p18 | Download of the Month: AlgoMusic Atomic 1.0 (Win)
Web Clip 1: Three instances of Atomic are used in this clip. A half-note Atomic sequence is heard first. The notes below C#3 (MIDI Note Number 61) from the first sequence drive a whole-note ambient sequence heard second. The notes above C3 from the first sequence drive the 16th-note percussion sequence heard third. All sequences are heard on the fourth pass.
Web Clip 2: This clip uses three instances of Atomic to create bass, lead, and ambient sounds in a 12-bar blues form.
p32 | Cheap Fares
Web Clip 1: Host automation affects record level, reverse looping, and delay time for this DubStation processing of a simple guitar loop (from Sony Creative SoftwareSix String Orchestra by Parthenon Huxley).
Web Clip 2: This example of Csound 5 uses Perry Cook''s WGbow, a physical model of a bowed string, with envelopes on several parameters, including bow position and pressure.
Web Clip 3: This example starts with a repeating drum loop. The first two measures are just the loop by itself, but starting in the third measure, Pluggo Jr.'s Resosweep filter effect is applied. A different preset, from the factory patch bank, is applied every two measures thereafter. The guitar, which comes in later, was recorded direct and has Pluggo Jr.'s Jet flanger effect on it.
Web Clip 4: Five Warbler setups process this electric-piano chord: vibrato, tremolo, flanger, chorus, combination chorus, and vibrato. In the combination effect, the chorus-feedback setting controls the pitch contour of the retriggered chord.
Web Clip 5: All the guitars in this example were recorded direct through Free Amp 3. All effects on the guitars, including reverb and compression, were also from Free Amp 3.
Web Clip 6: This video shows some of Amadeus Pro's key features.
Web Clip 7: In this audio example, the lead and rhythm guitars and the snare drum are all treated with different patches from Ambience.
Web Clip 8: In this example, you first hear an unprocessed loop, then the same loop using the Spectral Granulation default settings, followed by the loop with the Density and Bin Size parameters tweaked.
Web Clip 9: This example uses Mammut''s Wobble feature. First you''ll hear an unprocessed loop, then the file after processing.
Web Clip 10: In this example, you''ll hear the original source file from Web Clip 9, then the file processed by Mammut''s Block Swap and Stretch functions in series.
Web Clip 11: This basic four-bar electric piano loop is first heard unprocessed, then processed by SupaTrigga with quarter-, eighth-, and 16th-note slicing. Different probability settings are used on each pass. The final 12 bars mixes the unprocessed clip with the three processed versions.
Web Clip 12: In this clip, Fire is fed a pulsing bass line. Fire's delay time setting is then automated with different morph-time settings.
Web Clip 13: A separate Backwards Machine instance is used on each of this clip's three tracks. The piano track illustrates Forward Backwards mode with 50-percent feedback. The synth track (pad and lead) uses Reverse Repeat mode with no feedback. The lead is monophonic; the apparent polyphony is generated by Backwards Machine. The percussion track uses two instances of Backwards Machine in Reverse Playback mode. The piano and synth loops are from Sony CreativeStarview Session Keys by Matt Fink Software. The drums are from TrackTeam Audio BeatBox 1.6 for Ableton Live.
p50 | Noises Off
Web Clip 1: You'll hear the same sentence three times in a row: the first time with no denoising, the second time with too much, causing artifacts or "musical noise," and the third time with a proper amount of reduction.
Web Clip 2a: Here's a clip from the cassette master of the Milcho Leviev song "Minor Blues on B A C H," which was the source material for the CD A Voyage Again/Con Mucho Gusto.
Web Clip 2b: Here's the same clip after Brandon and Gunderson processed it with the audio restoration software in Sony Sound Forge.
Web Clip 3: The artifacts of the clipped audio can be reduced using a de-esser set to the upper-mid and high frequencies. The first instance is the clipped audio, the second features the de-essing effect using Sonnox's Oxford SuprEsser set between about 27 kHz and 8 kHz.
Web Clip 4: iZotope RX's Spectral Repair module is used here to fix distortion from a phone interview that was caused by the equipment on the caller's phone. You hear the same phrase twice, once with the distoration and once after being treated with Spectral Repair's Attenuate effect.
p60 | Making Tracks: Creating Realistic String Parts
Web Clip 1: This four-part string arrangement was made with VSL Vienna Special Edition. It uses legato strings and Velocity crossfade dynamics.
Web Clip 2: The arrangement in Web Clip 1 played with the Appasionata Strings Collection.
Web Clip 3: The arrangement in Web Clip 2 played with the Chamber Strings Collection.
p62 | Sound Design Workshop: One for the Rhodes
Web Clip 1: In this short clip the electric-piano chords trigger the filter envelopes, whereas the melody passes through the filters held at their sustain level by the chords.
Web Clip 2:This bass line uses three frequency shifters to process an electric piano bass part. Intervals of a minor third, perfect fourth, and perfect fifth are played in the bass.
Web Clip 3: This clip is comprised of four Absynth factory instrument presets each adapted by converting one or more oscillators to audio inputs fed by Lounge Lizard 3.
p70 | Review: Korg KO-1 Kaossilator
Web Clip 1-6: Check out David Battino's site for these clips
p76 | Review: Redmatica Compendium 1.5
Web Clip 1: This clip illustrates the advantage of harmonic resynthesis over standard zone stretching. Speech and singing clips are repitched using Keymap''s Polyphonate operation with algorithm HR-B, which does not adjust formants. That produces vocal-character and pitch changes without affecting time.
p82 | Review: Arturia Analog Factory Experience 2.0
Web Clip 1: A Moog Modular V preset provides a thick filter-sweep chord, while a CS-80V preset handles arpeggiator parts and a Jupiter-8V preset handles a fat, low-end rhythmic drone. I''ve also added a Prophet-V bass and an ARP2600 V lead. Percussion and drums come from Big Fish Audio Primal Drums through Spectrasonics Stylus RMX.
p86 | Review: Roland MV-8800
Web Clip 1: By integrating Roland Groovebox features, the MV-8800 lends itself to creating dance-oriented grooves.
p92 | Quick Pick: Galaxy Pianos Galaxy II Grand Piano Collection
Web Clip 1: A 16-bar piece is crossfaded through three Bluthner baby grand settings: unwarped, layered with a pad, and warped beyond recognition.
p92 | Quick Pick: Metasonix TM-7 Scrotum Smasher
Web Clip 1: Drums Smashed. The TM-7 on a live drum track soloed, as an aux send from the snare track. TM-7 settings: BN6 on, SUYA @ 10:00, Mega Scrotum @ 7:30, Blue Balls setting, Scrotum @ 6:30.
Web Clip 2A: A Fender Mustang guitar recorded directly through the TM-7 into line input on Metric Halo 2882. Various TM-7 settings.
Web Clip 2B: A Fender Mustang guitar recorded directly through the TM-7 into line input on Metric Halo 2882. Various TM-7 settings.
Web Clip 3: Drum Machine Thru Synth. A Casio VL-Tone drum machine run through Euro rack synth modules. The left channel is the synth output direct, the right channel is the same signal going through the TM-7. In the middle of the clip, the CV input patch is disconnected to show what effect that has on the sound.