Web Clips for November 2007

From Electronic Musician: Hear Web Clips, audio clips, audio examples, PDFs, and other downloads outlined in the November 2007 issue of the magazine.
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p36 | Without Missing a Beat

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Web Clip 1: Omar Hakim takes you on a tour of his studio.

p44 | Outer Limits

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Web Clip 1: This conversation between aliens from two different worlds began as a father coaxing his daughter to the microphone. After pitch- and formant-manipulation, reversing, and careful editing, it balances the familiarity of casual conversation with the novelty of an otherworld language.

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Web Clip 2: The vocoder is a classic tool for creating human/synthetic hybrids. This space ship flying by is based on the monosyllabic yet plaintive cry of a tortured soul.

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Web Clip 3: This 40-second starship sequence starts with the heavily manipulated purr of a nine-pound Himalayan. A subtractive synth patch supplements the purrs to create the engine drone while synthesized escort ships fly by. The distinctive fighter at 0:25 is the irritated snarl of another cat.

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Web Clip 4: Cat food being poured into a bag became the helter skelter tumbling of rocks in a giant landslide after being slowed down substantially.

p52 | Making Tracks: Sounds in Motion

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Web Clip 1: This sketch in FL Studio contains eight bars of a simple kick and snare pattern. A single Clip Envelope modulates the panning of the two tracks, the filter cutoff and resonance of both instruments, and the delay line output for the snare.

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Web Clip 2: The FL Studio project used to generate Web clip 1.

p56 | Sound Design Workshop: Monster Patch

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Web Clip 1: A basic dual oscillator lead played with Xpand!''s Mono Saw patch.

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Web Clip 2: The same lead with four detuned Mono Saw waveforms stacked across the stereo field.

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Web Clip 3: Modulating the pitch of each stacked waveform can simulate oscillator drift or create more radical sounds.

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Web Clip 4: Using a Saw Stack waveform with the same part settings creates a huge stacked sound.

p68 | Korg M3

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Web Clip 1: A Combi called Cog in the Machine inspires a bit of improvisational fun.

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Web Clip 2: In this example, the M3 generates a KARMA-generated rhythmic wave sequence as I use the touch screen''s X-Y Mode to simulate a vector joystick.

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Web Clip 3: Thanks to clever KARMA programming, the M3 makes it easy to emulate the progressive-rock band, Spock''s Beard, just by playing the pads.

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Web Clip 4: With the help of KARMA and M3 Combis such as Purple Valve-Melter, you can cook up grooves in just about any musical style.

p74 | Arturia Jupiter-8V 1.0.3 (Mac/Win)

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Web Clip 1: The two sides of the Jupiter-8V. A light arpeggiated tone is followed by a thick bass patch. The "floor tom" that keeps panning back and forth is also the J-8V, with the step sequencer mapped to VCA and to VCF cutoff. The rest of the drums are an 808 patch from Sonar's Velocity synth.

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Web Clip 2: There's no excuse for static pads with the Galaxy modulation module. Here it is modulating two parameters per axis and slowly rotating the grid, all at different rates across two layers. It would take a very long time for exactly the same timbre to recur. The bass parts are separate patches, and there is a touch of Pro Tools' delay and reverb (but none of the Jupiter-8V's internal effects) just to give the clip a sense of space.

p86 | VirSyn Poseidon 1.4 (Mac/Win)

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Web Clip 1: This example uses the Inverse filter to impose the resonant characteristics of a bell sample onto a berimbeau, a Brazilian stringed instrument. First you''ll hear three hits on the berimbeau, then the original bell sample, then the clone of the two.

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Web Clip 2: In this example, the spectrum model of a vocal sample replaces the model used by default for an electric piano patch. First you''ll hear two notes on the electric piano, then the new, “hybrid” timbre. Note how the vocal sample takes on the amplitude envelope of the piano; there is also a change of pitch when the hybrid enters.

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Web Clip 3: In this example, the balance between the pitched and non-pitched components of a flute sample is altered. First you''ll hear two notes on the flute, then while a third note is playing, the Residual amount is raised to maximum. Finally, the last note is the Residual only.

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Web Clip 4: In this example, a logo from Poseidon''s manufacturer was used as the image that provided the data for the new spectral model. Each variation is based solely on the original sound.

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Web Clip 5: This is an example of the preset Flying Water, followed by the same preset with the Blur levels altered.

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Web Clip 6: This is an example of the preset Frost.

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Web Clip 7: This is an example of the preset Kreissaege, followed by the same preset with the Spread level altered.

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Web Clip 8: This is an example of the patch Bass Drum. First you''ll hear the original, then a version with the Residual amount raised, then a version using the Inverse Filter and Spread level at maximum.

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Web Clip 9: In this example (repeated twice), Poseidon plays through the beginning of the spectrum then freezes on a single analysis frame.

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Web Clip 10: This example layers three versions of the same preset. Blur Lvl is the only parameter that has been changed.

p102 | SoundToys Native Effects Bundle 3.0 (Mac)

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Web Clip 1: The EchoBoy 15ips Tape preset on a vocal.

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Web Clip 2: The EchoBoy Psychedelic preset on a horn trio.

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Web Clip 3: The EchoBoy Distrortion preset on a horn trio.

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Web Clip 4: The Crystallizer on an electric guitar.

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Web Clip 5: The Crystallizer Berkeley Graduates preset on drums.

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Web Clip 6: The Crystallizer Horny preset on drums.

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Web Clip 7: The Crystallizer RoboDrums preset on drums.

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Web Clip 8: The PhaseMistress Res 7 Low preset on acoustic guitar.

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Web Clip 9: The same setting, but with the envelope of the signal triggering the modulation.

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Web Clip 10: The FilterFreak in Bandpass mode, overdriving the input in Analog mode on a vocal.

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Web Clip 11: The same setting, but with modulation triggered by the envelope of the signal.

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Web Clip 12: The Tremolator DynaRing1 preset on acoustic guitar.

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Web Clip 13: The Tremolator RingMod1 preset on acoustic guitar.

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Web Clip 14: The Speed Graphical mode on acoustic guitar. Speed and pitch changes are independently penciled in.

p114 | U-he Zebra 2.1 (Mac/Win)

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Web Clip 1: Three Zebra tracks make up this clip: rhythm, deep-reverb clavinet, and formant-filtered vocal.

p120 | Ketron Midjay

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Web Clip 1: This brief demo tune for the Midjay, illustrates the instrument's crisp, well balanced soundset.

p128 | Moog Music MF-107 FreqBox

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Web Clip 1: In this clip, an envelope follower changes pitch according to the input volume.

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Web Clip 2: With the FreqBox''s hard sync switched off, you can even tune noises.

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Web Clip 3: With hard sync off, an expression pedal applied to the Frequency control acts almost like a whammy pedal.

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Web Clip 4: Even drum mixes can benefit from the FreqBox's unique personality.

p128 | Propellerhead Software Abbey Road Keyboards 1.1 (Mac/Win)

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Web Clip 1: A three-mic version of a Danish folk song played on the Abbey Road Schiedmayer celeste. The clip begins with the close mic only, the ribbon mic fades in after measure 8, the ambient-chamber mics fade in at measure 12, and the close and ribbon mics fade out at the end.

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Web Clip 2: This clip was made with the factory tubular bells Style patch "Grave of the UnMan" and Combinator parameter automation.

p132 | Source Audio Hot Hand Wah and Wireless Adapter

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Web Clip 1: Here I played some funky lines while changing their EQ coloration using the Classic Wah setting with the sensitivity set to Pick.

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Web Clip 2: The Strum setting works well for rhythmic multipeak filtering applied to chord accompaniment.

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Web Clip 3: The Flail setting is perfect for grand gestures. Here I connected the Expression Out to a Moogerfooger Ring Modulator''s Frequency input. It allowed for long pitch sweeps, punctuated by dramatic arm waving.

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Web Clip 4: By connecting the Hot Hand Wah''s expression output to the Moogerfooger''s Rate input, I could speed up and slow down the Moog''s modulation rate.

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Web Clip 5: Here I used the Hot Hand as an effects send for a sampled loop in Ableton Live. Using varying hand motions, I filtered it with the bandpass and lowpass effects.

p132 | Ultimate Sound Bank PlugSound Pro 1.0.0

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Web Clip 1:This clip makes use of the E Funky guitar phrase from the loop collection.

p134 | SE Electronics Reflexion Filter

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Web Clip 1: This video shows the various ways you can adjust the Reflexion filter.

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Web Clip 2: Listen to comparisons of the sound of spoken and sung vocals, and a mandolin, recorded with and without the Reflexion filter.

p136 | Pro Audio Vault Bluthner Digital Model One (Mac/Win)

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Web Clip 1: A sustain resonance test MIDI clip provided by PRO AUDIO VAULT was played twice. The first pass is without sustain-impulse resonance, and the second uses the Group A Crisp sustain impulse.

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Web Clip 2: This clip was made from the same MIDI file used to test other sampled pianos in the EM October 2006 feature "Software Eighty-Eights." Here, each style is played with a different Bluthner Digital Model One preset.

p154 | Pro/File: Modular Odyssey

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Web Clip 1: A gallery of photos taken in Bakis Sirros's (of Parallel Worlds), studio, by Antonis Chaniotis.