Web Clips for May 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

NUSofting Groove Analogizer (Win)
Web Clip 1
This clip uses Groove Analogizer to process three two-bar drum loops. In each case, the dry loop is heard first, followed by the wet-only loop, followed by a mix of the two.

Miroslav Philharmonik 1.0
Web Clip 1:
To accommodate the number of instruments and articulations needed, I used two instances of Miroslav Philharmonik to record this selection from Tchaikovsky's Symphony No. 6.

Web Clip 1:
The first instance of this vocal is heard unaffected. It is then processed using four different presets of Antares' Throat plug-in: Longer Throat, Shorter Throat, Smaller Throat, and Tubular.

Web Clip 2:
The same passage as Web Clip 3 using Antares' Duo plug-in. The first pass is dry, then with minimal variation, then with more extreme Vibrato, Pitch, and Timing variations.

Web Clip 3:
This clip uses Antares' Choir plug-in. The first pass is dry, then 4 voices are added, and finally, 32 voices are added with wider Vibrato, Pitch, and Timing variations.

Web Clip 4:
Here I've processed an alto saxophone with Antares' Choir plug-in. You'll hear the saxophone soloed dry first, then soloed with the effect, then in a mix with the effect.

Web Clip 5:
The same vocal passage is first unaffected, then run through Antares' Punch plug-in. The first Punch settings were very modest, the second setting was achieved by cranking up the Gain slider a bit

Web Clip 1:
The horn riffs in this example are come from the Brass library, with very minimal hand editing. The percussion groove is from Wizoo Latigo and the bass line from Steinberg Virtual Bassist.

Web Clip 2:
In this example, Steinberg Groove Agent was used for the drums (except the shaker, which I added). All other tracks were played by this author.

The Art of the Pad

Web Clip 1:
A MIDI track of a synth pad recorded in Pro Tools with one hand playing the part and one hand using the mod wheel to vary the filter's cutoff frequency. The notes of the pad appear in piano roll format, with the controller data in black.

Web Clip 2:
Most modern powered monitors such as Mackie's HR-624s utilize materials such as ferrofluid-cooled soft-dome tweeters, polypropylene cones, and neodymium magnets.

Web Clip 1:
The Electro-Harmonix Flanger Hoax, which combines two phase shifters with delay lines and a modulator in one effect, offers a unique take on flanging.

Piano Attack

Web Clip 1:
Here's an example of how much difference effects processing makes in Piano Attack's presets. First you hear an EXS24 patch by itself, and then you hear it with the processing that's assigned to the same sound in the Channel Strip patch.

Web Clip 2:
In the Instruments directory, you find sounds you can play melodically and rhythmically. Granted, they're probably not like other instruments you've heard, but you might never guess they came from a piano. Here's a snippet created entirely with Piano Attack Instruments.

Web Clip 3:
Although no drums were used in their production, Piano Attack furnishes an inspiring bunch of sounds called Drum Loops. All but two of the sounds in this brief composition are from the Drum Loops directory.

Web Clip 4:
In the Sound Effects directory are timbres that defy categorization; these are just a random handful.

Web Clip 1:
Web Clip 2:
The Enveloope can be set so that your playing dynamics control the amount of effect that returns into your signal path. Web Clip 1 shows this with a distortion effect and Web clip 2 with a harmonizer.

Web Clip 3:
Here, the Enveloope controls distortion on an electric bass.

Web Clip 4:
In this example, the envelope from the bass's signal governs the gate on the drum track. In the second part the output of the bass is muted, but it still controls the gate.


Web Clip 1a:
This example starts with a guiro-like scratching sound, which I made by scraping my fingernails along the grooved edges of SP-404's case and recording the performance into the onboard mic. I then increased the tempo of the sample from 96 to 100 bpm to match the second sample-an R&B loop that came with the SP-404-and played them together. Notice how the two samples drift out of time, because the bpm setting on the SP-404 is only approximate unless you drive the samples from the sequencer. Played on two pads.

Web Clip 1b:
The opening riff is a simple kick-snare pattern played on two pads and resampled through the SP-404 Pitch effect with feedback. It's then joined by a sample I made by snipping scissors above the SP-404's mic. Next comes an imported drum loop (from EastWest's BT Breakz from the Nu Skool sampling CD), punctuated by stabs of me blurting “Ha!” through the Pitch effect. Played on three pads.

Web Clip 2a:
The sound sources in this example are just some of the factory drum hits and a loop of me saying “www” into the internal mic. I created all the variations by resampling through effects such as Delay, Pitch, and Distortion Filter.

Web Clip 2b:
The initial drum loop comes from EastWest's BT Breakz from the Nu Skool, which I time stretched and processed through the SP-404's Radio Tuning effect. The main drum loop comes from Sounds Good's New World Order 1 sampling CD. The pitched sounds are tones I made by resampling drum hits through the Subsonic effect, then playing the Radio Tuning knobs in real time. Finally, there's a short sound bite from my 4-year-old son.

Web Clip 3:
This clip opens with a vocal scat by my 9-year-old son, resampled through the Delay effect. Then we hear a pitch-shifted version of the scat layered with a drum loop from Spectrasonics' New Orleans Strut sample pack. The snare-roll effect in the fill comes from a granular noise sample. Finally, we hear the drum groove resampled through the SP-404's Lo-Fi setting.

A New Look at Vocoding

Web Clip 1:
A two-chord electric piano loop is heard first raw, then vocoded with no adjustments, with frequency band adjustments, with band remapping, and finally, with shift and high-frequency emphasis automation.

Web Clip 2:
A guitar loop is repeated four times. The first pass is raw, and the rest are vocoded. The third pass has a three 16th-note delay inserted in the modulator path, and the fourth pass also has a half-note delay inserted in the carrier path.

Web Clip 3:
This short drum loop is vocoded with Reason's Scream distortion module in the modulator signal path. Scream's Damage and Body Type selectors are automated so that the effect changes with each repetition of the loop.

Web Clip 4:
This Reason song contains the Combinator patches used for the examples in the article. The required Rex files are in the Reason Factory Sound Bank.