p24 | Download of the Month
Web Clip 1: This clip is a single-pass recording of the output of Collide and Play as lines and balls are created with the mouse. The balls emit sounds as they bounce off the lines and the edges of the user-interface window.
p76 | Making Tracks: Rigged Up
Web Clip 1: The unprocessed mix featuring tracks from Big Fish Audio Nu Jazz City sampling CD.
Web Clip 2: The same mix as in Web Clip 1, but with six instances of Native Instruments Guitar Rig 2 used as insert and send effects. No other effects were used in the mix.
p80 | Sound Design Workshop: Golden Gates
Web Clip 1: This clip starts with an unprocessed drum loop, followed by the same loop fattened up with a gated sine wave. The sine wave track is gated, and the kick drum feeds the gate's sidechain input. Low hold and release settings on the gate help keep the sine part of the signal short and funky.
Web Clip 2: This clip contains two versions of a rhythm section track with a sloppy piano part. The first version is unprocessed. The second version has a gate inserted on the piano track with the bass sent to the sidechain input. The note durations of the piano part follow the bass part more closely, creating a tighter feel.
Web Clip 3: This clip first has a drum loop with a basic pad sound, then the pad with a gate on it whose sidechain is fed by the drum loop, and finally the gated pad with a copy of the loop shifted three 16th notes used as the sidechain.
Web Clip 4: This clip contains a drum loop followed by four gated variations. In the first variation, the loop is sent to two hard-panned buses, each with a gate. The different settings on the two gates create the panning envelope. The second variation has the drum loop sent to a reverb followed by a gate with the same drum loop feeding the sidechain input. The result is a choppy reverb that follows the natural accents of the loop. The third variation demonstrates how longer hold and release settings affect the gated part of the signal. The last version has a rhythmically offset copy of the drum loop sent to the sidechain.
p82 | Square One: All Together Now
Web Clip 1: This example illustrates a multisample split point in the Natural Grand Piano preset in Steinberg Hypersonic 2. All of the notes have been edited to have exactly the same Velocity, but the G# is noticeably brighter than the A because the lower sample has been transposed upward, while the upper sample has been transposed downward. Nevertheless, this split point is quite acceptable.
Web Clip 2: This example represents the data shown in Fig. 2, which uses Velocity cross-switching. The patch is the Fazioli Grand Piano included in the DirectWave sampler in Image-Line FL Studio 6. The notes have been edited to use a smooth Velocity ramp, but at the transition between Velocities 40 and 41 the soft sample is replaced by the mid-level sample, and between 94 and 95 the mid-level sample is replaced by the loud sample. At both Velocity split points, the new sample jumps out because it has a noticeably higher amplitude. Creating a realistic amplitude response in a Velocity cross-switched multisample is very difficult.
p96 | McDSP Project Studio
Web Clip 1: The first part of this drum-and-synthesizer example features the drums going through Revolver LE's "Summer Hall" preset. The second part has them going through the "Vacuum Cleaner Tube" preset from the "Claustrophobia" IR folder.
Web Clip 2: This example features an ESP Strat plugged direct through ChromeTone LE, showcasing first a clean sound ("Rockabilly 1") and then a distorted one ("Heavy Riffin'"). The only effect not from ChromeTone is the reverb, which is from Revolver LE ("Vocal Plate 2").
Web Clip 3A: Here's a snippet of a mix with no limiting.
Web Clip 3B: Here's the same section, with the ML 4000 LE applied. Be careful, it's a lot louder.
p110 | Korg microX
Click to view web clips designed to complement David Battino's review of the Korg microX synthesizer in Electronic Musician magazine.
p114 | M-Audio Sputnik
Web Clip 1: This clip demonstrates the Sputnik on a female vocal. Singer Tabitha Fair recorded these lead and background vocal tracks with the Sputnik during a songwriting session with guitarist David Spinozza.
Web Clips 2a and 2b: This voice-over demonstration by Andrew Sherman of Fluid NY is an a/b comparison between a '40s-era Telefunken U 47 (2a) and the M-Audio Sputnik (2b) tube microphones. The microphones were set up side by side with identical signal chains going into Digidesign Pro Tools.
High quality studio monitors or headphones are recommended for listening in order to hear the subtle differences. In our own listening tests, using average computer speakers and iPod/Walkman-style headphones, the clips seemed nearly indistinguishable. However, differences were discernible with higher quality monitoring systems.
Web Clips 3a and 3b: A male rock vocal demonstration performed by singer Ian Jefferys through the U 47 (clip 3a) and Sputnik (3b).The a/b comparison used the same signal path as Web Clips 2a and 2b.
p114 | IK Multimedia Ampeg SVX 1.0
Web Clip 1: This is the sound of a Fender Prophecy III bass played through IK Multimedia''s Ampeg SVX plug-in. In this example, I''m auditioning several amp-and-speaker combinations.
Web Clip 2: This example demonstrates two presets from SVX''s Synth subcategory, selected from its Styles menu. Note the contribution of the SCP-OCT pedal, an octave divider that reproduces a real Ampeg stompbox.
p115 | Pigtronix
Web Clip 1: Guitar plugged in direct, clean.
Web Clip 2: Guitar through OFO Disnortion Overdrive circuit, Gain at half, Tone at full.
Web Clip 3: Guitar through OFO Fuzz circuit, Gain 3/4, Shape 3.
Web Clip 4: Guitar through OFO Octava circuit, Filter at half.
Web Clip 5: Guitar through OFO Fuzz and Octava circuits, set as above.
Web Clip 6: Guitar through all three OFO circuits, set as above.
p117 | Monotonic Labs
Web Clip 1: When the controls are almost fully counter clockwise, the Type-U73 can get somewhat unstable. This is where the instrument is most musically interesting.
Web Clip 2: When the Y control is near its peak, sweeping the X control creates a wide range of pitched tones.