p14 | Download of the Month: Koblo Centaurus (Mac/Win)
Web Clip 1: This clip uses four instances of Centaurus and consists entirely of factory presets.
p22 | Pro/File: Tape
Web Clip 1: This excerpt from the song “Moth Wings” shows Tape''s penchant for mixing acoustic and electronic textures.
Web Clip 2: Much of Tape''s music, such as in this example from “Illuminations” is heavily processed.
p24 | Pro/File: Josh Fix
Web Clip 1: Here''s an excerpt from the chorus of “Don''t Call Me in the Morning,” which showcases Fix''s pop sensibilities.
Web Clip 2: In this excerpt from “Whiskey and Speed” you can hear an example of the thick vocal arrangements that Fix favors on this CD.
p28 | Essential Utilities
Web Clip 1: Here a kick-drum loop is heard unprocessed, then with alternate kicks looped and processed in pHATmatik Pro with an enveloped highpass filter.
Web Clip 2: This example starts with three drum loops from PowerFX Tribal Tech House collection. Each loop is heard alone first unprocessed, then manipulated by pHATmatik Pro. Finally, the three loops are heard together unprocessed, processed, and unprocessed and processed together.
Web Clip 3: This mix uses bass, drum, electric piano, and ambient clips from Sony Creative Software Cinescore series Take Five. Each track is introduced dry with an instance of VintageWarmer 2 LE brought in after two bars. After all tracks are introduced, a final instance of VintageWarmer 2 processes the mix. The final eight bars are heard with all instances of VintageWarmer 2 turned off.
p49 | Space Is the Place, Part 1
Web Clip 1a: An excerpt from the original mix of the song, “Mirror Colored Thing” from Jonathan Segel (Camper Van Beethoven). Jonathan had a dazzling array of fun and innovative songwriting and arrangement ideas in his home-recorded sessions. But I felt that the project and its songs could be making much better use of all dimensions in the mixing space, so that the full creative potential of this music could be appreciated.
Web Clip 1b: An excerpt from the remixed version of “Mirror Colored Thing,” which ended up Segel''s 2003 CD, Edgy Not Antsy (Magnetic Motorworks/ Pitch-a-tent PAT 20). Our remix efforts focused on widening the imaging of the drums and horns, expanding the high end air on several instruments, making the drums bigger and more spacious, reworking a lot of midground and foreground elements (especially vocal balance,) and generally reducing clutter and low end muddiness.
p62 | Sound Design Workshop: Talkbox Redux
Web Clip 1: This Rova Saxophone Quartet loop from the Rarefaction RovaMatic sampling CD (rarefaction.com) is heard first unprocessed, then processed by Throat with gradual changes to the vocal-tract settings followed by changes in the glottal waveform and breathiness parameters.
Web Clip 2: Here I've used Throat for a slow, flanging-like effect applied to an electric-piano loop from Big Fish Audio Nu Jazz City 2 (bigfishaudio.com). Five 12 Numerology provides the sine-wave control signals that modulate Throat's Model Throat Length and Width parameters.
Web Clip 3: This clip uses Throat with automation to simulate a talkbox-like effect applied to an electric-guitar loop from PowerFX Old & Country (powerfx.com).
Web Clip 4: In this example, Throat's Model Glottal Pulse Width slider completely changes the sound of a tom groove from RealLiveLoops Volume 2 (realliveloops.com).
Web Clip 5: Here a 2-bar electric-bass loop from PowerFX Old & Country (powerfx.com) is heard first unprocessed, then processed with 4 different, unmodulated Throat settings.
p70 | Review: MOTU Electric Keys 1.0 (Mac/Win)
Web Clip 1: This clip demonstrates some of the effects and synth edit parameters available in Electric Keys. A rather lackluster Yamaha CP-30 patch is presented first as a dry factory preset then after some of my edits, which use the FX and Expert Settings screens.
Web Clip 2: This clip demonstrates of one of the Electric Keys Fender Rhodes presets (1981 MKII) used in a mix. The Clavinet part is done using a highly tweaked version of one of the Electric Keys clavs.
Web Clip 3: This is a demonstration of one the Electric Keys Wurlitzer electric piano presets (270 “butterfly” model).
Web Clip 4: This clip demonstrates a dirty rock organ sound that I created using an Electric Keys Hammond B3 preset layered with a Korg CX3 key-click preset, plus some warm distortion added with the on-screen Drive knob.
Web Clip A: This clip demonstrates the Electric Keys Pianet preset used in a Latin-flavored context. It also includes a synthy horn sound that I was able to program using analog string and organ instruments available in the library.
Web Clip B: This is a demonstration of one of Electric Keys Philips Philicorda presets (1960 8+2 Vib Rev).
Web Clip C: This clip demonstrates two different patches from the Elka Organ presets. The first is evocative of a David Lynch movie soundtrack and the second grooves out on a ''60s go-go kinda vibe.
p74 | Review: IK Multimedia StompIO
Web Clip 1: One of AmpliTube''s more notable modules is AmpliTube Jimi Hendrix, which was used here for the sound of these fills in the style of “The Wind Cries Mary.”
Web Clip 2: This clip is from AmpliTube's newest module AmpliTube Metal. The patch “Everybody Loves 2" was used for this sound.
p82 | Review: McDSP Emerald Pack 3.0 (Mac/Win)
Web Clip 1a and 1b: I wanted to try to get a mid-60''s British Abbey Road-type drum sound out of an electronic Roland V-Drum kit. A tall order, to be sure, but in the mix, it gets in the ballpark. The unprocessed version (Web Clip 1a) is a mono direct output from the V-Drum. The processed version (Web Clip 1b) uses the McDSP AC2 tape emulator with a Studer tape algorithm set up with vintage tape formulation and European EQ curve, followed by CompressorBank''s Fairchild 670 emulation. You can hear the pillowy kick drum and sucking, swishing sound in the cymbals that is reminiscent of that era''s recorded sound.
Web Clip 2a and 2b: In this example, jazz guitarist Jake Langley is playing through a simple, high-quality setup: an electric hollow body jazz guitar is plugged into a 1965 Fender Bassman, close-miked by an AEA R84 ribbon mic through a Millenia HV-3D solid state mic preamp. The unprocessed example (Web Clip 2a) shows this direct signal path. For the processed example (Web Clip 2b), I added McDSP''s Channel G, Revolver, and ML1000 plug-ins. I used the Channel G in its Neve configuration, to add some top end, scoop out some of the muddiness in the lower mids, and roll off a touch of of the low end. The Revolver plug-in is used on an aux track, and is set to an EMT Plate patch. Finally, the ML1000 mastering limiter is set to a classical music mastering patch, to raise the level and add just a touch of limiting without squashing the dynamic range of the material.
p92 | Quick Pick: Heavyocity Evolve (Mac/Win)
Web Clip 1: Many of Evolve's rhythmic patches remind me of the Korg Wavestation.
Web Clip 2: By layering a couple of rhythmic instruments and a tweak of the time-division knob, I've created an interesting polyrhythmic Multi.
Web Clip 3: Here's a random sampling of some of Evolve's guitar-derived sounds.