Web Clips for October 2009 - EMusician

Web Clips for October 2009

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p12 | Submersible Music DrumCore 3 Free Download of the Month

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Web Clip 1: This clip uses an audio loop from the Gary GT Thompson!Rock Pop 101 collection. The loop is alternated with three Gabrielizations and is augmented with MIDI percussion from the same kit used for the audio loop. All source material is included in DrumCore 3 Free.

p13 | Soundtrack of the Month, October 2009

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Bela Fleck, Edgar Meyer, Zakir Hussain: Here's an excerpt from the song "Cadence" from The Melody of Rhythm (E1 Music).

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Ambrose Field, John Potter: This excerpt is from the song "Je Me Complains" on Being Dufay (ECM).

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Erika Jayne: Here's a snippet from the song "Everybody Wants Some" from Jayne's debut CD, Pretty Mess (E1 Music).

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Gary Go: This selection is from the song "Life Gets in the Way" from Go's eponymous debut on Decca Records.

Porcupine Tree: Watch a video of the song "Time Flies" from The Incident (Roadrunner).

p15 | What's New: FXpansion DCAM Synth Squad

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Web Clip 1: The TransMod modulation system in FXpansion's new soft synth bundle DCAM Synth Squad is both powerful and easy to use. In this video, Len Sasso explores its ins and outs.

p16 | General Elektriks Pro/File

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Web Clip 1: In this clip from the song “Raid the Radio,” one of the stand-out elements is the bassline, played on a vintage Roland SH-101.

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Web Clip 2: The song “Engine Kicking In” features live strings and horns over programmed drums.

p20 | Inside a Game Soundtrack

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Web Clip 1: Here's an excerpt from one of the cues called "Divine Light" that gives you an idea of the mix of orchestral and ethnic instrumentation that Mostrom employed in the soundtrack.

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Web Clip 2: This excerpt from "Ancient Lore" shows the realism of Mostrom's sampled-string arrangements.

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Web Clip 3: In this excerpt from a piece called "Claiming the Throne," you get an idea for some of the big, layered drum sounds used throughout the soundtrack.

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Web Clip 4: Here's a video clip showing the Demigod game in action.

p24 | The Elliptical World of Imogen Heap

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Web Clip 1: Imogen Heap''s legion of Twitter followers helped her compose her biography by contributing individual tweets.

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Web Clip 2: In this audio clip, Heap explains how personal insecurity inspired the lyrics to the song “Bad Body Double.”

p30 | Drum Mixing | Beefing Up the Beat

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Web Clip 1a: Web Clips 1a and 1b are a mix of the same drum tracks with and without plug-in processing applied for comparison purposes. Web Clip 1 has no plug-in processing.

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Web Clip 1b: The same tracks and performance as in Web Clip 1a but with plug-in processing added: The Waves SSL G-Equalizer, Drumagog (a kick sample layered with the original kick) and SPL Transient Designer are on the kick drum track. The snare track has the Waves API 550A equalizer, Drumagog (a layered snare sample) and SPL Transient Designer plug-ins added. The Waves VEQ4 equalizer plug-in is applied to both the rack and floor toms.

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Web Clip 2: For roughly the first half of this clip, there is no plug-in processing on the spaced-pair room mics (which are mixed in with the rest of the tracks for the kit). About half-way through the clip, the Waves API 2500 compressor is applied to the room mics.

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Web Clip 3: This clip comprises the same tracks and processing as in Web Clip 1b, except that the room mics also have bx_digital plug-in applied. Here, bx_digital collapses frequencies below 99 Hz to mono, attenuates the mid channel's output and boosts the side channel's output. This creates a more ambient sound with tightly controlled bottom end.

p38 | Sound Design Workshop: Clean Sweep

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Web Clip 1: White noise is processed with a single delay-line flanger. The delay feedback is increased for each pass.

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Web Clip 2: A pad is processed with a single delay-line flanger. The delay time is controlled with a MIDI mod wheel.

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Web Clip 3: Here, Propellerhead Reason''s Subtractor synth and DDL-1 delay line are used to create LFO-driven delay-line flanging.

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Web Clip 4: Here, Propellerhead Reason''s Subtractor and Malstrom synths are used with a DDL-1 delay line to create envelope-driven delay-line flanging.

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Web Clip 5: This ZIP archive contains Propellerhead Reason Combinators using DDL-1 delay lines for flanging and using a Subtractor Synth for LFO and envelope control of delay time.

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Web Clip 6: Here, four delay lines are arranged in parallel. The delay times are modulated with proportional ranges with two delays panned right and two panned left. The flange sweeps in opposite directions on the two sides of the stereo field.

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Web Clip 7: Here, a full mix made from the Big Fish Audio hip-hop collection Rotation is passed through a four-delay flanger constructed of Ableton Live Simple Delay plug-ins. The first four bars are unprocessed.

p44 | Apple Logic Studio (Mac) Review

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Web Clip 1: This clip, assembled from the Big Fish Audio collection Rotation, starts at normal speed (98 bpm) followed by a Varispeed version slowed 25 percent and then another sped up 10 percent. The first and third passes also illustrate Logic 9''s Speed Fades, which use Varispeed technology.

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Web Clip 2: Here, the various Flex Time modes are used to adapt a four-part assemblage from the Big Fish Audio collection Freaky Jazzy Funky 2 to an automated tempo track.

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Web Clip 3: This clip combines pop backgrounds, beatbox vocal percussion, classical choir and Bollywood vocals from Jam Pack's Voices.

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Web Clip 4: This is a remake of Web Clip 3 in which each vocal track is processed by a different Space Designer preset from the Warped collection.

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Web Clip 5: This shows a couple of the clean sounds from Amp Designer. All are played with an ESP Strat. The rhythm guitar uses the Silverface model with a matching 2x12 cab and a ribbon mic model. It also has a little compression from Pedalboard's Squash compressor. The lead guitar on the left uses a Blackface amp model, with a 4x10 cabinet and a ribbon mic. The right-side lead features a British Boutique amp model with a matching 2x12 cabinet and a ribbon mic model. The delays on both leads come from Pedalboard.

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Web Clip 6: This clip shows some of the effects in pedalboard. Again, the guitar is an ESP Strat, and it's going through the British Amp model (Vox AC-30) model. In the first section of the clip, I used the Squash compressor, the Vibe (a Moog-like filter pedal), Tru-Tape Delay and Modern Wah (manipulated with the mouse). The second section effects are Squash, the Double Dragon Overdrive and the Heavenly Chorus.

p56 | Roland Juno-Stage Review

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Web Clip 1: The Juno-Stage contains many excellent Fender Rhodes presets, including Stage Phazer, which re-creates the sound of a Rhodes through an MXR stompbox phase-shifter.

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Web Clip 2: This example shows off some of the Juno-Stage's Hammond organ sounds, along with other instruments such as guitars, bass, and drums. All sounds in the track were done with the Juno-Stage.

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Web Clip 3: This example demonstrates some of the Juno Stage's acoustic and real instrument sounds. All sounds in the track come from the Juno-Stage.

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Web Clip 4: This example demonstrates some of the Juno-Stage's electronic sounds. I was inspired to compose an original work called "ENID." ENID is the representative of a mythic alien praying-mantis race who visits Earthlings in their sleep, giving them psychedelic ("entheogenic") drugs to help them dream. "ENID" stands for Entheogenic Nocturnal Insectoid Deity. Again, all of the sounds come from the Juno-Stage.

p62| Eventide PitchFactor Harmonizer Quick Pick

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Web Clip 1: In this clip are tempo-synched rhythmic subdivisions from PitchFactor's Diatonic mode.

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Web Clip 2: This example is an eerie melody created in Synth mode using sounds reminiscent of a trombone and a human whistle.

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Web Clip 3: The dual-reverse pitch-shifting function in Crystal mode is perfect for creating shimmering, multi-tiered pads.

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Web Clip 4: The PitchFactor even generates analog synth–like filter sweeps and electric bass emulation.

p64 | Antares Auto-Tune Evo (Mac/Win) Quick Pick

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Web Clip 1: These raw cello, female vocal and male vocal clips have a number of off-pitch events and uneven transitions between notes.

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Web Clip 2: These raw cello, female vocal and male vocal clips have a number of off-pitch events and uneven transitions between notes.

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Web Clip 3: These raw cello, female vocal and male vocal clips have a number of off-pitch events and uneven transitions between notes.

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Web Clip 4: Auto-Tune's Automatic mode does a good job of retuning material quickly with a minimal amount of tweaking, but finding a perfect middle ground between heavy-handed and relaxed settings can be difficult.

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Web Clip 5: Auto-Tune's Automatic mode does a good job of retuning material quickly with a minimal amount of tweaking, but finding a perfect middle ground between heavy-handed and relaxed settings can be difficult.

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Web Clip 6: Auto-Tune's Automatic mode does a good job of retuning material quickly with a minimal amount of tweaking, but finding a perfect middle ground between heavy-handed and relaxed settings can be difficult.

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Web Clip 7: The object-oriented, note-by-note nature of Auto-Tune's Graphic mode means a greater investment of time and finesse, but the resulting tuned audio is are more accurate and natural.

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Web Clip 8: The object-oriented, note-by-note nature of Auto-Tune's Graphic mode means a greater investment of time and finesse, but the resulting tuned audio is are more accurate and natural.

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Web Clip 9: The object-oriented, note-by-note nature of Auto-Tune's Graphic mode means a greater investment of time and finesse, but the resulting tuned audio is are more accurate and natural.