EM WEB CLIPS
A collection of audio, MIDI, and video files; product-specific custom programs; and other materials that provide practical examples of techniques and products discussed in Electronic Musician.
Web Clip 2: This clip demonstrates of one of the Electric Keys Fender Rhodes presets (1981 MKII) used in a mix. The Clavinet part is done using a highly tweaked version of one of the Electric Keys clavs.
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Web Clip 1: This clip demonstrates some of the effects and synth edit parameters available in Electric Keys. A rather lackluster Yamaha CP-30 patch is presented first as a dry factory preset then after some of my edits, which use the FX and Expert Settings screens.
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Web Clip 5:Here a 2-bar electric-bass loop from PowerFX Old & Country (powerfx.com) is heard first unprocessed, then processed with 4 different, unmodulated Throat settings.
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Web Clip 4: In this example, Throat's Model Glottal Pulse Width slider completely changes the sound of a tom groove from RealLiveLoops Volume 2 (realliveloops.com).
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Web Clip 3: This clip uses Throat with automation to simulate a talkbox-like effect applied to an electric-guitar loop from PowerFX Old & Country (powerfx.com).
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Web Clip 2: Here I've used Throat for a slow, flanging-like effect applied to an electric-piano loop from Big Fish Audio Nu Jazz City 2 (bigfishaudio.com). Five 12 Numerology provides the sine-wave control signals that modulate Throat's Model Throat Length and Width parameters.
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Web Clip 1: This Rova Saxophone Quartet loop from the Rarefaction RovaMatic sampling CD (rarefaction.com) is heard first unprocessed, then processed by Throat with gradual changes to the vocal-tract settings followed by changes in the glottal waveform and breathiness parameters.
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An excerpt from the remixed version of “Mirror Colored Thing,” which ended up Segel’s 2003 CD, Edgy Not Antsy (Magnetic Motorworks/ Pitch-a-tent PAT 20). Our remix efforts focused on widening the imaging of the drums and horns, expanding the high end air on several instruments, making the drums bigger and more spacious, reworking a lot of midground and foreground elements (especially vocal balance,) and generally reducing clutter and low end muddiness....
An excerpt from the original mix of the song, “Mirror Colored Thing” from Jonathan Segel (Camper Van Beethoven). Jonathan had a dazzling array of fun and innovative songwriting and arrangement ideas in his home-recorded sessions. But I felt that the project and its songs could be making much better use of all dimensions in the mixing space, so that the full creative potential of this music could be appreciated.
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This mix uses bass, drum, electric piano, and ambient clips from Sony Creative Software Cinescore series Take Five. Each track is introduced dry with an instance of VintageWarmer 2 LE brought in after two bars. After all tracks are introduced, a final instance of VintageWarmer 2 processes the mix. The final eight bars are heard with all instances of VintageWarmer 2 turned off.
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This example starts with three drum loops from PowerFX Tribal Tech House collection. Each loop is heard alone first unprocessed, then manipulated by pHATmatik Pro. Finally, the three loops are heard together unprocessed, processed, and unprocessed and processed together.
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In the first part of this example, the mod wheel controls LFO modulation of OSC 1-3 waveshape, demonstrating pseudo-wavetable scanning. The second part consists of a bass patch (played live over a drum loop) that makes use of this mod-wheel technique while also assigning keyboard velocity as the modulation source for ‘stabbing’ at filter frequency. Long release times in both the frequency and amplitude envelopes mimic ambience or reverb....
Web Clip D: Alexander Preston of the band Mittens on Strings, created this low-budget video himself, using a $150 used camera, some homemade set materials, and Boinx iStopMotion animation software
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Web Clip C: In the video of "Starring Role," John Taglieri and the director utilized shots of the band as a whole and the individual band members to create a lip-synced performance that has the vibe of a live performance. Near the end you'll see the effect of the band members switching places and instruments, which was achieved by using a stationery camera.
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Web Clip B: Manna and Quail's "Fill Me Up," which was shot primarily outdoors by Tony Swansey. This is a good example of a concept video with a secondary storyline going on in it. Note also, how Swansey made good use of the sunlight, getting some really nice backlighting for some of the shots.
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Web Clip A: Blue Ajay's video for his band Booze Monkey, of the song "Dick Frankenstein's Night Out." The video was shot with a handheld mini-DV camera, and features Ajay playing all the instruments.
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