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EM Web Clips for March 2004

February 23, 2004
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Brian Moore Guitars iGuitar 8.13 (p. 126)

Looking for web clips from a different issue of Electronic Musician magazine? You can find an archive of web clips from previous issues of EM magazine here.

Web Clip 1
Here’s an example of the magnetic pickup sound of the iGuitar 8.13. This was recorded—with the pickup selector set in the middle position—direct through a Roger Linn AdrenaLinn processor into MOTU’s Digital Performer 4.11, where a little reverb was added.

Web Clip 2
This is an example of the RMC piezo pickup in the iGuitar 8.13. This was recorded direct into MOTU’s Digital Performer 4.11 where compression, EQ, and reverb were applied using Wave Arts TrackPlug and MasterVerb plug-ins.

Web Clip 3
This gives an example of how well the iGuitar 8.13 tracks when driving a MIDI synth. The guitar (with the pickup selector switch in the middle position) was recorded direct through a Roger Linn AdrenaLinn processor and appears on the left side of the stereo image. The synth sound, which appears on the right, was a clav patch from a Roland JV-880. It was driven from the MIDI out of a Roland GI-20 interface into which the iGuitar 8.13’s 13-pin pickup was connected.

Primesounds A Funky Future (Audio/WAV/REX) (p. 128)

Web Clip 1
This file was created with tracks from PrimeSounds' A Funky Future. It concludes with REX-format bass and drum grooves of different tempos to demonstrate the format's malleability.

RECORDING MUSICIAN: Recording Outside the Box (p. 78)

Web Clip 1
An excerpt from “Killer Jim Miller,” written and performed by Pat Kirtley on his Rural Life CD (Mainstring Records, 1998). This song was recorded with stereo condenser mics plus a magnetic pickup. The condensers were panned left and right and the magnetic pickup was put up the middle.

Web Clip 2
This is an excerpt from “Grandpa’s Lullaby,” written and performed by Pat Kirtley on his Rural Life CD (Mainstring Records, 1998). It was recorded using a dissimilar stereo pair: a condenser cardioid on one side and a dynamic omni on the other.

Web Clip 3
This is a small section of a recording by Pat Kirtley of the Irish traditional song “Shi Beg Shi Mhor, ”from his CD Irish Guitar (Mainstring Records, 1997). Kirtley combined several of the techniques he describes in the article when recording this: He used an omni, dynamic mic, and recorded it in mono.

Web Clip 4
This is an excerpt from “Pierre,” an unreleased track recorded by Pat Kirtley. It shows the technique of using a MIDI pad (from a guitar synth triggered from a synth pickup on the acoustic) recorded at the same time as the main acoustic guitar and “ghosted” into the mix.

STEINBERG Xphraze 1.1 (Mac/Win) (p. 122)

Web Clip 1
This piece was recorded in one pass using a single Xphraze Combi. Vector Synthesis automates the mix of the four Combi patches, with Xmix mode used for real-time Phraze changes.

ROGER LINN DESIGN AdrenaLinn II (p. 112)

Web Clip 1
Most of the AdrenaLinn II’s filter effects produce variations on the classic auto-wah.

Web Clip 2
Talk Box sounds more like yet another auto-wah effect than a real talk box.

Web Clip 3
Arpeggiator Sequences dictate that you play in a particular key to achieve the desired effect.

Web Clip 4
The key signature doesn’t matter when you’re playing with Filter Sequences; you can even play in whole-tone mode.

Web Clip 5
The AdrenaLinn II offers such long delay times that you can accompany yourself in real time.

Web Clip 6
The Drumbeat section supplies an assortment of one- and two-measure rhythm patterns; here, I’ve played several in series.

 

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