Print Page

Web Clips for November 2006

10/19/2006

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.

Adventures in Vocal Processing p44
Web Clip 1:
This example is a vocal clip, first with and then without Auto-Tune 4''s automatic pitch correction applied. To exaggerate the artifacts, the Retune parameter is set to 0 (fast) and the Tracking is set to 66 (slightly relaxed).
Web Clip 2:
In this example, I''ve gradually increased Avox Throat''s Breathiness Mix parameter, beginning with none at all, increasing to add raspiness, and ending with something resembling a pitched whisper.
Web Clip 3:
This example is a child''s voice, first solo, then doubled with Avox Duo''s Vocal Timbre slider set near minimum (which shortens the modeled vocal tract), and then again with slider set near maximum (which lengthens the vocal tract).
Web Clip 4:
This example begins with a totally dry solo voice. Then it repeats with Avox Choir set to produce 8 voices, and then again set for 32 voices.
Web Clip 5:
This clip demonstrates the effect of shifting formants in Cakewalk''s V-Vocal.
Web Clip 6:
This example demonstrates how Melodyne Studio 3.1 transposes polyphonic voices singing in harmony. The first time through, no transposition is applied to the harmonies. The second time through, the final three chords have been independently transposed.
Web Clip 7:
The first time this example plays through, the doubled part is pretty close to the original, but it isn''t dead-on. The second time through, SyncroArts VocALign has perfectly matched the second part to the first.
Web Clip 8:
In this clip, you first hear a rap with no pitch correction. Then you hear the same rap corrected to a 2-note scale, with the pitches only a semitone apart, using Intonator HS''s Custom Scale mode.
Web Clip 9:
The first iteration of this phrase is unprocessed. For each successive iteration, I''ve applied a different VoiceModeler Inflection Style to introduce scoops, randomization, or gender-bending effects.
Web Clip 10:
First you hear an unprocessed operatic phrase with three occurrences of vibrato, which I then modified using Waves Tune''s Vibrato controls. The first vibrato is exaggerated by increasing Tune''s Natural Vibrato Amount; the second is synthesized using a low-frequency sawtooth wave at maximum depth; and the third is minimized by lowering the Natural Vibrato Amount.
Web Clip 11:
The second time through, I''ve applied a slightly modified Waves Doubler preset to thicken the voice and give it some extra polish.

What''s the Score p63
Web Clip 1:
This brief score illustrates Notion's graphics. See Web Clip 2 for audio.
Web Clip 2:
The Notion score from Web Clip 1 is realized using Notion's built-in sample library from the London Symphony Orchestra.
Web Clip 3:
This brief score illustrates Sibelius's graphics. See Web Clip 4 for audio.
Web Clip 4:
The Sibelius score from Web Clip 3 is realized using the standard instrument set. A premium instrument collection is available at extra cost.
Web Clip 5:
This brief score illustrates Finale's graphics. See Web Clip 6 for audio.
Web Clip 6:
The Finale score from Web Clip 5 is realized using the Finale edition of the Garritan Personal Orchestra (GPO). The full edition of the GPO is available at extra cost.
Web Clip 7:
This brief score illustrates Notion's microtonal graphics. See Web Clip 8 for audio.
Web Clip 8:
The Notion microtonal score from Web Clip 7 is realized using Notion's built-in orchestra samples.

MAKING TRACKS
Six Degrees of Quantization
p74
Web Clip 1:
An audio clip of a 12-bar bass line was sliced in Propellerhead Recycle to produce a REX file. The REX file slices were loaded into Logic's EXS-24 sampler and the accompanying MIDI file was placed on the EXS-24 track. Logic's grid was aligned to the beats in the MIDI file as described in the text. The first pass has the original timing. The second pass has the tempo variations reduced, whereas the third pass is quantized.

SOUND DESIGN WORKSHOP
Sounds In Motion
(Mac/Win) p78
Web Clip 1:
This audio example uses Antares Filter on a drum loop from Big Fish Audio''s Nu Groove RnB collection. The original loop is heard dry for four bars, then processed by three filters in Filter for four bars. After this, each of the filters is soloed for four bars, and then the three filter channels are heard together again for eight bars. The three filters are set to different modes (lowpass, bandpass, and highpass), and modulation is applied from an envelope follower and two LFOs
Web Clip 2:
This is the drum loop from Web Clip 1 processed by Camel Audio CamelSpace.
Web Clip 3:
This is the drum loop from Web Clip 1 processed by Native Instruments Spektral Delay. The audio clip crossfades from dry to wet. Various spectral bands are delayed by different amounts; all of the delays are synchronized to the beat.

MOTU
Digital Performer 5.1
p94
Web Clip 1:
MOTU introduced pitch correction into Digital Performer in v. 4.6. Because EM''s last review of Digital Performer was version 4.51, and therefore was published before the pitch feature was added, here''s a brief overview of DP''s Pitch Automation.
Web Clip 2:
This example features a lead guitar (along with a rhythm section) that was purposely recorded with one of the strings tuned flat to produce a number of out of tune notes. The part, which is 4-measures long, repeats three times. The first time it''s uncorrected, the second time, the out-of-tune notes have been corrected using DPs Pitch Automation, and the third time the corrected part has been harmonized with itself using Pitch Automation.
Web Clip 3:
This example shows some of the sounds of DPs virtual synths. It starts with Modulo playing a tempo synced patch, then the drums (Model 12) and bass (Bassline) enter. The melody is layered between a string-like Polysynth patch, and a glide-y sounding Proton sound.

KORG padKontrol p102
Web Clips:
Click Web Clips to view the clips for Korg padKontrol.

ALESIS Fusion p112
Making Connections
Web Clip 1:
Here''s a Fusion Mix that showcases a right-hand improvisation over the arpeggiator rhythm of Phod.
Web Clip 2:
This groove is courtesy of the Fusion''s arpeggiator, a Mix called Cold Fusion.
Web Clip 3:
Square Wow Lead demonstrates what happens when you turn the filter-cutoff knob: a sudden jump to a low cutoff frequency, followed by grainy stair-stepping artifacts.
Web Clip 4:
Traveling Flute, a preset that uses the Reed physical model, sounds appropriately flutelike, but two points are worth noting: the grainy pitch bend and the fact that the octaves are out of tune.

HARM VISSER
Creative Physical Modeling Toolbox for Reaktor 5
(Mac/Win) p120
Web Clip 1:
This example illustrates the change that occurs when you substitute a new excitation file for the original. First you''ll hear the original played twice, then the new version.
Web Clip 2:
You can produce totally new sounds by making only slight changes to an Ensemble. In this example, I modified the FOF Synth to produce a clicking, pulsing tone. The original, which is heard first, had a clear vocal quality.

BIG FISH AUDIO
Roots of South America, Volume 2
p124
Web Clip 1:
This is a Mexican Tumbao groove from Big Fish Audio Roots of South America, Volume 2. It sounds like the soloed congas push and pull against the 4/4 meter, but they help create a relaxed feel as other percussion instruments join in.

  Print Page