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Web Clips for August 2005

July 15, 2005
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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.

ARTURIA
ARP 2600 V 1.0
(Mac/Win)
Web Clip 1:
The benefits of unison mode: the phrase is played first in mono mode, then in 10-voice unison mode with no detuning, and then in 10-voice unison detuned slightly.

Web Clip 2:
Mapping ARP 2600 V's sequencer to filter cutoff creates a rhythmically shifting timbre, and because it's a virtual instrument, it follows the host's tempo changes.

Web Clip 3:
The ARP 2500 modular's notch filter is applied to a simple patch and is modulated by a drum loop courtesy of the envelope follower.

DO THE WRONG THING
Web Clip 1:
This clip features a drum loop and a percussion loop, and demonstrates two of the techniques talked about in the story: overloading plug-ins, and blending a heavily effected duplicate track with an original track. The first two measure feature the original drum and percussion loops. The third measure is just the percussion, and then starting in the forth measure it's joined by a blend of the dry drum loop, and a copy that was processed by a series of plug-ins: an overloaded UAD-1 1176 into an overloaded MOTU Preamp 1, into a Waves L1 limiter.

Web Clip 2:
Here's the Super-Spy Mic, used as a room mic to pick up an acoustic guitar from about 8 feet away.

Web Clip 3:
Here's the Super-Spy mic placed inside an acoustic guitar. Notice the extreme effect of its built-in limiter.

Web Clip 4:
Here's the Radio Shack Karaoke Mic Adapter used as an echo effect for a snare drum track.

Web Clip 5:
In this clip, a shaker is recorded by placing a mic in the player's hand alongside the instrument.

FUTURE RETRO SYNTHESIZERS
Revolution
(MAC/Win)
Web Clip 1
This clip was generated from a two-pattern song playing Revolution's internal synthesizer. Stereo enhancement is accomplished using Revolution's delay effects and independent left and right dry/wet-mix controls.

Web Clip 2:
This clip was generated in a single pass from a single Revolution pattern using only transpose, remix, and reverse. Live 4 and Reason 2.5 were used for generating sounds and recording the results.

PROPELLERHEAD SOFTWARE
REASON 3.0
(Mac/Win)
Web Clip 1:
A four-layer Discovery patch using the Gater effect was used to make this evolving loop from a single four note chord.

SONY PICTURES DIGITAL
Steve Ferrone and Greg Ladanyi:
Drums from the Big Room (Acidized WAV)

Web Clip 1:
This short piece features a drum track put together using the song "Hot Trips" from the Pop disc. I mixed it with a fair bit of the stereo room mic included.

URS HECKMAN
Filterscape 1.1
(Mac/Win)
Web Clip 1:
Filterscape's EQ morphing is controlled by the Modulation Wheel to process a bluesy guitar loop with a talk-box-like effect.

WIZOO
Darbuka 1.0
(Mac/Win)
Web Clip 1:
In this clip Darbuka 7/8 Laz Havasi rhythms are modulated to allow changes in complexity and timbre from pattern to pattern.

Web Clip 2:
Adding swing to the 4/4 Jirk rhythms can create terrific grooves. Here pattern changes are triggered by MIDI notes, and the Variance slider is modulated to ensure that no one instrumental hit sounds exactly like the next

SOUND DESIGN WORKSHOP
Off the Wall

Web Clip 1:
A reverb-processed two-bar drum loop is heard dry only, wet only, and dry-wet mixed in the normal way.

Web Clip 2:
The wet file is offset a 16th-note early for the first repetition of the two-bar drum loop, then shifted by a 16th- or 8th-note for each subsequent repetition.

Web Clip 3:
Slices of the wet file three 16th-notes in length are offset by different amounts relative to each repetition of the looping two-bar dry file

Web Clip 4:
Two quarter-note slices of the wet file with short fades applied are placed at different locations relative to the dry file. At many locations, there is no wet file at all.

SQUARE ONE
Loop Your Dishwasher

Web Clip 1:
This is an example of a rhythmic loop based on water splashes, with a xylophone added.

Web Clip 2:
This example uses a plastic toy tube. If you invert the toy, it will make a squawk that resembles an analog filter sweep.

Web Clip 3:
The Remo Thunder Tube produces ominous rumblings.

Web Clip 4:
More rumblings from the Remo Thunder Tube.

Web Clip 5:
This is an example of chirpings from a toy dolphin pen.

Web Clip 6:
More chirpings from a toy dolphin pen.

Web Clip 7:
This is an example of a Garageband loop. The original sounds were replaced with the sampled toys from Web Clips 2 through 6.

Web Clip 8:
In this example a MIDI sequence was created by flopping randomly on the keyboard. Then, I extracted useful pieces of this chaos and ordered them so that they sounded like this when sent to an instrument with a xylophone patch. Samples of boards whacked together were added for emphasis.

WAVE ARTS
Power Suite 4
(Mac/Win)
Web Clip 1:
This example contains 8 parts: 1) one line from an excerpt of Bach's C-minor fugue (Well-Tempered Clavier) played on a pan-flute patch; 2) the same line sent through a custom TrackPlug preset; 3) a second line from the fugue played on a tango-accordion patch; 4) the same line through my custom TrackPlug preset; 5) the last line from the fugue played on a steel-drums patch; 6) the same line through my custom TrackPlug preset; 7) all three lines from the fugue; 8) the fugue with my custom TrackPlugs in each track.

Web Clip 2:
This example consists of four parts: 1) the TrackPlug-enhanced fugue mix from Web Clip 1; 2) the same mix sent through the MultiDynamics preset Medium Enhance; 3) the mix sent through the preset Bass Punch; 4) the mix sent through my custom hybrid of Medium Enhance and Bass Punch.

Web Clip 3:
This example consists of four parts: 1) the TrackPlug and MultiDynamics enhanced fugue mix from Web Clip 2; 2) the same mix sent through a custom WaveSurround preset and the MasterVerb Cathedral, Bright preset; 3) the same mix sent through the WaveSurround preset and the MasterVerb Small Resonant Space preset; 4) the same mix sent through WaveSurround and a custom MasterVerb preset I built that adds just a nuance of reverberation to the mix, which I wanted to keep nice and clear.

Web Clip 4:
This example is a walk through all five mixes from the original to the final mix: 1) the original (unenhanced) mix; 2) the TrackPlug enhanced mix; 3) the TrackPlug and MultiDynamics enhanced mix; 4) the TrackPlug, MultiDynamics, WaveSurround, and MasterVerb mix; 5) the final TrackPlug, MultiDynamics, WaveSurround, MasterVerb, TrackPlug, and FinalPlug mix.

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