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Web Clips for March 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.
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

Web Clip 1
There are dozens of ways to automate EQ.

Web Clip 2:
Reverb can be gradually brought in to make sounds fade into the distance.

Web Clip 3:
Automatic Double Tracking creates extremely rich vocal tracks.

Web Clip 4:
You can use mid-side recording to open up and add interest to your mixes.

Web Clip 5:
Riding the fader can be a nice alternative to heavy compression.

Web Clip 6:
If you have a DAW that can draw tight automation curves, you can create cool LFO-like effects without using plug-ins at all.


Web Clip 1:
In the first two measures of this clip you hear the kick drum as recorded by the Akai D112. The second two measures features the kick through the Earthworks SR25 with the KickPad.

Web Clip 2:
In the first 4-measure section, you hear the drum kit as recorded with the 3-mic DK25/R DrumKit system. The second 4-measure section is a repeat of the first, but with the Earthworks mics augmented with additional mics for the snare (top and bottom), kick, and each of the three toms.


Web Clip 1:
A Latin-Jazz drum loop from the D3200's Session Drums library. Using the D3200's Knob Matrix, you can dial in drum patterns from a basic metronome to complex patterns with multiple instruments.

Web Clip 2:
A guitar solo over a rock drum pattern using the preset US HIGAIN from the D3200's set of amp models. The model was applied as an insert effect before recording.

Under the Surface

Web Clip 1:
For this clip I put the Mackie Control into Instrument Edit mode, and used the faders to control the filter cutoff and resonance of a bass line generated by Logic's EVOC Plug-in. Although the bass line itself is repetitive, I varied the automation throughout the clip for subtle variations.

Web Clip 2:
For this clip I set the output of the tracks for a small mix to a common bus, and inserted an EQ set to high-pass mode. With the control surface in EQ Edit mode (Channel Strip display), I flipped the faders and swept the EQ frequency and width (Q) to create a resonant-filter-sweep effect.

Web Clip 3:
For this clip I sub-grouped a mix and set up a send to a bus with a reverb plug-in. With the controller in Send Assignment mode, I faded out the track while simultaneously increasing the reverb send to create the illusion of the music getting farther away as it is getting quieter.

Web Clip 4:
Here I set up four sends on one track, each send going to a bus with a different time-based effect inserted. I distributed all the sends of the one track across the faders. I then “played” the control surface in real time along with the drum groove. With this arrangement I could sculpt a part in which the different effects were weaving in and out of the mix at different times.

Mid-side Recording and Processing

Web Clip 1:
This is a template of a Pro Tools LE 6.9 session for decoding M-S miking. Just plug the M and S mics into the appropriately labeled channels and start mixing.

Web Clip 2a:
Web Clip 2b:
Web Clip 2c:
Web Clip 2d:
Web Clip 2e:
This clip is a finished stereo mix of a solo piano recording (2a), followed by the separated mid (2b) and side components (2c). Next, the mix (2d) is first altered to emphasize the center focus (more mid, less side), and then (2e) to increase width (less mid, more side).

Web Clip 3a:
Web Clip 3b:
Web Clip 3c:
Web Clip 3d:
This clip (3a) is a finished stereo mix of a string quartet recording. 3b and 3c are the separated mid and side components. Because the mix is a bit wide with a slightly weak center, the sides are then mixed down (3d) to make the imaging more realistic.

Web Clip 4a:
Web Clip 4b:
Web Clip 4c:
Web Clip 4d:
This clip (4a) is a finished stereo mix of a rock band. 4b and 4c are the separated mid and side components. The lead vocal is both a little sibilant and dark, so a de-esser and a high-shelving EQ are applied to the mid channel, before mixing back to left/right (4d).

Web Clip 5:
This is a template of a Pro Tools LE 6.9 session for encoding M-S from a left-right stereo mix, adjusting the mix, and re-decoding back to left-right. Just drop a stereo mix onto the Source track and start mixing.

MX4 2.0
Web Clip 1a:
Web Clip 1b:
Web Clip 1a demonstrates modulating symmetry on a raw MX4 Wavetable with a slow sine-wave LFO. In Web Clip 1b, I use the same LFO settings to sweep the wavetable-a technique that can provide a wealth of timbral variety.

Web Clip 2:
Here's an example of simultaneous modulation of a single MX4 oscillator: a very slow sine wave modulates waveform symmetry while a second LFO uses a sample-and-hold waveform to change the wavetable index.

Web Clip 3:
An MX4 preset entitled MS Windows 2058 for Washing Machines creates a Lovecraftian bagpipes from hell ensemble while Stylus RMX 1.5 plays a sinister half-time groove. Note that all of the melodic variation comes from MX4 modulation rather than additional MIDI note data.

Rock Bass

Web Clip 1:
This clip is a sampling of seven loops followed by four effects-processed one-shots from the Big Fish Rock Bass collection.

PSP 608 MultiDelay (Mac/Win)

Web Clip 1:
This clip was created from a simple two-chord riff by successively adding taps until all eight taps are in play. The eighth tap feeds and sets the delay time for the Master Feedback section.

Web Clip 1:
This clip consists of an insipid blues passage with drum parts generated by three different Jamstix swing arrangements: Drum Pak 1, Snares Off, and Brush Kit.

Web Clip 2:
This clip consists of a melodic variant of Zappa's Uncle Meat theme with drums generated by three different Jamstix audio jams: Graf Zeppelin normal, Bluegrass Latin, and Train Beat aggressive.

Web Clip 3:
This clip contains the same 3 parts as Web Clip 2, but the drums were generated by Jamstix MIDI jams, rather than audio jams.

Plate 140
Web Clip 1a:
This snare clip, compliments of Indra Dunis was run through two hardware EMT plate reverbs as well as the three models of Universal Audio's Plate 140. All decay times were set to four seconds, with no pre-delay and no EQ on the reverb return. Reverb levels were matched by ear. The first clip was run through one of the four EMT plates at Fantasy Studios in Berkeley, CA.

Web Clip 1b:
This sample of the same snare clip running the UAD-1 Plate 140 plug-in utilized the "A" plate, modeled after one of the plates at The Plant Studios in Sausalito, CA.

Web Clip 1c:
This is the same clip through plate "B" of the UAD-1 Plate 140, modeled after another of The Plant's plates.

Web Clip 1d:
This time the snare gets run through plate "C" of the UAD-1 Plate 140, modeled after a third Plant plate.

Revisiting the LFO

Web Clip 1:
The first phrase uses stock LFO vibrato, modulating pitch only. On the second, much livelier-sounding phrase, I mapped the same LFO to filter cutoff and amplitude and also added a noise generator, amplitude-modulated by the LFO.

Web Clip 2:
I used a slider on my keyboard to control both LFO speed and filter modulation amount, morphing the sound gradually from a static drone to a rhythmic pulse, and eventually disintegrating the sound into a spaceship takeoff. I also drew in a bit of resonance automation to accentuate the changes. The end of the sound crosses the line from a simple LFO effect into frequency modulation synthesis.

Web Clip 3:
The arpeggiated pattern shifts slowly back and forth between octaves due to the same LFO controlling volume of two oscillators in inverse proportion.

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