Web Clips for April 2008

From Electronic Musician: Hear Web Clips, audio clips, audio examples, PDFs, and other downloads outlined in the April 2008 issue of the magazine.
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p24 | Download of the Month: Antoine Missout SonicBirth 1.3

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Web Clip 1: This short electric-piano clip uses SonicBirth Multiband Scraper plug-in to add grit to the upper range while leaving the lower range untouched.

p38 | Audio Alchemy

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Web Clip 1: This example is the male vocal sample that is filtered in Web Clips 2 through 6.

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Web Clip 2: In this example, the vocal sample is convolved with a claves.

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Web Clip 3: In this example, the vocal sample is convolved with a closed hi-hat.

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Web Clip 4: In this example, the vocal sample is convolved with an agogo.

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Web Clip 5: In this example, the vocal sample is convolved with a crash cymbal.

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Web Clip 6: In this example, the vocal sample is convolved with a short machine sound.

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Web Clip 7: In this example, I convolved a cat meow and a cymbal hit. The spectra of the two files have many frequencies in common. First you''ll hear the cat, then the cymbal, then the two convolved.

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Web Clip 8: In this example, I convolved two different files at the same tempo. First you''ll hear a drum loop, then a repeating clicking sound, then the result of the convolution.

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Web Clip 9: This example uses SIR2 on the audio output of a soft synth, Native-Instruments Massive. First you''ll hear the original line, then the line processed with an IR from the Synaesthesis collection, then again with an IR from the Kaleidoscopy collection.

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Web Clip 10: This example uses a different IR in each channel, which is then convolved with the synth line from Web Clip 9.

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Web Clip 11: The first half of this example, created by Darrell Burgan, is a very simple pad played on Novation's V-Station plug-in. The second half is the same signal but convolved using two different IRs in a mid/side arrangement, where the mid got one IR and the side got the other. A little compression was added, as was some post-convolution EQ, to fix a few frequencies that resonated.

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Web Clip 12: This example demonstrates the use of an envelope on the IR. First, a synth line from Native-Instruments FM8 is played, then you''ll hear the convolved sound with no envelope on the IR, then the sound with the IR limited to its first 250 ms.

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Web Clip 13: This clip starts with some spoken text then continues with the text convolved with a Reverser IR from the Kaleidoscopy collection.

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Web Clip 14: In this clip, you''ll hear the drum loop used as an IR in Web Clips 15 and 16 followed by the single piano note that will be used as the carrier.

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Web Clip 15: This example shows first the piano and drum loop convolved using the 100% Size setting in Altiverb, then a 75% setting, then a setting of 125%. Notice the difference in pitch in each segment.

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Web Clip 16: In this clip, I created an IR that crossfaded between three different vocal samples. I then used the IR to convolve an abstract sound. First you''ll hear the IR, then the carrier, then the result of the convolution.

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Web Clip 17: In this clip, the IR from Web Clip 16 was stretched to six times its length. Note how the pitches in the vocal sample persist through the entire example.

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Web Clip 18: This example illustrates the use of an EQ on the IR to prevent clipping. The original wind sound used as the IR has been attenuated in the 200 to 400 Hz region. First you''ll hear the sax riff that is the carrier, then the result before the IR was EQ''ed, then the final result with no clipping.

p44 | Studio Junkie

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Web Clip 1: In this video, Tom Holkenborg (aka Junkie XL) shows off the gear in his multiroom project studio.

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Podcast: Listen to more of the interview with Junkie XL. He covers topics such as his musical background and influences, analog vs. digital, advice on putting together a home studio, and more.

p70 | Sound Design Workshop: A Different Drummer

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Web Clip 1: This is the chopped up drum loop used to create the bass line in Web Clip 2.

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Web Clip 2: I used the drum loop from Web Clip 1 and Sound Toys Filter Freak to generate this quasi-random bass line.

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Web Clip 3: This is the bass line from Web Clip 2 together with the original (unchopped) drum loop.

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Web Clip 4: This is one Stylus RMX drum loop played by the MIDI file from another.

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Web Clip 5: This bass line is generated from the swapped Stylus RMX drum loops in Web Clip 4.

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Web Clip 6: Here the bass line is heard with a similarly generated quasi-random synth part.

p72 | Square One: Super Looper

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Web Clip 1: This clip builds a polyrhythmic patch step by step. In u-he Zebra2, I started with one oscillator, one lowpass filter, and one multisegment envelope. (Zebra2 provides four of them.) The envelope is modulating both filter cutoff and oscillator waveform. The only effect that''s active is a bit of chorusing. In the second portion of the audio, I''ve added a second oscillator and filter. This oscillator is tuned a fifth above the first one, and its pitch is modulated by a second envelope to produce a glide. The new filter is modulated by a third envelope, whose rhythm is only two beats long. In the third portion of the audio, a third oscillator is added, tuned an octave below the first. The fourth multisegment envelope controls its filter with a one-measure pattern. In the final segment, I''ve added two synced delay lines, one processing oscillator 2 and the other oscillators 1 and 3.

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Web Clip 2: Four synthesizers are heard in this clip, playing overlapping patterns. First up is VirSyn TERA 3. After one measure, Native Instrument Massive enters. After two more measures, TERA drops out and Image-Line Sytrus enters. Next we hear a beat (again, this is an envelope loop) from Native Instruments Absynth 4, along with the TERA loop. Absynth and Sytrus comp for two bars, and then an eight-measure industrial progression is played by Absynth, Sytrus, and Massive. The clip concludes with a one-measure solo from Massive.

p80 | Dave Smith Instruments Prophet ''08

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Web Clip 1: You can set the glide rate of each oscillator independently, resulting in some rather expressive portamento voices.

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Web Clip 2: This excerpt is from an original recorded entirely with the Prophet ''08, though I''ve made generous use of external effects.

p84 | Antares Audio Technologies Harmony Engine 1.0 and Zplane.Development Vielklang 1.1.2

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Web Clip 1: Harmony Engine is used to generate four parallel harmony parts with two above and two below the original melody. Each part is heard separately and then with the other parts.

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Web Clip 2: Vielklang is used to generate four parallel harmony parts with two above and two below the original melody. Each part is heard separatelyand then with the other parts.

p94 | Native Instruments Guitar Rig 3

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Web Clip 1: This clip demos the Übersonic amp model's clean and high-gain channels. It also includes an example of the Sledge Hammer distortion effect applied to the clean channel. First you hear the Übersonic's clean channel. Next is the clean channel with the Sledge Hammer effect applied (with a moderate gain setting). Finally, you hear the Übersonic's high gain channel.

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Web Clip 2: A demonstration of Guitar Rig 3''s new High White amp model, which emulates a 100W Hiwatt.

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Web Clip 3: This clip demonstrates Guitar Rig 3''s new Tweed Delight amp model, an emulation of an early Fender tweed combo amp.

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Web Clip 4: In this clip, I show some of the various effects possible with Guitar Rig 3''s new Ring Modulator effect.

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Web Clip 5: This demonstrates some of the many special effects patches available in Guitar Rig 3. Everything you hear was done with just an ordinary Fender Stratocaster with ordinary pickups, plus Guitar Rig 3 (except for the drums and vocal samples, both of which were processed with the Guitar Rig 3 plug-in). No MIDI, no synthesizers!

p98 | Waves GTR3

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Web Clip 1: This is a short clip of the Punchy amp model from Waves GTR3. It''s a very accurate take on a 1970s Marshall Plexi amplifier. No effects or other processing was used.

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Web Clip 2: This clip features a full pedalboard of Waves Stomp effects from GTR3 creating a lush bed of sound. In order, the effects are Gate, Reverb, Chorus, Reverb, Chorus, and Axxpress. I then routed the signal to two Sweet amp models, based on a 1968 Gibson Skylark amp.

p104 | Digidesign Structure 1.0

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Web Clip 1: This clip was made using a Roland V-Drum and Structure''s Vintage Kit XXL patch.

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Web Clip 2: In this clip, I grabbed numerous bits of debris and mapped them across the keyboard. I then added a little convolution reverb and some panning.

p115 | Steinberg Groove Agent 3.01

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Web Clip 1: Here''s Groove Agent 3 playing a relatively straight-ahead rock pattern, with random fills every two measures. Dubbed "Bonzo," the manual tells us that this style was “to some extent” inspired by John Bonham. By the way, the manual has notes to all of Groove Agent''s styles.

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Web Clip 2: Here is a taste of Groove Agent 3 running in Dual Mode, with the “traditional” Groove Agent module running alongside the Percussion Agent module. Groove Agent is set to play a random fill every two measures, using the new Auto Fill feature.

p116 | XLN Audio Addictive Drums

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Web Clip 1: I constructed a drum track by chaining several variations together and then playing tom fills and cymbal crashes on my keyboard controller.

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Web Clip 2: Changing a track''s character was as simple as changing the drum kit from 90s Rock to Machine.

p120 | Image Line PoiZone 2.0

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Web Clip 1: Here''s an example of one of PoiZone''s more than three dozen pads, a patch called Jupiter TC.

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Web Clip 2: In this example, I used the Vintage 09 drum kit from Logic's Ultrabeat and PoiZone's RYM Underground. Smooth is set to 0 and Wet to 10, with no arpeggiator and no delay.

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Web Clip 3: Here I added the arpeggiator set to Down with a range of 3 octaves and tempo sync set to 1/16.

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Web Clip 4: This example demonstrates the added flavor of PoiZone's built-in delay.

p122 | Big Fish Audio Primal Drums

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Web Clip 1: Here''s a layer of grooves from one of the Primal Drums folders. Notice how the pandiero (which starts the groove) tugs and pushes with an almost dotted rhythm. A tom-heavy drum part adds a bit of a loping feel, while shakers, triangle, and a synth ostinato remain steady as congas weave in and out.

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Web Clip 2: This is a selection of grooves from different folders pulled into Stylus RMX. RMX''s Chaos Designer feature adds an improvisational, nonrepeating feel to the groove.