p26 | Download of the Month: RolloSonic
Web Clip 1: This three-track RolloSonic clip uses the Oscillator and Ding-Dong modules controlled by the sequencer module and a lot of mousing around.
p30 | Producing Pro Podcasts
Web Clip 1:Mike Levine offers several helpful ways to edit and clean up audio for Podcasts.
p66 | Making Tracks: The 5.1 Mix
Web Clip 1: This example uses three stereo images to create a surround image. Drums are panned between Left and Center; keyboards and bass are panned between Center and Right; and strings are panned between Left Surround and Right Surround.
Web Clip 2: Bass Management in Pro Tools.
p70 | Sound Design Workshop: Imaginative Processing
Web Clip 1: The saxophone lead is panned dead center, then processed with a decorrelated multimono short delay (which is alternately bypassed and enabled). The delays create a sound that is everywhere yet not localized.
Web Clip 2: To demonstrate divergence, the sound is panned around the outside of the room at high divergence, which Sonar calls Focus. The Focus is then lowered to a moderate setting, then to a low setting to create a very small circle.
p72 | Square One: The Sculptor's Tool
Web Clip 1: This kick drum track exhibits significant bleed from the hi-hats, snare, and cymbals. In bar 3, a low-pass filter is brought down to 1000 Hz, and the cymbal and hi-hat all but disappear. In bar 5, as the filter is lowered to 250 Hz, the snare is reduced significantly. Note that some of the kick''s character is sacrificed—this is one good reason to try to minimize bleed during tracking rather than trying to fix it during mixing. In bar 7, the filter is brought down to 53 Hz, and the kick is just a thump. If this is your only kick part, that might not be desirable, but if it''s reinforcing a second kick part, the effect could be very useful. In bar 9, the EQ''s Q is raised significantly, creating a resonant peak that gives the kick an interesting pitched quality. Not all EQs offer a resonant peak, even with very steep slopes.
Web Clip 2: This drum loop is processed by both a low-pass and a high-pass filter, creating a band-pass effect like playing it through a telephone. The low-pass filter is swept down to about 1100 Hz, then the high-pass is raised to about 340 Hz. These are not “magical” frequencies, but were chosen entirely by ear. To emphasize the effect, the Q of each is raised, then the high-pass is adjusted downward to about 265 Hz, again just because it sounds better.
Web Clip 3: This string ensemble has a nice, warm sound, but it won''t cut through a mix very well. Adding a 5.5 dB high shelf at 3 kHz adds just enough sizzle to bring out the part without making it brittle. As the figure repeats, the filter is alternately bypassed and enabled to A/B the difference.
p82 | Propellerhead Software Reason 4
Web Clip 1: This short clip uses four instances of Thor along with one RPG-8 module. The vocal uses Thor's formant filter.
Web Clip 2: A four-bar step-sequenced drum and live-bass clip is repeated three times. The first pass has no ReGroove applied, the second pass has the drums ReGrooved by the bass, and the third pass has the bass ReGrooved by the drums.
p120 | Submersible Music DrumCore 2.5
Web Clip 1: This screencast shows some of the new features of Submersible Music's DrumCore 2.5 including Queue Mode, Pad Swapping, and more.
p124 | TerraTec Axon AX 50 USB
Web Clip 1: This short clip was performed on my custom Koll Tornado, which has a Graph Tech Ghost Hexpander 13-pin pickup installed. I played directly into Logic Pro. This clip consists of two tracks: a chord played on Logic Pro''s built-in ES2, and a synth violin part played on the included WAVE XTable VI software instrument.
p126 | Cascade Microphones Fat Head II
Web Clip 1: A distorted guitar recorded using a Fat Head II with no EQ.
Web Clip 2: The same distorted guitar recorded using a Shure SM57 with no EQ.
Web Clip 3: The guitar amp recording processed with EQ.