Web Clips for September 2007

From Electronic Musician: Hear web clips, audio clips, audio examples, PDFs, and other downloads outlined in the September 2007 issue of the magazine.
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p41 | Build a Personal Studio on Any Budget

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Web Clip 1: The Budget Podcast Studio: the right gear can make a basic podcast sound great.

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Web Clip 2: The Killer Podcast Studio: these suggested items can help you create outstanding, professional podcasts.

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Web Clip 3: These charts in PDF format let you compare each studio by item and price.

p65 | Bizarre Hardware

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Web Clip 1: You can play the Flame by simply moving the Talk joystick. The position determines which allophone you hear.

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Web Clip 2: Depending on its position, the Note joystick changes the frequency of the sound.

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Web Clip 3: The sound from each chip can be "randomized" to a degree by flipping a switch and dialing in the amount of change you want to hear.

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Web Clip 4: You can also switch in tremolo for each SpeakJet chip individually. The tremolo can alternate or work in unison.

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Web Clip 5: The Flame includes Rec, Loop, and Hold switches, which allow you to create looped patterns based on the joystick movements.

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Web Clip 6: Because the Wretch Machine is a semi-modular synth, you can play it right out of the box, without having to use patchcords, by simply pushing the joystick.

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Web Clip 7: The Wretch Machine integrates well into an analog modular system. In this clip, it is connected to a Eurorack system using Doepfer and Livewire modules, as well as a Moog CV pedal.

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Web Clip 8: The joystick not only triggers the synth, but it is wired to control pitch and filter cutoff.

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Web Clip 9: In this clip, I combine the processed direct VCO output of the Wretch Machine with a signal from the main output in order to get complimentary rhythmic patterns.

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Web Clip 10: This is an example of the Truly Beautiful Disaster (TBD) set so that it creates downward arpeggiations for every guitar note I play.

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Web Clip 11: In this clip, I added a distortion box (the company's Torn's Peaker) into the effects loop. There is no audio input at this point. However, with a fuzz box in the feedback loop, you get a sustained sound that changes as you work with the settings of the TBD''s feedback control and the distortion box''s knobs.

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Web Clip 12: Adding an Alesis Philtre multimode filter in the loop resulted in stepped-frequency feedback tones thanks to the Philtre''s onboard LFO.

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Web Clip 13: Here's the same setup with the Torn''s Peaker and Philtre together, but I'm going for a more extreme timbre as I work with the randomized melody.

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Web Clip 14: The Audible Disease Rupture RP-1 with a TC Electronic Phase XII in the effects loop. In this setting, the feedback creates a series of siren tones that change as I work with the controls on the phase shifter.

p78 | Sound Design Workshop: Notcher Dadd's Flanger

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Web Clip 1: This guitar loop is heard first unprocessed, then processed by the notch-filter cascade shown in Fig. 1.

p80 | Square One: Add it Up

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Web Clip 1: This example was created using five instances of Camel Audio Cameleon 5000, plus one instance of Native Instruments Battery 3 (for the percussion samples). All of the Cameleon sounds use additive synthesis (plus Cameleon''s built-in reverb and delay).

p86 | Music Business Insider: Q&A: Heidi Elgaard

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Web Clip 1: Here's an example of an AirSpun radio spot; this one is for the artist Brittney Elizabeth, and features her song "As One."

p88 | Novation Xiosynth 25

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Web Clips 1 to 5:Click to view Web Clips designed to complement David Battino's review of the Novation Xiosynth 25.

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Web Clip 6: Test-drive a XioSynth online with this Flash-powered three-note version. There are many more resources at the Novation site.

p98 | Native Instruments FM8 1.0.1

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Web Clip 1: This short 6/8 sequence starts with an FM8 Arpeggiator patch backed by a morphing pad. After a few bars, a monophonic lead emerges whose timbral changes are driven by Modulation Wheel maneuvers.

p104 | Garritan Gofriller Solo Cello 3.02

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Web Clip 1: The two opening phrases of Saint-Saens'' “The Swan,” played first by the Garritan Gofriller Solo Cello using a MIDI track created by Joe Cavanagh and edited slightly by the author Jim Aikin, and then by Jim Aikin on a real cello.

p108 | Boss FDR-1 and FBM-1

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Web Clip 1: This shows the sound of the FBM-1 plugged into a clean amp. The pedal does good job of capturing that that woody classic-rock Bassman distortion sound.

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Web Clip 2: This clip shows the FDR-1, patched into a Egnater MOD50 amp that's set to a distorted, Marshall-like tone. The pedal is off at first and then is switched in. Then the same thing (first off then on) but with single notes. You can definitely hear the sharper, twangier, but more compressed tone of the pedal working with the basic distortion sound.