Web Clips for April 2006


Looking for web clips from a different issue of Electronic Musician magazine? You can find an archive of web clips from previous issues of EM magazine here.FROM THE EM ARCHIVES
February 1996

By Robert Moog
EM Editor in Chief Steve Oppenheimer worked with Bob Moog to develop this article; it took almost a year, but when it was done, they had a classic story. Read it here.
1.1MB screen optimized pdf
11MB print optimized pdf

M 2.6 (Mac)
Web Clip 1
This clip is based on a four-measure fragment of a Haydn string quartet. The variations are created by snapshots of different M Variable configurations.

Miroslav Philharmonik 1.0
Web Clip 1:
To accommodate the number of instruments and articulations needed, I used two instances of Miroslav Philharmonik to record this selection from Tchaikovsky's Symphony No. 6.

FL Studio XXL 6.0.4
Web Clip 1:
This clip illustrates the morphing feature of FL Studio's 31-band graphic equalizer, EQUO, as applied to the guitar-modeling synth, Slayer.

Web Clip 2:
Each band of EQUO, the 31-band graphic equalizer, can have its own pan and send settings. That is used here to create unusual spatialization.

Web Clip 3:
This clip illustrates the new arpeggiator in the Sytrus synth.

Gaining Tracktion

Web Clip 1:
This loop from Big Fish Audio's Nu Groove RnB, originally at 100 bpm, has been slowed down to 80 bpm by being manually clipped apart in Tracktion. The shaker on beat 3 of bar 1 has been moved into a better rhythmic position using the techniques described in the article. It's still a little loose, but it grooves. The shakers in bar 2 haven't been touched, so they're too early at the slower tempo.

Bandstand 1.0.1
Web Clip 1:
Band-in-a-Box triggers an instance of Bandstand hosted in Rax. Bandstand is easily up to the polyphony required by this piece (bass, guitar, piano, drums, a generic brass patch, and tenor, alto, and baritone sax). The song uses the plug-in's Real convolution reverb setting.

PSP Mastercomp
Web Clip 1:
This is the total mix of drums, percussion, bass, and synth with no master processing.

Web Clip 2:
This is the same mix as Web Clip 1 with the MasterComp's Gentle Master preset applied.

Web Clip 3:
This is a drum track with no effects processing.

Web Clip 4:
This is the same drum track as in Web Clip 3 with the MasterComp's HeavyDrumKit preset applied.

TrackPlug 5
Web Clip 1:
This four-bar section repeats twice. The first time is without effects, and the second time features TrackPlug 5 on the drums with the peak limiter turned on and the gain turned up fairly high.

SonicBoomBox and EthnicBoomBox

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Web Clip 10:
The first ten audio examples illustrate a simple C Major scale played across a four-octave range. They demonstrate the variety of sounds available in both BoomBox collections.

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These clips are miniature arrangements created entirely out of loops from the SonicBoomBox and EthnicBoomBox DVDs. Aside from volume and panning adjustments, the loops are entirely untreated. I arranged them in Ableton Live 5, and they include percussion, bass, and various instruments. Each loop uses related loops from the same or similar folders.

Xtreme Processing

Web Clip 1:
This clip contains three versions of the same vocal take. The first is dry. The second uses a chorus plug-in. The third has the main vocal signal routed to two panned auxiliary tracks with pitch correction and sample delay plug-ins. They are detuned and delayed by slightly different amounts. The result is a more natural thickening of the vocal.

Web Clip 2:
This clip has three versions of the same short mix. The first has no processing. The second has five compressors connected in series, each with slow attack and long release times, and 2:1 ratio. Each compressor is set to trigger 2 to 3 dB of gain reduction, and add 3 dB of makeup gain. The last version has only one compressor. The parameters are the same, except that the threshold is set to trigger 12 dB of compression with a similar amount of makeup gain (comparable to the cumulative amount of compression from the five compressors). The difference is a very audible, with the single compressor producing uneven rendering of the natural accents occurring in the music.


Web Clip 1:
The first part of the clip is a 30-second recording of a Randall RM100 amplifier (SL+ Preamp module) through a 12-inch Celestion speaker, close miked by a Shure SM57. The next 30 seconds features the same riff through the Motherload speaker simulator. I played my Patrick Eggle Berlin Pro V into the amp, and the amp's signal was split to both the speaker (using the Motherload's attenuator) and to the speaker simulator circuit.