Web Clips for September 2008

Aug 6, 2008 7:17 PM

p18 | Download of the Month

Web Clip 1: This drum sequence was processed using four different Glitch patterns. The first four bars have no processing and the pattern changes every four bars thereafter.

Web Clip 2: This four-bar step sequence has a random glitch inserted for the second two beats of every other bar. The glitch effects Shuffle and Retrigger have equal probability.

p30 | Say It With Pictures

Web Clip 1: In this clip, you’ll hear the audio file created using Audition’s Pure Tones option, followed by one using Random Noise Bands, and then a version that uses the Track Frequency Spectrum option. All three use the same source image.

Web Clip 2: This clip is a realization of Rob Arnold’s HighC piece, Study After Xenakis. You can see the score for the piece in Fig. 3.

Web Clip 3: This folder contains a set of BMP files that you can use for filters in Coagula or as source images in other programs.

Web Clip 4: This file demonstrates the use of filters in Coagula. First you’ll hear the sound of the audio file created using the image in Web Clip 5, then you’ll hear it filtered.

Web Clip 5: This is the image file used to produce the sound in Web Clip 04.

Web Clip 6: This example was created in AudioPaint using the image in Fig. 6. The sound was synthesized with 575 sine-wave oscillators using a frequency range of 100 Hz to 10 kHz.

Web Clip 7: This is the audio file produced by MetaSynth using the image in Fig. 7.

p40 | Dream Producers: The Orb

Alex Paterson Interview  The Orb's Alex Paterson talks with author Bill Murphy about working with Youth again, and the making of the single "Vuja De."

Youth Interview  Youth from The Orb talks about recording the new CD, The Dream .

Tim Bran Interview  Tim Bran of The Orb talks about the production of the band's latest CD, The Dream .

p54 | Making Tracks: Pitch Doctor

Web Clip 1: The guitar track plays the original melody in this audio clip.

Web Clip 2: Digital Performer’s pitch automation is used to transpose two notes in the melody in real time.

Web Clip 3: Pitch automation is enabled for the first half of this clip and bypassed for the second half in real time, helping to evaluate the merit of any changes to the melody on-the-fly.

p56 | Sound Design Workshop: Foley Drums

Web Clip 1: This starts with a four-bar synthesized-drums clip from the TrackTeam Audio Drum.Droids collection (trackteamaudio.com). The second, third, and fourth passes are, respectively, Foley sounds alone, Foley sounds and vocal hits, and the full mix.

Web Clip 2: Here DSP effects have been added to some of the Foley sounds in Web Clip 1.

Web Clip 3: Here sidechain compression is used to duck the synthesized-drums with Foley sounds feeding the sidechain.

Web Clip 4: Here sidechain gating is used to bring in the synthesized-drums with the Foley sounds voices feeding the sidechain.

p66 | Review: Image Line FL Studio XXL 8

Web Clip 1: This example was made using the new Slicex feature. It contains two complimentary beats and various real-time tweaks to the control and cutoff frequency.

p74 | Review: Access Music Virus TI Snow

Web Clip 1: This morphing patch uses the Grain Complex and Formant Complex oscillators.

Web Clip 2: Here is a smooth, analog pad with synced oscillators.

Web Clip 3: This clip features an arpeggiated bass line with some FM punch.

Web Clip 4: Here the Atomizer is used to process a simple house loop.

p80| Review: Mu Technologies Mu Voice 1.2

Web Clip 1: This is me, just humming into the mic.

Web Clip 2: This is Web Clip 1 again with Mu Voice factory preset 14. It shows how immediate Mu Voice can be, and how simple melodies can begin to take on grander dimensions.

Web Clip 3: Here the second voice is soloed. Notice the strange artifacts that aren’t apparent when all three voices are present.

Web Clip 4: To smooth out Web Clip 3, I reduced Humanize from 0.50 to 0.00 and reduced Formants from 0.46 to 0.44.

Web Clip 5: Here the third voice is soloed, notice its exaggerated nasal quality.

Web Clip 6: To remove the nasal quality in Web Clip 5, I applied the telephone-line filter to the third voice.

Web Clip 7: Here is the mix of the three voices with the changes from Web Clips 4 and 6.

Web Clip 8: Here is Web Clip 1 with Harmonic EQ effect 6. Notice that, as I move from note to note, the same relative harmonics are affected.