p26 | Download of the Month: reFuse Software Lowender
Web Clip 1: Two-bar bass, drum, and guitar clips are each processed using Lowender's three band settings.
p33 | The Sound of a Craving Heart
Web Clip 1: In this scene, the processing is gradually increased on the car-bys the longer the actress waits.
Web Clip 2: Reverb is used to suggest that the actress is hearing the phone ring as she sleeps.
Web Clip 3: The screams are highly processed during the final scene to give the ending an emotional charge.
Stan the Man: This sidebar provides additional information for Stan Harrington's production of The Craving Heart.
Scoring Craving: This sidebar sheds light on the film's original music by Katy J.
p40 | Picture Window
Web Clip 1: This PDF provides manufacturer contact information for "Picture Window."
p63 | Overcoming Adversity
Talking Jaws: This sidebar supplements Electronic Musician's feature story "Overcoming Adversity" in the May 2007 issue of EM.
p76 | Sound Design Workshop: Amped Up
Web Clip 1: A synth part, using Digidesign Hybrid, without the amp effect for 2 bars, then with the effect for 2 bars. The brightness in the second half is not something that can be achieved by simply raising the filter cutoff of the synth.
Web Clip 2: The backing vocal tracks of “Feeding The Fire”, from Ari Gold''s upcoming CD Transport Systems, has three different vocal parts, each with different effects. All parts have EQ, compression and reverb. The first and third phrases are treated with Amp Farm and Waves MetaFlanger. The second and fourth have no extra effects, and the fifth phrase is harmonized using Eventide Quadravox.
Web Clip 3: In this Minimoog bass clip, first four bars are dry, and the second four bars are treated with IK Multimedia SVX.
p86 | Cakewalk Sonar 6 Producer Edition (Win)
Web Clip 1: Sonar's AudioSnap can be used to clean up sloppy performances. Here's a clavichord part that misses the beat quite often.
Web Clip 2: Here's the same clavichord part after "Quantize to Pool" with AudioSnap. AudioSnap allows you to use the transients of a different track (in this case, the drum track) as the quantizing source.
p94 | TC Electronic Konnekt 24D
These clips demonstrate one use for the TC Electronic Assimilator Konnekt plug-in that you get with the Konnekt 24D.
Web Clip 1A: This is the original guitar recorded at the author's home studio. It was tracked using a Neumann KM 84 and a Beyer MC834 through an old TL Audio tube pre into MOTU Digital Performer. It was mixed with Waves plug-ins on Alesis Monitor Ones.
Web Clip 1B: The same track with Assimilator Konnekt (match EQ) applied.
Web Clip 1C: The studio-recorded guitar track that the author used as frequency reference when using the Assimilator Konnekt effect. Recorded and mixed by Ron Davis at A Wing and A Prayer Studios, Central Point OR using KM 84s, API mic pres, SSL board, GML outboard EQ, and Genelec monitors.
p98 | Steinberg Cubase 4.0.1 (Mac/Win)
Web Clip 1: This slow-moving part demonstrates the glassy, moving harmonic structure of a Mystic pad.
Web Clip 2: Here is the same passage as Web Clip 1 played with a filter-swept analog-synth sound in Prologue. A bit of portamento adds to the interesting motion.
Web Clip 3: This bubbling Pad from Cubase 4's Spector VSTi reminds me of one of my favorite Kawai K-5000 sounds. The architecture of the two instruments is very similar.
p106 | Native Instruments Massive 1.1 (Mac/Win)
Web Clip 1: In this clip, generated by holding a single note, Massive's Frequency Shifter insert effect is placed in the feedback loop and a looping morphing envelope modulates the feedback amount.
Web Clip 2: This short clip was generated by playing the same note repeatedly and using Massive's Trigger Random modulator to change one oscillator's pitch.
p110 | Focusrite Liquid Mix (Mac/Win)
Web Clip 1: Snare drum completely unprocessed.
Web Clip 2: Snare drum through Teletronix LA-2A model, 6 dB of gain reduction.
Web Clip 3: Snare drum through UREI 1176LN model, all 4 buttons, fast attack, slow release, 8 dB of gain reduction.
Web Clip 4: Snare drum through UREI 1176LN model, 8:1 ratio, slow attack, fast release, 6 dB of gain reduction.
Web Clip 5: Snare drum through Pultec EQP1 model, small boost and large cut 60 Hz, large boost at 3kHz, small cut at 8kHz.
Web Clip 6: Full drum mix completely unprocessed.
Web Clip 7: Full drum mix through Fairchild 670 model, time constant 1, 10 dB of gain reduction.
Web Clip 8: Full drum mix through Manley Massive Passive model, smiley-face curve (low/high boost, mid cut).
p114 | Bleep Labs Thingamagoop
Web Clip 1: By cranking up the speed of the LFO and switching the oscillator to the high position, you can get noisy screams as you cover the photocell with your finger.
Web Clip 2: An organ and the Thingamagoop trade solos over the jam portion of a track by P.A.F.