Web Clips for February 2006

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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

Heizenbox (Mac/Win)
Web Clip 1:
A speech fragment (heard at the beginning) is processed in Heizenbox using MIDI remote control to automate the Length, Offset, Division, and Repeats parameters in real time.

Peak Pro XT 5
Web Clip 1
This clip contains three passes of the same guitar riff. The first pass has been purposely mixed with noise, crackling, and some pops. The second pass has been scrubbed with SoundSoap 2, and most of the noise and popping is gone. The third pass has been scrubbed with SoundSoap Pro and is cleaner, owing mostly to Pro's fine tuning and noise gating.

Web Clip 2:
Peak's PitchCraft plug-in is used to add background vocals (second and third pass) to a solo vocal track (heard first).

Z3ta+ 1.4

Web Clip 1:
A description of Hermode tuning and its implementation in Z3ta+.

Web Clip 2:
A series of chords is played using a basic synth patch. Here all the chords use standard equal-tempered tuning. Compare this with Web Clip 3.

Web Clip 3:
This clip uses the same MIDI notes and synth patch as Web Clip 2. The smoothness of many of the chords is caused by the Hermode tuning algorithm's intelligent changes in the pitch of the individual notes. Notice that the second chord of each pair is smoother than the first.

Web Clip 4:
This clip was created by playing an open fifth using a patch containing a single sawtooth-wave oscillator. All of the timbral variations are the result of automating various waveshape parameters. The sudden jumps in timbre are not the result of jumps in automation data; some of the waveshaping processes introduce sudden discontinuities in the waveform.


Web Clip 1:
The OASYS's filters sound more convincingly analog than other digital filters, as demonstrated by this resonant sweep.

Web Clip 2:
Each step in a wave sequence can have its own pitch, waveform, duration, loudness level, and other parameters.

Web Clip 3:
: By simply moving a KARMA slider labeled Alternate Drum Map, you can trigger numerous drums and percussion instruments on the fly with a single drum pattern.

Web Clip 4:
Because it packs so much processing power, the OASYS lets you pile on layer upon layer of real-time effects processing.

(Not Quite) Random Notes

Web Clip 1:
Live's Follow Actions trigger a kaleidoscopically evolving sequence of clips initiated by launching a single Scene. The follow-action changes were captured in Live's Arrangement view, then consolidated and dragged back to the Session view to create new Scenes.

Beats Working in Cuba
Web Clip 1:
These two, four-bar segments of a Son Montuno groove reveal a tremendous amount of rhythmic interplay. I needed to load two instances of the Intakt Player to provide the eight bars.

Web Clip 2:
You can use the Intakt Player's LFOs to modulate filter settings. Here, I played a loop polyphonically to achieve a rhythmic, gamelan-like effect.

Heavy Mental Drums

Web Clip 1:
This example uses multitrack loops from the song "Bare Bones." The drum mix has all eight tracks in it. Both the Big Room and Room tracks are fairly prominent in this mix.

Web Clip 1:
The Velocity-controlled Lap-Steel Guitar patch can also serve as an excellent conventional slide guitar. Note the convincing rattle of the slide bar at the end of the example.

Web Clip 2:
Named after a Cab Calloway tune, Minidamoocha is a muted trumpet patch with higher Velocities invoking a formidable growl.

Enveloping Strategies

Web Clip 1:
Live's EQ Four parametric EQ plug-in is used to create a flanging effect. Each EQ band acts as a narrow-band notch filter, and Clip Envelopes are used to modulate the band frequencies.

Web Clip 2:
An eighth-note-triplet arpeggiator pattern processes a progression of dominant seventh chords. Volume-gating Clip Envelopes change the rhythm pattern every two bars.

Web Clip 3:
Three four-bar drum loops are split into individual parts, and each part has its send amounts modulated by Clip Envelopes. Four Simple Delays with different settings are used as send effects. Each loop is heard twice: first with all sends off, then with modulated send amounts.

Synful Orchestra 2.2.0
Web Clip 1:
These three excerpts from classical pieces (with some added reverb) demonstrate Synful Orchestra's expressive capabilities. For more examples, check out the user demos on Synful's Web site (www.synful.com/User%20Demos.htm).