Web Clips for July 2005

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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.

Web Clip 1:
In this mix of bass, steel drum, drum, percussion, piano, and vocal MusiGenesis tracks, the tracks are added sequentially at four bar intervals.

Web Clip 1:
Reason, Live, and GarageBand were ReWired together to create this clip integrating guitar and drum loops from GarageBand, percussion from Reason, and bass and trumpet from Live.

Doing More with GarageBand 2

Web Clip 1:
A short solo guitar passage targeted for a “backward guitar” effect.

Web Clip 2:
This guitar part after using GarageBand's automation features to simulate the sound of an audio clip playing backward.

Absynth 3
Web Clip 1
This is an example of a multi-voiced, polyrhythmic patch using looping envelopes of differing lengths to control pitch, amplitude, modulation frequency, and panning.

Web Clip 2:
This is an example of a simple melodic voice, with enough inherent changes to make it interesting.

Web Clip 3:
In the example, I manipulate a sample to generate textures and tones.

Web Clip 4:
Here I use the Audio In module, with a voice controlling many aspects of the synthesis.

Web Clip 5:
Using the built-in recorder to overdub several patches into one piece, whole scenes can be scored quickly.

Legacy Bundle
Web Clip 1:
A four-layer Discovery patch using the Gater effect was used to make this evolving loop from a single four note chord.

Web Clip 1a:
Web Clip 1b:
These tracks contain the separately miked version of the Olodum tracks that Victor rejected (1a has only the drums, and 1b has the drums with the vocals). It's is presented exactly as the monitor mix described in the story, that is, mixed only with pans, the low-cut on the one overhead mic, and the Waves Renaissance Bass harmonic enhancement on the big surdos. Other than that, it's a straight monitor mix-no EQ, compression, or reverb (except for some reverb on the vocal).

Web Clip 2a:
Web Clip 2b:
Here are the versions of the Olodum recordings done with all the drummers in one room (2a has the drums only, 2b has the drums and vocals). Take a moment and compare these with the separately miked versions. All the mixes are dry, with no reverb added to the drums-but the differences between the drummers separated (1a and 1b) and all in one room (2a and 2b), are pretty striking.

Web Clip 3a:
This is a monitor mix of the Filhos de Gandhy tracks without the vocals, bugles, and whistles. The rhythm is called afoxé.

Web Clip 3b:
For this mix, which includes all the instruments in Filhos de Gandhy, Reis simply brought up all the tracks-three passes of three stereo tracks, plus seven vocal tracks, for a total of 25-and panned each stereo pair left and right, the lead vocals dead center, and the background vocals to either side of the center voice. Again, except for some reverb on the vocal tracks, the mixes were left unprocessed.


Web Clip 1:
Here are the background vocals (2 passes) as recorded by the NT2-A. Each pass was recorded through a single mic, set to omni.

Web Clip 2:
This is a submix of the string section, with the NT2-As on the violins and the NT2000s on the viola and cello.

Web Clip 3:
Here's the NT2-A on a female lead vocalist.

Extreme Editing

Web Clip 1:
Here are three examples of extreme tempo changes applied to the same 120 bpm, 32nd-note melody. The original tempo is followed by tempo multiples of 1.5, and 2. In the third example, the original tempo was divided by 16, with a resulting tempo of 7.5 bpm (only part of the melody is heard).

Web Clip 2:
Here are nine examples of octave offsetting, which contract or expand a melody into specific pitch ranges including one, three, and five octaves; one octave low, middle, and high; and multiple octaves with the middle octave excluded.

Web Clip 3:
The custom Reaktor Ensembles crawlDaddy, fmReflect, graidelVerb, gLitch, and mooshVerb are used here to process the same melody. All Ensembles are available from the Reaktor User Library (www.native-instruments.com).

Web Clip 4:
Reverse reverb and Leslie-style panning are used here to process the basic melody (heard first). In the last example, the amounts of reverb and rotary panning increase over time.

Acid Pro 5.0
Web Clip 1:
This file uses a two-measure drum loop from the World Pop CD in Sony's “Loops for Acid” library. The loop, which is called Straight Kit 04.wav, was originally recorded at about 141 bpm and is heard here at about 135 bpm, so there has already been a bit of time-stretching, but not enough to be very audible. First we hear four bars of the loop without any applied groove. Then we hear four bars each with the Acid factory grooves Shuffle 01, Hip Hop 01, and Samba. If you listen closely, you'll hear quite a lot of blurring and flamming. Finally, we hear four bars in which the Samba groove is applied selectively, only on beat 4. This pushes the snare hit on the “and” of 4 very slightly ahead, but doesn't cause any deterioration in sound quality.