p12 | Tobor Experiment Berna Download of the Month
Web Clip 1: A speech clip is played simultaneously from two of Berna''s tape recorders with one running slightly faster than the other.
Web Clip 2: The same process as in Web Clip 1, but with real-time, extreme manipulation of the tape speed.
Web Clip 3: This clip is compiled from recordings of four Berna patches: drums (tape-driven envelope follower with noise), heavy breathing (filtered noise with low-frequency amplitude modulation), chirping (frequency shifter with echo) and fog horns (beat-oscillator ring modulation).
p13 | This Month's Soundtrack
Here's an excerpt from the song "With My Maker I Am One" from Eric Bibb's CD Booker's Guitar (Telarc, 2010).
Listen to the song "Mountain Mary" from The Seven Fields of Aphelion's Periphery (Graveface, 2010).
Listen to the song "Looking For What" from Lindstrøm and Christabelle's Real Life Is No Cool (Feedelity, 2010).
This is a clip from John Morales' mix of the Chris Wiltshire song, "Weekend," from Morales' The M&M Mixes (BBE, 2010)
Here's a snippet from Tomeka's "Black Hood," from her album The Black Hood (Rhyme Cartel Records, 2010).
p14 | What's New
Web Clip 1: This clip features bass, guitar, horns and drum loops from the Memphis section, along with a drum loop from the Cincinnati section of Propellerheads' Soul School ReFill.
Web Clip 2: In this clip, the Sonic Fiction's I, Robotics, Electricity Bass, Dredge Hammer and View Screen Spiral presets are combined and augmented with Native Instruments Kore's preset morphing.
Web Clip 3: Detroit Sound designer Jimmy Edgar's Rhythm Objekt from Fixed Noise provides the bed (Chord Sequence 120), percussion (90th Nite Kit), sound effects (Untitled0009) and drum loops (Analog 120) for this urban-style clip.
p20 | RJD2 Pro/File
Web Clip 1: Here's an excerpt from "Games You Can Win," which has Kenna on vocals and on which RJ features a Yamaha CS-80 synth.
p22 | Lymbyc Systym Pro/File
Web Clip 1: The grinding synth sound that you hear in this excerpt from "Bedroom Anthem" from Shutter Release was created using a Roland Juno-106 synth through a barely functioning preamp.
Web Clip 2: In this clip from the song "Contemporary Art" (also on Shutter Release), you can hear a buzzy droning sound that Mike achieved, in part, by processing the audio with a bit-crusher effect.
p26 | Sounds Unusual
Web Clip 1: Good News, a construction kit in Found Percussion, forms the basis for this clip. Additional percussion elements include Drumstick on Soda Can, Claps, Drill and Table Saw Blade.
Web Clip 2: Layered-NN-19 Combinator patches from Wavefront provide background ambience and vocal sound effects, augmented by Redrum percussion and an orchestral-sounding NN-XT pad.
Web Clip 3: A variety of clips from the Processed section of Electronic Critters combine with unprocessed circuit-bent speech clips.
Web Clip 4: As you can probably guess from this example, you''ll find a sizable collection of unmistakably metallic sounds in Impact:Steel.
Web Clip 5: This clip uses five Instrument racks and two Audio Effects racks from the Ableton Live Pack version of Rise. The sounds come from the Bang, Doppler, Seamless, Cym FX and Drop Downs categories of the collection.
Web Clip 6: In this Physical Therapy example, four Combinators (ensembles Blowing Glass and Dreamball and mallet-percussion Hand Crafted and Deep Roller) are mixed with nature recordings of birds and rolling surf to create this rain forest–flavored clip.
Web Clip 7: This clip uses sounds from all three sampled crystallophones in Glass / Works: glass armonica, Cristal Baschet and cloud chamber bowls.
Web Clip 8: To demonstrate its versatility, here are two very different approaches to using the sounds in Pulse: Pure Analog Lifeforms. Geary Yelton assembled this one.
Web Clip 9: To demonstrate its versatility, here are two very different approaches to using the sounds in Pulse: Pure Analog Lifeforms. Len Sasso put this one together.
Web Clip 10: This example contains numerous sounds from Tonehammer Click, including Ultra Click, Chip Eater, Zipper and Air Hammer.
Web Clip 11: These are some of the tamer sounds you''ll find in the Liquid Instrument library Score FX.
p32 | Vampire Weekend | Back for a Second Bite
Web Clip 1: Video: Vampire Weekend's Home Base: A Tour of Treefort Studio Featuring Rastam Batmanglij
A look around the studio space that served as both a rehearsal and recording venue for Vampire Weekend during the time they were working on Contra. Although they also recorded tracks at some other studios, most notably Avatar Studios in New York City, Treefort was the place they considered as their "home base" for the project.
p40 | Remix Clinic
The following Web Clips are all video excerpts from Vincent di Pasquale's DVD, The Art of the Remix, from Faderpro.com.
Web Clip 1: A look at time-stretching vocals in a remix using Logic Pro 9's Flex Time feature.
Web Clip 2: This segment looks at getting bass sounds, including techniques for layering bass sounds without causing frequency masking.
Web Clip 3: Creating effects for your remix. Here, a sweep effect is added to the mix and processed.
Web Clip 4: In this segment, di Pasquale talks about techniques for organizing your session to ensure maximum productivity.
Web Clip 5: This excerpt shows the plug-in chain that di Pasquale uses on the master bus.
p56 | Sound Design Workshop: Xtreme DNA
Web Clip 1: A single piano note (C1) is split into blobs for most of its harmonics (C2, G2, C3, E3 and a very flat A#3). The full note is followed by each harmonic solo'ed.
Web Clip 2: The note from Web Clip 1 is heard with various harmonics muted: full note, seventh harmonic raised to B, seventh harmonic muted, octave harmonics muted, third harmonic (G2) made louder.
Web Clip 3: This ambient clip from Wave Alchemy SFX Collection 01 starts percussively with lots of inharmonic, bell-like overtones and then settles down to a bubbly fade. It''s not standard fare for Melodyne polyphonic manipulation, but Melodyne is a great tool for processing it.
Web Clip 4: Here I''ve added bass and lead arpeggios generated by the MIDI file that Melodyne generated from Web Clip 3.
Web Clip 5: The voice-like melodies were built from the C3 and Eb4 rows of the Melodyne analysis of Web Clip 3.
p60 | Ableton and Cycling '74 Max for Live Review
Web Clip A: This 4-track pattern in the Max for Live Step Sequencer plug-in has a repeating riff, but includes constant variation, as well. The Step Sequencer is playing an edited Operator preset.
Web Clip B: The Auto-Feedback plug-in from the Pluggo collection isn''t actually an effect, it''s an audio generator. I fed its output through Live''s resonators and filter delay effects to produce this endlessly shifting drone.
p64 | PreSonus Studio One Pro Review
Web Clip 1: I recorded six examples to demonstrate Studio One''s time-stretching abilities and its built-in instruments. The original track uses a PreSonus-supplied drum loop, but the virtual instruments are from Native Instruments (Reaktor 5 bass and FM8 chord stabs), Spectrasonics (Omnisphere piano arpeggio) and u-he (Zebra2 strings). The cello solo, which is processed with Studio One''s built-in EQ and reverb, is just something silly that I improvised and then did a little cutting and pasting with.
Web Clip 2: This track solos the cello, dry, at its original tempo. (Notice that fluffed note.)
Web Clip 3: This one is exactly the same except that Studio One has tempo-stretched the track down to 100 bpm.
Web Clip 4: In this track, I''ve used Studio One''s time-stretching to speed up the audio to 120 bpm.
Web Clip 5: If you listen closely, you''ll hear a tiny bit of degradation in the sped-up track. To put this in a musical context, I unmuted the synthesizer tracks, switched the cello reverb back on and did a new mix at the faster tempo. It sounds pretty good. I''ve always felt that the cello has a somewhat vocal quality, so I''m betting this comparison shows of what Studio One can do with vocals.
Web Clip 6: Finally, to take Studio One''s built-in synthesizers out for a spin, I replaced all the instrument tracks (except the cello) with instances of the Presence plug-in. I added a bit of reverb and chorus to a couple of the mixer channels to give the built-in instruments more depth. As you''ll hear, Studio One''s instruments do a decent job, but it''s not surprising if they don''t measure up to a third-party synthesizer suite that would retail for much more.
p66 | U&I Software MetaSynth 5 Review
Web Clip 1: This example demonstrates the new convolution feature. First you''ll hear the drum groove that was used as the source sound, then the female vocal sound that is the auxiliary sound. Next you''ll hear three different variations on the parameter controls.
Web Clip 2: This example shows the use of different attack modes applied to a Galbanum synth. First you''ll hear the Sharp Attack mode, then the Gated Hard Attack, then the Bell Curve Attack.
Web Clip 3: This example demonstrates the different balanced and unbalanced modes in the Grain synth. First you''ll hear a sample being granulated using the default Balanced mode, then the Hanning Balanced option, then with the Sine Unbalanced mode.
p72 | Sample Logic Morpheestra Quick Pick Review
Web Clip 1: Lots of Morphestra Atmospheres patches rely on underlying rhythms and timbral motion.
Web Clip 2: Here''s an example of the Mod wheel altering the rhythm of a Morphestra patch.
Web Clip 3: Flexible arpeggiators can be used to build terrific rhythms with one of Morphestra''s percussive kits.
Web Clip 4: Mark Isham''s Little People is one among many multi patches created for Morphestra by a distinguished cadre of film and game composers.
p74 | PSPaudioware PSP oldTime Quick Pick Review
Web Clip 1: PSP oldTimer processes room mics for drums in this clip. The same six bars are played back-to-back, first without processing and then with oldTimer spicing things up.