p12 | U-he ACE Download of the Month
Web Clip 1: This clip was made exclusively with U-he ACE. Its six tracks include bass, pads, a sample-and-hold lead, and synthy sound effects.
p13 | This Month's Soundtrack, March 2010
Elijah B. Torn: This is the full mix of Elijah B. Torn's song "Juncto" from his new album, Bunker Fallout (They Control Us, 2010).
Slacker: Here's the full version of Slacker's "A New Day's Dawn (NEWEDIT)," a non-album track but of the same vintage as the music on Start a New Life (Godlike & Electric Records, 2010).
Moreland & Arbuckle: This is an excerpt from "Hate to See You Go" (a cover of a Little Walter tune) from Moreland & Arbuckle's album Flood (Telarc, 2010).
Okapi: This snippet of "Aldo Kapi" from the album Love Him (Illegal Art, 2010) shows you Okapi's facility for constructing music from samples.
Beth Thornley: Here's a bit of "You're So Pony" from Beth Thornley's, Wash U Clean (Stiff Hips Music, 2010), which shows off the rockier side of her wide-ranging music.
p15 | What's New Sound Advice
Web Clip 1: This clip mixes loops from the first five construction kits in Big Fish Audio Impressions: Jazz Construction Kits.
Web Clip 2: Loops and kits from the three Loop Workshop free downloads—Free Trial Pack, Orch Loopz, and Toy Tomz EXS Kit—are featured in this short clip.
Web Clip 3: Here, seven audio tracks from Soundation's add-on Brazilian House collection are combined with a track using the built-in Drum Machine virtual instrument.
Web Clip 4: This 5-track dub features bass, drum, and percussion loops, sound effects, and pad and ambient clips from Loopmasters Sound Theory 01: Habersham.
p18 | Toro Y Moi Pro/File
Web Clip 1: The song "You Hid" features multilayered vocal tracks, glued together with a room reverb. The way the sound waves phase creates such an amazing result.
Web Clip 2: This excerpt from "Causers of This" shows Toro Y Moi's atmospheric style.
p22 | A Perfect 10 | Soft Synths
Web Clip 1: This example features just two of FabFilter Twin 2's 1,600 factory patches: RhytmicArp IN and Classic Square DJM.
Web Clip 2: Although FXpansion Amber''s paraphonic sound engine specializes in emulating vintage string machines, you''ll find a lot of timbral variety in its sound banks.
Web Clip 3: FXpansion Cypher is capable of generating both classic and unique electronic timbres.
Web Clip 4: In this clip, an Amber bass and a Cypher drum loop are combined in FXpansion''s host synthesizer, Fusor.
Web Clip 5: Many of the sounds that Humanoid Sound Systems supplies with Scanned Synth Pro resemble vintage synth timbres, but with a greater sense of motion.
Web Clip 6: Emulating analog sounds from the Soviet Bloc are Image Line Sawer''s domain.
Web Clip 7: Although most of the patches in Rob Papen''s Predator are geared for dance music, you can find more somber, Eno-esque colors if you dig deep enough.
Web Clip 8: Like its hardware counterparts, Waldorf Largo nails the sound of vintage analog synthesizers.
Web Clip 9: XILS-lab XILS 3 starts with the sound and functionality of the EMS VCS 3 and gives it 21st-century capabilities.
p34 | FL Studio 9 Unleashed Master Class
Web Clip 1: This stadium rock groove uses an FL Studio Slayer–modeled guitar for the bass. The chording instrument is FL Studio''s Wasp XT synth. The tone of the Wasp XT is being modulated in three ways at once by a MIDI mod wheel using FL Studio''s Link To Controller dialog box (also known as Remote Control Settings).
Web Clip A: This odd, mechanical-sounding beat''s tones were created by manipulating the knobs in the SMP tab of FL Studio''s Channel Settings box. The tones started out as typical drum samples, but after processing they sound much more synthetic. No effects plug-ins are used in this clip.
p38 | Making Tracks: Quad Squad
Web Clip 1: I recorded this example by walking around the front of my house with my Zoom H2 set to 4-channel recording mode. You''ll hear the hum of the neighbor''s air conditioner, a gate opening, cars passing and then the front door opening.
Web Clip 2: In this example, IMR president Terry Maedche recorded the Hey! Ho! Let''s Go! band live at U-31 in San Diego with a Zoom H4n. He fed the board mix into the H4n''s line inputs and used the H4n''s built-in stereo mics to record ambience. (Maedche notes, “For this type of recording, the trick with the H4n is to get good signal strength on the mics and control the line input level externally to match the signal from the mics.”) I loaded the direct recording into Vortex Zoom Encoder''s Front zone and the ambient recording into the Rear zone.
Web Clip 3: Here I created two stereo files in Ableton Live, designing one for the front speakers and the other for the surrounds. I used six tracks. The pad and drum groove were a stereo loop from a previous Live session. I duplicated that track and added reverb to make it more ambient. Then I added four tracks of voices from the Balabolka speech synth, panning alternate tracks hard-left and -right. The first voice track (panned left) says, “Left Front.” The second (panned right) says, “Right Front.” The third (panned left) says, “Left Rear” and so on.
p40 | Sound Design Workshop: Vocoding With Nonsense Syllables
Web Clip 1: Here a one-shot scat sequence is used to process a bell-like ambient clip. The scat sequence crossfades into the processed clip.
Web Clip 2: In this clip, a repeating arpeggio processes a synthy pad. The scat sequence crossfades into the processed pad.
Web Clip 3: A three-note arpeggio processes the same pad as in Web Clip 2, but the note order changes every four bars.
Web Clip 4: In the first eight bars of this clip, you hear unprocessed bass and percussion parts, and the percussion is quite busy. For the next eight bars, the percussion is heard through sparse scat vocoding. After that the original is mixed back in with the vocoded part.
Web Clip 5: Only the pad is processed in this clip. A loud one-syllable sound is triggered on each downbeat. The vocoded output passes through a 50 percent wet stereo delay with no feedback. The delay on the left is a quarter note, whereas the delay on the right is three eighth notes.
Web Clip 6: Here scat vocoding is applied to the full mix. The scat sequence has short syllables on beats one and two with a longer syllable on beat three. The vocoder is followed by a 100 percent wet, long-tailed reverb whose level is automated to fit in the mix.
Web Clip 7: In this short excerpt, the same sound effect is heard four times: unprocessed the first time and vocoded with different one-shot scat syllables the remaining times.
p44 | Celemony Melodyne editor Review
Web Clip 1: I intentionally detuned my electric guitar, chose a clean and dry tone (no distortion or effects added), and strummed a couple bars.
Web Clip 2: I tuned the same track as in Web Clip 1 the best I could with Melodyne editor.
p50 | Avid Sibelius 6 (Mac/Win) Review
Web Clip 1: This music example illustrates some of the Sibelius sounds that come with the program.
p54 | PG Music Band-in-a-Box 2009.5 (Mac/Win) Review
Web Clip 1: Changing Substyles within a Style allows for more realism. A Substyle change in bar 9 raises this blues tune's intensity.
Web Clip 2: Backing tracks that use audio are especially good for acoustic music genres such as country.
Web Clip 3: BIAB''s Harmony feature lets you experiment with backing vocal ideas.
p60 | Vir2 Instruments World Impact: Global Percussion Quick Pick Review
Web Clip 1: World Impact''s input Quantizing on its Trigger feature synchronizes live input with patterns and provides great rhythmic variation.
Web Clip 2: Here''s a looping berimbau patch. The smoothing feature helps create an occasional bowing effect.