APPLE COMPUTERSoundTrack (Mac OS X) (p. 116)
Looking for web clips from adifferent issue of Electronic Musician magazine? You can find anarchive of web clips from previous issues of EM magazine here.
Apple SoundTrack WC01.mp3
Here’s an MP3 example of a blues progression that was puttogether using clips of bass, drums, and piano from Soundtrack’slibrary. The bass and piano clips were transposed and edited inSoundtrack in order to make them fit against the IV and V chords. Afterthose tracks were set, the rhythm guitar was overdubbed using theSingle Take recording feature.
Apple SoundTrack WC02.mp3
Here’s an MP3 example of a 30-second piece of music thatcould be a score or music bed. The opening section is somewhat etherealwith a piano melody, and then the back half kicks in with a pulsingelectronic beat and distorted guitar. This was assembled using clipsfrom Soundtrack’s library as well as a live, overdubbedguitar.
CREAMWARE Noah (p.140)
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Creamware mp3 clip #1
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Voices from the Machine(p. 29)
Speech Synth mp3 clip#1
Four online text-to-speech translations of the sentence, "Let'srecord a record." The translations are from the University of Twente,Netherlands (http://wwwtios.cs.utwente.nl/say/form); the Centerfor Spoken Language Understanding (http://cslu.cse.ogi.edu/tts/demos/index.html); BellLabs/Lucent (no longer available online); and AT&T (http://www.research.att.com/~ttsweb/cgi-bin/ttsdemo).
Speech Synth mp3 clip#2
Ten vowel phonemes synthesized at typical male (125 Hz) and female(250 Hz) pitches. The sounds correspond to the vowels in the wordsbeet, bit, bet, bat, but, hot, bought, foot, boot, and bird.
Speech Synth mp3 clip#3
The original spoken word electronic is followed by nineversions synthesized from the spectrogram. The first three aresynthesized additively with the spectrogram un-transposed, transposedup a tritone, and transposed down a tritone. The next three aresynthesized subtractively using the same spectrogram, but transposingthe narrow pulse-wave source. The final three, which are doubled inlength, are also subtractive using a varying pitch, a chord, and whitenoise as the source. Notice that changing the pitch with additiveresynthesis also changes the formants, producing the familiar Munchkineffect, whereas with subtractive resynthesis, the pitch of the sourcechanges while the formants remain unchanged.
Speech Synth mp3 clip#4
Step-sequences controlling parallel bandpass-filter frequencieswill produce speech-like sounds when using a narrow pulse-wavesource.
VIRSYN Cube 1.01(Mac/Win) (p. 126)
The sound in this example is three repetitions of the morphingenvelope. It was generated by a single key press.
This file uses extremely short, repeating morphing envelopes withone segment extended to create the delay in the repeat that occurs atthe end of the phrase.
This example was created by holding down a single key until thesound morphed from the first Source to the last, and then back again tothe first.
In this example, the arpeggiator was set to the Up mode and arange of one octave. The rhythmic and melodic pattern is created bypressing and sustaining four notes, one at a time.
This sound uses a large Spread control, which gives it the clearinharmonic quality of a bell.
This file uses four custom Sound Sources with a simple path forthe morphing envelopes. The repeated notes are produced using thearpeggiator.
In this sound, sustaining a note loops the morphing envelopes,which produces the repeated notes. Playing different pitches triggersdifferent timbres.
STEINBERG D'cota 1.0(Mac/Win) (p. 148)