March 2009 Web Clips

From Electronic Musician: Hear Web Clips, audio clips, audio examples, PDFs, and other downloads outlined in the March 2009 issue of the magazine.
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p14 | Oli Larkin's pMix 0.7 Download of the Month

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Web Clip 1: This clip starts with a drum loop from the Soniccouture collection Tremors and uses pMix to morph the dry/wet mix for three effects in series: a graphic equalizer, a feedback delay, and a reverb. Three graphic-equalizer presets are used: one with only odd bands, one with only even bands, and one dry. Breakpoint modulation controls the morphing.

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Web Clip 2: This piano loop from Big Fish Audio 102 Below is processed by pitch shifter and resonant-filter plug-ins in series. A pMix breakpoint envelope morphs through several presets for both plug-ins.

p20 | Cadillac Sky Profile

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Web Clip 1: In this clip from “Goodbye Story,” you can hear the subtle slapback on Simpson''s vocal; not a typical effect on a bluegrass lead vocal.

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Web Clip 2: Here''s an excerpt from “Everybody''s Favorite.” The band''s fondness for pop production techniques is evidenced here by the telephone EQ effect on the vocal.

p24 | Using Nintendo Wiimote for Music Production

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Web Clip 1: In this patch, pressing the Wiimote''s trigger button plays a series of notes that trigger samples loaded into three Reason NN-19 modules, which are connected to MIDI channels 4, 7, and 8. The samples, all bits of political speeches, are played in random order, and a random small amount of Pitch Bend is applied to each sample as it plays. The tempo of the samples is controlled by moving the Wiimote in the vertical direction. Moving the Wiimote horizontally adds pitch vibrato (LFO) to the samples.

The joystick on the Nunchuck has several functions, which are selected by the Wiimote''s buttons. Pressing the Up button means that the joystick''s vertical motion will lengthen or shorten the amplitude envelope of the samples, thus determining whether they will play through their entire length or be truncated. Pressing the Down button means the joystick will control the wet/dry mix of the reverb on the samples.

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Web Clip 2: The performer sees the display screen, which is also a Max patch: the text blocks reminds him which buttons enable which functions, and the colored sliders show the current settings of all of the adjustable parameters.

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Web Clip 3: This patch is used to generate random notes in the tonal sections of the piece. The notes start when the trigger button is pressed. The three center buttons on the Wiimote select which scale the random notes follow: major, minor, or pentatonic. The octave range (adding to or subtracting from the note number in multiples of 12) is controlled by the Wiimote''s horizontal position and chromatic shift (adding or subtracting 1) is controlled by the vertical position.

p30 | Steven Wilson Interview

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Web Clip 1: Here''s the trailer from the Insurgentes film which was shot by Lasse Hoile.

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Web Clip 2: This audio interview, Wilson goes into depth about the film component of Insurgentes, and discusses his and other musicians'' feelings about how the MP3 and digital downloading have impacted their careers.

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Web Clip 3: In this audio interview, Wilson talks about specific production techniques he used on Insurgentes, and plays examples from the album.

p38 | Cycling '74 Max Tutorial

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Web Clip 1: The early stages of a Max patch that plays back Standard MIDI Files under control of a computer keyboard.

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Web Clip 2: The same patch as in Figure 1, but with tempo control added.

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Web Clip 3: Here''s a completed Max patch that plays back three Standard MIDI Files under control of a computer keyboard, with tempo control for all three seq Objects.

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Web Clip 4: This Max patch is based on the sfplay~ Object with its basic controls. The sfplay~ Object plays audio files from disk.

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Web Clip 5: This Max patch, based on the sfplay~ Object, combines four delayed copies and the original signal.

p44 | Frequency Domain Delays Sound Design Workshop

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Web Clip 1: This pulsing violin loop from the Big Fish Audio collection Kontrol Freaks 2 is first heard unprocessed, then with delay applied to a moving band in the mid-range of the frequency spectrum.

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Web Clip 2: Obelisk's gate section is used with a 50-50 dry/wet mix to animate the timbre of this bass loop from the Big Fish Audio collection Kontrol Freaks 2.

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Web Clip 3: Delays are used here to create different time shifts for different parts of the spectrum. That repositions some of the hits in this drum loop from the Big Fish Audio collection Kontrol Freaks 2.

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Web Clip 4: This clip combines clips 1 through 3.

p48 | Arturia Origin Review

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Web Clip 1: A turn of Origin''s joystick turns a sweet, arpeggiated flute into a raspy metallic tone.

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Web Clip 2: Behind the Glass is a beautiful, glassy pad that develops fluttering, inharmonic overtones.

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Web Clip 3: A modeled Bode Frequency Shifter imbues this pad with a mildly metallic timbre.

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Web Clip 4: No hands were involved in creating the constantly evolving timbre in this patch; instead, Origin''s sequencer records and plays back modulation events along with notes.

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Web Clip 5: It''s hard to find an Origin patch that doesn''t have an inner life. First, a bass helped along by modulation embedded in the sequencer, followed by two multis assisted by the joystick.

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Web Clip 6: It''s hard to find an Origin patch that doesn''t have an inner life. First, a bass helped along by modulation embedded in the sequencer, followed by two multis assisted by the joystick.

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Web Clip 7: It''s hard to find an Origin patch that doesn''t have an inner life. First, a bass helped along by modulation embedded in the sequencer, followed by two multis assisted by the joystick.

p61 | Applied Acoustics Systems Strum Acoustics GS-1 Review

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Web Clip 1: Here''s a swing arrangement of the old folk tune “Erie Canal.” I have exaggerated my use of the controls modulating pick position for emphasis. Also notice the smoothness of the legato response. The acoustic bass is from Big Fish Audio''s Basis collection, and the drums are from Native Instruments'' Battery 3.