p24 | Download of the Month
Andy Ware Analog Box 2 (Win)
Web Clip 1: This compilation using five of the many jambots available at the Andy Ware Web site illustrates the breadth of ABox2's capabilities.
p33 | Recording the Spoken Word
Web Clip 1: Mouth noise is a common problem from nervousness or insufficient hydration. In this case, the mouth noise will be easier and faster to retake than to edit.
Web Clip 2: Employing these basics should eliminate factors that add to your editing time.
Web Clip 3: Listen to the subtle but significant difference in this before and after sample edit of a "P" plosive pop in the word "persuasive." Attention to detail is essential for the best quality files.
Web Clip 4: Additional information on copy preparation.
Web Clip 5: This script has been marked up to show the preferred takes.
Web Clip 6: Working with off-site clients.
Web Clip 7: How to improve the overall performance of new talent.
Web Clip 8: Audiobooks are a booming industry. This clip is an excerpt I did for emerging author Felicia Sullivan from her forthcoming book, Fighting Shoes. (Used with permission.)
p61 | Production Values: Out of the Box
Web Clip 1 Gil Norton and Adrian Bushby offer details about recording the various elements on Gomez's How We Operate.
p70 | Making Tracks: Controlled Chaos
Web Clip 1: This percussion and bass clip incorporates five Stylus RMX tracks. The bass clip is imported; the others are from the Stylus factory library.
Web Clip 2: The Stylus RMX Chaos Designer was used to process the tracks in Web Clip 1, thereby producing the variations you hear. In particular, the imported bass line takes on a whole new flavor.
p74 | Sound Design Workshop: Here''s That Grainy Day
Web Clip 1: This Live Pack contains the Live project used to generate Web Clip 1. To unpack the Live Pack, double-click it or drag it into an open Live project.
Web Clip 2: This MP3 clip illustrates five approaches to granular processing using Ableton Sampler.
p84 | Ableton Live 6.0.1
Web Clip 1: The same three-part four-bar riff is heard three times: without any time warping, with the drum part time warped, and with the time-warped drum part as the tempo master. The first pass is badly out of sync, the second pass is in sync, but the drum part's groove is altered, the third pass is in sync with the drum part's grove intact.
Web Clip 2: Created from nested Racks of MIDI effects, virtual instruments, and effects, this clip is generated from single notes automatically converted to chords, arpeggiated, played by layered instruments and processed with chorus, reverb, and delay. Automation provides the variety.
p92 | Moog Little Phatty
Web Clip 1: This is an excerpt from J.S. Bach''s “Little” Fugue in G Minor, a 4-track composition I recorded one voice at a time on the Moog Little Phatty.
p104 | IK Multimedia Classik Studio Reverb 1.1
These six examples compare CSR with other hardware and software reverbs. The audio source is a dumbek played by the author, recorded at 48 kHz/24-bit. The files are the wet sound only.
Web Clip 1: This is the sample processed with CSR reverb.
Web Clip 2: This is the sample processed with the Lexicon PCM80 reverb.
Web Clip 3: This is the sample processed with the Kurzweil KSP-8 reverb.
Web Clip 4: This is the sample processed with Universal Audio DreamVerb reverb.
Web Clip 5: This is the sample processed with Audio Ease Altiverb 5 reverb.
Web Clip 6: This is the sample processed with Waves Renaissance Reverb.
p112 | Vienna Instruments Symphonic Cube
Web Clip 1: Here''s a series of harp glisses from Harp 1''s Extended Library, beginning with major and major 7th glissandos and progressing from minor, minor 7th, and pentatonic to diminished and whole tone.
Web Clip 2: This is a portion of Pablo de Sarasate''s “Zapateado,” sequenced for Symphonic Instruments by Jay Bacal, demonstrating a variety of solo violin articulations.
Web Clip 3: This excerpt is from a piece for woodwinds written by Samuel Barber and arranged by Jay Bacal. It features bassoon, clarinet, flute, oboe, and English horn.
Web Clip 4: This example for trumpet and trombone was written by the German composer Boris Blacher and programmed by Jay Bacal.
Web Clip 5: Here''s an example that uses several percussion instruments recorded dry, including snare, glockenspiel, xylophone, marimbaphone, and lithophone.
Web Clip 6: Here''s another example from Jay Bacal, an excerpt from Felix Mendelssohn''s “Midsummer Night''s Dream.”
Web Clip 7: Learn about installing Vienna Instruments Symphonic Cube in this online-only article from Electronic Musician.
p126 | Submersible Music, DrumCore 2.0
Web Clip 1: I exported the loops and one shots for this drum part (from DrumCore's Jeff Anthony "Psycho" groove set) into Pro Tools LE by dragging and dropping them directly into tracks. Because DrumCore 2.0's included loops are all REX2 files, I was able to change tempo easily after I'd already imported the parts.
p126 | Rob Papen Albino 3
Web Clip 1: Two arpeggiated, multilayered Albino 3 presets with a total of six layers were used in this short, ambient clip. MIDI automation was used to fade layers in and out of the mix.
p126 | TONE2
FireBird 1.2.1 and FilterBank2 1.4
Web Clip 1: In this clip, FireBird was used for the vocal, FilterBank2 was used to compress and otherwise process a drum loop, and FilterBank2 Synth was used for the baritone juice-harp sound.