p20 | Download of the Month: Sonalksis FreeG
Web Clip 1: TBK1 and TBK2 were used on the bass track and TBK2 was used on the drum track in this two-track clip. The plug-ins are introduced consecutively at four-bar intervals.
p31 | Phone Tag
Web Clip 1: This is the main game theme played first on Nokia 6630, then on a Moto Razr
V3. Notice the difference between the two in their overall speaker voicings. While the Nokia is predominantly a midrange-based sound, the Razr has a scooped midrange that accentuates the top end.
Web Clip 2: This is the direct output of Yamaha MA2 developer hardware playing the main theme. Because the MA2 uses FM synthesis, the tones are clearer and more bell-like, but they don't sound very close to the GM instruments they are mimicking. FM does, however, provide endless options for sound design.
Web Clip 3: This example is the Mono Nokia OTT format version of main theme played through a Nokia 6630. Note how the rhythm is slightly unstable due to low PPQN on the phone''s internal sequencer.
p53 | Production Values: From Talking Head to Production Whiz
Web Clip 1: One of the most unusual projects Harrison and his engineer, Eric “E.T.” Thorngren were involved in recently was the recording, producing, and mixing of the music for the Kenny Wayne Shepherd CD and DVD.
p62 | Making Tracks: Slice, Move, and Glue
Web Clip 1: This clip is the drum pattern with bass and click track as originally recorded. Listen to the kick drum, and you'll hear it drag a bit.
Web Clip 2: This clip is the drum pattern after being aligned with the eighth-note gridlines. It sounds choppy because of the tiny gaps between the regions.
Web Clip 3: This clip is the final quantized and time-stretched version.
p66 | Sound Design Workshop: Machine Tools
Web Clip 1: This PDF provides the details and equations for calculating either the pitch shift ratio, delay time, delay modulation amount, or LFO frequency based on the other three parameters.
Web Clip 2: This clip uses three instances of the pitch shifter with different settings to process drums, bass, and special effects tracks.
p80 | Steinberg HALion Symphonic Orchestra
Web Clip 1: This brief excerpt from Beethoven''s Duet for Viola and Cello in Eb uses just one viola and one cello.
Web Clip 2: In this example, you can hear a cymbal program step through its layers as it''s played with increasing Velocity.
Web Clip 3: This excerpt from Schubert''s Unfinished Symphony shows off HSO''s potential for realistic performances.
p90 | Roger Nichols Digital Pro Bundle (Mac/Win)
Web Clip 1: The first part of this example showcases a section of a mix that has Finis across the master bus. The second part (when it gets quieter) is the same mix with Finis bypassed.
p94 | Eventide H7600 Ultra-Harmonizer
Web Clip 1: Demonstration of "Ultra Diatonic" pitch shifting preset. Male lead vocal is heard dry and then with the effect set to a +3rd interval and pentatonic major scale.
Web Clip 2: Demonstration of the "Kill The Guy" preset. Three sound sources (vocals, violin, and electric guitar) are heard dry and then with the effect.
Web Clip 3: Demonstration of the "Drew's Throatflange" preset. This clip shows how even common effects like flangers are far from average on the H7600. An ordinary synth pad is heard dry and then with the effect.
Web Clip 4: Demonstration of the "Genesis II" preset. Some patches are packed with so much DSP power that they seem to almost take on a life of their own. Guitar harmonics are heard dry and then with the effect. Just a few notes are warped into an entire sequence of crystal orb textures and Frippertronic-style overtone washes.
p98 | Crowley and Tripp Naked Eye
Web Clip 1: An electric guitar with a small amount of overdrive through a 1965 Fender Bassman with Tone Tubby speakers recorded by a Naked Eye ribbon mic.
Web Clip 2: The same electric guitar and amp combination recorded by an AEA R84 ribbon mic.
Web Clip 3: An electric guitar with moderate distortion through a 1965 Fender Bassman with Tone Tubby speakers recorded by a Naked Eye ribbon mic.
Web Clip 4: A Hammond organ through a Leslie 22H rotating speaker recorded near the top rotor by a Naked Eye ribbon mic.
Web Clip 5: Female voiceover recorded with a Naked Eye ribbon mic into a Sound Devices 722 field recorder.
Web Clip 6: An acoustic piano at four feet recorded by Naked Eye and AEA R84?ribbon mics.
Web Clip 7: An acoustic bass recorded six inches from an f-hole by the Naked Eye ribbon mic.
Web Clip 8: A jazz drum kit recorded using a single overhead Naked Eye ribbon mic.
p103 | Eowave Persephone
Web Clip 1: In this clip, we used the Persephone''s expression key to shape the notes of an unquantized melody (right channel) against a shifting drone from a Dave Smith Evolver Keyboard. The Persephone is also going through the Evolver''s filter.
Web Clip 2: In this example, we are changing the scaling from 1 to 10 octaves against a drone background so you can hear the differences as the base pitch rises. In addition, as you increase the number of octaves on the ribbon, intermodulation distortion adds buzziness to the tone.
p106 | Propellerhead Software Reason Pianos (Mac/Win)
Web Clip 1: This clip uses the Reason Piano ambient miked Yamaha C7 as the carrier for three BV512 Vocoders. The vocoder modulators are Redrum sequences with added delays. The raw piano is also heard in the mix, and the raw drums are faded in at the end.