Web Clips for December 2005

Publish date:
Social count:

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.

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

QUAD ZAMP 1.0 (Win)
Web Clip 1:
This clip was made from a pitch-randomized percussion loop playing Quad Zamp loaded with sounds from the Les Productions Zvon Prepared Rhodes collection.

Web Clip A
Author David Battino''s interview with Emmy Award–winning composer B.J. Leiderman is presented here in podcast form.

Web Clip 1:
Here are some helpful links about podcasting, most of which are not mentioned in the printed article.

Web Clip 2:
Read a sidebar interview with producer Spencer Critchley about podcasting.

Web Clip 3:
In this essay, podcaster and former radio personality Daniel H. Steinberg offers his thoughts about podcasting.

Altiverb 5
Web Clip 1:
This is an example of the dry snare drum that was used for the Web clips.

Web Clip 2:
In this example, the snare has been put through a small space. The reverb is a mono-to-stereo algorithm that has been inserted on the channel, so dry signal has been added into the wet-dry mix. Note that the mids have been slightly damped.

Web Clip 3:
In this example, the Stage Positioning feature has been engaged and the Color parameter of the Direct sound has been set to a mix of flat and IR coloration.

Web Clip 4:
In this example, the stage positioning has been moved further back and to the left (stage right). The rest of the settings are untouched except for some adjustment of Input and Output levels to avoid clipping.

Web Clip 5:
In this example, I used the Tiny Speaker preset from the Weird submenu to demonstrate Altiverb 5's versatility. This is the same source material as all of the other Web Clips. Even though Stage Positioning is disabled, I mixed in Direct sound (with full IR Color) instead of Dry so that I would not have any “real” snare in the sound.

Web Clip 1a:
Web Clip 1b:
In these two audio examples, you can hear how a collections of grooves sound before and after they have been groove quantized.

Web Clip 2a:
Web Clip 2b:
In these two audio examples, you can hear how a groove sounds before and after Fill and Crossfade has been used.

Reaktor 5
Web Clip 1:
This examples uses a sample in place of the Noise source that appears by default in the Steam Pipe 2 Ensemble. First you'll hear the unprocessed struck cymbal, then you'll hear several repetitions of the processed cymbal..

Web Clip 2:
This example is an altered version of Oki Computer 2. I set the LFO to scan slowly through the different waveforms.

Web Clip 3:
This example uses a drum sample as the source for rachMiel's cloudMaker Ensemble. First you'll hear the original drum sample, then the processed version.

Web Clip 4:
This example uses an evolving ambient sound as the source for rachMiel's cloudMaker Ensemble. First you'll hear the original sample, then the processed version.

R2M Ribbon to MIDI Controller

Web Clip 1:
The R2M arpeggiator is controlling the pitches of an analog synth (right channel) and MIDI-controlled digital synth (left channel). I'm transposing the pattern by pressing different sections of the ribbon strip.

Pro Drum Works Volume One
(Apple Loops Edition)
Web Clip 1:
This clip features a New Orleans groove from the Misc. Grooves folder using the Thunder Kit sound. It's mixed with fills from the Fills folder, and crashes and additional kicks from the Hits and One Shots folder.

Random Bursts

Web Clip 1:
In this clip, white noise is followed by pink noise.

Web Clip 2:
Here, the filter cutoff of a bass patch is being modulated by a slow random waveform. A sustained tone is followed by a bass sequence.

Web Clip 3:
A filter-swept bass sound is heard unaltered for four measures followed by four measures with pink-noise modulation added.

Web Clip 4:
This is a single note from OASYS patch “Watchamacallit,” in which noise is mixed in with the oscillators and becomes an integral part of the sound.

Web Clip 5:
A plain, notch filter-based patch is heard first, followed by a frequency modulated version that uses noise as the modulator.

Web Clip 6:
This clip demonstrates the effect of noise FM on a simple sine wave patch. The unaffected patch is heard first, followed by the noise frequency modulated version

Web Clip 7:
Here noise is combined with a triangle wave LFO to produce vibrato to produce an effect I call ripping vibrato. Simple triangle modulation is heard first followed by the same patch with noise added to the modulator.