p24 | Download of the Month: Tobor Experiment Gleetchlab 2.3 (Mac)
Web Clip 1: This clip starts with a short atmosphere created with the Gleetchplug program OM Green. That clip is then processed in various ways in GleetchLab. Granular processing produces parallel harmonies. Random modulation changes the loop start and end points. And the clip is convolved with a didgeridoo loop to produce a speech-like ambience.
Web Clip 2: Here a two bar guitar loop is radically processed with the Gleetchlab Cosmo and Processor effects. The results were captured with Gleetchlab's built-in recorder.
p62 | Master Class: Virtual Orchestra Virtuosity
Web Clip 1: This version of my intro highlights the sounds in EastWest Quantum Leap Symphonic Orchestra.
Web Clip 2: This version uses the MOTU Symphonic Instrument.
Web Clip 3: I used the Sonivox Sonic Implants Complete Symphonic Collection to realize this version of the piece.
Web Clip 4: A realization using Vienna Symphonic Library Vienna Instruments.
Web Clip 5: This version combines instruments from the four libraries, taking the sounds from each that best suits this particular orchestration.
Web Clip B: A realization using the sample library that comes with Finale, a subset of the Garritan Personal Orchestra for notation playback.
p72 | Making Tracks: Free Speech
Web Clips 1 to 7: Click to access David Battino's landing page for Free Speech web clips.
p74 | Sound Design Workshop: Beat the Blahs
Web Clip 1: This song file can be loaded into Propellerhead Reason 4. It was used to create the Ringing Echoes and Speaking Mod Wheel clips. Unmute one of the two beats in the main mixer and experiment with various parameters.
Web Clip 2: The drum samples in this clip, a REX file being played by a Dr.REX in Propellerhead Reason, are transposed down two octaves and then bandpass-filtered. The mod wheel performance, recorded by hand, opens up the decay time on the Reason Dr.REX amplitude envelope, sweeps the filter, and jacks up an aux send on a mixer so that the signal passes through a delay line.
Web Clip 3: Believe it or not, this clip uses the same REX file as Web Clip 2. In this clip, a two-bar beat is processed by a swept EQ peak, two delay lines, and two flangers. The flangers are set to high feedback levels to produce a ringing metallic color.
p76 | Square One: All in a Dither
Web Clip 1: A sine wave reduced to a low bit depth without dither exhibits severe harmonic distortion. As dither noise is added, the “false overtones” (harmonic distortion) disappear, demonstrating that dither doesn''t mask quantization distortion—it eliminates it.
Web Clip 2: A low-bit depth sound fades to silence, first without dither, then with dither and then again with dither. Note that both dithers improve the behavior of the fade-out. Listen also for the difference in the character of the dither noise between the two dithers. Which do you find preferable?
p84 | Review: Yamaha Tenori-on
Web Clip 1: By selecting Blocks one after the other, you can perform songs on the Tenori-on in real time, much like triggering phrases in a pattern-based sequencer, but with more flashing lights.
Web Clip 2: In the Tenori-on''s Random Mode, notes play in the order you press them. The physical distance between their buttons determines the duration of rests between notes. If you press only a single button, its note repeats at the sequence''s tempo.
Web Clip 3: This is an example of a sequence I would never have composed without the Tenori-on.
Web Clip 4: Here''s a portion of another sequence created entirely on the Tenori-on.