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electronic MUSICIAN

EM Web Clips for March 2005

February 15, 2005

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.

APPLIED-ACOUSTICS
Tassman 4
(Mac/Win)
Web Clip 1:
In this example, a short vocal sample excites the resonant chamber of a tube module. The vocal sample repeats several times. First, it is heard unprocessed; then, each repetition adds a new “note” of resonance. The effect is like singing into the piano and holding down successive keys.

Web Clip 2:
This example uses a drum loop to excite a bowed marimba. First you''ll hear the original loop, then you''ll hear the processed version, which is pitch-shifted up.

Web Clip 3:
This example uses the Cosmic Xylo preset from the Mallet Types group.

Web Clip 4:
This tenor sax patch, by designer Harm Visser, uses changes in the Mod Wheel to adjust the flow of air into the bore.

BIAS
SoundSoap Pro
(Mac/Win)
Web Clip 1:
A noisy audio clip from the 1931 Marx Brothers film Monkey Business. I targeted the soundtrack noise for reduction or removal by BIAS SoundSoap Pro.

Web Clip 2:
The same clip after processing with SoundSoap Pro's Noise Gate tab. The module automatically set threshold and release level intelligently, completely removing the noise during dialog pauses and creating a smooth transition from speech to total silence.

Web Clip 3:
The same clip with the broadband tab activated and other tabs bypassed. As I played back the section of the clip with isolated noise, SoundSoap Pro "learned" its characteristics. I used the yellow reduction sliders to create a modified soundtrack maintaining a lower level of ambient noise.

Web Clip 4:
The audio in the above clip played back with SoundSoap Pro's Noise Only button pressed before using the broadband module's reduction sliders. This first analysis included some of the dialog and music tones mixed in with the noise.

Web Clip 5:
The Noise Only result after final modification of the reduction sliders.

STEINBERG
Cubase SX3
(Mac/Win)
Web Clip 1:
An example of using the Play Order track to rearrange a song; first you''ll hear the original arrangement, then a Play Order rearrangement.

ARTURIA
Moog Modular V 2
(Mac/Win)
Web Clip 1:
A speech loop is processed by the MMV2 Frequency Shifter to simulate single-sideband radio tuning. The MMV2 Envelope Follower both triggers the output envelope for a noise-gating effect and modulates the Frequency Shifter's shift amount using the amplitude contour of the speech clip.

CONCRETEFX
Kubik 1.1
(Mac/Win)
Web Clip 1:
This clip is constructed entirely from two Kubik wavetable sequences.

EASTWEST
Percussive Adventures 2
(Mac/Win)
Web Clip 1:
A loop from Percussive Adventures 2. A side-stick loop starts two bars early and provides a reference to the ensuing tempo changes: eight bars of 120 bpm, followed by an accelerando to 180, another bar at 120 bpm followed by wildly random tempo changes.

NATIVE INSTRUMENTS
B4D Organ Controller

Web Clip 1:
This example shows the change in timbre that can be made on the fly while using the B4D organ controller with Native Instruments B4.

SUBMERSIBLE MUSIC
DrumCore 1.0
(Mac)
Web Clip 1:
Here are several measures of drumming put together using audio loops of Matt Sorum.

Web Clip 2:
This clip features Zoro playing a New Orleans groove.

Web Clip 3:
These loops are from DrumCore''s collection of Michael Shrieve loops.

Web Clip 4:
Both audio and MIDI files are provided for all the drummers in DrumCore''s library and the software functions as a ReWire MIDI drum source and provides a separate sampled kit for each of the drummers.

YELLOW TOOLS
Majestic
(Mac/Win)
Web Clip 1:
A fretless bass from Yellow Tools Majestic helped me enable my inner Jaco Pastorius. Crossfading between natural vibrato and non-vibrato samples using the mod wheel, while riding the Pitch-Bend wheel judiciously, enhances the realism. Drums and percussion courtesy of FXPansion BFD and Plugsound Drums and Percussions.

SOUND DESIGN WORKSHOP
Twang, Plunk, Boing
(Mac)
Web Clip 1:
Here a walking bass line is augmented by resonators at five harmonics (first half) and at the five odd harmonics (second half).

Web Clip 2:
This clip uses the same processing as Clip 1, but the bass line has been vocoded with noise prior to applying resonance and the unprocessed bass line has been mixed back in at the end.

Web Clip 3:
A vocal phrase is first vocoded with noise then resonated with a sequence of fat chords. The two sides of the stereo output are equalized differently and the right side is slightly delayed.

Other Web Content:
TryEm.als: This Live 4 project file uses the Impulse plug-in to test two different Resonator setups: five harmonics and five odd harmonics. Computer keys Q, W, and E toggle muting for the three tracks.

TryEm.rtf: This Rich Text Format table shows the semitone and cent offsets as well as the intra-octave pitch interval for the first 16 natural harmonics.

SUBTLE GESTURES
Web Clip 1:
This example uses three separate MIDI channels to create a solo violin line: up bow (Kurzweil K2000S), down bow (Korg X5D), and legato (Kurzweil K2000S). MIDI Expression (CC 11) is also used to contour the dynamics.

Web Clip 2:
This textured string vibrato was recorded by combining sounds from the Garritan Orchestral Strings library with K2000 Orchestral ROM samples and Korg X5D voices. Each part was individually performed to create realistic variety.

Web Clip 3:
The bowed tremolo is played by bowing rapidly up and down on a single note. In this clip I alternate between two distinct samples: one for up bows and another for down bows.

Web Clip 4:
This flute phrase was created from two separate performances, including CC 11 dynamic contours (performed with a Yamaha BC3 breath controller). It also uses a variety of staccato, non-legato, and legato playing styles.

Web Clip 5:
This musical phrase contains one trumpet rip that runs up to a note and another that falls off from the final note. Ripped notes should match the overtone series of a real trumpet and overlap slightly.

Web Clip 6:
This shake is simulated by crossfading trumpet overtones sounding on two separate MIDI channels. The result is a single attack followed by alternating pitch.

Web Clip 7:
This trumpet-mute simulation was recorded by automating a highpass filter in sync with a midrange boost on an unmuted-trumpet sound.

ULTIMATE SOUND BANK
Ultra Focus 1.1.1
(Mac/Win)
Web Clip 1:
On some sounds, the effect of Ultra Focus''s Timbre parameter is pronounced; on others, it''s imperceptible. Here you hear a single Preset with the Timbre slider in its center, maximum, and minimum positions.

Web Clip 2:
With more than 2,000 Presets, Ultra Focus''s selection of electronic sounds is extensive. Here I''ve recorded two brief musical sketches using Presets from the Classic Analog, Vector Synthesis, FM & Formant Synthesis, and Stack - Chords categories, as well as three Master Presets.

Web Clip 3:
The Stack - Chords category offers a variety of ready-made textures. Every sound here resulted from playing a single middle C at a MIDI Velocity of 88.

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