BURTON AND PICHE Cecilia 2.04
This example uses the AdditiveSynth module to create a beatingsound.
This example uses the same parameters as additive10second.mp3 butwith a duration of 100 seconds.
In this example, the Density parameter increases while the pitchdecreases.
Each of four copies of a Gregorian Chant sample is pitch-shifted aunique amount. At several points, the sample also playsbackwards.
QP Discrete Drums Series Two
One Brick Shy.mp3
This was assembled from Discrete Drums Series 2 "Brick in theWaltz" files, a 6/8 performance. Because they are multitrack files, Iwas able to add a small-room reverb to the toms, a large plate for thesnare, and leave the kick dry.
STEINBERG Cubase SX
This clip uses Cubase SX's automation drawing tool to addmotion to three audio clips of drones. The automatic pulsewave,sinewave, and parabolic-curve drawing options provide all themotion.
This clip was generated entirely using Cubase SX MIDI effectsplug-ins. The Step Designer plug-in generates the bass line, which isthen passed to the Chorder (playing the chords), and two MIDI Echoplug-ins (playing the drums and mandolin-like sounds). All sounds aregenerated by Cubase SX plug-in instruments: VB-1 (bass), A1 (chords),LM-9 (drums), and JX-16 (mandolin).
MOOG MUSIC Minimoog Voyager
The Minimoog Voyager excels at re-creating synthesizer timbresfrom the past, but its programming capabilities are much greater thanthose of its predecessor.
By the Slice
these tracks were clearly not meant to go together, as isillustrated here.
this example applies classic time stretching to each track tobring them all to 126 bpm.
this example uses automatic time slicing to bring all the tracksto 126 bpm. In this case, all the tracks were imported into Live, andits default 16th note time slicing was used to sync thetracks.
this example again uses Live, but the time slicing for theelectric piano, kick drum, and bass was changed to quarter-note slices.The time slicing of the chords is no longer as obvious.
this last example uses event slicing on all tracks. Phatmatik Prowas used for all but the electric-piano part, which was sliced inReCycle to take advantage of its excellent padding algorithm.
Beats, Bass & Bliss
this example, in Layer A, uses Pads/Airy Pads/Big and Slow Air.For Layer B, it uses Pads/Airy Pads/Air Glass/Green Glass.
Warm_Glass.mp3 and Warm_Glass_Low.mp3
this example is a slightly warmer, more organic sounding pad.Layer B: Pads/Glassy Pads/PPG Warm Glass Pad/PPG Warm GlassPad.
This clip mixes two dissimilar sounds by combining a Noise layerwith a Belltone. For Layer A: Noises/Morphing Noise/EpilepticSeizure/Epileptic Seizure; for Layer B: Belltones/PluckedAirbell/Fairlight Ankluvov. Reduced level and amplitude-envelope attackfor Layer A.
This clip swaps the Noise layer (Layer A) with Noises/SynthNoise/Prophet Noise/Prophet 5 X-Mod Noise. By increasing the cutofffrequency to about 5,000 Hz, you can quickly add an airyquality.
This clip flips each layer's filter. Layer A's Amp Mod depth canbe maximized, and control set to Alternate, so every note in the layerwill be cut out.
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