p24 | Download of the Month: mdsp LIVECUT
Web Clip 1: First you hear this four-track, four-measure phrase unprocessed, then with LiveCut processing of the individual tracks, and finally with LiveCut processing of the full mix.
p40 | Twelve Under a Hundred (Cheap Synths)
Web Clip 1: ConcreteFX Vocal produced this ailing-Gregorian-choir clip.
Web Clip 2: Green Oak Crystal produced this deep-sea ambience.
Web Clip 3: Humanoid Sound Systems Scanned Synth VST produced this destabilized-vocal effect.
Web Clip 4: KV331 Audio SynthMaster produced this pulsing bass sound.
Web Clip 5: LinPlug Alpha 3 produced this clavinet riff.
Web Clip 6: Mutagene POCAS produced this harmonically dancing additive sound.
Web Clip 7: Nusofting Modelonia produced these lush string and horn pads.
Web Clip 8: Progress Audio Soup produced these morphing additive timbres.
Web Clip 9: ReFX Vanguard produced this pulsing arpeggio using its arpeggiator, delay, and Trancegate effects.
Web Clip 10: Rick Jelliffe Neumixturatrautonium produced this airy Theremin-choral sound.
Web Clip 11: Sonic Charge MicroTonic produced this eight-pattern chained sequence.
Web Clip 12: U-he Zoyd produced this pseudo yodeler.
p55 | A Day in the Life: Beat Crazy in Atlanta
Web Clip 1: This video shows LRoc at his studio, programming an R&B beat.
Web Clip 2: In this clip, LRoc demonstrates a "South Beat," which is typically done at a relatively slow tempo, and features a lot of hand claps and hi-hats in the drum part (played on the MPC3000).
Web Clip 3: Here, LRoc is improvising on his Minimoog along with a drum pattern. During such improvisations, he'll typically track the output of the Minimoog into Pro Tools and then use bits and pieces of what he's recorded in other songs.
p66 | Making Tracks: Train REX
Web Clip 1: In the first four bars, the bass is quantized to straight 16th notes. In bars 5 through 8, it's quantized to the REX file, resulting in a much tighter feel.
p70 | Sound Design Workshop: Vectoring In
Web Clip 1: Vector envelopes are used to add motion to sustained chords on the Arturia Prophet~V.
Web Clip 2: Recorded automation is used to apply vector morphing to a rapid sequence of notes.
Web Clip 3: In this clip, I used the joystick in real time to control the vector.
p80 | MAKEMUSIC Finale 2007
Web Clip 1: This is a table of Finale''s Tools and what they do.
Web Clip 2: Here is a look at a typical Finale workspace. You can hear how it sounds in Web Clip 3.
Web Clip 3: This is a short example of how Finale sounds in playback. The string ensemble sounds impressive, and dynamic markings and Smart Shapes such as dynamic hairpins are automatically reflected in the playback. Tremolos play back accurately, as do trills. The harmonic in the first violin part, measure 2, plays back two octaves above the notated A as it should. Notice that the harp glissando is also realized in playback, as is the timpani roll in measure 5. The violin glissando in measure is also interpreted in playback. The measured tremolos in the final string section are articulated in the performance (if you wanted to hear them more distinctly, you could cut back on the amount of reverb), and the final trill not only plays, but correctly interprets the accidental for the upper trill note.
To me, the most impressive thing about this example is that I did absolutely nothing to tweak these sounds. The trills, dynamics, tremolos, glissandi and drum roll were all automatically played by the program when the symbols were entered.
Web Clip 4: This is a sample score created with Finale''s new Latin Percussion plug-in. You can hear how it sounds in Web Clip 5. You select the region of your score in which to apply the music, select the style, tell the plug-in which of the available instruments to insert into the score, and in a few seconds the plug-in creates idiomatic rhythms, notation conventions, and performance practices appropriate to that style.
Web Clip 5: This is the sound file I created using the Latin Percussion plug-in.
p86 | TERRATEC PRODUCER Axon AX 100 mkII
Web Clip 1: This is a short clip of my Koll Tornado, which I''m playing through the Axon to control Logic Pro''s soft synth ES2.
p90 | ROLAND SH-201
Web Clip 1: The back panel of the SH-201 provides access to the analog audio I/O that you can use to apply the unit''s effects to an external audio source as well as a host of other connectors.
Web Clip 2: This example illustrates the arpeggio modes provided by the SH-201.
p98 | MODARRT Pianoteq 1.0.3 (Mac/Win)
Web Clip 1: Five brief MIDI clips from different genres are played using five Pianoteq presets: stride with Misc/Electro-ac., gospel with Grand M1/honky, Chopin with Graf, Latin with Grand M1/jazz, and cluster chords with Grand C1/deep.
Web Clip 2: Five randomized Pianoteq presets were used to play this stride clip courtesy of Marshall Otwell.
p106 | BOSS RC-50 Loop Station
Web Clip 1: This is a demonstration of the RC-50''s real-time time stretching. The 4-bar phrase is performed the first time through, and then it is looped and the tempo changed around to show the effects of the processing.
Web Clip 2: Here, I''m flipping through a selection of the patterns on the RC-50''s Rhythm Guide. The sounds are fixed, as are the patterns.
Web Clip 2: A 4-bar phrase shows the small gap that happens when punching with the RC-50. The phrase is performed the first time through, and then it is looped. The Rhythm Guide accompanies the loop at first, but then it drops out, and you can clearly hear the gap exposed about 2 seconds into it.
p110 | ELECTRO-HARMONIX 2880 Super Multitrack Looper
Web Clip 1: This clip consists of many guitar tracks recorded live. Some of the tracks are reversed.
p116 | Arturia Analog Factory 1.2 (Mac/Win)
Web Clip 1: Four short clips compare Analog Factory presets to the original Arturia virtual synths. In each instance Analog Factory is heard first. In order of appearance, the synths are: CS-80V (pad), Moog Modular V (bass), Arp 2600V (sequence), and Prophet VS (vocal).