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Electronic Musician »
Tutorials
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Apr 1, 2005,
By Rusty Cutchin
Now that musicians can find a loop to fit any style, and have access to programs that can break down loops to their component parts for endless manipulation,...
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Apr 1, 2005,
By Mark Ballora
Have you ever wondered what's under the hood of your digital audio sequencer? Your favorite program more than likely has hundreds of thousands of lines...
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Apr 1, 2005,
By John Duesenberry
Convolution reverb imposes the characteristics of a real-world reverberant space on an input signal. To create convolution reverb, an impulse response...
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Apr 1, 2005,
By Lory Kohn
Most project studios have the firepower to produce radio-ready tracks. But why is it that some studios stay consistently booked while others stagnate?...
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Apr 1, 2005,
By Kurt Heiden
SoundFonts are like a gift that keeps on giving. For commercially-minded musicians, SoundFonts can open the door to a potential market of millions through...
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Apr 1, 2005,
By Orren Merton
When you see an audio plug-in running on a computer, it's natural to assume that the processing is being handled by the computer. The digital signal processing...
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Feb 1, 2005,
By Nick Peck
The art of composing music for picture has a rich heritage, dating back to the very beginnings of cinema. One could easily argue that its roots date back...
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Feb 1, 2005,
By Babz
MOTU's Digital Performer (DP) provides a variety of tools for aligning the tempo of a sequence with the tempo of recorded audio. You can make the sequence's...
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Feb 1, 2005,
By Len Sasso
Frequency shifting is a great way to add color and motion to almost any percussion sound. For this article, I've used the Bode Frequency Shifter module...
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Feb 1, 2005,
By Jim Aiken
Vintage synthesizers such as the Minimoog are prized more than other synths because of the distinctive sound of their filters. In fact, the filter is...
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Feb 1, 2005,
By Jeffrey P. Fisher
Do you want to get your music in front of more people and earn more money in the process? Even if you feel you know the ins and outs of your craft, it...
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Feb 1, 2005,
By Myles Boisen
Mastering has often been a job for highly trained and expensive professionals hired by major labels for major artists. Today almost anyone can attempt...
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Feb 1, 2005,
By Orren Merton
After its introduction in 1998, Line 6's Pod probably did more to popularize the concept of digital guitar-amp modeling than any other product. But another...
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Jan 1, 2005,
By Paul Tingen
John Frusciante is a man of extremes. At the tender age of 33, he's already experienced the best and worst that life has to offer. The former refers to...
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Jan 1, 2005,
By David Phillips
You've recorded and mixed your songs to perfection. As the saying goes, they are in the can and are ready for public consumption. With a little ambition...
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Jan 1, 2005,
By Mike Levine
If you produce your music on a computer-based digital audio sequencer, the odds are good that you use its mixing features to some extent probably for...
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Jan 1, 2005,
By Mark Ballora
Ever wonder what a guitar string and a microwave oven have in common? Both work with periodic, repeating waves. Tickle them with the right frequencies,...
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Dec 20, 2004,
By Rick Scott
Reaktor is a powerful and flexible software-synthesis engine. It produces almost any type of electronic music imaginable: analog-synth emulation, sequencing, (re)sampling, granular synthesis, and effects processing, to name a few. ...
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Dec 1, 2004,
By Brian Smithers
Four years ago in the August 2000 issue of EM, I declared that the preconfigured audio computer had come of age. Today, however, of the four companies...
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Dec 1, 2004,
By Julian McBrowne
Anyone who has ever mixed a piece of music knows how important ambience is. Adding space to an instrument or to a vocal track can bring it to life and...
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