December 2009 Web Clips - EMusician

December 2009 Web Clips

From Electronic Musician: Hear Web Clips, audio clips, audio examples, PDFs, and other downloads outlined in the December 2009 issue of the magazine.
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p12 | Algoriddim Djay 3 Download of the Month

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Web Clip 1: Bill O''Rielly and Keith Olbermann share Djay 3''s turntables and effects to help bring out the lighter side of their endless exchange.

p13 | Soundtrack of the Month

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Download this free track, "Help Me," courtesy of Latin Bitman and Nacional Records. (From Latin Bitman; Colour; 2009, Nacional Records).

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Here's an excerpt from "Ghosts n Stuff," which shows off some of the cool synth work on this album. (From Deadmau5; Lack of a Better Name; 2009, Ultra Records).

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This excerpt from the song "Sleep Reprise" gives you a good example of the spacey, textural music of Sleep Whale. (From Sleep Whale; Houseboat; 2009, Western Vinyl).

p18 | Owl City ProFile | Going Underground

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Web Clip 1: In this clip from “Umbrella Beach,” listen for the swooping sound leading into the chorus. Young achieved this effect using a volume automation curve on the master track of Reason''s sequencer.

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Web Clip 2: Here''s an excerpt from “Cave In," one of the songs that''s helped Owl City get noticed.

p22 | Master Class: Any Way You Slice It

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Web Clip 1: This simple drum loop is first heard with no alterations or extra processing, and then with boxy, mutated snares processed within an edit group.

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Web Clip 2: In Groove Menu mode, a Stylus RMX channel is polyphonic, giving you the option of dynamically layering and varying the grooves in a set of related grooves called a Suite.

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Web Clip 3: The Stylus RMX Capture button lets you record MIDI variations created by Chaos Designer. Here, the first couple of passes are unaltered. Those are followed by MIDI tracks created by capturing Chaos Designer''s output.

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Web Clip 4: In this clip, I''ve made a custom edit group to apply Chaos Designer to only the final half-measure of the loop.

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Web Clip 5: You can create incredibly dynamic multis simply by using a combination of MIDI tracks for parts and assigning a MIDI message to the Multi Start and Stop button.

p26 | Richard Devine

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Web Clip 1: EM asks about Richard Devine''s forthcoming release, an electro-acoustic DVD in surround sound.

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Web Clip 2: Devine discusses recording and performing in surround and talks about field recording.

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Web Clip 3: Devine tells EM where he gets his titles and chats about the influences of art and architecture on his music.

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Web Clip 4: Devine reveals how he became a sound designer and launched his career.

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Web Clip 5: Devine talks about designing sounds for software companies and the challenges of being in demand.

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Web Clip 6: Devine answers questions about software and the Yamaha Tenori-on.

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Web Clip 7: EM asks about Devine''s synthesizers and sequencers.

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Web Clip 8: EM questions Devine about performing and new technology.

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Web Clip 9: Devine talks about designing sounds for synthesizers and about the JazzMutant Lemur.

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Web Clip 10: Devine discusses his music education and musical influences.

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Web Clip 11: Richard Devine shows EM around his personal studio at his home on the outskirts of Atlanta.

p32 | Polar Pattern Power

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Web Clip 1: In this example, a pair of MKH800 Twins (see Sidebar) is put into different pattern possibilities, each more directional than the previous (adjusted for equal loudness). The order in the clip is omnis, cardioids, hypercardioids and then back to omnis for comparison. Here, the effect is subtle but significant for acoustic music. Listen in particular to the drum hits, volume of the string section on the left and presence of the trumpet section. Any of combination of these can be dialed in after recording, which is a valuable option when there is no opportunity for a soundcheck at a live concert.

p40 | Sound Design Workshop: Rough It Up

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Web Clip 1: A melody using the Minimoog V's delicious default tri-oscillator bass patch.

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Web Clip 2: The same melody through the '57 Deluxe amp and '64 Vibroverb cab.

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Web Clip 3: A lower input level subdues the treble distortion while preserving bass saturation.

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Web Clip 4: A pre-distortion delay puts clean reflections on a harshly overdriven synth.

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Web Clip 5: A timid staccato synth effect from the Arturia Minimoog V.

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Web Clip 6: A subtly overdriven chain through three layers of effects from Amplitube Fender's rack renders the effect not-so-timid.

p48 | Mackie Onyx 820i Review

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Web Clip 1: Reviewer Asher Fulero takes us on a whirlwind tour of the Mackie 820i's layout and features.

p50 | Moog Music MP-201 Review

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Web Clip 1: It''s not the least-expensive way to assemble a modular synth, but it can be done if you have a CP-251, an MP-201 and a pair of Moogerfooger pedals like I have here.

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Web Clip 2: In this clip, I''m sweeping parameters on my Moog ring modulator and lowpass filter at the same time I''m sweeping parameters and triggering an envelope on my Doepfer modular synth.

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Web Clip 3: I''m running my Fender Stratocaster through the ring modulator and lowpass filter to my Marshall amp, while sweeping various parameters with the MP-201.

p56 | Vienna Symphonic Library Vienna Imperial Quick Pick

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Web Clip 1: This clip is made from the same MIDI clips used in the software piano round-up "Software Eighty Eights". It comprises a little stride, some gospel, an excerpt from the Chopin Fantasy in F minor (Opus 49), a Latin montuno and a series of cluster chords. All clips were played in real time by round-up authors Marshall Otwell and Charles Otwell. Here, each segment is crossfaded from Close to Player to Distant mikings.

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Web Clip 2: This is the same clip as in Web Clip 1, but the crossfading is between the Neuer Saal, Mozart Saal and Grosser Saal convolution-reverb spaces using the factory default reverb amount and the Player miking.

p58 | Korg microSampler Quick Pick

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Web Clip 1: The microSAMPLER includes 21 effects derived from the Korg Kaoss Pads. Here I created a pattern with some of the loops in the ROM bank and ran it through the Talking Modulator and Grain Shifter effects while twisting the two control knobs. You can specify whether each sample goes to the effects or stays dry; I left the electric piano loop dry here.

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Web Clip 2: One of the microSAMPLER's new effects is a Kaossilator-style looper. It records and loops one bar of audio, and then overdubs any new sounds you make. It's a great way to make thick textures. In this clip, I vocalized into the microSAMPLER's mic, creating rhythms and harmonies. Note the shaky pitch of my first harmony vocal, about 20 seconds in. By overdubbing more passes at the correct pitch, I created a chorus effect. In fact, a good way to use this effect is to start singing and then commence recording by pressing the top C key, which unmutes the mic. Sustain your note as the Looper cycles around and you can create a chorus without even stopping.

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Web Clip 3: The Auto Next sampling mode chops incoming audio into rhythmic slices and assigns them to adjacent keys. Here you'll hear a two-bar drum loop I sampled from Instant Beat, an iPhone drum machine. Then you'll hear the beat sliced up, with the last few notes triggered in a different order. (Auto Next is designed to turn a drum loop into a drum kit.) Next, I crank the tempo from the original 100 bpm up to 145 and down to 75 so you can compare how the microSAMPLER time-stretches the original loop and the sliced version.

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Web Clip 4: On the Korg forum, "DeadVolume" discovered you can sample in Auto Next mode while a pattern is playing, replacing the slices with new audio on the fly. Here I replace eight samples from Key Visuals Speak EZ with new ones I played live from iZotope iDrum Beatboxing Edition — two more iPhone apps.

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Web Clip 5: Loading the microSAMPLER with a Bill Laswell loop and some free samples of pots and pans, I sequenced this groove, and then soloed with one of the pan samples. (The microSAMPLER transposes any sample across the entire keyboard so you can play it melodically.) Also notice the clap sound, created by slapping several keys of plastic-lid samples with quantization disabled.

p59 | Studio Devil Amp Modeler Pro Quick Pick

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Web Clip 1: This is a clip of my guitar''s bridge pickup through Studio Devil AMP''s Soldano SLO emulation. You can hear how dynamic and amp-like this model sounds.

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Web Clip 2: This clip is my guitar''s bridge pickup through Amp Modeler Pro''s Fender Twin emulation. The amp isn''t doing a ton of tone shaping, but the lush chorus, tremolo, echo and reverb are creating a Cocteau Twins–like wall of sound.