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Electronic Musician »
Tutorials
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Nov 1, 2003,
By Jeffrey P. Fisher
Most of us have experienced stiffness in our wrists or shoulders after spending long hours at the computer or playing an instrument, especially when we...
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Oct 1, 2003,
By Sean D. Carberry
Strategies for making band albums fast and cheap. It shows how a band with a short budget and tight schedule can nonetheless record a complete album, including tracking and mixing, in a matter of days rather than months or years. The author details many specific setups, and includes recommendations of microphones such as the Shure SM57, Audio-Technica AT4047, Royer R-121, and Neumann KM 140....
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Oct 1, 2003,
By Len Sasso
Beat slicing can be accomplished in several ways, but they all amount to breaking an audio file into a number of small segments (often called “slices”). Once you have the audio file cut into slices, the trick is to change the time between slices rather than altering the speed at which each slice is played. That preserves each slice’s pitch and timbre while changing its tempo....
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Oct 1, 2003,
By Myles Boisen
The Bob Katz book Mastering Audio: the Art and the Science covers the various aspects of audio mastering. It also covers topics such as critical listening, the monitoring environment, depth and clarity in recordings, dithering, and jitter. Practical applications include equalization, dynamics processing, noise reduction, and other types of mastering processes....
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Oct 1, 2003,
By Dave Hill Jr.
Spectrasonics’ three virtual super-instruments, Atmosphere (Dream Synth Module), Stylus (Vinyl Groove Module), and Trilogy (Total Bass Module) have raised the bar for sample quality, realism, and musical expression. For this article, we’ll focus on power tips, improved customization, and getting even more bang for your not-so-virtual buck....
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Oct 1, 2003,
By Maureen Droney
Electronic Musician’s interview with iconoclastic producer and engineer Joe Barresi, who has worked his magic on acts such as Queens of the Stone Age, the Melvins, and Powerman 5000. He has a knack for capturing killer guitar sounds, and never loses sight of what makes music groove....
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Sep 1, 2003,
By Jon Rose
Adobe Audition is relatively simple to use and intuitive enough for novice users, but there’s far more to it than immediately meets the eye. This Master Class will focus on recording and mixing music....
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Sep 1, 2003,
By Len Sasso
The time has arrived. With a reasonably powerful laptop computer and an affordable collection of software instruments, you can easily take your studio...
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Sep 1, 2003,
By Skip Adams
Promoting your music to film and television productions is only half the battle. You need to learn how to legally license your music for film and TV. You need to understand master and sync rights, performing rights organizations, cue sheets, publishing, and much more....
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Sep 1, 2003,
By JJ Jenkins
Interviews with three esteemed mastering engineers—Bob Ludwig, Stephen Marcussen, and Steve Hall—who shed light on their little understood yet extremely critical profession....
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Aug 1, 2003,
By Maureen Droney
As a founding member of Nine Inch Nails, drummer-producer Chris Vrenna spent a lot of time exploring his dark side. He also spent a lot of time creating...
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Aug 1, 2003,
By Marty Cutler
Getting comfortable with MIDI’s amazingly malleable qualities can add capabilities you may not have thought possible to your studio and live performances....
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Aug 1, 2003,
By Richard Alan Salz
This column examines some well-known snare-drum backbeats, detailing not only key ingredients that went into making them—particular drums, tunings, and playing styles, as well as miking, processing, and so on—but also showing how you can get comparable results in your own personal studio. The point is to expand your bag of tricks, hopefully inspiring you to go the extra mile in your quest to create the perfect snare sound for a given production....
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Aug 1, 2003,
By Dave Moulton
Loudness is one of those really obvious qualities that appear to be so simple that we have trouble even describing it. At the same time, it is very important to us as an expressive tool. But when we dig into what loudness is and how to control it, it isn’t simple at all. In fact, we can’t even really measure it! Meanwhile, loudness management is at the heart and soul of good audio and of expressive musicianship....
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Jul 1, 2003,
By Jim Aikin
If you're coming into the world of desktop music production as a non-keyboard player, you may find MIDI somewhat mystifying and intimidating. Even a basic MIDI synthesizer (either a hardware instrument or a software plug-in) can add a lot to your music....
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Jul 1, 2003,
By Skip Adams
Get your music into television and movie soundtracks with this guide to promoting your music to music supervisors, publishers, agents, and other music, TV, and movie professionals....
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Jul 1, 2003,
By Kent Carmical
How to use Propellerhead Reason....
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Jun 1, 2003,
By Jim Aikin
EM discusses the software tools that you can use to make music with alternate tunings. We also describe specific techniques for working with Csound, Native Instruments Reaktor, and other programs, and we point you to Web sites where you can learn more....
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Jun 1, 2003,
By Jim Aikin
Get the most out of Native Instruments FM7 with this programming master class. You will gain mastery over algorithms and operators, as well as learn how to creating looping envelopes. The article also covers how to a stunning Fender Rhodes model...
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May 1, 2003,
By Jeffrey P. Fisher
Does it seem as if there's never enough time to chase your musical dreams? You probably feel that if you only had more time, you'd get so much more music...
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By the Slice
Masters on Mastering
Loud, Louder, Loudest!
MIDI Me