Web Clips for January 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
DIY: BUILD THE EM THEREMIN
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

ABLETON
Live 5
5 (Mac/Win)
Web Clip 1
Each track of this two-track example consists of an Arpeggiator followed by two Beat Repeats and an Auto Pan effect.

LINE 6
PodXT Live, Variax 300, Variax Workbench

Web Clip 1:
This shows what you can do with the combination of the PodXT Live, Variax, and Variax Workbench. There are four different guitar sounds in this example, each of which were programmed into the PodXT Live. I switched from sound to sound using the unit's footswitches.

The first four full measures feature a Variax Les Paul model, tuned to Open E (using Variax Workbench), going through a Plexi amp model on the Pod XT Live. The next four measures spotlight a Variax National Tricone model (in open G), through an PodXT Live patch set to Bypass. The four bars after that have a Variax Telecaster model through a Variax (Fender) Small Tweed model. The last four measures feature a Variax Gibson J-200 acoustic model through an PodXT Live patch set to Bypass. (The drum loop is from Pro Drum Works Volume One by Smart Loops.)

BIG GUITARS IN SMALL SPACES
Web Clip 1:
For this clip, I played my Patrick Eggle Berlin Pro V through my THD Flexi-50 amplifier. In the first half of the clip, the riff is being recorded by a Sennheiser e609 close miking a Celestion Vintage 30 speaker in my 2x12 inch Antone Cabinet. In the second half, the amplifier signal is being fed directly through the Behringer GI100 4x12 inch cabinet simulator.

Web Clip 2:
For this clip, I played my Patrick Eggle Berlin Pro V through my THD Flexi-50 amplifier. In the first half of the clip, the riff is being recorded by a Sennheiser e609 close miking a Celestion Vintage 30 speaker in my 2x12 inch Antone Cabinet. In the second half, the amplifier signal has been recorded direct and is being processed by a custom designed speaker cabinet preset in Native Instrument's Guitar Rig.

Web Clip 3:
For this clip, I played my Patrick Eggle Berlin Pro V through my THD Flexi-50 amplifier. In the first half of the clip, the riff is being recorded by a Sennheiser e609 close miking a Celestion Vintage 30 speaker in my 2x12 inch Antone Cabinet. In the second half, the amplifier signal has been recorded direct and has been fed into Logic Pro's Space Designer plug-in, which is loaded with an impulse response I made from the same amplifier/cabinet/microphone combination above.

Web Clip 4:
For this clip, I played my Patrick Eggle Berlin Pro V through my THD Flexi-50 amplifier. In the first half of the clip, the riff is being recorded by a Sennheiser e609 close miking a Celestion Vintage 30 speaker in my 2x12 inch Antone Cabinet. In the second half, the amplifier signal has been recorded direct and is being fed directly into Wave's Q-Capture, which is making an impulse response on the fly directly from the amplifier/cabinet/microphone combination above.

MAKING TRACKS
Apple Loops for Allr

Web Clip 1:
In this clip, guitar and organ Apple Loops are matched to a Reason drum and bass loop. The time-stretched and pitch-shifted versions of the Real Instrument Loops are heard first, followed by time-stretched and pitch-shifted Software Instrument Loops. The Software Instrument Loops are followed by versions that have also had their MIDI data and plug-in setting altered.

ROB PAPEN
Blue
(Mac/Win)
Web Clip 1:
This track uses three instances of the Blue synth in an Ableton Live session.

UEBERSCHALL
Liquid Saxophone 1.03
(Mac/Win)
Web Clip 1:
The first soprano saxophone plays back unaltered, followed by a transposition to E melodic minor. Next, I have moved individual notes to different pitches, then followed it with a combination of shifted pitches, deleted notes, and altered phrasing. Finally, I've taken the original phrase, shifted the formants and lowered the entire phrase's pitch.

SOUND DESIGN WORKSHOP
Pushing the Envelope
(Mac/Win)
Web Clip 1:
All segments of this clip were generated by playing a single note. The clip begins with the basic two-oscillator patch, to which breakpoint envelopes were added for amplitude contour, Main oscillator pitch, Mod oscillator pitch, lowpass filter cutoff, lowpass filter resonance, a second channel (two more voices), a third channel (melody), and panning.

Web Clip 2:
This is the Absynth 3 patch bank containing all the presets used in Web Clip 1.

VIRTUOSOWORKS
Notion 1.0.6
(Win)
Web Clip 1:
This example, Stravinsky's “Infernal Dance” from Firebird Suite, captures a fairly convincing full-orchestra sound with several moments of stunning realism. I especially like the way the brass and winds come through in the beginning.

Web Clip 2:
This evocative piece, Gil Fray's Sensitive Plant Spliced with Candy Apple Shrapnel, shows that non-traditional instrumentation and techniques also come across very well in Notion. Fray uses microtones to fine effect. The realism of the score is quite striking.

Web Clip 3:
This example, Tchaikovsky's Miniature Overture shows Notion's high-quality sound with more traditional orchestration. This excerpt illustrates how well the program conveys different instrumental articulations.

Web Clip 4:
An intentionally simple survey of the percussion sounds showing the quality of the samples. Notice the triangle, snare and tambourine rolls-when you call for a roll in your score, the program automatically plays an appropriate sample rather than just trying to synthesize the effect.

Web Clip 5:
Another intentionally simple example composed to show the individual instruments without too much orchestral competition. I was particularly struck by the realism of the flute trills and oboe sound near the beginning. The harp, followed by double bass (both arco and pizzicato) sound excellent. I also think the horn sound is exceptional (the change in horn tone color comes from indicating “brassy” in the score, which causes a different horn sample to be played at that point), as is the bassoon (a good example of how Notion uses different samples for legato and staccato indications for heightened realism). Notice toward the end the varying articulations and dynamics in the strings.