue

    March 11, 2009

    Blue Icicle

    The Icicle is Blue’s new stylish USB converter and mic preamp combo that allows you to connect any XLR microphone directly into your computer via USB! The Icicle features a studio quality microphone preamp, 48V phantom power, fully balanced low noise front end, analog gain control, and driverless operation.


    Setup is a snap! The Blue Icicle works with both dynamic and condenser microphones, providing high quality and hassle-free connectivity with Mac or PC. Whether you’re using a microphone for digital recording, podcasting, voice messaging, or voice recognition applications, the Icicle is the quick and easy way to get connected.

    Hook UP Diagram

    Blue Icicle XLR to USB Mic Converter/Mic Preamp Specifications:

    • Sample/Word: 44.1K/16 bit
    • Power Consumption: 200mA (from USB bus)

    System Requirements:

    • Macintosh: Mac OSX with USB 1.0 or 2.0 and 64 MB RAM (minimum)
    • Windows: XP Home Edition, Professional or Vista with USB 1.0 or 2.0 and 64 MB RAM (minimum)

    Blue Icicle XLR to USB Mic Converter/Mic Preamp Features:

    • Works with Mac or PC computers
    • No Special Drivers Required
    • Studio Quality USB microphone preamp
    • Supplies 48V phantom power for . condenser microphones
    • Phantom power active light
    • Fully balanced low noise analog front end
    • Analog gain control
    • Blue Icicle XLR to USB Mic Converter/Mic Preamp Includes:

    Includes 6-ft USB cable


    The Pope’s Microphones

    February 18, 2009

    You need faith to talk to God…but to spread His word, the solution is simpler: Pope Benedict XVI uses a customized AKG microphone!

    The Pope and his microphone

    During Pope Benedict XVI’s visit to Austria last year, the Holy Father stopped in the cities of Vienna, Mariazell and Heiligenkreuz.

    The Pope’s customized microphone model is based on AKG’s new C 5 condenser capsule, without the model’s presence boost adapter installed. Styled in the Vatican’s colors of gold and white, these customized microphones provided AKG’s high-quality, reliable performance for Pope Benedict XVI during all his Austrian stops. “We build professional microphones for the exacting demands of our customers,” explained Alfred Reinprecht, AKG Vice President of Marketing & Product Management. “It has been an enormous privilege to adapt one of our technologically-innovative microphones for use by the Holy Father.”

    The custom-made AKG microphones were used exclusively by Pope Benedict XVI from September 7-9, and one of the modified microphones has been offered for a charity auction after the Pope’s visit.

    Other Papal gear:

    The Pope in New York, 2008

    Previous to that, Audio-Technica also provided microphones for the Pope, during his visit to New York in April last year.

    A key microphone at all of these events was the Audio-Technica AE6100 Hypercardioid Dynamic Handheld Microphone.

    Two other key mics were the ES961 Cardioid Condenser Boundary Microphone and the ES933H Hypercardioid Condenser Hanging Microphone. The ES961s were employed at the Yorkville, St. Patrick’s and St. Joseph’s Seminary events as ambo/pulpit mics and altar backup mics. The ES933H mics were used at the prayer service at Ground Zero.

    Said Estrin, “We concealed one of them at the base of the candle the pope lit while saying a prayer and another at the edge of the carpet to pick up the ambient sound as he quietly talked to some of the survivors and families of victims of the attacks. The goal was to have the mics as low-profile as possible, but we needed to pick up the audio for broadcast, so we put them at the base of the candle and edge of the carpet, which made them disappear. They worked like a charm.”

    Other mics included ES915ML (18″) MicroLine Condenser Gooseneck Microphones for use on lecterns at the St. Joseph Yorkville, St. Joseph’s Seminary and Yankee Stadium services; four AT4040 Large-Diaphragm Side-Address Microphones to mic the choir at the St. Joseph’s Seminary service; two black ES905 Hypercardioid Condenser Rigid-Pipe Microphones at the St. Patrick’s mass, chosen to blend in with the color scheme of the speakers’ vestments; and an A-T 5000 Series Frequency-agile True Diversity UHF Wireless System.


    Auto-Tune: Why Pop Music Sounds Perfect

    February 11, 2009

    If you haven’t been listening to pop radio in the past few months, you’ve missed the rise of two seemingly opposing trends. In a medium in which mediocre singing has never been a bar to entry, a lot of pop vocals suddenly sound great.

    Autotuner brigade

    Better than great: note- and pitch-perfect, as if there’s been an unspoken tightening of standards at record labels or an evolutionary leap in the development of vocal cords. At the other extreme are a few hip-hop singers who also hit their notes but with a precision so exaggerated that on first listen, their songs sound comically artificial, like a chorus of ’50s robots singing Motown.

    The force behind both trends is an ingenious plug-in called Auto-Tune, a downloadable studio trick that can take a vocal and instantly nudge it onto the proper note or move it to the correct pitch. It’s like Photoshop for the human voice. Auto-Tune doesn’t make it possible for just anyone to sing like a pro, but used as its creator intended, it can transform a wavering performance into something technically flawless. “Right now, if you listen to pop, everything is in perfect pitch, perfect time and perfect tune,” says producer Rick Rubin. “That’s how ubiquitous Auto-Tune is.” (Download TIME’s Auto-Tune Podcast from iTunes)

    Auto-Tune’s inventor is a man named Andy Hildebrand, who worked for years interpreting seismic data for the oil industry. Using a mathematical formula called autocorrelation, Hildebrand would send sound waves into the ground and record their reflections, providing an accurate map of potential drill sites. It’s a technique that saves oil companies lots of money and allowed Hildebrand to retire at 40. He was debating the next chapter of his life at a dinner party when a guest challenged him to invent a box that would allow her to sing in tune. After he tinkered with autocorrelation for a few months, Auto-Tune was born in late 1996.

    Almost immediately, studio engineers adopted it as a trade secret to fix flubbed notes, saving them the expense and hassle of having to redo sessions. The first time common ears heard Auto-Tune was on the immensely irritating 1998 Cher hit “Believe.” In the first verse, when Cher sings “I can’t break through” as though she’s standing behind an electric fan, that’s Auto-Tune–but it’s not the way Hildebrand meant it to be used.

    The program’s retune speed, which adjusts the singer’s voice, can be set from zero to 400. “If you set it to 10, that means that the output pitch will get halfway to the target pitch in 10 milliseconds,” says Hildebrand. “But if you let that parameter go to zero, it finds the nearest note and changes the output pitch instantaneously”–eliminating the natural transition between notes and making the singer sound jumpy and automated. “I never figured anyone in their right mind would want to do that,” he says.

    Like other trends spawned by Cher, the creative abuse of Auto-Tune quickly went out of fashion, although it continued to be an indispensable, if inaudible, part of the engineer’s toolbox. But in 2003, T-Pain (Faheem Najm), a little-known rapper and singer, accidentally stumbled onto the Cher effect while Auto-Tuning some of his vocals. “It just worked for my voice,” says T-Pain in his natural Tallahassee drawl. “And there wasn’t anyone else doing it.”



    Online Music Production

    February 3, 2009


    Ever wanted to just open a window on your PC and compose a ‘phat’beat or two. Well with these sites there is plenty to get you going making music right now.

    Samples and sound modules designed specifically for online music composition.

    On the BBC website youcan make your own music also . They have got two bits of kit that can have you making tracks and playing with sounds in minutes. Over 1,000 samples for you to download and use in your own music.



    Have fun and get in touch with any cool music sites you may encounter

    Get in touch on our forums and visit our artist pages


    Zoom R16 – Coming Soon!

    January 26, 2009

    The new Zoom R16 Multitrack Recorder Embraces Computer Recording Revolution. It’s one incredibly versatile device…

    The new Zoom R16

    While some multitrack recorder die hards simply refuse to connect any instrument they own to any of these newfangled “computers” that everyone talks about, the Zoom R16 looks to remedy this.

    This new multitrack can handle up to eight simultaneous tracks, and it’s loaded with features that take computer connectivity to a new extreme.
    For one, if you don’t want to record to SD, as is possible with this unit, just hook it up and use it as an interface. It also acts as a control surface once you’ve got your tracks tracked and transferred.

    Multitrack Recorder Features:

    • The world’s first digital recorder with 16-track playback and 8-track simultaneous recording that utilizes Secure Digital (SD) memory.
    • High-definition 24-bit/48kHz linear PCM recording in WAV format
    • Built-in stereo condenser microphones
    • Includes 1GB SD Card and supports cards up to 32GB SDHC card which allows 108 hours 12minutes recording with 16bit/ 44.1kHz linear PCM format
    • Allows simultaneous recording on up to 8 tracks to capture a live band or complete drum-kit
    • Battery operation for remote recording
    • USB power for studio operation

    Surface Controller Features:

    • Control each function of your favorite DAW software from the R16 via USB for easy mixing.
    • Mackie control emulation for popular DAW software including Cubase, Live, Logic, Digital Performer & More.

    USB Audio Interface Features:

    • 8 Mic inputs/ 2 Outputs (8 x 2)
    • 8 balanced combination XLR 1/4″ inputs
    • High-definition 24-bit/ 96kHz recording capability using digital audio software
    • Built-in effects on R16 can be used as outboard effects as well.
    • 1 Hi-Z input for  direct connection of guitar or bass
    • 48V phantom power on 2 channels.

    Other highlights:

    • Over 100 built-in effects coming from advanced DSP
    • Amazing guitar amp and effect models of the most guitar and bass amplifiers
    • Professional quality mastering effects, multi-band compressor, normalizer and more
    • USB host function allows to use USB storage device for quick data transfer
    • Connect 2x R16s via USB for synchronized operation and 16 tracks of simultaneous recording capability.
    • Undo/ redo functions
    • Supports Windows XP/ Vista, Macintosh operating systems