Web Clips for July 2006


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

Psychic Modulation receiption 1.0 (Win)
Web Clip 1
The clip starts with a four-bar loop created with the four-track drum and bass machine, Minimal. Successive passes of the loop are processed by Reception. Automation is added for Reception controls Contrast, Noise, Ringmod, Color, Tint, Bits, and Warning, respectively.

Access Virus TI
Web Clip 1:
In this example, the first tone is a simple two-oscillator sawtooth wave from the Access Virus TI. In the second tone, I've used Unison mode to layer 16 nine-waveform Hypersaw oscillators with 8 suboscillators and dialed in some filter saturation.

Web Clip 2:
Here I've selected a few of my favorite timbres from the Virus TI's ROM banks and used them in a 2-track musical sketch, with no additional signal processing.

AudioFile Wave Editor
Web Clip 1:
This clip starts with a basic drum loop. In the second pass, the drum loop is ring modulated by a mono sine wave on a second layer. In the third pass, it is modulated by stereo sine waves of different pitch. In the fourth pass, delay and reverb are applied to the drum loop layer, and pitch modulation is applied to the sine wave layer.

Cakewalk Rapture
Web Clip 1:
A Dimension Pro piano preset has been pitch-shifted and transposed in opposite directions to produce the Munchkin effect. A change occurs every two bars.

Web Clip 2:
Four Rapture factory presets from the Sequences bank were used to make this short, ambient clip.

Line 6 TonePort UX2
Web Clip 1:
This is a clip of a GearBox preset I programmed named "Ethereal AC30." It consists of the Vox AC30 model (both amp and speaker) and a cathedral reverb from the basic GearBox sound set, with a phaser and delay effect from the FX Junkie Model Pack. My Gretsch Duo Jet guitar (with high-output Filtertron pickups) was plugged directly into the Normal instrument input of the UX2.

Evolving Grooves

Web Clip 1:
This example of an evolving-groove was assembled from a 4/4 loop at 140 bpm and 12 variants, all in 4/4 and at 140 bpm to ensure that the groove mix remains synced. I used the Ohm Force plug-ins Quad Frohmage Filterbank and Ohmboyz Delay to create the variants. With some variants I altered the rhythm of the original groove, mostly by using delay to double beats (quarter notes to eighths, eighths to sixteenths, and so on). Other times I modified variants' timbre using filtering, flanging, or other sound-shaping tool.

Jazz Quartet

Web Clip 1:
Here's a relaxed, calypso groove (think: Sonny Rollins' "Saint Thomas") courtesy of Big Fish Audio's Jazz Quartet.

Native Instruments B4II
Web Clip 1:
Here is a sample of B4II's version of the Farfisa. The clip presents a preset tweaked to taste; the Drive has been lowered to minimum to allow a more “pure” sound to come through. Note the characteristic Key Click sound on the note attacks.

Web Clip 2:
This clip showcases B4II's sound of the Vox Continental. As in WebClip 1, this clip uses a preset with the Drive lowered to minimum to remove overdrive coloration and allow the sound of the Continental to breathe.

Web Clip 3:
This clip shows off the dynamic possibilities inherent in the B4II's new Brake control. You can clearly hear the rotating speaker start and stop several times, enhancing the riff in key spots while refraining in others.

Web Clip 4:
This clip presents an otherwise clean B4II preset as heard through the "B3 Filthy" tonewheel set. Along with a few others, this simulates an aged and deteriorated B3. The natural grittiness of older Hammonds comes through nicely in the tonewheel sets, and "B3 Filthy" is one of the “oldest” of the batch.

Web Clip 5:
Here we have a nice “roller-rink” style Hammond tone with plenty of Reverb applied. This is an example of the Studio type with a fairly long Time setting, very long Decay, and medium Bright setting. The chosen settings are useful in this example for accentuating the high frequencies of the chosen preset.

Expressive Control

Web Clip 1:
In this clip I've routed the Mod Wheel to control amplitude-envelope attack and release time and filter-envelope decay time (all of which get shorter as the controller value rises), filter cutoff and resonance, filter envelope amount, the detuning of oscillator 2 (it's reduced as the controller value rises in order to reduce the chorused tone), sub-oscillator level (increased), amplifier overdrive (increased), and amplifier level (reduced to gain-compensate for the overdrive).

Web Clip 2:
In this clip I've routed the Mod Wheel to increase the amount of envelope being fed to a synced oscillator, the amount of LFO panning, LFO rate, and crossfading between the main lowpass filter and a second filter set to highpass mode.

The Ins and Outs of LFOs

Web Clip 1:
This example shows the impact of different types of LFOs on the pitch of a sine wave. First is a sine wave LFO, then a square wave, then a sawtooth wave, then a triangle wave.

Vocal Magic
Web Clip 1:
Compressing the Singer

Web Clip 2:
Vocal Track Ambience