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Web Clips for June 2006

5/23/2006

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.
FROM THE EM ARCHIVES
DIY: BUILD THE EM THEREMIN
February 1996

By Robert Moog
EM Editor in Chief Steve Oppenheimer worked with Bob Moog to develop this article; it took almost a year, but when it was done, they had a classic story. Read it here.
1.1MB screen optimized pdf
11MB print optimized pdf

DOWNLOAD OF THE MONTH
Native (Win)
Web Clip 1
This clip uses Groove Analogizer to process three two-bar drum loops. In each case, the dry loop is heard first, followed by the wet-only loop, followed by a mix of the two.

Acting on Impulse
Web Clip 1:
A simple synth part, heard first, is convolved with the synthetic drum sound resulting in a totally different tone.

Web Clip 2:
A synthetic drum loop convolved with a 'pipe' sound seems almost natural, but is altogether different than the original sounds.

Web Clip 3:
This IR was recorded in a small bedroom with a starter pistol. Notice the odd sustained dynamics introduced by distortion at the microphone stage and the sound's lack of clarity and detail.

Web Clip 4:
This example is a standard sine-sweep tone created with Voxengo's Deconvolver. It is 20 seconds long and was synthesized using 16 bits at 44.1 KHz.

Web Clip 5:
The short impulse response you hear at the very beginning of this example was derived from vintage analog tape. Then you hear a drum beat convolved with that impulse, and finally, the drum beat dry for comparison. Note the frequency coloration that results from spiking audio gear.

Web Clip 6:
This example demonstrates the impulse response created with Voxengo's Impulse Modeler software. In this simulation, an ideal impulse can be used, which results in a much different sound than you can get from a pistol, for example. The tail of this IR is very quiet.

Web Clip 7:
This simple synthetic track was processed using the IR from Web Clip 6.

GARRITAN
Jazz and Big Band 1.15

Web Clip 1:
First, an unaltered cup-mute trombone patch plays a short phrase, followed by the same line with a growl effect created by MIDI Control Change 16.

Web Clip 2:
A baritone sax line, followed by the same notes and excessive amounts of CC 16 invoking the instrument's valve noise.

Web Clip 3:
First a plunger-mute trumpet plays with the plunger wide open, then the second pass has the instrument using CC 16 to vary the plunger effect.

Web Clip 4:
An opening passage from a composition by Paul Read, “Ballad for Mr. G” (Used with Permission) deftly illustrates the realism that Garritan's Jazz and Big Band can create in the hands of a skilled writer and arranger. For more full-tilt demos of J & BB in action, visit garritan.com/jazz.

NATIVE INSTRUMENTS
Guitar Rig 2.0
(Mac/Win)
Web Clip 1:
This clip features a bass processed with the Bass VT amp model.

Web Clip 2:
This gives you an idea of the sound of the TransAmp effect, used here with no cabinet model.

Web Clip 3:
In this example the guitar is run through a Guitar Rig preset called LFO'd, which uses the LFO Modifier effect and is synced to the tempo of the sequence (in Pro Tools).

Web Clip 4:
One of the cool features of the Loop Machine lets you record a loop (of however many layers you want), and it will automatically extend that loop while overdubbing so that you can record a solo of any length over it.

APPLIED ACOUSTICS SYSTEMS
Lounge Lizard EP-3
(Mac/Win)
Web Clip 1:
This clip uses eight Lounge Lizard EP-3 presets, one or which uses MIDI automation of tempo. Only built-in EP-3 effects are used.

Sound-Design Workshop
Fun with Formants

Web Clip 1:
A fat chord is heard raw, then followed by six different formant filterings: no motion, enveloped bottom formant, enveloped top formant, enveloped top and bottom formants, LFO'd middle formant, and breakpoint sequenced formant levels and resonance.

Square One
The Matrix Unplugged

Web Clip 1:
Although Reason's SubTractor synth only allows you to choose one LFO destination from the front panel switches, you can patch the LFO output on the rear panel back into multiple destinations. The SubTractor patch in this example uses a sawtooth wave coming from LFO 1 to modulate pitch (just slightly), oscillator wave phase, and filter cutoff. The modulation envelope controls the cutoff of filter 2 and also oscillator pitch using the same type of patching scheme.

Web Clip 2:
This four-bar drum loop in e-Lab Obsession is played four times, twice with no modulation and twice more with multiple modulations for each of the four drum sounds. The note data and samples are the same throughout. Each drum sound has its own LFO and modulation envelope, so LFO sweeps of different lengths can be programmed into one loop.

VIRSYN
TERA 3.1
(Mac/Win)
Web Clip 1:
This sketch was created in Steinberg Cubase SX 3 using five channels of TERA to play the drone, twanging rhythm, bass, lead, and chords. The only other instrument heard is Spectrasonics Stylus RMX, which provided the drum pattern. EQ was added in Cubase, and the reverb on the lead sound is TERA's own.

Web Clip 2:
This clip is an example of the type of shimmering tone produced by TERA's spectrum oscillator. No chorusing was used.

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