EM Web Clips for October 2003

Sep 21, 2003 12:00 PM

BURTON AND PICHE Cecilia 2.04
(WIN/MAC/LINUX)

additive10second.mp3
This example uses the AdditiveSynth module to create a beating sound.

additive100second.mp3
This example uses the same parameters as additive10second.mp3 but with a duration of 100 seconds.

brassagelaugh.mp3
In this example, the Density parameter increases while the pitch decreases.

cuisiwarpchant.mp3
Each of four copies of a Gregorian Chant sample is pitch-shifted a unique amount. At several points, the sample also plays backwards.

QP Discrete Drums Series Two

One Brick Shy.mp3
This was assembled from Discrete Drums Series 2 "Brick in the Waltz" files, a 6/8 performance. Because they are multitrack files, I was able to add a small-room reverb to the toms, a large plate for the snare, and leave the kick dry.

STEINBERG Cubase SX

AudMix.mp3
This clip uses Cubase SX's automation drawing tool to add motion to three audio clips of drones. The automatic pulsewave, sinewave, and parabolic-curve drawing options provide all the motion.

MFX.mp3
This clip was generated entirely using Cubase SX MIDI effects plug-ins. The Step Designer plug-in generates the bass line, which is then passed to the Chorder (playing the chords), and two MIDI Echo plug-ins (playing the drums and mandolin-like sounds). All sounds are generated by Cubase SX plug-in instruments: VB-1 (bass), A1 (chords), LM-9 (drums), and JX-16 (mandolin).

MOOG MUSIC Minimoog Voyager

Voyager's Awake.mp3
The Minimoog Voyager excels at re-creating synthesizer timbres from the past, but its programming capabilities are much greater than those of its predecessor.

SQUARE ONE
By the Slice

Original.mp3
these tracks were clearly not meant to go together, as is illustrated here.

Stretch.mp3
this example applies classic time stretching to each track to bring them all to 126 bpm.

TimeSlice16.mp3
this example uses automatic time slicing to bring all the tracks to 126 bpm. In this case, all the tracks were imported into Live, and its default 16th note time slicing was used to sync the tracks.

TimeSliceVar.mp3
this example again uses Live, but the time slicing for the electric piano, kick drum, and bass was changed to quarter-note slices. The time slicing of the chords is no longer as obvious.

BeatSlice.mp3
this last example uses event slicing on all tracks. Phatmatik Pro was used for all but the electric-piano part, which was sliced in ReCycle to take advantage of its excellent padding algorithm.

MASTERCLASS
Beats, Bass & Bliss

Glassy_Eye.mp3
this example, in Layer A, uses Pads/Airy Pads/Big and Slow Air. For Layer B, it uses Pads/Airy Pads/Air Glass/Green Glass.

Warm_Glass.mp3 and Warm_Glass_Low.mp3
this example is a slightly warmer, more organic sounding pad. Layer B: Pads/Glassy Pads/PPG Warm Glass Pad/PPG Warm Glass Pad.

Docking_Sequence.mp3
This clip mixes two dissimilar sounds by combining a Noise layer with a Belltone. For Layer A: Noises/Morphing Noise/Epileptic Seizure/Epileptic Seizure; for Layer B: Belltones/Plucked Airbell/Fairlight Ankluvov. Reduced level and amplitude-envelope attack for Layer A.

Where_for_Art.mp3
This clip swaps the Noise layer (Layer A) with Noises/Synth Noise/Prophet Noise/Prophet 5 X-Mod Noise. By increasing the cutoff frequency to about 5,000 Hz, you can quickly add an airy quality.

Romeo_Splash.mp3
This clip flips each layer's filter. Layer A's Amp Mod depth can be maximized, and control set to Alternate, so every note in the layer will be cut out.

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.