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Theultimate guide to



> Devine lttachir Krishna Synth > MackieTrackti > Digidesign 00
> Ohm Force |

>Alesisiolzo fi :
ohmicide E

Builda complete trackwith DnB
Sub Focus, heavyweights Chase& Status andDanny Byrd!




Y,"l' Electro

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CO N T R I B U T O R S WordsScotSolida, Roger Cawkwell, Dominic relling, BenSecretAndyJones, Kevin Redding, -ames Uings, rachMiel, JonMusgrave, David \ewman, TimOliver, Paul Taylor, Peter Kim, \ataliaRakowski Iustrauon MagicTorch, Adrian Johnson, SpencerWilson PRODUCTION & DISTRIBUTION ProducfonmanagerRose Griffiths Production coodinatol Lee Thomas PapercontrollerLonaine Rees Commercial managerMichelle Rogers DigitalsupportSarah Orchard, MarcWatson Girculation managerJames Whitaker PrintedbyWndehamHeron Coverpdnted by EPC Distribution Distributedby Seymour Limited Tel:O207 4294000 LICENSING GrouppublishingdirectorSimon Wear ADVERTISING Adverdslng dlrcctorAdrian lvaior adrian.major@fu Seniorsalesoxecutive Sasha Dodimead sasha.dodimead@luturenet MANAGEMENT GrouppublisherKatherine Raderecht AssociatepublisherCharlotte Mo€an Editodaldlrcctor JimDouglas Managing art director Matthew Williams Groupart dlrcctor BobAbbott SalesdirectorJayne Caple GroupffnancedlrectorJohn Bowman


rum 'n' basshastraditionally beenone of genrcs the mostpopular of all musical among cm readers, so whenit cameto planning this month's cover feature we knewwe hadto pullsomething veryveryspecial out of the justice. bagto really That, do the subject I liketo we have mostcertainly think, done, bringing fourof the biggest together names on the scene for whatcanonlybe described today as the greatest DnB tutorial everpublished. Over12 pages of in-depth walkthroughs, weVegotSub Focus, Chase & Status, Logistics and Danny Byrd putting together a complete trackfromstanto finish, dispensing a wealth of invaluable production advice along the way. Thedrum'n'bass action continues on theDVD, whichis Dual Layer as of thismonth, upping our content'weight'to an astonishing 8GB. 0n there you'll findover an hourof exclusive video showing ourfour(orfive, depending on howyoucount'em) artists at workin the studio, and over1600original including and royalty-free samples, a selection fromLogistics andfellowHospital Records artist pulled Nu:Tone. That'll be ollthestops out, then. ENJOY THEISSUE...

Toviewyouraccount details/status andto change goto youraddress, please www.myf avouritema urJ0870837 4722 USA,/Canada: 1800428 3003. +44(0)1858 Intematlonal: 438794 SUBSCRIPnON BACKISSUES QUERIESAND uko870837 4773 USA/Canada: 1800428 3003 +44{0)1858 Intematlonal: 438795 UlVlntematlonal: USA/Canada: cmu@imsnews.comw

Future PubllshlngLtd is padol plc.Futueprcduces€€fully Future taEeted special'i nte€stmagazines, websites and evenbfor people who share a passion. We aimto sadstthatpassion W c@ting titles offeringvalue for money, reliable infomation, smanbuyingadvice andwhjch publish 3rea pleasu€to readorvlsltTodaywe moE than 150 Tagazines,65websitesand a grcwing numberofevenb in the UK -S.Franceand lbly.overl00intemationaleditionsof ourmagazlns ;e alsopublished in 30 othercounfies acossthe woild. :ture plc is a publiccompany quotedon the London Stock :\change{symbol: FUTRj. \on-executive Chaiman: Roger Parry :hief Executive: Stevle Sprlng :rcup Flnance Directorr John Bowman rel +44l0l t225 442244 w.ftrtrrcplc'com

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August 2007CoMPUTER l.lUStC I OOr



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2007 MUSIC August 004 | C0MPUTER


your licks hottest Drag andscreaming kicking the2tstcentury! into

w SffiFTl,:;,'',4:DEVINEMACHINE KRISHNASYNTH coming. It'sbeena longtime cut it? Oscillator Willthe Frame MACKIETRACKTION3 thatlessis saY users Tracktion Aretheystillright? more. OHMFORCE MELOHMAN OHMICIDE: plug-in distortion This multiband r e s u litn a n O h mr u n . . . could IK MULTIMEDIAAMPLITUBE JIMI HENDRIXEDITION youcansound the virtuallY Now sameas rockiconJimi SUGARBYTESUNIQUE of this delights Wetrythe sweet virtual analogue tasty-looking ACUSTICAAUDIO NEBULA3 sampler' first'effects Theworld's to liveuPto hassomeboldhYPe


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MUSIC 2007C0MPUTER Ausust | 005 ronan.macdonald@f

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::';tas of l'm a hugetan of Yotlr quesi:- -: :'re logic lateI find myself ' beingusedtor the So. : -e -' ^-.ntns' In the pastcoLlp series. and \l':'::',.'n like things you've chosen great ,"'atever' but aren't which disco, the orurn n Lrass As for nextmonth, to run chosen I seethatyou've issue, Soundlike...ThePolice WhYin Goos name Thisis crazyl | wouldyou runthat in the DrB issue? a 5:,,nd /ike ' for maYbe was hoping r ,'- ' YT .B o n B a dC o m P a nL l: :nateffect' ng someth or Aphrodite 'i "eallY fromr''. : ' notThePolice in that ss-,3butthen has no Place does1!' townor dlsco neither again, goingon?P aasestaftPutting What's actually sh a lp e o t ' - ' r o u l d ingroupt like in so:ncling be interested

Music Computer MessageCentre 30 lvlonmouthStreet Bath BAi 2BW

Nowthat said DnB issueis in Your hopefullY hands, YourPainwill be eased bYour coverfeature'which seesfour leadinglights of the genre create an entiretrack right before your eyes.I'm not sure whereyou've got the idea that the sound Like... series(whichdraws to a close this is supposedto month,incidentally) tie in with any other specificallY area of the mag,though,as that's neverbeen its remit. lt is, in fact' often in a genre intentionollY removed from that of the cover one that feature,and invariablY many readersdo care about' RM

Trialled and failed

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2007 Auqust MUSIC C0MPUTER



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the whole lot. We went with the latter,figuringthat most people wouldconsider a Zip file {albeit a verybig one)a minorinconvenienc e. As of this month,though,the cm DVDis Dual Laye6meaningwe no\\ havea whopping8GB of space to us, ratherthan the .lGB available of old, so I can safelysay that \re won't haveto Zip the samplesup again. Er...apaftfrom this month's Hattrixx set, that is. RM
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justfinished Having another set of in thrs trackslone of whichis feotured month's Reader Music,p1221, l'm writing to you aboutmastering. I useda With my last recordings, of izotope downloaded trialversion Ozone 3. I had 10 daysto sussit out, endedup finding the but basically preset that workedthe did the

The 2o-minutedemo is just plain unReasonable, Propellerhead!

whatI'vebeenlooking for as a way to makethe all-impoftant transition from playing aroundon a keyboard to actually learning howto make somedecentmusic. I'm really keento workthrough the Reason tutorial\Howto creotedonce music), and fromwhat I'veseen Reason lookslikean amazing tool. However, the demohasa 2o-minute time restriction, afterwhichthe quits. application WhileI can geta feelfor some of the features in that time,it'snot nearly longenough to buildthe wholetrackor reall, experiment muchbeyond the basics. It'sreally frustrating. ls thereanywaythatyouguysat cm could negotiate a bettertrial package with Propellerhead? | can totallyunderstand the reasons for having a time-limited demo,but 20 minutes seemsso stingy thesedaVS. especially if you compare it to the likesof something likeAdobeCS3, whichis available as an unlimited I'msurepeople 30-day trial. would become moreaddicted to the program the longer theyhaveto play around with it and,consequently, be morelikely to buyit.

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magazine, hands cm is my favourite of the down. Theothermagazines so keepup tradepalein comparison, the goodworkl issue Yourmost recentIrockersl (cm113), whilea wondedul however, issue in its own right, did something pissed me off. Thesamples that really (which I useregularly and on the DVD are oftenwofththe priceof the issue intoa Zip alone) werecompressed timefile, whichaddedseveral I'm to my process. consuming steps a large Zip now required to download unpack fileto my modest harddrive, the samples the fileand thendelete than I don'twantone at a time,rather auditioning themone by one,directly fromthe DVDitself. please reconsider lf at all possible, in the future. using this method


bringing out morewidthand life trick, in the recordings, with a tiny bit of analogue distoftion. How's abouta tutorial on - basically going from mastering CD-quality mjxed trackto finished, track?lt's such an important stepthat I would manyof us get wrong, wordslike imagine. Allthosetechnical loudness stereoimaging, excitation, and dither coulddo maximisation withexplaining.

Youknoq I can't help but agree.20 minutes is a very short time in which to get used to any piece of software, let alone one as deep as Reason. A 30-daytime-out or (but otherwisefully save-disabled functional) versioncouldn't do any harm,could it, Propellerhead? RM

Due to the amount of stuff on the disc that month,we had a choice of either droppinga significant number of samplesor compressing

the Masteringis indeedprobably and singlemost misunderstood paft of the music misapplied productionprocess, yet also unquestionably one of the most dynamicsand EQ crucial.Today's plug-insmean it's now easierthan ever to make a good mix really shine,as we'll be showingyou next month in our in-depth(and,it would seem,panicularlywell timed) masteringtutorial.RM MUSIC Ausust 2007COMPUTER | 007

t . z l T r rt It ' / " 1 / ' tPrL-r. l r r iP: r l T r l r l l lt'i l I " (2 t(.. on a prece.11 ? I . Popular with composers the world over. rr. Previous versionsweren't however.the programis knownfor its easeof use and ouickworkflow.which is said to be including those of Ganitan. covering a rangeof appealed repository styles.whilean Educational from copy is 1363+VAT.1.t.. moreappropriate for the Sibelius 5 nowhasfull application and can handle VSI/AU instrument support too VSVAU effecb as working on.l '-* r y 1 t' '.tr:: : lt. if there'sa particular samoleset that workswell for pizzicato violinparts.these are said to be both Hub. ii'al.^-+-l*^^ Consrdered by many is tunrng to belhe daddy its of notation software.:. ideas in action.rrl'r lr . As a simple example. This is a central We in whichyou can store insoirational and educational. Sibelius 5 shiosthis summerfor versio Yourideas PCand Mac. You searched and earlierversionsstart at 199+VAT. new crescendowith version5. r r .r. Essential is supplied. verticalaffair. Includlng Hub at the top rlght - i . automatically choosethe most Sibelius could be reaching a appropriate soundsource fromthe A newSibeliu devices available as yourtune is replayed. .r. @.:. wouldn'tbe surorised to see other snippets of musicthal you come up with implementing similar developers whileworking systemsin their own software. SoundWorld can take careof this for you behindthe scenesby dynamically switching to the relevant soundsource. libraries or ROMolers. sounds fromsome big-name libraries. " ' l ) ' 1 ::=i"=='. ll r. rdLesL rrrbLdu rl on an adonng Wrll thoseplayback creases beironed out at last? rguably the mostfamous The new SoundWorld systemwill notation softwarc in existence. reviewnext month.. Theselection methodis intelligent and can be configured to your preferences.:l t4. f*z==ri. r [ t ' . previewed can find out whatwe thinkof it in ou at anytime. which harbours The mixeris now a 008 | C0MPUTER MUSIC August 2007 .. I r l.The Professional single can be tagged. too.Youcan really thisshould appeal to those now controlthe volume of groups withtheirownprefened sample of instruments.:r -:_t:gJ !_ ? 1l ^ A lew of Slbellus' new f€tures In acdon. A 2GB KontaKPlayer2-poweredsound library calledSibelius Sounds x.= l I Having witnessed some of Sibelius back into a scorewhen needed.tr4Prri l't :r' i t.. ftg4. is 1595. '. one of them Thereare 2000 preprepared 5's features particularly to us:the ldeas supplied.ririeash rrer pubhc.. particularly renowned for their ability to playback convincing renditions of scores. Srbelius upto '. . no matter whatproject you're wwwsabelius.but that's one of the things that SibeliusSoftware hope to address this time around.ffi: I-+^-+ . with a singlefader. but another that you'dratheruse for sustained bowed passages. Upgrades otganised.r ll lrr1ltlrl . such as brass.r .

as previou>11 :een in iTunes.. though thisdoesmeanyoudo need "te t. --!bf^ F. O. Auqust 2007C0MPUTER VUSrC I OOS . has creptin underour radar.Quick Lookletsyou instantly practically preview anyfilewithout ..scratch In Ineseareas.. creative Theinterface appears to be slick and intuitive. fJ II I iu:. cy l o Lc now browse filesin the Findef with Coredlolt. and the videos on the ste arepromising. frorn Schaak Audio Stacks and a revamped Finder are among Leopard's 300 new features ran openina g n a p p l i c a t i oa nn . the QuadVinyl Timecocled cliscs areavailable for an priceof 160+VAT introductory and a i6. . scratching' youto connect enabling up to four via an ASlO-equippecl turntables audiointedace. ti.. saythat it'sdesigned so you'dexpect it to be up WHAT THEYSAY.... P(. too. off over300 new com. At the moment.tays runsin soundcard.. Itg :. therefore there's no needfor a software copy protection system. youto "travel llackin anclallows long-deleted files..-4" *fri ffiffi4"J A new Dock design. Spaces is a slickviftual youto desktop system...e(} ' . clemonstrating bothQuad's VlP3 mixing capabilities and the tracking whenscratching withvinyl. Schaak planning aren't cLrrrently to offer a versron thatcan be usedsolely with yourcomputer. time"to fincl I p n n a r rI i \ p \ t ) p r I p rI t n r n a k e i l intothe wilcl in October www. Schaak for vinylDJs.Four-way scratch e thoughtwe'd already spottedall the DJing products spinning around but somehow this one this summer. showing features for the Mac's nativeOS.For instance.75 shipping charge. :. TimeMachine apparently takesonlya single clickto set up. f. is ''vinyl-controlled MP3mixing and software for Windows PC.*H{i. thatenables group yourwindows together into ..t- m@E@ .handy for 5epdrate desktops musicians witha lot of pfojects on the!.com Is Leeright. www. you're demomodeunless usingit withthe QuadVinyl Timecoded discs. andfilters for DJing.l -n il t1l tit : ::t:l p._:\_5 Don'teventhink aboutusingthis unless you'vegot some vinylin your hand at leastone turntable to actually be ableto usethe fullversion.. Quacl..or doeshe needto take sff his rose-tinted spectactes and start a Mrfpaceprofile? EmaiIyourthoughtsto lducaine@firturenet. lt allows for automatic tempomatching of up to fourMP3s and leatures an array of built-in loopsamplers effects. iq p -x": w !) e o i ( D 9e 9 @ E o(9eo rt. Youcan clownloaci the Quaci sottware to try out rightnow with any ASIO lt alr. Leopard spotted n almostcompleteversionof Apple'snew OSX Leopard is now beingpreviewed on apple. ..

is brought to youby CDM: Downsampled Music. theaverage Joe able to gethisgreasy hands allover it by"ordering a beverage during a meal withjustthetap of a finge/'. Although wasn't Surface designed withmusic in mind. Microsoftaiming to bring it to the generalpublicin the shapeof their rccentlyannouncedSurface. willinevitably make it thetechnolory intotheconsumer marketolace outtheDownsompled column {check if youjustcan'twait). Thetable-tooformat makes multiuser interactionpossible.000.not to mention takingus backto the 'cocktail table'arcademachines of old.ploytec. hotels and where willbe casinos. uo to Youhook the Latenc-o-meter press the targetdevice(or devices). the must-read Create Digital the tongviawon ontine blogexpressing teqhnotogy trends music August 2007 oroI courureR Muslc .DJ electronicand guitar-based and produce with your MP3collection a remixusingthe likesof Reason. edit and mix Learnhow to record. these from Ploytec's unwv. 'clicK the red buttonto send a throughthe systemand the display shows how long it takes to pass to 0. multi-user Pac-Man. or onlineat: wwwmyfavouritemagazines. Borders and from selected Barnes & Noble. whereupon it on the Don't scratch the Surface gear Microsoft upto rntroduce tabie-top I rF/v L(r rt) Lv Lr I cnmnr rfinp'tn fhe masses .micrcsof t. In one of the a digitalcamerais put accurate of audio lf measuring the latency systemsis your idea of fun.23: now BeginnefsGuideis available WH Smith. Surface costs though $10. or emptying hiswallet byplaying virtual poker. to it and connectswirelessly automatically spillsits imagesout onto the display. www. Dataobjectscan be controlledon touch screen the device's3O-inch them aroundand simplyby dragging manipulating them with yourfingers ('multi-touch' meansit can recognise touch points). multiple simultaneous physical can also recognise Sudace objectsplacedon it. TraKor. AbletonLive. tracks.01ms. get one of websitefor €333. possible fordevelopers to adapt their existing music applications to the platform relatively easily.get your handson the cunent cm Special:Beginnefs Guide. anyone? Surface willat firstbe installed in restaurants. ComputerMusic Speciolvol.CM:Beginner's Guide t Place your dlgltal camera on the Surlace and sharc all your favourlte flower f you'verccently made the switch to computer-based music production. Sonarand rface Cunning Ploy-tec his snazzyand "unprecedented" devicefrom Germany's Ploytecis ^ h's all about designedpurelyto the red button measurethe latencyof an audio signal path. thepossibilities in termsof DAW control areobviously very intriguing it'sactually Since running Windows Vista behind the we'dimagine it should be scenes. uvr ulti-touch. multi-user interaction lookssetto hit with the mainstream.Multi-touch. Garageband. The Recommended sectionhelpyou choosethe right gearfor yourcomputer-based music production needs.or need a rcfreshercourse on the basics.

!q .so as by yourgraphics and to not affectaudioperformance). get such results with Brass1 alsosportsa littletweaking. wwwwallanderinstruments. suchas Mdsp's stunning..rtiiik*. Battles Lunchbox Triple Cheese. environment vector and 3D graphics WHAT THEYSAY. and we'repleased to announce that the KVR 2007 is about Developer Challenge to kick off. r' . thisyearwill be just as standard high.l.: . the community benefit tools Youcan useanydevelopment you like. prizes on offertoo. capabilities". with votingtakingplacebetween 22... and writeit for any0S. if not higherl www. in the Manyof the entries previous weregenuinely event Fire.. with away whichendedup walking We'resurethat the the firstprize. '..rli:.i..*.lastyear it prizepot via PayPal reached a not inconsiderable andthereare non-cash $2147).. a regular eventwas inevitable. "advanced modelling" behavioural from acoustic with data gathered of lhe and recordings measurements to yield"extreme actualinstruments.of course... to the can donate up to $685(you .Thefirstinstrument 1. 1 :t t. the KVR i s o p e nt o a n ya n da l la u d i o and the developers.-r"(.php Are you readyfor the challenge? MUSIC 2007C0MPUTER Ausust I 0rl . .l-r". requirements are low since memory it'snot sample-based.1. is Brass in the range collection synthetic whichofferscompletely tenor of trumpets(in B').com/ developer challenge. "out of the box". u-he's and. then Wallander's series WlVlWl VisualInstrument) could be for you. yourbrass eye Open f you'regettingbrassedoff honkin' tryingto reproduce in trumpets hornsand parping your productions. software in question is to "create challenge and release a brandnewfreeaudio plug-in or audioapplication thatwill at large"... recreations French hornsand tubas trombones. will respond engine acoustics TheN4P3 demoson accordingly. website arecertainly Wallander's and it'ssaidthatyou can impressive. it lasttime In caseyou missed Developer Challenge round.:. as a BrassI is currently available plug-in Windows VST and costs$599. i 1. :.: ii.Jwraudio. ''" tr'. t$#b" Rise to the challenge! fter the successof 2006's contest. Blowoff some steam by rotatingyour little instruments on screen (powered card.The cutoffdate for entriesis September 03. the fun andfunky Stefancrs's from BramBos.r.At 17and October September fund is the prize the time of writing. lt'sclaimed thatthesecombine {inF). Anna. realism and expressive and rotate Youcan also position (aswellas the the instruments position) in spaceusing a listening graphical and WlVl's intedace..

technlcal director on setting to be reduced wantto doublethe available {this project. of Cakewalk subsidiary "if you havea dull basswith contentof the sound. to synthesizer in software form requires relieve CPUconsumption the CPUload. but are programmers headache for DSP engineers the limitof humanhearing)." of a plug-in. For .." parameters) characteristics of an analogue Thereare other factorsaffecting at yourdiscretion. elaborates Z3TA+'s developer.or doesthis greater power consumption of processing yieldsuperior really sounds? Arturia's Juoiter8v scoreda whopping 9/10 in cm113. there's simplygetting lazy.Audio worldtheyalso introduce no point artifacts a dull attack. the only realcriticism beingthat its stellar probably tones come at the expenseof a hefty it requires nothing in the spectrum reducing oversampling. there's applications aretraditionally knownas 'aliasing'. butshould thisreafu shllbehappenrng lhesedays? s the power of computerc increaseseveryyeai so too do the system requirementsof r Arturia's excellent Jupiter-8v ls unfortunately a ruthless plllager of CPUcycles algorithms.but in the digital €c:audio. allowing a the CPU. Ren6 complexnon-linear Non-linearities enrichthe harmonic Ceballos.REDUTING FOR DSP ENGINEERS IT RE0UIRES OVERSAMPLING 012 | C0MPUTER MUSIC August 2007 .l- d . Thatparticular meaning consumption.." Aliasing is a big in calculating it up to 22kHz(around system-intensive. plug-ins Whyaresome so hardon my CPU? It'salttooeasy to maxouttheCPU meters track inloa andturnyour str-tllering mess. above5kHz."Forinstance. "Ofiering the JupiterSv the altersa numberof internal bandwidth usingthe 2x oversampling.ALIASING I5 A BIG HEADACHE . probably the programs we runon them. not feeling the needto optimise theircode so heavily might quality Nicolas Bronnec. "Mostof the yet moreCPU program chunkof CPUusage. too. Jupiter8v issuewith its but at 50%it'llonlytake half 'variable quality of the analogue sound." explains mode'. lf it'sa brightpad. processing powerneededby the Z3TA+ willsoundidentical aI50oA Cakewalk's synthtackles or I0O% goesintothe reproduction the consumotion quality.

t. for cm88 was recently seen nestling on the shelves of the Minute Mart.:'j August 2007C0MPUTER MUSIC | 013 . 'Thefirstimplementation wasvery CPU-intensive. richand distinctive soundthat anyone who plays perceive.w5 ' Z3TA+enables you to adiust its quality setting to suit your CPUneeds . but block-based systems arequicker. " . Kerneling Technology which allowsfor the accurate recreation of using around 2094 CPI on a new IntelDuonotebook.whether to increase the quality of existing technologies or to introduce new techniques. should be ableto try one out right now.However.Convolution reverbs.r?f.2GHz Kernels act like individual synth voices. Theyutilise the revolutiona I Volterra ry Vectoria (WKTJ." We're a bit boredof our . more CPU-intensive than othersynthesizers.: i:j-:'iii:ii i." recalls Acustica's "lt was clocking Giancarlo DelSordo. Sample-based systems require lessmemory and allowfor faster modulations is typically {this how hardware synths work).:'.but it's nowjust about possible withthe processor inside youraverage homecomputer.mainly iPods dueto their lackof a touchscreen andinability lUfffdnv -- It's graphic processing restricted to the offline realm." he enthuses. fromhigh-end analogue compressors and EQs to complex reverbs and modulation effects. applying the soundof a reverb spacecaptured froma real roomto yourtracks. We're itching to try out Harmonix's forthcoming Rock Bondfor Xbox360 and PS3..the samesimulation notebook now is around 9%. We'llbe returning the favour with a feature on recreating that famous opening drumfill usingonlyfreeplug-ins. the Apple iPhone looksset to address suchissues in style. au0ro So it'sclearthat however much programmers CPUpoweris available. up over80%on my Centrino 2. l.YouluckY'TheiPhone our so-and-so. the amount of RAM and the memory throughput arethe main problems rightnow. though on the otherhandtheyallow for the full-bandwidth. nas.i "" rt ": .r . modulation effects and more. Acustica's Nebula range of plug-ins are one such example. "GPUs Processing Units]are lGrophics specialised in parallel computations. but computers aretoo slow rightnow. or the forthcoming Guitor Hero. evenif theyappear to be madefor the allowsup to fourgamesters to plugin plastic."Programmers like Giancarlo are keenon exploring the possibilities of exploiting such processors for purposes. fonvard-thinking reckons Giancarlo that we mightalready be sitting on the veryhigh-speed number-crunchers that we needto far exceed this. wereonce rti ii's not always fairto compare the way plug-ins tax the CPU. Evennewertechnologies are emerging that can accurately capture and recreate the soundof non-linear processors such as compressors. My planis to extendit to i5-20 distodion kernels. now we can use them as a real-time tool. Thiswouldhave beenthe stufiof a madman's dreams not longago. for example. "Triangle ll. bothfor DS.Luckily. A complex simulation. but today's PCsstanto feelthe strainafterthe firstfiveor six. instrument-shaped controllers and rockout Fights havebroken together. Perhaps in a fewyears time Ihe Burning will instead Question be:Whyare some plug-ins so tough on my graphics card?s:flr a start. will find a wayto use it. therearetwo common methods for pedorming DSP processes: sample-based and block-based. such as a dynamicreverb with a very longtail. "Graphics arelikemodern cards mathsco-processors. though we can always'go solo'with Ubisoft's strum 'em up JomSessions. complex dynamic reverbs.something that normaldigitalreverbs can'tdo." them can immediately pnone callsor access the net.Put troos rosname TheUK'spremier EastEnd-based soapopera has piqued our interest. out in the cm offices over whogetsto playwhat. Morekernels willmean moreaccurate simulations.lf you're in the you USA. Process this Modern computers arealsoenabling us to makeuseof the kindof audio processing techniques thatwould havebeentoo intensive for real-time use a few yearsago. eachcontributing a modelled harmonic. bright. Pentagon I and Z3TA+ are someof the veryfew sample-based lsoftlsynthesizers." "They're continues Ren6.

lntelhave announced that quad-core laptops will be hitting the streets as early as nextyear..t.ririfir.we'reworking on but we the new FLStudiorelease can'tdisclose a lot aboutthat.i. had made.we and got in decided to do a CD-RO|\4 bed with Private.however.. Thiswas our lastadult productand it was pretty sick. they haveto fit in with the waywe work fromhomeand iworking conesponding by mai andforums). withtalesof 'wireless oower' popping up in the technology news of late. prize. up from 2.ik"hl$ i#.The factthatyou hadto shootand kick for old ladies closeto a wallin order MB players to usetheirbodies to jump higher lce-T to shout. the initialprototype is a USB wwwintel.Frank De Mulder... r. the original ideawasto have kissovera laptop two girlsFrench a liveset.IBM We launched the The MacBookPro range just got Pro-er Whatqualities do you lookfor in a programmer/developer? Do you approach them.. the last placewherewe wouldever as he crashedoff a cliff see Argu. Around the sametime....1i.The displaysnow use more energy-efficient LEDtechnology.though this will of course cost extra.e n d lvlacBookPro range. According to the chip manufacturer.:. wwwicron..amd. However. company's Afterdoingstockmarket JMC: for with Pavell Software software aboutsevenyearswe wantedto have turneda somefun. cannow got the power USB get enough Can't of USBdevices? Wishyou couldclutter up every roomin the house withthese technological marvels? Your wish has beengranted: innovators lcron havedeveloped a system that allows USB devices to connect throughout yourhouse via mainspower i{litiffiittjj.. www. to license a newsampler.l!. thesemachines will be aimedat personal rather than business usersbecause currently therearen't enough multithreaded quad-core applications to justify business machines.Argu hadfinished AODIX and wasworking \'!e wereshopping on a newsampler. getting with hardware software reviews and tutorials in magazines and so on. Howdid you and Argucome up with the idea of Deckadance? JMC: We cameup withthe idea during a meeting for Deckadance at NikkiBeachtwo yearsago while we werewatching a DJpedorm Sadly alongwith a livesax player.:r. Although Intel have pulled ahead in the oerformancestakes with their Core 2 Duo series of chios.or viceversa? Theyneedto havethe skills to deliver decent DSPbut otherthanthat.16GHz to 2 . h a v e 2. into a moreor lessrelated mailed it in and wonfirstprizein the Multimedia category The most paft.* Going On Quad's The Phenom's processordie .Wi MUSIC August 0r4 | C0MPUTER 2007 . Howdid you come up with the Deckadance advertand haveyou had a good response from it? As we wanted to buildon the JMC: 'decadent' themethatthe name implies. one of the bigger players in the adultgames market. ii. Poizone and Morphine. 2 G H za ..we wonder if we'llactually be usingmainssocketsystems at all for muchlonger.. and their RAIVI optionallybe upgradedfrom 2GB to 4GB. online What'snextfor lmage-Line? Do you haveplansfor Mac versions of products? your PC-only ls the Mac marketbig enoughto make it worthwhile for you? porting JMC: We'recurrently Deckadance.We quickly 'adult' previous Tetris cloneinto an gameand offered it in the smallads in Computer Mogazine.MaxxClaster askedhim if he was interested in working for us to produce a couple of newsynths. was a interesting calledDidier 19-year-old developer (nicknamed who not Dambrin Gol). driving homefrom our meetingon cedainly had an impact. T h e m a c h i n e sa l s o h a v e m u c h faster Nvidia GeForce 86OOMGT graphics cards. Morphine already we should According to our sources. at leastdouble if not quadruple our turnover due to the extramarketing possibilities we getfrombundling the gear. turnedone of the gameenvironments game. lt was the firstad evermentioned .ri\id.r$irri$f{.i:fi irill looks set to be a killer CPU '\rr+: Cannie Jean-Marie Tellus aboutthe earlydaysof so we asked h i mi f h e c o u l o de\elop itfor hadToxic andwe us..The f1299 model has had its processor pumpedup slightly from 2.{ididf. and a littleof the history. \ . Could these end up being the most powerfuland efficientdesktop processorsyet? In related news. l":i. firstgamefor us was Privote Gol's Investigotor.. jir..iili1iii.0 four-port hub and dongle set that plug-and-play enables standard connection of anyUSBdevice. As for who approaches who. ndthe 11599and f1799 m o d e l sn o w .{Ii. Sunday.i. ii! r.iu! Poizone and runon 0S X. Barcelonafeatures plenty of exciting new technologies. Nikki Beach wouldbecome enough. caused "This game beatscocaine!" after playing it for halfan houron our boothat the adultshowin LasVegas.g tr. We immediately the Overall noticed histalentand convinced him to workfor us.r ".}Fiiti:eiiEr r.including "dual dynamic power management".ut.ijiiNl . but also onlywon the Gamecategory.but as thiswould during haveset us backtoo muchmoney we went for a stockpicture a friendof mine. The system operates without the need for additional software drivers on bothWindows and Mac OS. AMD are set to releasethe desktoo version of its quad-coreBarcelona processorbefore the end of the ProPlus A p p l e h a v e u p d a t e dt h e i r h i g h .4GHz processors. .rri. Using Panasonic's HD-PLC chipset. Other than that.a bonus for which is mercury-free the environmentand anyone wont to break open their computer's monitor and eat the contents. Thiscaught on and peopleaskedfor more.

co. c o s t s€ 9 0 a n d i s PC-only.tor\ing u. can thenbe addedto the @ Those busy guys at reFXhave u p d a t e dt h e i r N e x u sR O M p l e r ( 8 / 1 0 . echo i n c l u d ea p o l y p h o n i c soundquality etfect. filter. complete standard envelopes and simple automation mixing controls. and real-time Simply hit the Freezebutton and t h e c u r r e n ts o u n d i s h e l d i n t i m e l o r a s l o n g a s y o u l i k e .h o r n a n d m o r e .l t ' s o u t n o w )r 947 (DVD). whilea ProaccoLrnt allows for up to 10GB and costs$10 a monthor $100 for a year. n d\ i . recommending whoseneeds matchyourskills musos f o "\ o u l o I p a mu p w i t h a .c m 1 1 0 )t o v e r s i o ni . e e B o wi 5 a c u r i o u s d e v i c et h a t y o u p l a c e i n y o u r p i c k i n gh a n d .T h e r e s u l t s .befole down.sesstons Online I @ ln cm113 we offeredtlvo bundles consistingo{ a Korg Kontrol4g keyboardand Korg'sLegacy Collection 2 0 0 7 A n a l o gE d i t i o n . has beenstafied. synthpaft)as WAV.l t u s e s a r a r e called'scanned technique only available synthesiso ' . Members can ready and alsobe paidfor theirwork.a n e n e r g y field vibrates t h e s t r i n g sw i t h o u tt h e to tones n e e d f o r a p i c k m o d e .com S o n i c c o u t u rs e n e w 1 .r i g i n a l l y Newfeatures as paft of USIC C0MPUTM ER Auqus 2t0 0 7 | 015 .humanoidsounds. newSession Console is Music's likea slickwayof looking already on trackswith others collaborating lt runsin your via the internet. and improved lt and efficiency .ith Inu. There's a demomixthatyou can try out on the site. www.positive experience or negative of i.Turnto p75 for a c h a n c et o w i n a n i n c r e d i b l e collection o f s a m p l eC D s . I I Indaba's Session Console enables you to make sweet music with your long-distance pals t's still in the beta stageof but Indaba development.the intedace proves to be quiteintuitive. trackor extra a vocal AIFF This or MP3.l e a c i i n g t h a t c a n s o u n du n c a n n i l lyi k ea c e l l o .uk @ is ra P h y s i c aM l u s i cs T i m e F r e e z e c u r i o u st h i n g i n d e e d.s a r e u n l i k es i m p l e l o o p i n g a are used analysisand resynthesis lt s for Mac or PC. l o v e l ye m u l a t i o n s whichfeatures and o f t h e M S . There'sa new distoftion @ yd d . instead. There are both VSTiand VSTeffects versionssupplied. and evenmixed beingsaved for distribution. www. are $70.indabamusic.for working with prerecordedWAVS use respeclively.l o o k i nc gh a p s l h e p r e s u m a b lo have S o u r r dS y s t e m s at Humanoid released a f o l l o wu p t o t h e i r S c a n n e dS y n t hV S T i t ' s c a l l e d S c a n n e dS y n t hP r o . f o r 1 4 5 ( d o w n l o a do www.t h e y s a y that it "freezesany kind of audio in real time". currently www.Indaba can evencloa little matchmaking. your fpedback can be leftto indicate .a n i n t e r n a l i m i t e r arpeggio a n d ' l o c k s 'f o r s e c t i o n ss o t h a t y o u can load presetswithout affecting those parts.They'vealso released for Nexus two exDansions Hardstyleand Store'n'Forward.2 0a n d P o l y s i x M o n o / P o l yW . i n n e r sD G o o d r i c ho f C o u n t yD u r h a ma n d P a u l H o l z h e r r of East Sussexwill both get to w i e l d a l l t h i s a w e s o m ea n a l o g u e inspired power. e versa. Oncea Session can invite otherLrsers to the creator an Audition by uploading contribute ('swellworth clrecking out. 2 G 8e B o w f o r K o n t a k t2 G u i t a rs a m p l e l i b r a r y i s c l a i m e dt o b e t h e and EXS24 f i r s t e v e r s a m p l e de B o w r e L r e a t i oT nh . Bothexpansions www. 3 .icirn. and looksmuchlikea browser withvolume DAW. you Inclaba's Free account allows to transfer up to 250lvlB a month.soniccouture. d cerlain no luckfinding lf youre having musicians in yourareato suitable makemusicwith.

Hexstatic's new album. lnstructions on howto do this are available on the Ubuntu Studio 016 | C0MPUTER MUSIC August 2007 .command number seven.WhenRobots Go Bod.04already 0ike I anyorle who just plckedup one of the:' Dellsystems descrlbed above) is that you can add the Ubuntustudio packages software as well as the real-time kemelto yourcunentInstall from the out now on NinjaTune. simply type!7. running.lf youwantto re-run something fromthe list .Youcan alsobrowse through old commands by hitting the up and downarrowkeys. www. Typehistory 10 you to seethe lastten commands typedwith a number nextto What is it? history one of the greatthings aboutworking fromthe Linux command-line is that you haveeasyaccess to everything you'vedone recently.' ErFbitvbrslonh plannedfor dle ' The good news for those fuh1rc. ubuntustudio.ninjatune.Ubuntu 7.


se WG:ilffi Barmy Origaml T @eu tffi Something nother giant ROMplerlibrary for you to conside[ Vi2 lnstruments'Vl. effects. kitsand FXandcomes soread across fourDVDs. There arefouradditional insert effects thatyoucandropintothe racktoo:4-Band Parametric EQ. andyou patterns Rebirth canimport andeven those froma real909. andtheway the hi-hats andcymbals reactare particularly realistic. The PCV$ of ADMwill be out this summer. similar to thatof Freedom.w. rvrw'tmespace. the packageoffersa standalone Vl. 9/10).Oneclalms ellow Tools arebestknown for theirfantastic sample libraries. for evgryong. What we can be sureof is thatthis extensive library boasts over1000 instruments. lt's availablenow for PC!5I and Mac VSI/AU. T quite andwhileitssounds aren't as sought after.One app and AUI/5|/RTAS/DX| versionsfor both PCand Mac. impressed us greatly withits clever andstructure.we likedthe Origami LEthatwasa partof Freedom andIndependence. they've stillgotthat venerable vintage charm about them. There's a 32-step internal sequencer onboard.with a Mac VSI/AU versionto follow. Gate. playback thelrhlgh-end sample Instrument Their latest release is an processor effects called Origami.5is focused on convolution effects suchas reverb. AudioRealism say thatthe accent effect forthe bass drums andtomtoms. {AudioRealism ADM willdeliver notonly the ubhuitous sounds of theTR-808 and TR-909 machines.there areover 25 such filesincluded. ThePositioner youto move your module enables instruments andsound sources within the acoustic space of the currently loaded impulse response file.. and youcan import yourowntoo. a virtual 909 (cm113. previous Yellow Tools' forayinto theworldof plug-in Freedom. decent virtual xOxbeatbox I I ptug-in andthenthrceturn up at once!Polish develooers D16kicked things offwithDrumazon. whereas Freedom wasan effects rack thatattempted to do it all. eachof whichis saidto be a meticulous recreation of the original circuits. as wellas for Independence. statement if everwe head one. There's alsoa fullcomplement of pattern transformations. as well as randomisation andcopy/paste ^ Convoludonmade slmple! We'llbe unfolding 0rigamias soon as we can to find out exactly how it performs. tife. ABLbeing AudioRealism's wickedvirtual TB-303.. to caterto every musical styleIn whichis a prcttybold the world. There are25 separate drum generators. However. MlDl CCcontrol andMlDl learn arealsoon thecards. and it costsf129.andwe awarded it only 5/10in cm101.Origami's available now and it costs 1225. aswellas 'pattern-controlled FX'(PCFI. of your Youwaityears for a Vnical. Powered by KontaK Player2. butalsothose of theTR-606.The orice is as yet unconfirmed. Thefull-blown Origami is saidto offer"extremely intuitive and easy-to-use rackfunctionalit/.yellowtoolscom 0r8 | CoMPUTER MUSIC August 2007 . Thelatter wasthe percussive brother ofthe IB-303. Channel Manager andXYPanorama. t/vu. However. whichcanbe usedto automate anyparameterfor eachstep.. wwwaudiorcalism. you'llbe ableto standalone buy an ADM+ABL bundle. but as well as the plug-in. along withfourPCM waves to recreate thosesounds that weresamples. whichthey're dueto follow up withthe 8o8-apeing Nepheton soon. concept but mostof its sounds leftus cold. so hopefullyYellow Tools havemanaged to capitalise points on their strong thistime. Swedes AudioRealism arefighting backwith theirowntakeontheclassic Roland drummachine sound withtheir ADM Drum Machine}.@Gtrffi TR-uly TR-iple TR-ouble > Recr€ate Roland's best beats wltfi tfie AI'M vlrtual beatbox getenough If youcan't of vintage Roland getready drum forthebeatrng sounds.

theirnames gatei whileN.for thosereally Virtual crooning comes to your PC courtesy of Sweet Ann and PowerFX he first productpowered 2 Vocaloid by Yamaha's technology comescoudesyof "saucy vocalist" Their vifiual PowerFX. r r p p l d c e m pfn or It'savailable nowas a download though Anndoeshaveherown priceof $149..powefx.4aster is a goodold noise all of the other combines Restoration plug-ins intoone.myspace. a0. tough Suite Restoration TheMaster for Mac soonbe available should UB)and PC AU/RTAS/VST/ vocaloidsweetann) with e were impressed bundle. so you can treat them just as you do plugins in your project. nd will a n d g a m e c o m p o s e r sa e n a b l et h e m t o u s e f l a m e n c o guitar. They have Editorsfor the Access on DVD at a laLrnch MySpace you can where www.Support has been added for Intel Macs too. cm102). of a lifelike digital the creation who is saici to be a "pure crooner popstress" witha "warm vibrato and preview her dulcet tonesfor yourself. www. viathe enternotesand typein lyrics window. pop. Youalsohavecontrol range" that'ssuitable unmatchable jazz.! "0 iit Best known for their sample discs. WaveAfts' previous PowerSuite5 (9/ @ reKon'sVSTEditorseries for PC or Mac enables you to control hardwaresynths via lvllDlfrom a VSTcontrol panel.r.soundsonline.There's a simoler version of the main in the pack too. (RTAS/VST/DX) at a priceof f300. -. c c o r d i o n> bFinq Sweet Anncomesas a VST|/ toolthan billed as moreof a creative package otrL l t e for PC. too. of grotty up the souncl tidying vinyl anciothersuchdubious crackly audro sources.T V . www.automating their parametersand so on. or impoft built-in sequencer Youcan play standard MlDlfiles. Lheprodu. HomegrownSounds have branched out with the Astralis Pack for PC. Thisis a MasterRestoration for set of processors comprehensive tape. 'her in real-time.i6s e=.and thereare of vocals available up to 16tracks for simultaneously. filters.of course. Waldorf Pulse and MFB-PolyLite.seouencers.hgsounds. page(www._. www. and. r e at llting. MUSIC 2007C0MPUTER Auqust | 019 . breath. overdynamics. Annand hervoice is knownas Sweet who was comesfroma realsinger thusenabling reconled extensively. adclheras yourfriend We werepleasantly surprrsed at viftual the improvement overprevioLts Youcan vocalists thatweve heard.Django-style p e r c u s s i o na .rekonaudio. house and more.and instrument it only costs 130. Spnsibly. in the pack: There arefiveplug-ins M RH u m ancl M RN o i s eM . Quantum L e a pG y p s yi s o u t n o w f o r P C a n d M a c w i t h a n R R Po f $ 5 9 9 .r o m b o n e l nd a n d v i o l i n( i n b o t h c l a s s i c a a gypsy style)and more.effects and a microtonalscale system. ReWire/standalone . but if yoursoundis in need then you of more drasticattention mightwantto checkout theirnew Suite.gypsy guitar. genoer an0 more..Ann-ouncing. www.waveads.s' e -c dA atgta-o -D . and have just releasedNord Lead and Lead2 Editors.The VSTiSynthesizer lenglhyfeature list of the main VST|includes two independent synths with dual and spectral tvvincascadatlle oscillators.qD Tidyup yourtunes . RC l i c k that the kindsof adefacts remove MRGate rh a t m a k e s N o w h e r e ' sa R O M p l e t a c h a n g ef r o m t h e u s u a l :t h e l a t e s ti n E a s tW e s t ' sQ u a n t u m L e a pr a n g ei s a i m e d a t f i l m .

" 1L lr j THERE pffifl${HT i.i -" i .'. r r .manufacturers Merakiclaim that their innovativeWi-Fi products are intended to "unwire the world" . However. meraki. Both are on sale this summer. l\ 1i!iil ri . who say the MicroMemowill "turn your iPod into a portable recordingstudio". .i ri l ' l i i r 1 l l r \ . iPod and iPodnano versionsare Regular available now at 140 from the official Apple store or 560 from Xtreme Mac. r. wwwxtrememac. / { : ' i riI rtiiw l i ) l-)ii. SY* t.The idea is that you can use these products to put together a low-cost shared wireless network across a large area.)\. j r t r l .yikes. with the price of the Solar TBC. 020 | COMPUTER MUSIC August 2007 .com sI}LAffi i{"&Tffi larmingly. We wouldn't go that far.. You can record at two quality levels and there'sa built-inspeakerfor playback.The Outdoorwill be S99. their Outdoor wireless network signal repeater can indeedbe freed of all annoyingeldernalwires by pairing it with the Meraki Solar accessory kit both shown p meraKl. ore iPod gadgetry this time from Xtreme Mac.i:-' i ri . but it does look rather handy for a spot of field recording.

* T-_ _ MUSIC August 2007COMPUTER | 02 .. with an aluminiumversionfor 1180.itfiHTf. as long as no one runs off with it.t s 'r'{*"fl196r1. f you love your iPod tr $..a mobile phone.Thanks to its rubidium core.they tell us the UK price Iapanesemanufacturers will be about f450.But we still want one. ffieTi:$q.This Parrot has a few tricks up its effect.750via the website of KiwamiStudiolnc . and even less ears could sure that our bass-blunted discern the difference.Justdon't drop anything on the scrollwheel. cos it looks well posh.We're not sure if it's necessaryto wear a radiation suit while hookingit up. rwrw.r rrritCx ^-e9'-' _. You can beam your tracks into it from any Bluetooth Stereo (A2DP) music source(eg.butter-fingered oat the FactronRe-nanois the product for nr r nr Lrlilr.antelopeaudlo.too: there's a built-in stereo-widening '\r'irtualSuperBass'beefs up the low frequenciesto give the Parrot PARTY "a surprigingpunch".kiwamistudiojp or "extremelydiscerning ears". the AntelopeAudio 10M atomic clockingunit is designedto be lsochroneaudio used with Antelope's master clock range. and sleeve. lt's out this summerand costs 180. www.MP3 playeror computer). rYrwv. The case is hewn from solid titanium and it costs a cool Y99.panotsound. lt comes with a rechargablebattery that gives up to four hours of$isF'$gffiFi* PAffiffiffiT wireless stereo speaker is sure to he Parrot PARTY get your joint bumpin'with its twin 3W that remainsunprotected. but you're a ham-fisted.and they'll be reproducedwith allegedly uncanny accuracy. it providesan even more jifter-free and accuratesample-clocking signal to your digital devices.

especially for noviceproducers. Renegade Hardware and more. ourmammoth Ultimote Guide to you'll Drum'n'Boss. Sub Focus. rock. DannyByrdand Chase& Status "M0DERN DrlB COMBINES ITS INFLUENCES WITH HIGH-TECH SOUNDS'' producers are all highlyrespected and between them havereleased trackson the DnBscene's premier Valve.Theultimate off tr. Despite the perception of DnBas a throwaway dancegenre. including hip-hop. the soundof DnBin 2007 is practically unrecognisable from the twistedbreakbeats of jungle's heyday or the uncompromising minimalism of tech-step.. is covered in depth. each seeandhear producer working of on a specific aspect a comolete trackin theirownstudios. weVehookeduDwith some of the finestdrum 'n' basstalentthis sceDtred islehas to offer. and remember: watch your bassbins. labelsincluding Ram. the pastdecadehas seen globalpopularity.. youneed. it drawsfrom an enormous rangeof influences. and audiofileson the DVD. or the morbhard-edged styleof SouthAfrica's Counterstrike and the Netherlands' Limewax. ModernDnBcombines its myriad influences with high-tech soundsand stadium production values to createa styleof musicthat's felt as much as it's heard.Hospital.s exclusive fourof thescene's . thatmassive vouhow houghdrum'n' bass remainsan genre.Originally a predominantly UKscene. andonethat's constantly evolving anddeveloping. Be sureto checkout patches the videos.trance. withno stoneleft jungle unturned bythese giants. The onlydownside of DnB's increasing complexity is that it can be difficult to get right. ln this.whetherit be soulfulsoundsfromthe likesof Brazil's DJBungle and Japan's Makoto. and boastsDroduction standards that are unqeustionably secondto none. Inthr.Constantly changing. Everything fromsample selection andpatch creation through to mixing and arrangement. E) 'n' Drum bass is oneof themost sophisticated forms of popular musrc around. DnBachieve In the 21st century increasi nglyaffordable computer musictechnolos/ has encouragedproducersfrom everywhere to get in on the act. dub and house. Withthis in mind.'s one that can be underground heardaroundthe world. mostrespected producers show thevnarl DnB sound.

music lmake TUTORIAL FILES you'llfind On the CM DVD exclusive samples and MUsrC 2007C0MPUTER | 02s . plus overan hour of video.videolan. Thiscan be playedin most media players.but if yours isn't compatible try the free VLCfrom www.

' Nextup.Theseshuffleswork well either olaved continuously or sporadically. Because the beatsin drum 'n' bassare so fast. as clemonstrated by the BingoBeots tracks. To complement the single-hit drums.n' bassbreakfroma sampleCD is addedon too. including the TenTonne EPon the same label and DuppyMon on Breakbeat Kaos.This is high-pass filtered to sit behindthe beats.Thesnareis layered up with another one that peaksslightly lower.some of the snaresare shoftenedand programmedinto a shufflepattern.whichhas beenEQ'd to remove the verylow end. ' A shoftopen hi-hatsoundfrom a hip-hop sample CD is added intothe mix..and so much of the frequency spectrum is taken up. '. In an idealworldthe kick .treverbed at all as this wouldtake up valuable spacein the mix.Chase& Status hase& Statusbegantheir production paftnership with a remixof Future Cut's 20/20 on the much-loved Renegade Hardware label.adding reverb to thesemain hits can muddythe soundrather than enhance it. snaresin this breakhavea longerrelease time.Subsequent releases.Thisis done so that the kick'sbottomfreouencies don'tclashwith the bassline. This pealisat around200H2and hasn'tbeen compressed at all.Loves'Theme andln Love. including breaks andgrime.just a littlelow-end cut is usedto ensure that no roguelow frequencies can messwith the kickor bass. the soundis hardly processed at all . 026| C0MPUTER MUSIC Ausust 2007 .a tight.simpoftant that evefihing is kept as cleanas oossible. A light breakwith a lot of reverbis added next. cm took a trip to the pair'sLondon studio. PlanB and Kano. The main kick and snarearen. helpedcementthe duo's reputation as masters of the banging dancefloor tune.and the breakadds a levelof grit to the clean-sounding single hits.which adds more grooveto the beat. As well as working with some of the best-known labels and artists in DnB.Thisgivesa good high_ end sheen.Inspector will peakat around100H2 XLfrequencv analyser is usedto makesurethe drumsare hittineat the correct frequencies. an old drum .The . Chase & Status havealso branched out intoothergenres. around1g0Hz and addsa bit morelow end.punchy snareis added. and haveremixed and worked with someof the UK'sgreatest urbantalent.The pair aren'taverse to the occasional 'musical' momenteither.Thisbreakalsocontains a coupleof hi-hathitsthat add interest to the existing simplehat paftern. Again. Thebasisof the beatis a kick drum froma samole CD.Againthe sampleis left unprocessed. including Dizzee Rascal. At this stageit. whjch usedto playhostto no lessa musicalinstitution than PWfs Hit Factory to see how Chase& Status get their dancefloor-smashing beatsin software. To add to the shuffle.

high-passed up to 1400H2 so that onlythe too-end remains. whichcan oftenhelpfill out the frequencies and give a beat more enerry.Thisadds gritto the beat. version A reworked of the Amenbreakcombined with the Thinkbreakis layered on top.Sauland Will makesure -10d8in Inspector that it doesn't XL lf exceed any of the frequenciesexceedthat levelthey're likely to trigger whichwill a club soundsystem's limiter. another layerof organic-sounding Thefinallayercomprises some bright. MUSIC Aueust 2007COMPUTER | 027 .lf the kick and the sub soundflabby togetherthe track won't work as a whole. Whencreating a beat. If you try to add too many they'llbeginto phaseeach otherout. hatshavebeenusedto reDlace the's had all the kicks removed because theycan suck awaythe ener$/fromthe original kick sound. Thiscan be testedout by programming in a simplesub-bass line. evenif they've The loop's beenhigh-passed. airyhatsthat are quitehardto makeout but add that finaltop-end sheen to the beat. reduce the volumeof the wholebeat.A rock-style break is usedfor now I make rl !: I l f" Drum'n' basscan soundemptywithoutsome splashy drumsto add to the energy leveland give high-endpresenceto the sound. too loose. elements Another impoftant tip: be really accurate whenediting when drumsand breaks. Oneof the mostimportant thingsto get rightis that the sub and the kick worktogether well. TheChase& Statusmottofor beat-making is "lessis more".if you don'tzoom in tightly you mayfind the beatsend up sounding's really imoortant to makethe efforthere. Yetmore splashcomes courtesyof the Amen break.

but by you can makesomething resampling synthsounds much morecomplex. in truththe Cambridee-based break-meister usesa .based on tlvo detunedoscillators in Subtractor. synththat'sbeen . too much means you'llhavea lot of nasty. were it needed.g ol lD--.e_.* | . \Jt\1. soulful and warm aren'twhatyou mightexpect from :rothing synths the trackwas championed by : clubsmasher..s ^A.iarky.3oi patch from a lvlalstrijm AnotherReese-esque synth is layered on top. including AndyC and cancef '.do''[?. i s earlytrack Together of vocals :. Here.Logistics hasjoinedhis brother as a Hospital a hugenumber of tracks for an st and produced and Bingo Beats.However. synth.nowI maKe rnusic togistfcs he iounger brotheroffellow Hospital anist \u-Tone. you could Withsuch slick production techniques be forgiven for assuming that Logistics runssome impossibly expensive.. H r..g E I .".Q$$. Thesampler's high-pass filterhas beenusedto get rid of the low end. and a lot more slightly by highJrequency content thoughthis is curtailed Whenthis patchis played with the a low-pass filter. whereyoursynthoptionsare limited. Subtractor F F A"l Its. and whilea littledift is good.. F lF\l !@* 't-o."'* . Scream and tweakedwiththe unit'sverybasicEQcontrols.p . and the soundis run through 4 unit.€.. .or l\4att ln this tutorial.Thissoundis quiteharshand features somefilterLFO modulation. as he'salso known. hisdebuton lohn B'sTangent labelin Since r. the classic wobblebass.r03. that you don'thaveto spend thousands on fancy equipment and software to get a trulyworld-class sound.:-e-:ll?l 9 o.s andwhileits smoky. Matt startsout with a basic Reese-style synthsweep.'br +""{ saH 1. r you'relimitedto a ceftain Withconventional synths numberof oscillators. Fs=e=o' ? i:o* . whichadds movements and rhythm. .9e l l r r l H . Though the various rhythms might not soundpafticularly usefulnow they'lladd moredetail to the soundonce it's been resamoled. to deal with distonedmid-range oncethe soundis resampled. r[t"iq. welly. 028| C0MPUTER MUSIC Auqust 2007 . bass.d l'f. The sourcesampleis a resampled processed with a phasereffect.creating octaves.1 r$lH. comes courtesyof Subtractor's oftenusesis to playthesub on a coupleol one trick lvlatt a fuller with the higherone turneddown. filtersand effects. s. Logistics Gresham. oor-orientated gives the sounda lot morecharacter.. E \ /4\q$lrn6 o? P It ii EU/er|"dEE-gE Thissynthis fed through 4's Tubealgorithm.S @E-Tl Ets m''""-'""" +tr e*gio =e} f#""' ow $$$#.E )d d I [.*. He even abels suchas Valve jungleclassic.R.-.H I l'3 I *l * lJ I lH tr IF s =' iil* +." *gs.)r. At this stageit's advisable to keepthe soundas clean as possible. Logistics has garnered a reputation for creating tracksthat fuse the best : :-rents of both musicaland bangingdrum 'n' is a good example :ass.. . Thisis especially usefulin Reason. a simple To givethe soundsome low-end else. for V Recordings. The nelit sound is taken from the l\4alstrijm created by Thisone has much quickermovement LFO volumemodulation. namebut to two. complicated setup.This sub-bass is placedundereveMhing sinewaveoscillator.showsus how to get soohisticated soundsfromthe most basicof equipment as we lookat the mysterious art of resampling and cook up that most recogisable of DnBsounds.The another Scream distortion helpsbringthe soundout in the mix.IT'S ABOUT FINDING WHAT WORKS FOR YOU AND MASTERING THAT PIETE OF KIT'' few selectbits of software running on a PCthat's seen betterdays. Proof. soundthan a sinslenotewould. remixed an all-time Leviticus' Buriol..16 :l stq -ffSl [ u " 1i : i l " W E l E " E . Thenextlayercomesfrom Reason's NN-19 sampler.".

lf d you'relayeringup copies or differentversionsof the sarne sample.'n' guide music now to drum bass theultimate lmake "*mE g p-.though if you save out ) E a copy of the projector patch you'll be able to return to it later shouldyou wish to changeit .Matt's using anothercopy of the sound run througha Scream4 unit with low-endcuL J Youcan automatethe distortionto get some dirty movementgoing on there too.>> I lt's importantto get the sound of the filters right t belore tne sound is exponed. >> the soundsare loaded up into Back in Reason.Here. I { .gg Anotherresampledsynth is added next this one processedwith NN-19's band-pass filter for a sllcK f t techy sound.This is then sent througha low-pass filter to take off the dirty high-endfiequencies. >> - Oncethe super-huge snth sound is's al exportedas a wavefile and loaded up in the audio X llJ editor Wavelab. The modulationenvelopeis used to controlthe oscillato/s pitch. al ltttl-tS samplersin a ftesh proiect. can also proveusefulwhen creatinga Layering wobble bass.droppingit down to crcate a fallingsound.Phasing end of one of the samplersusing a filter or EQ. and a little choruscan warm up the sound nicely.try de-tuningthe samplersto createa thicker can be avoidedby rollingoff the bottom sound.Herethe Nl*19's tl low-pass filter is used to further processthem.HaMng when we get two versionsallowsfor morc experimentation to the next stage. so that the sound cuts thrcughthe mix The final sound is yet another Reeseftom a Malsttim with automated filter Cutoff.A major part of makingthis kind of sounds is gettingthe filter fiequencyspot on.where it's normalised. One copy is while another is processed with waves savedout straight. MetaFlanger set to a slow rate beforebeing saved. Th" startingpoint of this sound is a squarewave in with an LFO controllingits volume I Subtractor modulation.this is important no matterwhat you'reresampling >> to remember.

with tunessuch as Frozen Solidand.r. which allowsfor more comolicated modulationthan a simple LFOor envelope. and his production stylehas spawned countless inferiorimitations. Nickhas also turnedout sometastyremixes. Druggyrockingdance floors aroundthe world.l To roughenup the sound a little.moduration Adjusting t thus havea subtrer grit' this time with a near 50/50 Drylwet level' > sound can be fine-tuneduslngthe wt-position knob.ili#.THE SIMPLE OPTION IS ALMOST ALWAYS THE BEST ONE'' fellowDnBproducers Baronand Fresh. DnB-style. been set to the scrap resurt and | e v e | . tame a sound .lvtassrve s second .the cutoff levelof a b which is modulatedvia an LFO to givethe sound some movement.Sub Focus. LowerAmp vatues n I low DryArvet settingand a reasonablv high Drive of lvlassive's Th" patch can be made nastierstill by adding Different flavourscan be had by adjustingthe f distortioneffects.Massive's Glide controlsare locatedin the Osc oanel. and the unison pitch Spread is turned uo to createa nice thick timbre. and a coupleof KoolKeith-related pieces: the massive Ultramagnetic Mcs-samplingSmockMy BitchUp by The Prodigy and Dr Octagon's sinister Aliens.. Voicing wherethe numberof Unisonvoicesis increased to 3.rt. I ll'l' 030| C0MPUTER MUSIC August 2007 . has becomeone of the most widely respectedproducersin the drum 'n basswodd. Here.'n' make music now guide todrum bass ltheultimate Sub Focus ver the past couple of years. > I { 1 0 5 C 3 i s q | l . The sound starts out as a simple saw wave in Native Instruments Massive. electric Sub Focus' music has gone from strengthto strength. is used with a relativelv F anotiier oscittator.. The first port of call is the panel.l 'l This rich synthtone is then passedthrough Massive's DoubleNotchfilter. \ .which is modulatedvia the that the patch'spitch slides smoothlyfrom one note to t the nod. The sound then passesthrough Massive's band-pass filter. or glide. Sincehis breaKhrough IrackX-Roy..turning up the band-pass fitter Bandwidth which pans throughScrapYard's wavesnapes. Thisgivesthe soundthat organic. > I ..i. T h e P S h a p e r i n s e r t e f f e c t i s a | s o u s e d t o a d d s o m e Y a r d w a V e t a b | e f r o ' i t n " o i g i t u t o s c i | l a t o r s e | e c t tf ion'T h i s ein f f ress e c t . A}(A Nick Douwma.i#'.>> This patch uses a litfle portamento. r.most recently.."d. > createsa much nastiertimbre. snaking qualitythat's often heard in drum 'n' bass.l l j r l s p e c r r u m . We trackedSub Focus downto his Holloway studio where he revealed the secretsof svnthesis.nts... As well as his own material. His debutalbumwill drop on Ramlaterthis year.s u t..r.c rube. with its infectiouslead synthand crunchy guitarrifis. including reworks for ^ Where the maglc happens in Holloway .

this sound beginswith a 3-voice detunedunison saw. with the Cutoff frequencymodulatedby one of the LFOs. E Itt a s. filter bus and distorting squarewavesthroughthe high-pass Y filter.try routing { more definedand addingsubtle harmonics. oetass-lilffiffirWlffi*ii. >> I rl Massive's voicingmodes can be used to subtlyalter the way tne sound plays.a l: . oFxl .and used in DnB. In this mode the modulationsourcesdon't reset unlessall notes have been released. so it's idealfor widdly lead parts.the Frequency Shifterinserteffect givesmovementto the sound. lej l*.Settingthe Pitch controlto 12 o'clockworks well for this.with a Drylwet balanceslightlyunder halfway. Likethe previouspatch..This adds them togetherwith the sine wave on a low-pass buzzto the top end of the sub for a Dillinjatype sound.and hereNickusesa singlesine oscillatorto providethe kind of solid pure-bass tone so often I has a useful modulationmatrix. >) tl By using more extremepitch modulation. or Reesesounds might requireEQing MUSIC August 2007C0MPUTER | 031 .Z3TA+ Nick uses it to varythe pitch of the oscillatorusing one of the Z3TA+'5 differentcurvesoffer differentlevels envelopegenerators.J**+ Sub-bass shouldbe mono.Forthis patch the Voicing mode is sel t b to Monostateand the Triggermode Legato Triller.'n' guide theultimate to drum bass music now lmake I ':. .Thisfast high-tolow pitch movementat the start of the note givesthe qualitythat helps sound a much more punchy. >> One of Massive's filters is set to high-pass.> I rl tffiSf axLj.which make the patch sound less plain.but there are a couple of tweaksthat can be used to make it more interestingHere. { 'l works well for makingthe sub The soft distortionin Z3TA+ Also.percussive Rangeand Curve controls emphasiseeach note'saftack Z3TA+'S can be used to finetune this.Niekadds lvlassive's built-indelayeffect.*t*.a notch filter can be used insteadof the high-pass. t In addition.This instantlycreatesa typical ravey lead sound.. a sound similarto a svnthesized kick drum can be created. of modulation deDth. Fora techier sound.Sffiid*:.Some lead or filteringat the low end.

TheSub Focus werealso really easyto workwith as I came up withvariousriffs patchesinto and partsquickly." Danny startsby putting an atmospheric stringchord from Logic'sES2synthoverthe beats.The end point of each note has to be accuratebecausethe patch is so rhythmic.which followsthe Reese paft.To buildthe vibe up. this by makinga completebassline "l'vegot to saythat usingelements fromfour producers in one tune does makeit slightly harder to makethe wholethinggel. Againthe ES2is calledin.and no high-pass filteringis required.Backthen. A simplecongapatternir I used. The riff needsto be kept tight.All the different drum editsandlhe sonic quality of the beatswereinstantinspiration for the FRIM PRODUIERS DOES MAKE IT HARDER'' patches track.but the Danis neverone to shy away from a challenge. F needed to supplythoseall imponantlow fl llJ frequencies.whichis processed with Stylus' internal valve amp sim and reverb. workthat I don'talways haveto use a million breaks all goingon at onceto makea nice different beat. As the unfilteredbeats come in.>> An explosionsound effectslatheredin delay is used to mark the start of the track .this time to providea sine-based sub patch.tearingReese. which takes ) Ir awaythe beerylow end but keepsthe rushyhighs. ) simple riff that Dannyimprovises < rl Tospiceup the beats. Danny bringsup Sub Focus' patchin Massive Reese and playsit untilhe comes J up with a suitableriff. A highstringis then overlaid.sounds like this are reallyusefulfor adding impact to the start of new J sections.havingbeen featured in Mostercloss. some percussion is added courtesy of Stylus RMX. >) t !J Withthe vibefirmlyestablished. it's on to the meat of F fl the track the bassline. > a sub-bass is As well as the big. but managed to put this in abouttwo to threehours.. Creating a created is an trackout of partsmade by otherproducers unusual task.becauseI already had a basspart. > I al At the stan of the track.but this time we'veenlisted new fromthe parts to createsomething :alents by our otherfour producers. overthe top.. Tofit the logistics this track at first provedprettydifficult. a cm vocalacappella is added. the Sub Focus This playsa reasonably raveysaw-leadriff is introduced. lJ cm111's Producer ' ELEMENTS F0UR his -'oer the Seo.pitched up to be in the same key as the rest of the track. lt was a tracktogether not having really refreshing experience to start from scratchand working withthe completely lt also highlighted in my own Chase & Statusbeats.but it all came together nicelyin the end.USING ff anny -: :roke his uptmins ol.but I managed to get around switch.'n' guroe music nowltheultrrrrate to drum bass make DannyByrd famiriar Byrd isaname tocomputer . "l usually spendquitea lot of time working on my own arrangements.the Chase& Statusbeat is t nign-pass filteredusing Logic'sFuzz-Wah. addingextra sheento the sound.This has also has been filteredand delayed.Thispatchhas plentyof movementthanks to some rhythmicLFO filter cutoff modulation. This makesfor a differentsound and helps fit the part in with the beat and feel of the track.>) 032| COMPUTER MUSIC August 2007 .This createsa I vibethat can be builton. complementing its low end nicely."r""r t rrlr down I I Music readers.

are used.:. All theseelements work together to buildthe track up to the all-imponant drop. | ) IIriff with the Sub FocusReese.the Reeseis replacedwith the saw Chase and the moreshuffly I I leadfor this section.. > wobblebass. the tune changesafter each 16-barsection. i .a risingsynthand a noise-based. Thisallowsfor the eners/ levelto be tamed slightlyso that it can be built up againfor the next section.This chaneesthe feel ot the trach and the mysterious of the intro is atmosphere broughtback slightlyas the vocal sample is reintroduced. Afterthe bie J build-up.gii I U . wind-style effect . a.Ht"i. Thebuild-up soundsare usedagainto raiseanticipation ahead of the next section.wherejust the sub-bassis used and the strings are reintroduced.. hammering them with an onslaughtof beats and bass. In a fulFlength trackthis could be the section beforea second breakdown. playinga call-and-answer Reason.and the first note of the saw-leadriff is repeated to add emphasis. )) '. J two sounds .l To that effect.. >) interesting.i5 build-upcourtesyof Chase& Statushelps create llr. To build up to the drop. JrrL & Statusbeatsare used. this will catchthe listener unawares. tension. * t As well as the risingsound effects. so to give it e]itraedge the Reeseplaysfor a couple [j of t:ars beforethe beat kicks back in. >> aFl Dannythinksthe drop doesn'thaveenoughimpact.'n' gurfre theultimatn tn drurn ba:.the drop should occur on a multipleof 32 bars.This track has a brief f intro and drops on bar 33.l .bouncedout of Nowthe Logistics t is broughtin.a kick drum 1 .. This is followedby a less freneticoutro. music now lmake i EE EE EEIi Eg i E ]EEi trEl E trtr EE tr .:i:" ill['"l i"'[# ?fl [: I lFl A little drum edit is used 16 bars after the drop .i In orderto make a track Djjriendly.Thesehave been bounced out of Reasonand pitched up to create a big wooshingeflect.

teasing the listener. lll Llf ---b'"''"" Second bassllne: The losistics hassline is USedto playa call-and-answer riffwith the giving Sub Focus Reese. back andjustthesub-bass is used.I'n'base kickdrum rolland repeated lead stab build up to the inevitable drop. up: A typicalbig drum flleullo U. a much different feel to the first groove. T llThe drcp: Beforethe beats ljrl rr_Nand basskick in together. the Sub FocusReeseplayson its own for a coupleof bars. Drumfill: Danny uses a chopped andrearranged version of theChase & Status beat as fillto keep a drum things rolling. eeat drcps: As the beats kick lill r-_f away. builo: Berore rne Elnnour"r llltrack switches up to the second bassline.!l Roll ouk As the trackwinds the synths arestripped *=!J down. cl*[ delayed expIosion sound effectand a snippet of vocal leave the listener in no doubtthat things are all wrappedup. Ioll l. the drumrollsand sound effects arereintrcduced to build tension make music now todrum bass ltheuLtimate THE ARRANGEITIENT f | | Atmospherics: The moody E r_J stringand pad arrangement setsthe tone for the wholetrack. with high-passed beatsand delayed vocalsaddingrhythm.the saw-leadriff is introduced and various soundeffects are usedto increase the tensionand senseof anticiDation. fillers mrh: Atrademark 034 | CoMPUTER MUSIC August 2007 .

'n' guide theultimate to drum bass music now lmake 't&- 2007 C0MPUTER r'rUSrC lOtS .

we showyou howit can be resurrected and put to musicaluse Unleash the furv with the TwistedMetalsamole collection.".!"'.iffil:rusterup 1.:::1ffflTi.r^-..ffi"..Dont ili$ Od GOm utena r^-..ragingdrumsanh buildozer featuringscreaming biss! t- we'r do weMhinsjn ooul3. ' uusrc z0oz coupuren I rz .?i""il.program v Prsdueen rn*st*rs[sss EL.ri?11j""!.iilf the . guitars.Master yourtracksin software. MAKE MUSTC NOW! WkU stG ffimmmKm ANil MilREI TLJTORTALS. whatyourbudget no matter ii''ab your'bottle bf lack andcqqnf.'. TODAY Got an old Macor PCgatheringdust?In the first of a two-part series.Wergveal howto..:i1:.Li..1" ' Sibelius 5 o energyXT2 * PowerFX Ann Sweet * TerraTec AX50USB n MAGIX Pro VariVerb n D16 Nepheton ' Frontier AlphaTrack Design Group Scratch " NlTraktor YESTERDAY'S TECHNOLOGY. GFAR v Hcwtn. tp your virtual 4xL2stackwiththe CM'Guidb to Metal.B legend TheUKurban chronicles hisworking methods on video wXmtsnwrew Venetian Snares We interrogate the tracker-wielding legend breakcore wRgviruu.'4!:" . guitar in our upyour " MlDl Guitor Lobseries all-new * Tune Melodyne upvocals using a.

mastered songand checkout tracksin the the individual Filesfolder Tutorial .FILES TUTORIAL Youcan hearourfinished.

. soNALr$s sv-315 f150 Pc/MAc wlll Thistop-notchBritish-made compressor get your drumsthumping basspumping and vocals. Forinterest. lmake Ef?' ::ltt+' --'. !J fne end of the chorus has anotherrhythmicchange.l SIMUTANALOG €FREEON THE CM DVD PC youve Guitar Suiteis hardto beat.:it + a + il + a. l MUSIC Ausust 2007COMPUTER | 039 . too. 8t Q'ti ^ . > 4 ^. beats. >> hi-hatsbut the snare becomes { the same eighth-note less frequent.The kick drum occurs only threetimes in eight bars.tons of cholce the blll. beatsand fills aplenty..Multisampled and greateaseof use makethis a winner.set off by snareson the beat and a simplefill at the end of a I 16-barloop.jumplng voxENGo HARQUTS OOMPRESSOR S9o PC won't let you Thisfeature-packed compressor either.I plug-inalways ffts Thisawesome-sounding drums. we throw in the odd snare roll and tom hit.-'l! rll '-"'tii t. a snareon i We *"..'aa+aOaa . low end.I DVD SAMPLES€FR. \j ti aai).unless got this special of course! cm editon.and a shallowsnarewith a snappytang. a a a I I BFDvia Rewirein Cubase4 We?eusingFXpansion's for our drums. You'll find samples on our DVD and there'softena drum kit or two lurking amongst them. '.coversall bases(and basses! and rocksas had as the real }IK II ALIEN OONNECTIONSREVALYER c149 PC/MAC Thisplug-lnis ladenwith amps and effects that can be tweakedto taste..We play a crash cymbalon the eighth and iust beforethe 16th bars of the loop. er. GUITARSUITE Cl. >> I The drum patternsimplifiesfor the verse.and varythe velocityslightlybetweeneach hit for the humantouch. > added in the bar that orecedes .' :4r ...l provides I I Ourtrack beginswith eighth-note hFhats.Selecta tight hFhatwith plentyof high{requency content. X]{L AUDIO ADDICTIVE DRUMS €150 PCIMAC loadsof production samples. and noisegate/expander a de-esser C269 PC/MAC It's easyto use. F We switch the kick drum patternto four-to-the-floor.occurringon the second and founh t. tools Quality plus grooves.EE every month.We use a a a .aa a a a a 'aa.We use the DW Hihat I and Ayotte Snare 1.__. PCIMAC CI.but we busy up the pan on the now thepolice sound Like. ) h alternatethe velocityof the hi-hatparts betweenhigh and low to accentthe hits on the beat.1.l a + a a. )> the percussive The Ayotte Kick. I The hi-hatsmaintaintheir eighth patternfor three J beats of everybar. down in the sounddepartment FISH FITLETS DIGITATFISHPHONES €FREEPCIMAC but Thissuitesportsnot onlya compressor.aa aaa aaa O't aaaa a aaaaaa a aaaaaaaa a aa ta The kick drum comes back for the chorus.y beat and a kick drum on everyoff-beat. placingemphasison the snare and hi-hats.A hi-hatflurryis the snarefill.

We set the Levelcontrol low the Distotion at three ouartersand the Tone at a little over half.50W Filterfor sonic motion' VintageCab. >) Speed Control to approximately -l Forthe second guitar part we call up another We set the Preamp and EQ { inttun"" of AmpliTube.the Amp Model to SingleEndedCl.We select I the Maxedvol Bssmn preset. > Thethird guitar is a doubletrackingof the second' F Usingthe AmericanTubeClean 1 Preamp and EQ h 616 Amp Model and 4x10open rJ Modets.clean soundthat breaksup nicelywhen we bash the strings. nowI sound music make ITIND }IEVER BOLtoc n$ nE Our track featuresthree guitar parts.A and the Speaker Model to 1x8 Combo smoothtone' > for a deliciously ^a We add a Phazerlo stomp box selectthe third tntensity settingand keep the Speed very slow' Zl.we add an Envelope Resonanceand Depth are set at'ten past" > Frequency. Ir menu.thepolice Like.We create an 2' The first part I audio track and call up AmpliTube rhythmguitar . rJ fvtodelto TubeVintageCombo.Switching /t we select Phazerl0 from the Modulation AmpliTube. > I We give movementto the sound by using a A to the Stomp screenin stompboxeffect.which givesa lush.We opt for the first Intensity model and set the one third. -I ttren we add an Overdrlvestomp to crunch up the tone.consistssolelyof chords.. 2007 August MUSIC 040 | C0MPUTER ..

MUSIC August 2007C0MPUTER | 041 . to applya gentle SV-315 mono compressor Sonalksis setting of -14.8dBat 1565H2and with a Q setting of the low end weiehtof the instrumentis obscuringthe sound of I tne kick drum in the mix We makea reasonably This createssufficient tight Q {3.6.The first is the lead and vocals.aidingseparation.nowfor our Sting-esque F Thereare two parts.Thebackupvocalcan soundthinner thanthe lead. The secondvocal is the now Like.this time to solve tne problemof the low mids gettingin the way of \ Again. Finally we makeanotherEQcut. we makea the low end of our snaresound..33sand the Mix Amountto 16%. we set the Levelto halflilay. > Ratioof 2. the Chorus amountto barelypast the 'off mark and leavethe Vibrato Rate and Depth controlsin their defaultoositions. We max out all of the EQcontrols and roll backthe Treblecontrol a touchto mellowthe tone slightly.This helps create space in the low > midsfor the kick drum and bass. into which lV we inserta RoomworksSE reverb. but we're removing more low-midthan with the lead vocal paft. we use a low Shelf Filterto f f removesome of the lowerfrequency components.which givesa roundedtone with good high-mid detail.. to both holdtheir sonicsoaceto enablethe two sounds groundand be heardclearly in the mix >) I !ll.> .I we add In the stompbox sectionof the plug-in just the chorus pedal. this time of -9.1d8. >> t to givethe vocal parts an etherealqualitywe lFl Finally. thepolice sound I make To emulateStingsbassguitartone we'reusinglK AmpegS\X We choosethe Rock I Multimedia's BA-500 ll preset. lf route both vocal tracks to a Grouptrack.providing the harmonies.3:1at a Threshold -l We also applyEQto the basspan. ll We use a Low is pitchedhighfor most of the song.Applying 1l an analogue b smallest amountof chorus. Again. This savesus havingto use two reverbplug-ins. u Shelf EQto roll off some of the low-endfrequency componentof the part.1)cut of -74d8 at 135H2.> '|l the bassguitar lt's usually essential to compress givesthe sound extra punch This in any track outt { in dynamicpower and levelsout the differences J We use a between the thinnerand thickerstrings. We set the ReverbTime to 1. J cut. > - That's the bassseento .

we use a bit f 16dBat 66Hz).As a final touch.The plug-i so our mix models high-endanaloguemasteringhardware.This is too prominentin the mix when left at the 1 volume settingthat befitsthe rest of the song. Inspired by a fusion formsof blackmusic.REGGAE in lamaicain the late originating with 60s. ska sound incorporates rh). in rudeboys. angstand polilicaloutcry punk was playedhardand fast.thm and blues. we boost from the high mids upwardsusing a high shelf EQat 3321H2. to be The hFhatsin PolicetracK are often engineered verytrebly.We begin by rollingoff a fair bit of the lower end Then of the frequencycontent usinga low shelf EQat 118H2. >) a !1. modsand skinheads in the 60s. thepolrce music nowlsound make lArE 50S .we add SE plug-in. low-endfrequencies /. for the channels We mix the insideand outsidemicrophone I kick drum to producea weightytone with a touch of beater SV-315 we applycompression usinga Sonalksis rL click Next. reggaeis synonymous With the Rastafarian movement. ! We EQthe snare usinga low shelffilter to roll off the Next. compressorset at a Ratio ol 2. SV-S1S so we go easywith a I dynamicsout of the performance Ratio of 3. as werethe accompanying of fashions and the subculture rebellion. helped to shape the soundof The Police. rootsin African and Caribbean music.ska had a big revival the early 80s. b an SV-315 comoressor{Ratioof 2.>) reverbusingthe RoomWorks tl 1974 .Like".1:1 and a Thresholdsettingof -10.>) We compressthe vocal parts using anotherSonalksis We don't want to squishall of the compressor.6d8. >) This givesthe soundthe extra punch that it requires. . Tracks were shon and lyricswere striking.PUNKROCK of Themusical embodiment attitude.5:1 and a Thresholdof -11. A simple guitar solo occurs under the latter part of each F chorus. including rccksteadv skaand dub.SKA The late 50s gavebirthto ska of music. the several jazz.0d8) to givethe sound more snap. >) T-RackS to masterthe track We We use lK Multimedia's to and a touchof limiting applygentlecompression enhancethe coherencyof the individualparts. along withska and reggae. the trademark of the genre guitarparts. Punkrock.We use t automationto duck the volume a few dB duringthese sections. IATE 605 . calypso and Popular with Caribbean mento.5:1and Thrcshold of -12.9d8.. benefitsfrom the inherentwarmth that imparts. is its syncopated Reggae oftenencompasses other iormsof lamaican music.

Drslr.i t h technolog ay v a i l a b ln eo wa s a p l u g .0n time. 0 r s i m p l etro a t t a i n N . W i n d o w sX P a n d Mac OS X. o wy o uj u s th a v e plugin. In tune. Thetooltor perfect audio tracks. l i t he x a c t i i u d te h ei n t o n a t i ot M e l o d y np el u g i ny recordings.o o .Perfect Vocals to wantit. Andyou have to fall fromthe sky.i nt.Youhave Perfection doesn't legendary Melodyne's we've takencareof. wasnever of yourvocal So perfection volume and sound t o w a n tr t . making knowhow.f o r y o u rs e q u e n c e .Melodyne It4elodynp eluBrn for VST.Theknow-how W r .bltedby { i (: entt ic€ .arbiter. ming. RTAS and A u di o Un i t s . o i rc a nc o n t r ow ni .

your loopsare dull.. and builda complete signalWe'llshowyou how to take standard processing We'llalso toolsand usethem creatively. there's imagination to experiment. Howon eafthdo you take such a relatively primitive new an interesting instrument and create soundwith it?All the easyoptionshavebeen flanger and delay covered manytimesover:chorus. Fortunately. Perhaps it's not your matewho'sassumed the guitarduties.IT BEDIFFICULT CAN THE TO HOW SEE BREAK GUITAR CAN NEW SONIC GROUND'' ground. No strings attached it with our walkthroughs. but just spentthreehoursauditioning you've boring guitarloops. tiredand you're seriously stafting to regret asking I I your mateoverto 'laysomeguitardown' He keepsplaying the same on yourlatestproject. to chop. with a little are old news.maybeit'syou who'splaying and you do soundsright. how to put every soundthe guitar demonstrate moreto a guitarthan makesto good use (there's just strings. Whatever it sucks.Or it mightbe that you don't play. frankly. you just can'tget nothing the guitarto makethe soundyou want.change. .^ ' ' ^Ij'5 Thi nk \ o / p 1 l n u u L u l v v d y 5 L UL l u d L U ^ I luvv )uul -l l \ " _// I I asweshow guitaf Prepare to besurpnsed wrthyour agatn. instrument you need ano[her whyyou ttnever . yourchosenguitarmethod. lt s gonemidnight. finished By the time you've you're as a feelinguninspired won't matterwhether'll be able riffs outtiredold dad-rock churning generally twistand reverse. It can be difficult for the computermusician to see howthe guitarcan be usedto breaknew sonic f 2007 MUSIC August 044 | C0MPUTER ^ '+^r' f ^ ^ r n r ] .or your mate keeps . infuriating bluesrock licksyou'resureyou've youruncleplayin his dodrypub band.or you to pull off the riffyou can hear in lackthe virtuosity your head. that mangleguitarpaftsuntilyou get something reallymakesyou wantto pushthe fader up.Hxtr you're ake 87. trackout of the results.a ^ ' n ' . and a willingness no end to whatyou can achieve armedwithjust yourcomputer and a guitar. you know)and we'll highlight some earpitchmanipulation thatwe'resureno one bending will haveshownyou before. heard lt's you happy not making and youjustwanthim to packup and go home. over the nextfew pageswe'llshowyou some to the soundof the freshwaysto makechanges guitar..

>> As you might expect we're not instantlypleasedwith I ll the sounds. best-sounding I like fiom each take.All that rcmainsis to balancethe parts and automatea fadejn for the intrc.To get the drum'. MUSIC 2007CoMPUTER August | 045 .lust work better. and bulld our grooveby placingeach hit wherewe want it in the bar.We then selectthe sampleswe !1. and an FXchannelfor the snare |ll PadyGuftarSouthem lJ we insertAmbiencereverb's o€set and a slow phasersweep. the fretboard. To isolatethe ftequencieswe we're goingto add some signal processing the two'bassdrum'parts We comprcss J at a Ratio of 8:1 and applya phaserto the bassierpart to make the sound throb.guitar now music extreme I make We want the intro to our Extrcme Guitor piece to stand out so insteadof a standarddrum and tail them.. We also recod the body of the guitar being hit with a fisl which givesus the bassftequencywe need. h fiom the guitar so that they snap back down onto This becomesthe basisfor our snaredrum. We want a higherelementto it too.sometimesthe low-techsolutions.we strum the stringsbehind the nut.. >> I ( ^a We listento each part. > 'snare and create Nextwe add a stereodelayto the F into which hi-hats. J a pair of socks! we rcpeat the processwlth the capo placed higher. /. makinga note of the hits. >> '|l Forour hi-hat sound.we rccordthe loweststringson the guitar choked out. though.we mute all other parts of the guitarthat might ring uslng.we 'bass * crcate our own kit usingthe guitar. > I I Nextwe place a capo on the eighthfrct of the guitar and pull the stringsaway lo lightlymute the strlngs.

ack4 lT'ack !r. Becauseof the natureof scales.. lf you're recording a solo.Next. we know. then use Melodyne's SaveAudio to MlDl function. >> al so we move . discover Fo'mit Finse As5pecifiedinlr.ack s Rete'ensTrdck LEtsd6uiar_27 -wl Channels: aAtt I'acks: ELEadGurd_27 ETra.- PlG6t Pluq-ins Hltpoint! Envelope Gain Merge Clipboard MIDI .we call up the excellentZebraclvlsynthfound on the cm coverdisc ) Ir and.remember guitarwill playthe that the reversed lastpartfirstand viceversa. after a little experimentation.We bouncethe track down to make the reverbpartoftheaudiofil) e> . start with freneticphrasesand gradually become we'regoingto converta lead guitar part to MlDl. This once-laborious task is nowjust a mouse clickaway.k 2 !Tr6ck3 While it's possibleto programa MlDl part that doublesas a euitar parL it's hard to get the exact phrasingthat a guitarist would have.5msand check the level Euitar. guitaris a Reversed or backwards goodway of throwing your listenera . AsBele'erceTrack {.sometimesMelodynereadspitches in f Y the wrongoctave. Gonearethe dayswhenthiswas a trickachieved byflipping overthe (remember cassette those?) in your four-track {remember that?).. extrastring noisesand convertsthem to lvllDl. >) I rl We import the MlDlfile into Cubase.but it soundsgreat.Somegreatexamples of this arethe solosections in Giye lt Awoyby the RedHot ChiliPeppers. Usedsparingly this is a powerful tool.experiment with all the effects(delay good)in is always yourplug-in folderand see if you can yourownnewsounds. there are lots of other parts thingsyou can do with reversed and effects. lf you wantyourreversed soloto climax properly. Themainthingis to let your imagination runwild.Over QuanUze Media Trilspot show Info Pilch shift Remove DC OfF ei Resample Noire Gate Tl"..1 .some A I notes sound wrongand need to be corrected. { -l It's a backwards world wetre While a litile you can just alter the notes until musictheory is an advantage. / b meter to make sure the reverbtail ends beforethe next chord starts. We Teverse the reversal' to turn the audio the right way roundand then re-atign the part with the original (wnicnwe also re-reverse).\Saveeadk :. section of our. so we removethose too. they sound correct.=-f ckasa figtefitc !T. Although ourwalldhrough uses reverse reverb.instead part curveball of a 'normal' theyget an awkward.We leavethe originatpart in to givea sharpedgetothestabs.a: :. the notes up a third.!t"T uY9idit soundinglike standardro9.honest!)>) -l I r llf[Ilcl c I rr alatal al-a-at-t aara la a ata - ^ The Chifis' cfassic Blood Sugdr Sex Msglk sports a tew backwardsguitar parts We sync the MlDlfile up to the originalaudio part and ooen the key editor. lvlelodyne also picks up ol.k fare' l9 we re golngto apply some reversereverb'We record guitarsand then reverse double-tracked them something that'schild'splayinanyDAW > I I r -l We use cubase'sRoomworksreverbon the reversed We set the Time to 1.We recorda lead part and import it into lvlelodyne.makemusic nowI eu:'?i:-e sui:Ai = ai. ear-grabbing sound. 046 | C0MPUTER MUSIC August 2007 . J The reverbnow leads into the chord stabs.ack6 5 [Trftk7 lT.tunestarts with some sharp tt1.lI We decide to make the MlDl part a harmony. lf you wantthe notesto stay in the same placebut playbackreversed. chopthe audiointoseparate notesand then reverse them. call up the we manuallyconect these notes. fat bass preset(yeah.

so we call up soundand lay 2. guitarpartsequally lt's not out acrossa semitone. as the partssoundcleaner mix with noise. guitar in ten cent increments{Guitar 2 10 cents. a grouptrack we could put them all through Alternatively. whichgivesa set of Guitar 3 20 centsand so on).orpr"r. dial in the ModernHi-Gain AmpliTube down the's not a good ideato pan thingstoo \ Youcould pan the at leastnot separately.glriar now extrnrrir lmakemusic q. MUSIC August 2007C0MPUTER | 047 . : :.but if you'relooking the mostear-pleasing this is it. dde We want to smooth out the roughedgesof our collectionof we tidy ad them up by removing the noise betweennotes. but it'sworththe Thissort ot thingcan feel laborious.strictly Because F out of tune. Because of the soundwe'regoingfor we don't to the part. ): *81 We then duplicate this part ninetimes!We use the . r& a smoothleadsoundfor this.we'regoingto texture. u to function them and then getting between balance an'internal' bouncethem down to a stereotrack This also keeps our CPUloaddown. boftom of RoomWorks' that Thisis an uglysetting J Distrrbances setting. /) We Pitchshift each This is wherethings get noisy. Forthe nextsectionof our eveMhingis add any littlebendsor vibrato keDtfairlvflat.r) I !l fdrudMo@ Ttu cd. .but the partsshouldstill be tightlybunched.:a::: I F ^ we call up u frx (k# .gf sametone and pay carefulattentionto the doubling are &* of the parts.edan I :. We want almostunlistenable { createa dense. nineof the ten partsare. >> To finish off our odd little cocKail.track. i. on eachguitartrackat a 3:1 ratio. J whole loice' to one speakeror anotherfor effect. widely. and won'tcloudthe final effort.::::: : : . ll tm speaking. with a singlecompressoron it.o. phrases a spikyreverb tail in the gapsbetween leaves >> we're looking for. spread for an sound. constanllY fi We spenda bit of time as one voice. what Just q This isn't the sort of part we'regoingto want to tl we reallywant the ten tracks readjust.>) and mean lotsof squeaks inevitably Lotsof guitars & r{. stringnoisecreeping into our takes. > uglytextureto drop in somewhere. we visit the very presetlist and find the Fx f. . makingsureall the note lengths identical.

We duplicatethe parts and ADTArtificial DoubleTrack) them by movingthe copies back 10ms. > t We unmute all the parts to hear what we'vecreated! The final resultis a lead paft with stereo repeats that are now harmonised(in three pafts.This is becauseMelodyne.This meansthat if we Y change the levelof the guitarchannel.or the track can be soloed and the originalguitar channelturned down (not muted).wavon the disc to hear our finishedsong incorporating all the techniouesand tricks we'vecoveredin this lesslto give a totallycrazysound. 04s I C0MPUTER MUSIC August 2007 . Eitherthe FXchannel I can be set as the output for the bounce. >> -l Now we send the guitarto the FXchanneland { selectthe Pre-fadeoption.We'vedecidedto givethe Hi-Gain settinga rest and are goingfor Brltish Tube Lead 1 instead.We call up a doesn'tmatter which way you do it. the same amount of signalwill still be sent to the FXchannel.this adds to the wild sound. we set the Mix to 100%Wet so we can only hear the affectednotes. Most importantly.Checkout ExtremeFinal. which we'll use next.Notice how the slides in the originalpart are also shifted.Youcould do this as an inseft effect.can only deal with singlenotes. but we oot for the latter.set the left channel to repeatat l/4-notes and the right channelto repeatat 1/2. >> ! I -l Nextwe createan FXchannel.but we'vegot somethingspecial in a b mind.guitar makemusic nowI extreme Onceagainwe call on the amazing AmpliTube 2 to deliverthe that left and right I -.luvel notesto an audio file. >) Nextwe need to bouncejust the sound of the a.>> t ft Whenwe import the bouncedstereofiles back in to F Cubasewe split the channels.When we shift the melody up a third (threeletter names)the notes stay in the conect key. )> T.Oncethis is done we selectthe Tone/Scaleoptlon in Melodyneand selectthe key of D minor.Thistime we shift t J the notes uo a fifth and an octave.We boost the Gain a little. arc on separatetracks. lIpu sE i' U" Egt We load up our Melodyneplug-infor the first pair F of 'delaVonly' parts and import the audio into the ll ty program. >) We also load up Melodynewith the second and third set of 'delayonly parts.

Xpress.]i o i{3 tit .. **..1i.-!'*:. Xpert and Xtreme PA/s UAD1 1e- Extreme PAKs Express.." '. Expert and 'grc 4 EXPFESS PCI>> .

. with the root of the currentchord or scaleis the obvious olaceto stan. In genres Thisis fine for a harmonically in the chord progression. you'relikely with static piece.and piece this month'sMlDlfile to hear how the metreof the with the drum looo.take a degreeof smoothness.Fig 2 not classical!) the bassline oming towardsthe end of our series on basic scales and chords. Basspartscan be as simpleas Almost everypiece of Westernmusic you'll have listenedto will have had a repeatedroot. Again.danceor classical.F and G.with a root-onlyrhythm or purelypercussive followedby a similarlinethat uses has a dual function.whether a bassline pattern.Listento beingboth rhythmic . root of each chord right on the fi6t subsequently beatof the change.we're going to complementour intrcductionto the bass clef by brieflyconsidering some of the basic considerations in crcating a bassline.Fig 1 showsthis process vocal or instrumental music basics mudc theory lmake Bass notation howVou canusea bassline asweexplain Discover the bass-lcs rhythm to your compositlons. mid file in the TutorialFiles folderfor a demonstration ^ Fig 1: Thls easy bass rhldrm uses the notes of a Cm7 chod Backto the roots ^ Fig 2: Thls rcck-stylerhythm lollm a simple prcgcssion. the beginning and will also mostlyfeaturethe root ol the prevailing chord. a few more mightbe unaccompanied expandedto incorporate Exceptions performances. addlng melody a basslinefor a simple illustrates progression we looked at last issue:a bar each of C. chord notes.but you might want to be'concerned (probably to movethe chordsaround. basscan be thoughtof as a simple kind of melodyand can soundmore from one root elegantif it progresses with a to anotheras a melodymight.emphasising the notes of a Cm7 chord. FILES TUTORIAT Loadup the EasyGulde115. in action.So. hitsthe herein a simplerockstyle.pop. listento the MlDlfile for a realisation cm of this passage. theseinteract beingthe lowestvoice harmonic. The fillingin with mainlychordnotes..usuallyfeaturinga rhythmthat complementsthe drum of some soft.but these can be easily it's rock. MUSIC August 2007C0MPUTER | 051 .The bass.if you'reever in any doubtas to how to beginto playing around find your bassnotes. andharmony to addessential and will often be createdintuitively will tend to guidethe ear by stressing ofthe bar or measure.G. The bassline .

com). as wellas World Breakbeat Awards2005. The lads are also very busy Aswellas making theirown outsideof the breaks scene. have showbizprojectthat high-profile ComputerMusicwas swornto secrecyover. from hasgarnered support the and winning the title of Best biggest DJs. TUTORIAL VIDEO Toviewthis issue's tutorial just stickthe cm DVD videos. theabomination thatis Zane Lowe.and are tracks. The Breakfast own independent took time out Club. Breakfastaz the award-winning reveal theirproduction vusrc I cotueurrn . free VLC available at www. shotto breaks superstardom Othercareerhighlights include withrcleases on suchimportant recording a trulyinsanemini-mix for labels undeground as Passenger. Deekline and Wizard. in yourdriveand eitherselect Videofrom the interface or locatethe Vldeo directory you'll The Freestylers and Aquasky. AnnieMac'sRadio1 show (youcan MobandfuainstTheGrain. including Plump Breakthrough scene's Act at the Breakspoll DJs. Their checkit out on their Myspacepageat formula crowd-pleasing dancefloor wwwmyspace.To hear about it.. recently launched their Having label. andvideo.thebreakfastaz. keep your eye on The Breakfastaz website (www..videolan.>cm lr rrronthr nnonf dance muSiC'S hottestproperties. a remixof BlackCanvas's cm non-breaks trackBobylon. Krafty Kuts andTayo. thetriohave been responsible currently working on a fofthcoming ver the past few years Me4 Gavand Froe.. The BreaKastaz to show us fromtheir busyschedule London around their olushsouth-west them studio.also known as The Breakfastaz. tricks andtechnicues in ourexclusive tutorial for remixing manyof their breaks including scenepeers.. in whichwe oersuaded work to show us roundtheircurrent in progress. Here find the Producer Masterclass video (Macusersmayneedthe player.

>> 'll adds some 'll EVB3.A clap sample is distortsand compresses placed overthe top of the snareand routedthroughthe same buss.and a big breakdownand build-uphelp the vocal frcm the original crcatethat. which has been run though Logic's pitch corectorto give lt a modem. but it giveswarmth to the trumpet part.Synthsmimickingthe chords of The first is Cakewalks the trumoet are also's pitchbentdown.producer now music masterclass lmake The track starts off with kick and snare drum I samples.To that end. buildingup a soundscapebefore gettingto the meat of the tune. In the breakdown.electrcnlcfeel. as it's been placed after the delayeffect bringsthe sound togetherso that the delaysare less obvious.This givessome inspiration as to how the rest of the track should sound. with a lot of impact on Dynamictrack progression ttre orop is an importantpart of The Breakfastaz' I sound. r. >> a F The swidingtechy pad at the start is actuallya fl staccatosingle-note synth riff that's been run This low-pass througha's quite 'messy. Logic'sHammond83 emulation. Raptureplalng a bitcrushedsquarewave.then an auto-filter.tulFbodiedo€an vibes to the mix This is also J run throughGuitarRig and the EQsettingstake a little of the top end off. varioussound effectsare used duringthe intro. runningthroughLogic's Ii 19 helpsto use good samplesfrom the off.Theseare routedthrougha buss and which Sonic Destructor. MUSIC 2007C0MPUTER August | 053 . >> I The single-hitdrums are joined by some breaks.and the cutoff point is modulated to gve it a pleasingmovementand dynamictimbre.routedthroughChannelEQand ) h TapeDelayeffects. and a sidechain is used on some ofthe breakchannels. filtersthe sound and pans it aroundand. >> al Thefirst elementfrom the originalBlack Canvas track to be used is a trumpet lick sliced up and playedback throughNativeInstruments GuitarRig presetsis a good way to quicklycome up with Tweaking sound. ll I introduction. > Anothersynthsample with unsubtlepitchbending F TapeDelay is added nelt. >> I I The tull verslonof the trumpet from the original track is used here. track is broughtin. bythe kick and snare buss is used compressortriggered to duck the volume of the breakswhen each hit plays. 1l whicn are sentto anotherbuss so thattheir level b Sonic Destructor can be changedindependently. The severepitchbendmakesthe synth A delayedsplashybrasshit sound like it's been scratched.A GuitarRigwash effect is also used to filter the sound. punctuatesthe start of the section.and herethe Dlrty Slap Bass preset an interesting has been used to add some grit to the horn riff.and the second time it plays. >> Thoughmany producersbegintheir tracks with The BreaKastaz start with the tn core elemehts. ( tasty. clippedwith rc Electronic's the beats.

including to the casual Thesemay not be noticeable * sounds.and the Sonic Destructor rJ called uo to reducethe bit rate. This is sidechained from Spectrasonics so that it ducks out when the kick plays.The the other vocal is playedon two channels:one straight. sine wave patch bass comes courtesyof an ARP2600 to the kick Trilog]/.The vocal runs througha shon tape playedoverthe from the breakdown. rJ snare has been replacedwith a big.The sound is reminiscent and vari6useffectsin the track havealso been createdby distortingsine tones.and the Sonic can be playedefiectively once again. heavilydelayed. and these enhancethe fluidityof the drum fill. reverby and glitchybits have been createdby quicklyreplaying beats are samplestaken from the bouncedbeat. EQto give it a lo-fi quality.)> is applied Destructor of the main A drumfill is createdusingelements < beat that havebeen bounceddown to audio. Halfway EXS24 I in. I { More sound effectsare added when the beats and synthblipsand camera-esque I bassdrop. ) Ir to make it sit with the up-tempodance beats.and bouncingthe it to resultdown to anotheraudio track beforereversing createa suckingeffect.masterclass nowlprndricer music make E T E ""ec^@"O-*.> i Anotherbass riff comes from a sample nabbedfrom synth bass played lquas!.to three-second I with the dry levelturneddown. L backthrough turned down. low end of a sound'which is important J off the really becauseit stops any roguebottom frequenciesinterfering with the drum parts.A snippet of the vocal listener.but with the additionot a small ) The sub L open hi-hatsample and a shufflegroove.Q a basslinecomes throughthe breakdown.which keepsthe feel consistent.Thistechniqueis also used on the brassstab and some of the effectsin the intro.The clap. will use an EQplug-into roll the BreaKastaz Often. >> rl Whenthe beat drops it's prettymuch the same as i duringthe intro. This is a round-sounding ) and decay with the sustain the Exs24. Reversed used.Thisis simplya sinewavein Logic's * samoler with distortionfrom Sonic Destructot's of classicdub.and finally. top of the drop. > To beef up the bass. -l A reversereverbetfect is made by feedingthe start reverb I of the vocal though a two.the low-end EQplug-in. is rolledoff with a SonalksisSV-517 2007 August MUSIC 054| CoMPUTER . bitcrusheieffect. >> with a "telephone-style' q is used to take some of the Logic'sDe-esser ( sibilanceout of the vocals. > || The next part from the originaltrackto be used is ^ is used and a fair amountof chopping a rapvocal. but they add to the feel.The releaseis turned up so that the sound with short notes.too.a simple saw patch is used.

Thissoundsits under and helps signiry the kick beforethe second breakdown. Whenthe tune dropsagain.and the glitchydrum beat returnsto providesome rhythm. > put any TheBreaKastaz Whenbuilding the chorus. which usesthe same riff as the chorus.played at halfspeed.Thesesound prettygood when played t so this becomesanotherpart of the track.ratherthan a typicalBreaKastaz J just rollingout with a Dljriendly outro.the chorus remixwill most likelyend on another unfinished minutesin total.producer music now masterclass lmake The chorus is the part of the track with the most that will fit soundsplaying at once. back together. >) for inclusion on an As this trackis a remixintended album.This was createdby runninga sine wave with througha Logicclip distortionand a Sonic Destructor. an electro-style sub i Oass appearsbriefly. breakdown. to the kick for that the whole lot sidechained TBKl filter is used to tame feel. unusedsectionsafter it. lead from the EXS24is used to providesome extra I energr. but the releaseon the some distortion. >> i I the MoreRapture synthsoundscomplement i bassline. in case they want to use them later.and anything I from the intro or breakdowngoes inl A new lead is added . >) I I At the end of the chorus. Forinstance.the structureof it is a little differentto that of track.a Trilo$/saw with a touch of releaserun through This isn't reverbed. patch givesit a reverb-y feel. the riffreturns to normal speed. { a pitch-modulated Beforethe second breakdown. the end of that sectionof the track.A Sonalksis extra-pumping the sound slightlyat the end of the effect chain.givinga sense of pace. The high string part comes from an Apple Loop.fheseare pitched down at the end of /.as you'd expect. four-and-a-half and will lastfor around { 'l MUSIC 2007COMPUTER August | 055 . This is a simple sine wave in 1l L EXS24 that's pitched down by tyingthe sampler's modulation envelope to the pitch. trippier L this sectionin anticipation of the second.

but back It seemsimpossible then the pianowas viewedwith the samesort of and.FromBeethoven pianobecame. cm precision Portable lf you're one of thoseluckypeoplewho have piano..the position to the wouldhavebeenallocated conveniences ivories. guide yourcomplete to sampling Noneedto throwan Elton riseand fall. your harddrive. though. becamethe oremier infiltrated Fewmusicalsoundshaveso thoroughly crossing from one genre the publicconsciousness. is not and evenwith that done precision alwaysexamplary. personalities. for a longtime. usingthe methods to samplethis loftyinstrument by the pros. samplers scepticism faced when they were evensoftwareinstruments Luddites was the of of choicefor generations instrument Today it remains a vitalelementof musicians. August 2007 MUSIC 056 | C0MPUTER ''::i "t how? knew butnever your intoa piano computer Aiways liked theideaof turning well as the and patches editedsamples HALlon and for Steinbery:s our own DS-404samplers Plano" -. then you knowthat accessto an acoustic the instrument can be extraordinarily tuning. and its reign longsincegonethe way of the victrola.omnipresent. costlyto maintain. instrument of the modernera.Or.yes. composers not to mentionnew tonal range. Untilthe invention in the early18th With its introduction was unrivalled. to buy and mind the fact that theywereexpeirsive the familypianohas Thesedays. that synthesizers. because it could knownas the pianoforte originally softlyand loudly. be played to imagine today. for thoseof us There's an obvious solution . you see?Chances arethat the W is the centrepiece you the magazine of yourspace. the to the next.the pianohas beenand remains character and's the ivories. sampled too happyto sellyou their meticulously arefine. instrument Maybeit's about time you took mattersinto yourown hands. to The Beatles. personal computeris the focal point?Not so very givenoverto thesemodern longago. I nce upon a time.and Timeschangeand economies the pianofell victimto the needsof eventually Thethings artists. hassle. recreations. Pianos needregular temperamental. of unmatched an instrument its versatility of the synthesizer. and staruing touringperformers Never werejust too damnedbig to haul around.btl Suchsolutions for big bucks. unprecedented of expression.. the piano was king From the livingroomto the concerthall. sensitivity. weregivenan and pedormers century. the piano Liszt{oathing introduced. Additionally. we'llshowyou how In this tutorial. sample-based who wantthe soundof the pianowithoutthe about of course.TUTORIAL FILES weve got the raw recordings of our piano.. will be only and sampleproviders sampledpianos. guitars. Morethan that. employed Whatdo Takea lookaroundyour livingroom.considering perhaps the ubiquitous nowholdin yourhands.and thanksto the powerof your you can captureits verysoul on software sampler. We'respeaking. Baldwins you will of coursebe usingthe exactsamesound Pianos. thanksto the adventof velocity levels The pianowas Thatlast bit is important. modernmusic. haveindividual you'llhaveno controloverthe way in whichthe was recorded. with come re-loaded ManyROMplers samplers. in favourof overthe concertstagehas diminished portable. like as otherusersof the same product. Thefamilypianowas a sourceof and oftena child'sveryfirstexposure entertainment to the worldof makingmusic.

The latteris bestif you haveonlylimited as you'llwantthe most accessto the instrument. Keepin mind that you can always rent decent stufffor a few hours if need be. >> availableaccessories Youcan also use commercially like the one shown here to help preventleakage from the outsideworld. You could booksometime at a localstudiothat has . we're not suggesting greento buy an actual'd be surprisedat how many novicerecordists think there'sa 'rightway to mic somethingup. that is. your mics. Manyengineers soundyou're prefer modelswhen recording smalFdiaphragm pianos. on to the walKhroughs. but that'sup to you.Let'sdo it.Youprobably alreadyhave accessto one anyway. be as uniqueas if you'dtrackedyourown. All you needis a mic.The choiceof what sortto use will deoendon the tryingto achieve. Fit for kit gainedaccessto yoursubject.You'llhave * to use your ears to find the sweet spots .others prefer small can alwaystweak it to taste later.> ! I tl Unlessyou'rein a pro studio. You'll obviously needsomething to recordit onto.but you'll instrument when wind up with a greatsounding you're finished nonetheless. recorda few test tracks to see if you like what you hear. piano sounds difierent so findingthe best mic Every positionis often a case of trial and error.Editors such as theseare especially with such sample-specific tasksas when dealing pitchdatafor use in yoursampler. rehearsal studioor schoolthat offerspianolessons. We'regoingto take you through everystepof the recording and editing processes. representation accurate. recorder. uncoloured You ^The type of micrcphoneyou use to capture your sample ls up to you . MUsIc| 057 2007C0MPUTER August .chancesare you're goingto haveto take precautionsagainstoutside // L noise. the end resultbeinga pianosampler patchto be proudof.which is always of course.Eventhe quietestcomputermight make a din that'll drownout the subtletiesof your piano. yourown instruments can be bothfun Sampling and there are few betterwaysto and rewarding. The moreyou haveto workwith. At the veryleastyoursounds will havea distinctcharacter that belongs onlyto you..try movingthe mics around. a portableDAT recorderor any other devicethat will get yoursounddown with a minimumof fuss. lf you don'thaveimmediate you can workwiththe pre-recorded audiofiles The resultswon't we'vesuppliedon the cover DVD. thoughfor you'llbe bestserved intensive by a sample-editing ^ Recordlngon a budget?Look no turther than Audacity professional editorsuch as Wavelabor Sound useful Fo€e.power piano music now lmake theof Joanna Capturing you pony up the o. thoughyou shouldn't hesitate to record with budgetequipment if that'sall you have.whilea mediocre compromise the signalof eventhe mostsuperior'll likelybe well maintained. on yourtracksthan to stampyour own identity buildyourveryown piano.Unlessyou want to recordsome of the room acoustics..we're usingtwo mics to capturethe widest range possible.. Perhaps there's an old upright at your localpub. throw a blanketoverthe piano to isolatethe mics. accessto a piano. possible. a MiniDisc and that could be your computer.Audacity is audiorecording and editing software excellent if you're on a tight budget. Notethat these tools will Onceyou'veset up only work with's betterto have too muchto workwith than too little. embedding will dependon your Howmuch datayou record needs.Youprobably realistic don'tneedto sampleeverysinglenote at multiple velocities. Microphones aren'tmuch goodwithout preamps. Thisis the wayto go if you wantto highfrequencies so that your pianocan emphasise be heardthrougha clutteredmix Otherspreferthe full. You'll also needa microohone or two.lf not. one in-house you could beg a couplehoursfrom a Alternatively. A good preampcan bringout the best in preamp will a mediocre mic.Obviously you'llneedsome . The dirty work Right. old dear.the more yourfinal product will be. Here.some engineerslike large diaphragms. Onceyou've recording it requires very little in the way of gear.yourcomputer and a few hoursalonewith the Theoiano.clearsoundof a good large-diaphragm condenser..or a spinetin yourgran'sbasement. to be encouraged.

Nevertheless samples the individual normalising Normalprocess. you'resampling each and everynote. of the pedals. capture a specific the the othertowards the low rangeol strings. description allowyou to switch botherwith this if yoursamplerdoesn't pedaldata. foundthe best microphone Onceyou've Openyouraudio it'stime to get downto business. lf you followour lead. towards upperrange. We trackeveryC and F:. of choiceand createan audiotrackfor recorder in whichwe've We'reusingCubase. let'sintroduce the same noteswhile newtrack or tracksand record holcling downthe damperpedal(fora complete Youmay not wantto see p59). i. lotsof controL. we want individual Youdon'twantany peaks. usingCubase's we'veelected finished. Whenyou feel comfortable try again.r@ llN FFi-lElr:-. as we have.saveyoLrr work and createanother the same notesat low trackor tracksto captLrre Y o um a yh a v e t o a d j u s t h e g a i no n t h e p r e a m p veloc ties. control. beforelifting .-' positions. one oLtd anclone soft set shouldbe fine. to trackin we neverintended As we said before. Whenyou've you mightwantto normalise the of the variations. lateron. to do so.. is the onl) The player stereoso don'tpan the tracks. Setyour levels your Adlust but neither do you wantweak signals. for funhereditingin a dedicated our recordings but we needto decidewhichof our mics audioeditor. be Thisisn'tcrucialas you'llprobably recordings. MUSIC Auqust 2007 058| CoMPUTER . a Create some pedalaction. loud and makingsurethat each notedies out naturally yourfinger.1.Soloeach in turn and compare for a fuller together We decideto mix both signals to positioned each microphone We originally sound. carefully. Whenyou're it's microphones. or if we'llcombine them side by side. Onemic was aimed note range. both. N4lDl when it receives samoles with all trackedall the notesyou need. (Frontier to engage our Tranzpott) Design's awesome the'll soundunnatural Geta balancebetween when mappedto yoursampler. Coto' Toor Irporr tdr O[1F Zoonl .l ptry t:'.--l 5.attendto your pre and Do you havea goodsignal? try a with yourlevels. unless person who hearsa pianoin stereo. saveyourwork. Rtvc're R!trro\e Dt Ofi:et I ---'_T-_-1 ' I tntoo I of everynote havea good recording WhenycLr p ayedloud. them for the bestof we'llbe using. the Drocess Reoeat drive. whack. lf you've used multiple We'regoingto expon now time to makea decision. preamplevels and givemiddleC a mighty lt not. eachmic youre using. Finally.rnless yoLt're with a goodplayer to get a good recordlng. a good recording coupleof otherkeysto ensure and take yourplace Arm yourtracksfor recording We'reusinga remotedevice behindthe piano. rnlr opc Rtilt ml nre froces!if f.since Were not recording microphones. Besides. eachto one of the two monotracksand assigned created on a stereotrack.J i Adviiced NIIDI fod Oter Q!rnlr2e Mcr!e Lr !bonrd Nor5e Cnte Phr\.be sureto checkthe not cancelling phaseof the signals to be surethat they're eachotherout. yourtvvomics and export the entiretrackto your hard for the othertracks.Startfrom withoutleaving recording software playing the bottomand workyourway up the keyboard.

undampednotes.:. -F Hgh lr ll la r+ fc{-__[ oa. this piano. Repeatthis processfor all the notes you'verecorded.too.@tr*tm*b 6 a rcy MusGl notahon M t D tn o t e n u d e l rang€ . d attack. whichhas intoyoureditorof choice. 1makemusicnow EmEroEl r'.'t:.. lmportthe file We'reusingWavelab.. you can find ours on yourcoverdisc.and deletethe stuff . .Wffiffiffi .In Wavelab. lf you weren'table to track your own piano.unlessof you planto loop it for the sakeof conserving course 'remory. Be carefulnot to cut into the decayof the note. specific to sampling >) cenainniceties 'tY* Start by selectingthe first note in the recording. bit out. and cliDthe extraneous . .which we savedas PianoHard. MUSIC August 2007CoMPUTER | 059 .i t.There'squite a bit of dead air after the : notefadesaway..zoomback out and take a look at the end of 41{. Before Sxt Normalise ffi want to check its tuning and adjustfor any iL* discrepancies. Copythat noteinto its #. We wantto cut that out. . pianosare Even well-maintained tunedas our modernelectronic seldomas precisely it instruments..i!. you might yoursample.or our final patch won't feel right Useyour judgement when we play it from a lvllDlkeyboard.>) editorsuch as Wavelabor 3r lf you'reusinga high-end *r? SoundForge. somewill be dead air and somewill be the hammermechanism. Selectall of the blank space beforethe piano's you don't want to hear..rp I -ll Now. the attack for too long. )) i.rtr Whileits niceto havethe addedrealism of the we don'twantto delay hammermechanism in our sample.\ Let'sget down to the businessof editingand ! preparingour samples.. you can saveyourselfa little work by q# embedding file.EnterC0 as the Key.* f6--ll Ddectrrmaudioseleaion I Lo-Fu -ll t7-oK-l x c-*r le H..--:-1.l:i qdnelHa'oHad-Lu x ad...ffiF Hrgh lL z l: P€rs6 n6mo inro k6y F* f'..wav..:.:.We'll stan with the recording clx of the loud.. in the samplerlater. you saveit.-j. our sample... Youcan plainly see that there's a lot of signalbefore the sound reallykicks in.We'vedecidedto keep our sample'stail intact for :he sakeof realism.. Youcan correctit in youreditoror fine-tune Nameyoursampleand saveit.:.e own windowand zoomin on the beginning. .r:rI I L"*loe Veloci9 ra@e . information in the Samplingmenu underthe name SamplingAttributes. some of that will be the movementsof the player. the note'srootpitch into the sample Manysamplers recognise this information and will assign you can find this the sampleto the properkey. istne lowestC on our S.

the keysand Whensampling and Pedal in velocity variations amass positions. assigns automatically HALion I data into the samples. the sampler's is no meanfeat. on the lvlegaTrig this is handled allows for it. of whichis samPle common the entirelength of recording Instead decay. of a notealongwith its natural portion of the soundis the sustained with andthe decayrecreated looped enveloPe.we need to adjust the amplitudeenvelope that momentarily.Onlyuse these d acrosstheir respective for MlDl-controlled if yoursamplerallows samples suppoftsthis.We needn'ttell you that the stuffyou have learnedhere can also be appliedto other instrumentsas well! . the in capturing involved the labour of an andvariations character as the as comPlicated instrument piano. * beingtriggeredalongwith eveMhingelse. memory-saving looPing. ) filterto smooththingsout a bit.)) sensitivity -cmzjIIEto r-Es FtF-:lEil comrsun:l:II FG--_Exr Ero .some of them will naturall! n Youcan use your sounda bit differentfrom one another. tr$ S r"iffi rl OK.'g ffilf. . t the damperpedal.we'vedraggedthe PianoHardsamplesinto the pitch embedded Sincewe previously I Hnrion. possible to intelligent thanks the most measures..r@l33 *'ffi= 'l-Es Fr-_Eil 1 . you couldconceivably Notonlyis such of samples.Set the velocity ) L rangesso that the Pianosoft samplesare triggered are whilethe Pianoloudsamples onlyat low velocities. tedious a vastcollection chewsup a lot of diskspace. to the filter for a bit of added expression. lf you like'you fr samoler's can evenemploythe filter envelopeto add a little punch to the you could add a little velocity attack of the sound. in many Yetthe pianopatches occupyno more ROMplers software Thisis than a few megabytes. Looper Seamless fl.>) we madewith if you wantto usethe samples Finally.At this point you should havea pretty convincingpatch to call your own. ZI-T 2007 August MUSIC 050 | C0MPUTER . > donethat.)lariii haveour samplesloadedup and mappedacross is samples At the momentour set of sustained I the kevs. hundreds it to manage.imponthem and map them note ranges.but we'll attend to First.. 22 time untilit soundslikethe realthingwhenyou release Sincewe sampledso many keys.Now we just haveto set their .Furthermore. so we've switchingbetweensamples.but Zercxs SeamlessLoopercan help if yoursampler Nowit'stime to set up our pedalcontrol.bringin all of yourPianoSoft t rangesto match the louder samples. Adjust{lwer makemusicnow li. them to the right keys. page.HALion broughtsaid samplesinto it. a piano Looping to takethis Path.r*.checkthem against and ditchthe one another ranges onesthat don'twork > I their files. and if you choose you maywantto lookintodedicated suchas Antares' software looping (MacOS9onlyl) or ZeroX's lnfinity (Windows). 3 " -E - ^ Savingdrive space by looping the sustained sections of your piano samples isn't easy. t Conservation Act probably you're appreciating By now.'*".".Extendthe release a note. In HALion. in our samolerto enable more realisticplay.lvlegaTriggering allows us to set up conditionsfor the and samples We can selectour sustained of samples. triggering to only triggerthem if a use the Play lf command to tell HALion note is triggeredand the pedal is on.we needto set up our Pianoloudand Having Pianosoft samplesto only be triggeredif a note is played and the Dedalis off. triggeredat highervelocities.*i*** 0CF .

synthesists andsound might be mostclosely designers as an involved withwaveshaping we're filtering Whether untoitselL wave in a analogue square o0zI coveurrR MUsIc August 2007 .nowlsound synthesis make music Throw sorne shapes here Interested in making waves withyour music? rs.andhe's Scot youhowit'sdone withwaveshaping once again to show At the basic I I t aveshaping level. engineers andproducers However. micto slathering is whatsynthesists. muchof synthesis i llll UU anoutwaveshaping as is processing From choosing effects on distortion. waveshaping do.

Frequencies that arcn't integermultiplesof the fundamentalare 'inharmonic'. Essentially.The PPG2. The listenerusuallydoesn't interprctthese frequencies as separate notes. RoMplersare a simpleform of wavetable synthesizer. something like it to generate the sounds in their popular CZ series in the 80s and it's also the method used by many distortion processors. > PHASI DISTIiRTi. not the thingsthat blues musicians blow through. Youcan cludge togethera facsimileof a classlctube amp with a 'em waveshaper and an EQ. Modern musiciansmay recognise this form of synthesis from JeffMcClintock's SynthEdit oscillators. A different sort of waveshaping. Somewavetableinstruments enablethe user to scan throughthe memoryusinga modulationsource. Suchinstruments allowdirectaccessto the harmonics producedby the oscillators. say. we'reshaping waves in a verydirectway. Strap acpss. Yetthe term 'waveshaping' is used to describespecificprocesses.sliri i'ilISIS Phasedistonion synthesis was brought to market by Casioin 1984. son of thlng with a waveshaping .Sufficeto say.All soundsconsist of a fundamentalfrequencyplus frequencies that are multiolesof that fundamentalharmonics. ilEXT HONTH: Fixed filter banks August 2007C0MPUTER MUSIC | 063 . Let'stake a look at makinguse of both methods withfree plug-ins. That's prettyheadystuff. the idea is that new waveformscan be producedby manipulating the angleof phasewhile playingback a simple sine wave. The most commonly heardis one in whichan inputsignalis shapedwith a nonJinear distortion function. > WAVETABLI Not to be confusedwith waveshapers. which makesit goodfodderfor filtering.SOUND DESIGNERS MIGHT BE MOST CLOSELY INVOLVED WITH WAVESHAPING ASANART'' PROTIP CRUDETUBES Manytube slmulaton'pluglns a€ just a mix of waveshaping and €qualisation.the resultof this orocessis often a waveformwith lots of harmonicand inharmonic content. Casioused enables users to draw waveforms usingthe mouse. subtractive synthesizer or usingone sinewaveto modulate another in an FMinstrument.sound synthesis music now lmake ]ARGON BUSTER TUTORIAL FILES patchesto Scot'sFXP accompany the walKhrough are in the TutorialFilesfolder > IARMONICS No. cm PROTIP BEEF BE{IsI UPTHOSE Ever feel that your meticulously sampleddrur6 are lacklngthat specialsomething? In the early da!€ of dlgitaldrum machlneslt was common to run a beatboxthrough a dislortion pedal fur some mild saturation.-]trl. Youcan achieve the same's closely relatedto FM synthesis and makes use of waveshaping techniques.. one found in ceftain synthesizers.but as part of the overalltimbre. a wavetablesynthesizer is one that draws upon a selectionof digitallystored samplesto power its oscillators.Vand ConcreteFx's Kubik are two such synthesizers that havethis ability.a vocaltrack and dial in your own Mntage warmth.

andcrcate someof thetechnical thmugh take:yoq melodic to createan original piece. Gristleto eveMhingfrom Throbbing Theterm melodic electronica howeverclear-cut.its often best to leave you might not have used can helpto try doingthingsa a different so we'regoingto take a leaf out of their book and soundsources choosing too.routingand synthsin light. perhaps way different createour own melodic masterpiece.and giveyou some suggestions for soundsyou might use.. When you?ehappywith what you'vedone. and you few the next over your goal. just a puremusicalinstrument shouldappropriate them for yourown nefarious pianois evenbetter: purposes. them achieved you'll get A from distracted earlyon.::' go intoyourDAW somesounds. doesn'thurtwhen A bit of bonowing that will enableyou to come up with sometunes. it's time Asa genre it'stoo big encompassitlg{ thestage. can from the sounds too at all.ll you havea the technolory (Computer play MusicMix). to use the labelfor indiebandswho . to the world's tune who are contributing artists quotient.I WonderWhot l'll Do Todoy behindfor a while. lf you get caught up with knob-tvviddling pages. the tlveaking During electronic artistsall sharea love both of innovative techniques and oftunes that will stayin your head. Flr that's more it'll help to stop flrrlfi fanstuming up to breakcore laptopggs and then beingdisappointed becausethere'sno bass. Name that tune proponents of this genre the ultimate We suppose are Plaid.with albums like RestProofClockwork but there are plentyof other and DoubleFlgure.Be pioneering withyoursoundselection you'll haveto be if you want to keep up with the ftr mastersof the genre. don'tchangeit on the most basicsoundyou have: you out how we find it. you're . mournfulpiano-and-synths These of Canada. cm tryingto get a tune across.electrontca nowlmelodic music make TUTORIAL FILES The audio files referredto in the walKhroughsare in the Tutorial Files folder along with our finishedtrack -TFmfi*fr your tunes to sptn forways Orareyoustuck lackin melody? ditties Doyour digitat guide hasgotthetotcovered.poor's importantto use your that the ethoshereis crucial: emohasise powersonlyonceyour melodies are in production place. French coffee-table to texturesof Arovane. keyboard suitable lf you likeany of DVD so you can hearthe results. key:try to look at your effects. Our in-depth masterpieces? rntoelectronica Most is useless. When creatinga melody. thinkit's clever might havea synth playerloiteringat the back oi. warblings of Boards the elusive 2007 MUSIC August 066 | C0MPUTER . he wordelectronica to thinkit means Americans stillseem and some musicjoumalistseven includedin full on the your and sit there in house. Ourtune . is experimentation stage..but don't get too bogged down with such things.. from could extend Melodicelectronica noodlersAir to the plaintive.

regular rhythmis one wayto ensure catchiness. a melody rather than shockyouraudience as youwouldwiththe moreviolent formsof electronica! I l.Thisis a basically dueto the factthatthere's leadmelody in there.rir.As Live'sinteface d allows us to changetwo parameters at once.we'veopted for Pitch and Frequency.O0ms on the Jb right.we've staned off with a nice.we add a SimpleDelayand set this to 100%Wet. .1mson the left channel and 1. >> ffi . we'll sweepthe frequency aroundon one of the Erosionplug-insto add some movement. with i aTime of 61._ E illi illin l-Fll-E-lrilnE-li ffi il f rrm. l IIITIITII IrlllllllITIlil]LlililtilllilIr To create some simple electronicabells. is chordmotif basedarounda repeated rather than a single-note tune. ?|ry_ i*.\j . / b tube distortionand two Erosionplug-ins to add some grime. yourmelody Giving a good.we've used 1 compression to keep eveMhingat an even level. what's is to varyyour one suggestion analogue and digital: changes between gradually fadingin will sound an effect from a spot effectthat's verydifferent suddenly dropped in to the mix:tryto usea combination of bothtechnioues in yourtrack. Keepin mindat all timesthatyou're attempting to tell a storyand convey withthis kindof track. squeaks and Putting artefacts can.> ]Jl Well use a differentmethodto bring only the Flequency 1(|. >) Next.eby Royksopp) and you'lldiscover that as longas you provide you can enough repetition. parameter can change the entire using a bit of nature of the sound: randomness is always a goodidea.iSmpreoeFy@fii SnN$G t t tru.4g.oi6 n vl Ory/Wel I 1^r I \."ti -E li I i fcedbsck il :y'*"_@l l I I Lllllll_ll|_1l mi! ji 0. lookfor waysin whichyou can alter goingon.but we're goingto stick with this uo/down motion. for example. MoogModular wherealtering a single or Tassman. bonkers in pitch-bends.lli'tEltilmrqi lr11*slJ illi I EtilEEl . the catchiness Consider the waysomeclassic trancetracks use chordsto convey faintly their melodies: Art of Trance's pompousModogoscor.and a filter to trim out some unwantedhigh content.This adds a sense of stereospreadby puttingthe left and right channelsout of phase. .in somecases.we set up a synth playinga sine wave and assigna MlDl controller to the Decay parameterof the amplitude it suits the track { r||l Melodtc tactics melodic is Creating dynamic sounds vital:in the examples on this page we'veusedautomation of synthand effectsparameters to givethingsa bit the components of a of life. enhance factor..ali rl >Ill . baseyoursequence on the most pattern rhythmic imaginable.-:ll 9::. This enablesus to createa sound that morohs from short and percussive to long and bell-like.i I I --i I -1 - - I I + p f t Nextwe add a GrainDelayplug-inand manuallyrecord ensuringthat we turn down the Dry/Wet { some automation.with not too much reverbon it.Changing so soundis whatkeepsit interesting. param"t"r.> t I Nextwe'll add some effects. Tryusingmodular synths. Here. August 2007C0MPUTER MUSIC | 067 .airy-sounding Albino preset.melodic electronica music now lmake --l }-nd. ratio from its slightlydaft defaultposition. such V as the KorgMS20... >> Finally.a shelvingEQto get rid of the bass. roo$! Padsplayan importantpart in melodic electronicaaiii ifs greatto use effectson them to spice them can be worth copyingand pastinginteresting envelope J shapesto create more abrupt effects.creatinga very differenttexturefrom 'hand-drawn automation'. but takea listen to some melodies of the crazier out there(we recommend Ep. This kind of subtle changemattersin this genre.back down you can see the straightline on I the automationin the screenshot. whichhasjust beenharmonised with other notes played the samesound.

as in the case of the vocalswe'veused Commons. >> at the sametempo.electronica nowI melndic makemusic Addingvocals is a greatway to get more melodyinto {http://ccmixter''stime to Nowthat eveMhing's start makingthings more interestingWe do some 'stutterediting on the vocal by repeating Bt-style J some we can come out of the sustained note at any point.As well as sustalned-note Proiseyou-type h soundinggood. >) I The first thlng to do once we'vegot our vocals is t *um them so that thqy'rein time wlth the track ) tempos are listed on ccMlxtei so this isn't L Luckily. any purposeas long as you creditthe originalartist.this kind of edit can be used to J rearange the vocal. too had.actually.but it's a greatway of squeezing and playawayto your samplea syllable Simply melody.Toooften.-. it highlights the fact that most of the J lnterestingly. on secondthoughtr u in some extra don't).is anotherway of givinga bit of melodic lift to our vocal. !J I with a Downsamplesettingof 4 is fairlyextreme.>> { ia rr! 'tr !u .. I plug-in somecrunchy to introduce a We add a Redux A Reductionsettingof 6 combined can alwayschop the vocals up into syllablesand do thingsthat walt thls can also be useful for c|€ating wdd effects. n 80s effect your own tune on it? lt's an incredibly l( (tninf Mel and Kim.we're loopinga longersectionof vocal for a F effect..lf you do short sectionsof it and introducing this prior to addingeffects. 2007 August MUSIC 068 | CoMPUTER .and Roughing that makes us happy. dry:this is often a greatway of allowing vocal is relatively your vocalistto carrya strongtune. I your track We visitedCCMi)der rL whereyou can find vocals licensedunder Creative Often. you'refiee to use the samplesfor It Wonderby.electronic music producersswampvocalswith delay . >) we havehere.don't do itl > ofvocal and play why not graba section Finally. lf you'rc havingprcblems.the effectscan help smooth out the roughtransitions. >> Addinga spot delay.Narvag). heart'scontent. up the vocals makesthem sound quirky.

is sparse. everything Finally."i 1t*.in whichcasewe a slowertempo. Thisis a rockmixing widebasis but it willgiveyou a good. Youcould try usinga Resonator or similar plug-infor moreof this. MUSIC August 2007COMPUTER | 069 . mix. thingsdownagainif youfeelthe mix is too cluttered. we reckon). we can We'vegone for a slightly J do prettymuch what we like.A dose of Reduxand some stereosprcad helps it sit in the mix fl. 1f usinga noise sample. >) llr r i lil* . be sureto get rid of those 7.Althoughit to put dynamicefiects on it.> and a short. lf youwanta greatsounding go for chunkiness: you'llneeda first. ir r rl! -Aar .".music now melodic electronica lmake -T.. supporting like bass interesting will helpthe mixto feelfull and drums.Here'sa nice warm sub-bass with lots of comoression. for a happy stereo image."$ I-- .'.. ". >) .ll . @ I +11 Ei' .fewer suggest a littleswingin elements and maybe the rhythm. it Althoughmelodic electronicaisn't renowned for its { bass (it'sprimarilymade by people t booty-shaking * who would ratherdrink tea and intellectualise you do need some than get 'crunked'. Creating becoming parts. Youneedto decidehow prominently is the vocalor leadmelody goingto figurein the track. h bass so that it doesn'tintefere with the sub... and nasty hightonesaround that have try notto pickpad sounds to nasalquality too muchringing.i.l We'rekeepingthings relatively simplewith the snare by with individual channels for each I lmpulsedrum machine * drum sound:a basic anay of kich hats and snarc are samples.This accompaniedby a couple of e)drapercussion style of music tends to opt for isolatedtechno-style drums rather than breakbeats. and right. gE. adding { seems counter-intuitive can create some interesting J touches of high frequencies melodies.We'vesat oursbacka littlebit."j.. low-endwobble in there..which suits the that when the snare hits therc's a snaresample panned hard right plalng simultaneously..{ .nllg]q@i i l oodE a The kick is somewhatsimilarto the snare. goodkick/bass relationship.'l't?dr.> rl We layerthat up with a strangeburpingsawtooth Lotsot filter automationis the way foMard. '|l Supporting acts It'sveryeasyfor this kindof trackto cenainly become incredibly busy(ours so it couldbe worthstripping has!). s o m e E r o s i o n ( a s w e r e m e m b e r t o s h e l v e otfh plug-insand a Saturator.We'reusing an . them:yourmix can onlystandso muchhigh-mid. keeping keyelements of Consider and panning the mix in the centre effectsand othersoundsfairlyhard left staple. so evenif the arrangement is important if building strong sounds that'swhatyou'regoingfor. 1| Evenmelodictracks need a rhythmsection.5-8kHz.Tryto accompanyspecific iaunty rhythmas well.Youmaywantyour melodic electronica trackto havemore of a laid backfeel. I We'vealso tried panningsome other layereddrum hits.. Choose a basspatchthat reallyleapsout at you yourspeakers moveand makes get excitedwhenthe someengineers patchsends firstblastof an auditioned the meterintothe red!Youcan then tameit a littleand slot it in around your kick:it's always easierto remove than add themfor this freouencies kindof sound. The only complexthing here is an Erosion plug-inwith some automationattachedto make the snarefeel like it has some movementto we weregoing for a 'todured'feel.. As long the felowerendof 1 l n a s s u s i n g t w o d i f f e r e n t A u t o F i l t e r s .which is exactlywhat we'll do with this drum loop.-' an :iriia g ii r b EELCKE C 1 ( h n . to useshelving EQto Remember in makespacefor the otherelements yourmix BToncecommented that the first pieceof advicehe wouldgiveto would be to everynoviceproducer out of chopthe lowfrequencies except the kickand bass. .then some compression b tight reverb. but if wantto build mixthen by all moreof a song-based means do so.-. >) noteswith specificfilter-sweeps.

-1 I - r. >> complexity t e. d greatway of keepingeveMhing movingalong The leveld you use in them is entirelyup to you.iETffi---F:i -=-:l-=||I I I III rl. f some stereospread.-_------{F? so we use an olgan a An extramelodyis needed.------. MUSIC August 2007 070 | C0MPUTER .We'rekickingours ofi I with a vocalintrocombined with the bell soundwe open for the bass made. The arp is ) just a V-statlon pr€s€t with some EQto separate it L out. J Bringingin the bass and a small drum loop after this creates morc weight to lead into the final section.Adding 8-bit-style arpeggiated and extra sectionsbreaksup a tracK > counter-melodies We Afteranother'chorus' it's time for a breakdown F strip everything out and use the pad sound we made \ earlierto create space with a few ambient chords.. >) I rl sectionand our At bar 1Z we drop in an arpeggiated A secondary drum loop to pick up the pace.This is combinedwith a simple squarewave sound.and then bringingeverything Using fills at the end of each sectionis a snare.This leavesthe lowerfrequencies and drumsto kick in at bar 9. filter it off with a high-pass tl. a touch of Reduf and some Simple Delayfor stereo spread.electrnntca music nowlmelndic make to get lt's impoftantto structureyour track effectively the most out of all your parts. filter and give it ton".to put it at the extreme right and left of the mix >> the kick drum We make a simple fill by removing back in with a { a bar.

.Renaissance chora piecesoften work just like this. Heterophony Theformer approach. so to speak ten different overlapping melodies in \Afij:li"rrilnL'ffiilr the the TutorlalFllesfolder grooves.chances example areyou'll be working withseveral layers of the panning same material withdifferent equalisation andeffects to increase the richness of thesound. There's something there for everyone andsomething newto pick up on at every viewing Polyphonic hyperlayering canalsobe likethislayers of musical so many meaning yields thatthe piece newdepthevery timeyoulisten to it. . them fortheirlanguage. poetry. 20-part drone. something varies andthickens the original layer in musically compelling and ever. 5/4 and 6/4. Wikipedia. For songs witha standard arrangement of padsandFX.. different embellishments or idiomatically different". alsoapply to groove. for .30. grcoves.he's tota\ hyper forlayers. nota dozen.. is called heterophony. overlapping eachperhaps running in its owntimesignature (polymeter): 214.youcouldhave melody. commentary andphilosophical musings. adding new layers thatarenotmere variants of existing layers. instead of a single melody divided up intoten parts ten overlapping variants of the same .ONE THE DRAWS OF GREAT OF PLAYS IS THEIR SHAKESPEARE POLYPHONY MEANING'' OF voices.voices . all of whichwouldmeet up tggethereveryl2O bars tor a commondownbeat. bass.' Again. eachof whichplaythe melody in a different rhythm or tempo.3/4. psychological political character studies. 50 or evenmore. You canusethese extra layers to addcomplexity and subtle variation to thefouror five mainlayers of yourpiece: a ten-part groove melody. with andfigures.You canthinkof heterophony that complex chorus effect.Or five different TttrcRnrFrLEs MP3sdemonstrating each example are. overlapping variants of the samelayer. as a on. they makefor a complex. unpredictable Thelafter approach. lead. FXandso on canalso singing different melodic lines thatall blend together as oneto generate an N-part fibermelody. wit crass humour plotlines. Oneof thegreat draws of plays Shakespeare is theirpolyphon youcanappreciate of meaning.Oryoucould takea more unconventional approach andusethe layers to addnewmaterial to the piece. pads. might easily endupwitha dozen or morelayers to process andmix Hyperlayering is the art of using a significantly larger number of layers to make songs. 25-part andso on. Forexample. Polyphonic layerscan also be interdependent intertwining and dovetailing to contributeto a sense of unified whole. denseand possibly piece.voice solotrack or piano. is calledpolyphony. Read onto findoutwhytheyexcite himso.414.make music nowlexperimentalism Hyperlayering rachMiel hasbeen freaking outabout something recently. chaotic-sounding imagine 20 peoplesinging 20 differentsongsat the same time. going In fact. you drums. is "a Wikipedia sayspolyphony texture consisting of two or more independent melodic voices. but20. Toquote heterophony is "onebasic melody realised simultaneously bymultiple be polyphonic. Thiscan padsandso FX. Whenpolyphonic layersare strongly independent. cm 072 | COMPUTER MUSIC August 2007 .

reversed audio.mp3l.mp3). I some quite familiar-sounding and {kickdrums.bass.I also varythe entrancetimes of these parts to to the add an elementof rhythmicinterestand unpredictability groove mix >> NextI added a drone{ish) layerto the piece (Drone.guitar). The doublesare all b total of 14 layers( experimentalism I makemusic is to My first step in creatingan exampleof hyperlayering establisha groove.each containingfive ovedapsof the J same minute{ongaudio clip. lt's a dovetailing of sevenelements. a time and build up to the full grooveover a period of about one minute (Groove-intro. Becausethe original J has so many holes in it lsilences) betweenphrases. reversed audio.mp3).and mix {llyper-melody. pan them in two forwardand two reverse \ pairs. >> complex interesting t 'melody'hyperlayer. > I I gloove In the second half of the piece I bringthe seven-part t by doublingeach part for a into the realm of hyperlayering /. I create F variantsof I decided:why not? mixedwell with the hypeEroove one's own musical As far as I'm concerned.mp3). once again. I can't resistaddingsome icing to the hypercake: audiol mix of another two{ayer (forward/reverse piece {bottomtwo tracks}. >> a Finally. lt { consistsof two tracks. all together{asshown aboveland you'vegot this ratherodd little 23{ayer piece:tlypedayeringmp3.Mixingforwardand reversed versionsof the same audio and panningthem left and right often producesa variantof the original. and drone. the mix has a rathereffectivesense of breathingeventhough it comprises four extreme self-cannibalised Put it vocaf coverof JuanTizol'swunderbarCarovonNocal. cannibalising creationsis a perfectlyfine way to work >> a Totransformthe solo melody into a hypermelody. standalone main layer a short ll The sound I solo I wrote a year or so ago {Melody.mp3). The Now l'll move on to the toreground trombone-ish is abstract.The secondtrack is. MUSIC 2007C0MPUTER | 073 .mp3). Tle elementsenter one al the others ratherabstractand strange.

40 SAi. UrbanSoul. Extremerockfunkrage' lllbient. o Only for non-serious DAW but I usea commercial q 6 MUSIC 2007CoMPUTER August | 075 . in total.--i 1eq\/ of I oonmasters andPowerFX. Origin following22 titles:Cult Club Synths. ' rv v'| LvvY'| Sessions. grabs in the shape of MassiveFX. Breaks. Composers Sound PowerFX and the five-CD To cap it off' PowerFX Effects Series. Raw Electro Breaks. Downbeat& Leffield. Polyester and.90.EleKro Tranceand Techno.UER \A/p\rp s.. Soulful ReFill). DowntownStringsll. SessionDrums. Sessions. glve away' COUI . . u. Hip Hop.As no SERIOUSLV) F I comEuten2 I I POWERFX VS LOOPMASTERS I COMPETITION I I Name I I I mJ|src lf you have time.r usefreeware O I never o I useonlyfreeware jobs o I use many freeplug-ins. Drumand Bass Carbone's Davide (Reason Combinations Masterclass.. OFA SEALED hLL SEALED SIICKlT ONTHEBACK photocopied accepted' purchase will be entries is necessary. pleasecompletethe following.Broken Deep Hip HopProgressions. andit's all experts to sample thanks Loopmasters and PowerFXThey've teamed up to give ComputerMusic readersthe chanceto win over two grand'sworth of absolutely first-class soundlibraries. DiscoHouse Afro LatinProducer. PowerFX have chipped Meanwhile. House Loops.IPIE LIBRARIES! POI.would set you back a whopping1878. ChilloutDrumand BassProducer. virtual sultry weighsin at a contribution Whatyou haveto do lf you want to be in with a chance of winningone of these terrific prizes. LvJ fr . lf sound efiectsare more your thereare eightsuchtitlesup for thing. and send it in to the addressbelow.finally. which. and Lounge Producer Essentials. . whopping unmissable is oneseriously This Manual' DubTactic The FunkMaster. anymore waste so don't competition. DowntownBeats. What computer do you use? Whlch feature did you most enloy in tfils lssue ot Muslc? Compatter Which feature dld you least enloy In thls issue of ComputerMusld! INSTIWTSURVEY Ho\.yLv libranes v vv ve t)vL hismustbe oneof our biggest give-aways ever. JazzWorld.getthat overthe page timedrooling Cluband The Electro Trackbuilders cm in! form sent entry lazz RetroFunkThing. Percussionism.. Lo-fiand .v much fi€e sofrrvarcdo you use? Daytimenumber Emailaddress L--rr. Funlry HouseProducer.all you haveto do is answerthe three simple WILLBE BINNED ENTRIES ENVELOPE questionson the form provided. Power. samplelibraries: in with ten awesome Strings. haveeventhrown in MiracleBeats VSI| and the all-newSweetAnn' a Their vocalist.Downtown Cinematic f1211. a havesupplied Loopmasters set of their acclaimed comolete made up of the series.J .v samnltr vu.t 4) r\v.DV 2rAw FXin Time Toolkit. HouseProducer.

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Awell-conceived Recommended executed Product. practicaLly THECMAWARDS ffiffi 3 084 TracKion '. Our mustc computer ovno*q. annhr fhp c. faults butnotwrthout worth considering DefiniteLy Good. surrounds orexpectation MEAN WHATTHERATINGS flawed I-4 cive it a miss. faultless 10 fxcellent. how nomatter tt. ilwillreceiveihisgong Intheopinion of ourediioi in Eviewed thebesiorcduct themagazinethismonth VUSIC 2007C0MPUTER August I Oer .'aekie's sinsle-screen DAW . broup'ht unto date 086 Ohmicide: Melohman latest Force's Ohm oromises murder onthedancefloor imprcss us A oroducthasto Awadedtooroduclsthat challengeeiistingideasand withitstunctionalityand one fealurestowinthis new do somathingentkely ef. 7 and 8-9 very good.AseriousLy product beavotded thatshould p'ooLci I|s dnOK 5-6 Hottoo shabby.emc strinpent tesiins ' o "methods to all "' " Krtshna Synth 082 Isthelong-awaited synth machine? trulya divine hYPe much gear.>OUR PROMISE honesr unbtased We bnngyou latest of the aooraisals products.\ -@i -@frB e#4 exceeds lftheprcduct eroeitatonsforits Drice.

9.0-comDatible host 98SE/Me/2000/XP.but PPG-styled on a deeperlevel.0S X. Windows VSf 2. lGB RAN4. 0S X 10. Thisis resynthesis or even unlikegranular wavetablescanning. Technologt FrameAnalysis MuslcAugust 2007 oazI coveureR . host 512lVBMl\4. becomes of the instrument yourown samples. to hearanywhere unlikely KrishnaSynthis a cross-platform formats with AU and RTAS VSI plug-in.we're always pleased when a developer deignsto designsomething that has no hardware. it comeswith 3GBof data in the shaoeof well overa thousand presets.Thoughit isn't strictlya ROMoler. We have to confessthat. on the way.analogue.Sonar6 Mac: 2.The past few months haveseen a wealth of synths releasedthat shed the shacklesof the commonplace in favourof more challenging and.havebeen answeredin spades. withmore comes Krishna Synth than 2000 Moviefiles coveringa but the realpower rangeof sounds. Ourpleas. we were desoeratefor that breathof freshair. while we definitely love our retrosynths.though AUDIO DEMOS You'll find a lead.the so-called Oscillator sourcecan A modulation oscillator.25GHz Mae Powerlvac or IntelCPu.VSf 2. to be appliedto the playback 'animate'the proceedings. so lots of room on your hard drive is a must. Cubase 4 MONII{LY PAYMENT PI-ANS 12 months. which can be playedback using Frame 1 .a vocalpad pattern and an arpeggiated in Audlo Demos from Krishna Getthe picture? The soul of KrishnaSynthlies in its (or FAT. er.512N48 MN4.3. are SaidFrames individual then storedas wouldseem. Surrounded by ROMplers and viftual analoguesynths.). more inspiringinstruments. (if ideasin an inviting some unfamiliar packagethat'll not entirelyintuitive) soundsyou're haveyou designing else.most importantly.512MBRAI\4. €19/month 6 months. it presents whollywithout precedent.16GHz Intel Core2 Duo iMac. when importing Anysoundis fair game. €35/month Krishna Synthis Devine Machine's Whileit isn't such an instrument. >TEST MACHINES PiCr Athlon3200+.revrews #ffiWKNH MACffitrNH Krishna Synthffi thattts you enhghtenment theaural Will Devine Machrne newsynth bring s hot! antrcipated n-mn e' 'nnaere" or we couldlust tell you I r d rr c ) u 6 5 c ) L ) 1 Wecould think aboutit in silentcontemplatron > SYSTEM REQUIREMENTS PC: Plll lGHz. with whicha sampleor soundmay be convertedto a seriesof many 'Frames'.o-compatible t seems not so longagothat we weregrousing aboutthe dearth of newmethods of synthesis. G4 1. XPHome.

idi. thoughthereare lesssuccessful.1. gonea stepbeyond withthe ability to assign a ^ KrlshnaSynth'sexcellentmodulation routlng system is a highllghl your range to the effect minimum and maximum MlDlcontroller will haveoverthe destination parameter. can be by a mod source. an LFO Under control lf it wasn'tfor the wealthof controlon offer.''1 The oscillators may be synced and can perform ringand frequency modulation and all of them duties. the said.. Frame Analysis Technology Krishna Synth's wouldn't be halfas muchuse. velocity each with is providedby the five ^ Draw your own conclusionswith Kdshna Synth's powertulwavefom drawingtools MUSIC 2007C0MPUTER Ausust I 083 . function didn'talways There's alsoa noisegenerator. (notto pricetag Witha reasonable plans). unstable who prefer intrepidsonic explorers Windows will the viewthrough and engaging a powerful discover guideon the roadto sonicniruana. with 128 memory notesequencer that shouldbe slots. as well as a few by whichthe numberof methods Frames can be adjustedfor a given Synthknowswhether sound. step as well as six LFO 11waveforms. music"to the words"computer like"musuter compic". can be pumpedthrough a simple multimode filter. well as a singleknobeachfor cutoff ano resonance. Onceagain. are here. : i'r .! .you can perform Thereare a mannerof manioulations. there are.'1" is not limitedto linear animation playback either. Reverb.At this point.. At the risk of sounding Thisis veryusefulindeed. Postproduction Further modulation sensitive. has a few obstacles undoubtedly particularly with the to well as a Line Directly tool and a few othe6 besides. linkingthe two instantly..A single mouse controller clickon the MlDliconhighlights all assigned parameters.tdw#s*i r. phaser. of the presetsdidn't play properlyon that machine. but the developer has another. Krishna Synthentertains some advanced notionswith regard to MlDlLearn to a MlDl functions. I i'-' j I i i : ' r i i " r i. traditional synthesis three of 'em in tow and they're as saw. generator some on the Mac version. Thereare waveforms such AHDSR envelopegenerators. emulativesort (we preferthe former).far too liberally as is usually over many of the presets. the host's that there It goeswithoutsaying All of the usual are built-in effects. we directory were able to convertit successfully. was not sharedby this affliction the Windows version. parameter.r'.Manysqueeze Oscillator bestfromthe Frame whileothersare of the technolory. so you could. enjoyable your Frames As mentioned. thanksto the ever-changing Frame Oscillatois soundsare Theemulative offersa new idea and is tightly and intriguing Yetthe developer designed. Not something that you'dwantto.with twista sampleof cleverprogrammihg. menus. The modulation sources are 1 is dedicated to the use of Oscillator 2 and 3 offer represented by the aforementioned whileOscillators we As for presets. 8l1Or'€t':) gem from the An underappreciated you Discovery folksthat brought synthesizer Vertigois an additive sampleimport withsomefantastic onboard functions $vi.t. andyou haveonlyto clicka parameter yourcontroller and twiddle to assign Thisis not unusual. behave as expected However. the obvious mod sources.. i'./ 10 € ' synthfrom the creators A powerful sampleimport that offers of Albino and maniDulation Vertigo discoDsP cnriii ..riil i9. such as animated This or AHDSR envelope.for the modulation Oscillator moving. We had no such issueson our Windows test machine. suspectsare accountedfor.Krishna you'reattemptingto draw on a static and will adaptits or movingFrame In addition to accordingly. However. Youget a choiceof low-or band-pass filters.revrews Krishna on your platform depending about seemsa bit particular Synth wherethat soundshouldbe located.we shouldpointout that this Built-in modulations arehandled via droo-down sample you can also dragany mod sourceto a desired on our Mac. but on not whitenoise our Mac it produced but onlyclicking staticthat played havocwith our meters. are Someof the padsand effects quiteevocative. ::.$r'rti.i". Butyou get Sine.Krishna longand fraught Synth stillhas much of thatjourney ahead..t. First be foundamong and foremost. sources arewhatgetthe Frame generators We'vealready discussed the envelope but thereare a lot morethan thoseto and LFOs. 4 on our Mac when We frozeCubase Whenwe trying to importa sound. Mac version. OnceyouVeselectedor createda all Moviefile.and there's sequencers. and a tube flanger delay. Assigning a parameter is as easyas you like. emulator the case.. as high-.3GBof them. a 16-step Oh. bassesand leads some excellent Dueto the brokennoise onboard. Frames in this way is manipulating and inspiring.EveMhing can indeedbe syncedto syncable temDo. and are slathered.souareand sinewaves. the Pencil and Elliose tools. iiil i' i i . toolsfor shaping a rangeof drawing givenFrame. behaviour Triangle tool. copiedthe sampleintothe lvlovies in the Krishna folder. ALTERNATIVELY cronox3 LinPlug cnl irr. likea sustained loop. instalment mentionmonthly Krishnacould orovehardto resist.w into sound Journey is often The pathto enlightenment with peril.l 8.*.

*i' i run&{l '' * i tiftd.4. _.the track'slane the project expands to showthe audioor MlDl editing tools. 7 I l-.|i.*.for example.: <dD !==ru.1 .By the time Tracktion 2 came out.: iriil/ I l*'a' lBr h*.However. WindowsXP Home..reananged.r-. diskspace.8.i. ' ir t r j flld 0ui: tL :..1:.-r\:Ig*::i opUffi + ielp! 'i ::')+ autmald 'l ahrt Tracktion3ffiffi i"l .. in much of whichwe covered 3. lt's a very at the click of a button. Filters can be quickly mutedor deleted added.{ . we gaveit a stonking Withversion 3.and with 'hot features' 10/10in cm85. Windows XP.i I 2 i'.4. an outDutmeter or a VST effector instrument. cm113's CM Guideto Trocl<tion and all MlDlor audioinformation. wasn'tpossible to set up a send this has effect.i:..t j::r. 0S X 10.pop-up windowsand minute. in data on a track is editeddirectly window..rLii i ii-'.havebeenenjoying themselves an idylliclifeof single screen-based composition since version1 (cm5Z6/10). 512MBRAt\. Novation X-Station Righton Tracktion with Forthosewho are unfamiliar it. editorand the relevant Tracktion then appliesa modular 'Filters'to systemof what it calls is simplyany eachtrack.Eachtrackcan contain 084 | CoMPUTER MUSIC August 2007 .. the DAWhad beensnappedup by Mackie..but for some.- :-r!e.8chz. ratherthan overloading and the like.jil ii-1al\r/i:tili.j iC. sYsTEM REOUIREMENTS PG:lGHzCPU. 1GBRAl\.l!.. 10GB diskspace.tli a. 'ri.0S DVD drive TEST MACHINE PC:RockCentrino 2.A Filter type of plug-in.'lil-lre:j.u*-m ddh* ll K 'l E' *t.f'ril:. supportand improved controlsurface some audioengineimprovements. logicaland straightforuard in but this is also its limitation: it simply earlyversions of TracKion.or Tracktioneers' as they havewrylymonickered .Those who havefoundTracktion to be their orefenedDAW.Novation X-Station Mac: Powerbook 1.4.I Ci ir. 1GBMiV. Mackieare ofiering aimed manyworKlowenhancements some of the criticisms at squashing as well as raisedlasttime around.DVD drive Macr G4lcs/lntel 1GHz.'..'Viii-li.irlti t...ii-kti: . system.512M8 RAN..this is more of a confusing distractionthan a bonus.4.TracKion takesa one-window and approach to MlDlsequencing in orderto keep audiorecording thingssimple.lchz. who allowed the program to flourish it naturally. 10GB X 10..if ' 1 1 1 l i 1 r _ untingthroughendless drop-downmenus. be it a volumefader.4.i: \lti-iaji..8. obscurely labelledicons might be a good indicationthat your software is packed with features.

andvolume applied to all. andediting canbe menu. a conventional ifyoumoan aboutthe thoughr before. andVSXML support has beenadded. manipulation morcprecise Folder track andthe uodated audio stayoEanised formant powerful DAWthat never withfewer artifacts.thetotallackof here's the crunch WeVe saidthis mixer. downand yourlasttrack further downto rcach Now. with'Rack a beenovercome prccessing modular $Btembuiltin a similar veinto thatof Energ/Xf. the pastel gives impression that the misleading is something of a toy. system starter it a morcthanviable for newuses. making audio hugely to rootshifting and Sois it worth the upgrade? Absolutely: makeit morepowefulandeasier timestretching Thisis withthanever.reuews Filters'. TRATKTION 3 IS A5 BEAUTIFULLY ELEGANT ASEVER'' > ATTERNATIVELY cubase SE3 StelnbeE N'A>)NrA)> i:i l l) muslcproductlon Budget-prlced SX3 systembasedon Gubase SonarHomeStudlo6 XL Cakewalk D 9/lO )>f 130 cm113 version mlddleweight CakewalKs of their fulFonDAWand at a keenerprlcetoo fantastic Elastique Sub-Tracktion? MUSIC August 2007CoMPUTER | 085 .mostsignificantly. tedious listsof parameters on screen. adda couple filterplug-in and anda rcsonant you're building a modular effectively for us. filters Rack enable someof the of the more traditional functions . youVe really missed lackof a mixer. putting it easily on a parwiththe competition in thisarea.Throw two VSfsynths intoa rack single-oscillator of volume Filters filter. getsin the wayof thatall-important flow cnr tracks signifi cantly the package of instruments and crcative automation ^ lfs now sasy to wrap muldplo Fllbls In a Rad{ . desired. concems FlftesandRender Ouronlyreal complaint executed feature is. Sowhat's newfor version 3? Flrstly we and. splitandreananged compressed. newMarker scrolling ffacks. a complo( prcject wouldoftenentail endless mousescrclling down. parameters Switch-based on V5[ effecbandinstruments operate correctly whenautomating stepped curves.andTracktion . Overall implemented the excellent as Marked Region butbeautifully projects preset withla€e multitrack worth the upgrade alone. synth. selections in the Filter working ourminds. Meanwhile. and gradual makes tempochanges in conjunction withthe EEalgorithm a joyto implement TracKion nowalsointelllgently caters for parameter automation.. without compromising the timesldaving Ontop of this.suchas thegoodold sequencers muchmore sendeffect andhave functionality for anyone advanced wllling to getstuckin. to be something have experience. In shortTracKion's automation $6tem hasbeentightened up significantly. some which colour scheme.all of whichaddto the clunky. andits newfeatures algorithm. lt'sstill elegant Eficienttimestretch/ as beautifully Elastique pitchshift intuitive. saferecord where graphically withresponse and morc. inherent useability of the program.Mackie TracKion 3 is though. withFilters fiomwithinFolder tracks. seb oftrackscanbe grouped.OVERALL. the pointofTracktion. will bemoan Undoubtedly. cannowmakeuseof Foldertracks. In previous iterations. timestrctch algorithm makelt a onedeeply andladen Theintroduction of Bezier-curyed no-brainer forT2 users. the need to trawlthrough massive. loop Other tweaks include brcwsing tidying up of theTracktion Edit folder for eachproject a resizable windowBypass context haveputtogether effects Mackie (seeUltimote below) make or Projec?.This simple improves on the previous straight-line method of automating VSfinstruments andeffects. options. meaning thatVSf parameters automation aregrouped wlthout andnamed sensibly.

and Ohmicide: Melohman stays trueto thecause withup to fourdistinct oe0| coueureR MUsIc August 2007 . OSX10. Butnot . withsupport for theVSf.J (D .. '/rt l? !5ip.thisis nota processor going for the hardly to break thebanklt'sa faint-hearted.thereareno andRTAS'll have greeted withsomekindof waming to comeup with€99.buteven that's After'sstraightfonuard to getaround andeasy to underctand. Ohmicide:Melohman's bone-white Ohmicide platform is a cross interface represents a bit of a plug-in. though theyhave mostout of it if youhave a MlDl flexed theirartistic sidea liftlewith controller to hand.4.16GH2 IntelCore2 DuoiN4ac. catsor space aliens to be of OhmForce's Melohman technolory seen.Windows98 p TEST MACHINE Mac. F'SYSTEM REOUIREMENTS Maci Gs/lntetcPU.reuews . fora very small forcing customers to payfor formats price. lf youwant'em all. i:. andthe controls for each band aretucked awayjust below an informative waveform display.. 1cB MN4.9.because quite there's a bit going on here. gunwith it'sa hired welcome move fromOhmForce. your tracks could be among its they arenlgoing to need.64tvB Mt\4. This timearound. l\4-Audio Firewire Solo AUDIO DEMOS Thepowerof Melohman can be heardin the Audio Demos folderas we'play'Ohmicide whileit mangles a drumloop andit'llsetyoubacka very reasonable €79.25N48 disk sDace.$ ffi: f:f. carageBand.:Eqffir = h-4 F..clicking to worry onebrings up an youan ideaof indicator thatgives paramete/s thatparticular value. ach time we open this new distortion plug-infrom Ohm Force.. Though it is an OhmForce design processor. lt'sdownloadable. Global controls aredotted about the you interface.. clarity is the getthe on thislater). IAI! 1 16r clt* r-. we almost expectto be Multi-bandit Ohmicide is a multiband distortio processor. not murderous intent and. andat firstglance mightbe surprised at the lackof marks surrounding theknobs.2is strongty recommended) FC. TheOhmies aremasters of multiband manipulation..1(but 10. All in all. Pentium llFcompatible CPU. ltr€ i.25tVB disk space. effects it takesadvantage claws.That's for a single format.i :::fift". Cubase4. {more so you'll modus operandi. r. thedried blood stains andtyped logo.. nextvictims. 0S X 10.. AU departure fromthe usual over-the-top . We'llbegin our investigation witha round-up of the usual suspects. 641\48 MN4.d E. Which is a goodthingtoo.. E ffi'mffiffiffi Ohmicide:Melohha The force behrnd plug-ins such killer asFrohmage andOhmBoyz areat rt againl Weinvestrgate themisdeeds of theirall-new multiband monster.e}g.

There'sa clinchthe deal. suchasAngry that enableyou to latch parameters suggests Mouse. The Odd familyadds yet anotherhue. whattheirname Ohmicide has MlDllearnfunctions Puncher. DI]TXACTLY Bloodygood? SUII{ WHAT THEIR NAME 5UGGE5T5'' selecting oneof themany available causethe patch to changesuddenly. its unspeakable run amok. Youcan.Clip to the all-out Melohman to peform a live'remix'of of thesamole-and-hold-a rhythmtrack aural attack In addition based Decimator. ASPUNIHER. The )0C(familyis ideal for strappingacrossguita|s.!}ili Auto-bind ltarg.and to excellenteffect. . via a learnthat can be assigned but Ohmicide's simpleright-click. cracking We'vecome to exoecta certain and levelof qualityfrom the company. expectnew-agers but for those lookingfor somethinga lt this is a between'phat' waveshaping duties. analogue-style coloration to the subtle frequency band.set Again. morphingbehaviours for triggering via This allowsfor some volume. a single no lessthan27 difierent algorithms.these parameters up so that higher velocities Each band even has its own menu for Ohmicide yourtype? What's Murderous MIDI lertrng! Load. Some. Forthosenot familiar Shapeparameter that swings with Ohm and'sharp' Force's Melohmantechnolos/.complete with amp simulationand LFos AudloCamelPhat Camel cm69}>8/1O>> 5S5 distortion and LFO. Sav€.5ilM8 DISTORTION p ALTERNATIVELY lzotope Trash cm61 }} 9/1O >) $199 A more conventional distortion plug-in. often grittierthan the Standardset especially at odreme values.and additionally. menu-based ^ Melohman enables you to morph betrveen presets by playlng notes on your MID keyboad Doesthe jury havea verdic?lndeed we do.inflicting violence uodnthe earsof all and sundry. sometasty EQgivethis plug-in punch someserious 2007C0MPUTER MUsIc| 087 August . and at this soundsabsolutely cheefully low price. individual youmight apply some For instance. aa ao aaaaao o-60 Whilethe abovefeatureset would Eachband has a dedicatedgate with more than justifythe price of Amount..Ohm Force havedone it againwith an absolutely plug-in. Attackand Release times. selectioncan be assigned. interesting live interaction with the and spreadof the affectedsignal. methodis fine. effectsdevice. whileat the lowest timeslathering some harsh same destruction on the highest digital withsomething else frequencies.We find 0hmicideMelohman guiltyof wanton acts of audio But ratherthan lock the destruction.that is to say.. of distortion.. Here.feedbachfeedbackfrequency a MlDl keyboard. it providesa more visceraltone with some types of distortion.such as those (Angry Mouse sounds claustrophobic transmitted by knobsor sliderson an bytheway). therearethree we found to be quite usefulfor We preferMlDl creatingglitchyeffects.and Ohmicide. Theideais that youbreak your signal into down frequency bands andapply separate processing to eachof our ears. entirely happening variationson each type of distortion.a trick Assuggested. In additionto the Standard variety.. lethal. Autol@d [Undefined) m@s€ mode / Enhan<€d . aregiven lessobvious names to MlDl CCs.. to themidrange. do exactly whileothers. lt doesn'tdisappoint. while slowervelocitiestriggera more types gradualmorph. for instance. allowsyou to set up variouspreset you'reallqwedcontrolover gain. Very cool. littledangerous. Ohmicide certainlyisn't for everyone fue don't to get alongwith id.bE 9 Ocaw 10 - Melohman Oenlity Melohman Chann€l :t-*'s an offerwe can't refuse. externalMlDl controller. Evenpreset andfiltered. greatfun using from We had particularly thegamut thesublime waveshaping of Soft. plug-in. compression.for the fiIst bands of distortion. the Melohman features controloverThreshold. butoffers synthesizers.t : Bl upper Frcq] Un-bind [81 Upp€r Fr€q lNRnl 13]) Inprt devi€€ > Output dwice Prografr Changesslgnatlon I fff > All odaves No MlDl control r' octaw I ochw 2 ochw 3 ocaw 4 Ocbw 5 Ochw 6 OcbE 7 OcBw E o.In the past Ohm Note thatwe saidtypes'Ohmicide doesn't askyouto settle for Force haveonlyappliedthis ideato distortion method. are per band. we'reinclined to let it culpritaway. there are also )CC( and Odd versions on tap. suchas to Melohman. they've addedMelohman to an These run eachwithtwovariations.

$:fj i 003 Factory ffi wln usoverln the greatDAW race? Werelay ourverdict to yourighthere. witha IHD+N level that's 14dB lower thanthe002's anda 107dB dynamic range. The003family hasthree members: the003 Rack. the MlDlsection has the sameoneIn andtwo outs. andthenewanival has many newtricks up itssleeve.. suchas Logic. andanother pairof S/PDIF l/Os on phono connectors. Like the002it combines a FireWre audio andMlDl inteface witha control sufaceto runthebundled Pro Tools LErecording software.9 Audiogoodies The24-biV96kHz audiointerface is tuckedneatly away on thetop rightof the surface withthe connections on the rear. allowing integration withotherMlDl sequencers. the003 Rack Factory andthe 003 Factory. Themicampshave been improved.. It'sstillbeautiful but it'swhat's inside thatcounts.4.dlgldeslgn.. The 003Factory takes thebaton from theDrgi 002. There areeightanalogue inputs andeightoutputs: thefirstfour canbeswitched between micand power instrument Dl. the 003 Factory. ToolsLEsoftware Seewww. e SYSTEM REQUIREMENTS FC/Mac:A Digidesign-qualilied systemrunningpro (lncluded). because 003's appearance andsize arevery similar.. thesecond four -10or arestraight linelevel at either +4d8. Cubase andDigital Performer. butis rt stiltoncourse to igidesign continue their assault on the project studio market wltha newmember of the'00'family. A majornew development on the 003 is the addition of BNC Word Clock. There's alsooptical l/Othatcan be switched between eight-channel ADAT or stereo SiPDlF. 2GB RAr\4. F TEST SYSTEM Mac: l\4acBook Pro. There's alsoa multitude plug-ins. of accompanying lf you're familiar withthe002you'll feelinstantly at home. enabling youto syncup to otherpieces of digital equipment. '%Kffiru 1"tft-.but virtually the003nowdoubles as a standalone MlDl controller.withphantom in pairs gain andindividual andHigh Pass Filter controls.16GHz IntelCoreDuo. Onlythe latteris an all-singing alFdancing controlsurface and that's what we're lookingat here.. 0S 10.2. There areeight user-definable MlDlmapsettings for 088 | C0MPUTER MUSIC August 2007 .com for morc intormation.

With the additionof Automation Modesas well as Inseftand Send assignment. .which makesthis a morewholesome experience. lastcomputers. THIS A WHOLESOME MORE EXPERIENII'' thaton the 002.flipping justtheright amount through thebanks is instantaneous andbother-free and it helps to keep theunitsmall. there'slittle need to resortto the mouse. There arenowtwo Pack 2 Pro hasbeen orofessional lgnition fuhich } ALTERNATIVELY independent headphone feeds since the002) andthe that super-charged Projecdvlk UO M-Audlo givethe performer a discrete stereo Factory bundle. theJoeMeek doesn'tofferthe samelevelof D-Fi. unitsandplenty Moogerfooger Listenup the step betweenthe 001 Whereas and the 002 was a giantone with the the additionof the controlsurface. Youcan also now assignInserts and Sends. Slmilar to the 003 but processors. production mixfromoutputs Plug-ins include threeandfour. controlor the vast plug-inbundle more. . whichhasawesome cm97>> 8/1O)) 1950 (not RunsProToolsM-Powered potential. As on the 002. switches. allows for an o(itra withonebutton switching between An auxiliary sets.Read.THERE'S LITTLE NTED TO THT USE fresh? Factory WHIIH MAKES FW-1884 Tascam cm70)>8/1O>)?1299 and Firewire audio interface controller for most popularDAWs lt's been exceptDigidesign's. whilethe Factory the 003 Factory muchmoreof a Tools models comewiththe Pro feel. Maxim. There are which we reckon is eight channels.Trim and so forth.reuews storingdetailsof differentsetups. so thereisn'tall the to-ing and fro-ingbetweenmouseand for so surfacethat can be off-putting manypeople. two SansAmp PSA-I. The displayis much biggerthan potsand tweaked using thefaders. Instead. aroundfor a while now.withtwolinesof six perchannel and characterc five-segment LEDs on each.with instantaneous switching A prime differenceon this new beast is the additionof Automation Mode switches..there's no facility fordirect input monitoring to avoid latency. Otherwise. lgnition Pack 2. the controlsurface of age for the projectstudio. Write. thereareverylow buffer sizes anda 'lowlatencv ^ PlugIn.tuneup andpunch In! monitoringi setting thatbypasses plug-ins andotherprocessor-intensive Thisis finefor mostrecent functions. although it could a problem during thelater become whenlarger of a large session. is coming Finally. steo from the 002 to the new 003 Factory isn't so there are greatdealson it to be found 2007C0MPUTER MUSIC August | 089 . inputis provided for an external CDplayer or the system output of yourcomputer. Thismightseem like a smallthingbut it makesa worldof difference to the 'mix exoerience'. things are much thesame. but the arrayol to changesmakesa major difference the way you interactwith the unit. stages forfull playback buffers arenecessary withthe Pro The003 Rack comes giving Tools Monitoring hasbeenre-thought. Allooerational aspects ofthe software canbe alternate control roommonitor output pairof monitors. andonceyougetthe hang of it you'llbe wondering howyouput up withjusta mouse for so longThe onlyothernewfeature on the controller is a jodshuttle wheel. An included).

though. ProTools 70 or ater) Mac: 866 MHzG4 1. withgorgeous MoryIone rack-mounted lt's a prety good sounds. belowfor more)..ilil. morethan is probably here but theycometo lifewhenthey're Theonlymilddisappointment In the absence of a usedwithHendrix in mind. be. Lodytone is a great and The Foxey the low and eventhe tunerand rackareashave example of this. but then it doesn't if you needto coverall bases you'dbe better offwithAmpliTube 2 o' However. the ability to makegreat on the firstthreeJimiHendrix recordings withouthaving to crankup Experience only emulates seven songs' tones though mpliTube 2 was the solution tones. the Autosetting practical it'snot will be interested in the carefully option. is the wah pedal. just fiveor six classic songs. Theimponant thing to keepin mindhereis thatAmpliTube Jimi Hendrix setsout to emulate Jimi guitar Hendrix's tonesby modelling th€ gearhe used. 1GB RAM AUDIODEMOS l n t h e A u d i o D e m o sf o l d e r y o u ' l lf i n d a n u n c a n n yd e m o o f AmpliTube J H ' sa b i l i t i e s ALTERNATIVELY lK lvlultimedia AmpliTube 2 A w i d e r r a n g eo f a m p s a n d effects are on offet but that's why it's more expensive Digitech Jimi Hendrix ExperiencePedal Amazinglyaccurate hardware footpedal. you vintage authentic gearfor viftual won'tfind much better themthanthis. lK have excellenttones. . it's hardnotto fall in love. thisis an must-own. s onlya minor gripe.33GH2. thenat 1159.where beengivenan old-school look. Unfoftunately. r rD-45 rA. an amplifier to unsociable volumes. mediumnotesof the riffstayrelatively Thebasiccomponents to the aggressive consist cleancompared of four amp models.And if you recreating wantJimiHendrix tones specifically to play with. healthy. of eachsound.accessto goneall-out tone moreamp modelsthan one person and provided every (andwe meaneverytone) found couldeverhopeto own and.vp VsTR aSI o.. The the distonion sounds the input GUIlooksgreat: the amp fronts.of course.and that'sit. subtleties of Whenyou firstloadthe Hendrix is the responsiveness impressive .. people is the only l\4ost who buythis package controller.lK lVultimedia donean havedecided to It mustbe saidthat they've job of capturing the tacklethe mostdesirable set of euitar incredible Pafticularly tonesin history.4AUVSTRTAS 512lVlB host rcoures ProTools 70 or ater) 1RTAS TEST SYSTEM PCiHPPavil on 2. But/ hote t AmpliTubeffi limi Hendrix ^ Jimi'ssignature away tones are just a mouse-click SYSTEM REQUIREMENTS PC: Pent um lGHzAthon XP1. lt's not plug-in on the mostvercatile the market. cm absolute 090 | C0MPUTER MUSIC Ausust 2007 .5GHzntelCore Solo RAN4 Mac OSX 10. Not content withthatgiftto the guitar world. sweepisn'tas deepas it shouldbe it doesn t quitecut it. exciting us collection of retrocomponents {see stands out in pafticular. highstabs.theyremain edition. relatively cleanuntileither the guitar cabinets and pedals have all been levelis pushed or you attack 'distressed'to looksuitably retro. guitarsounds. 512NlB pAV \V " los . and theywon't to crafted signature problems: out manyguitarists' lnstead of picking be disappointed. .andfour bass AmpliTube JimiHendrix full-bodied.sevenof which pedals nineeffects Almost as impressive arethe clean are currently onlyavailable whicharewarmand in sounds. Let limi take over so the resulting sensitive enough. .3GHz CPU. if you're afte similar software. The WindCries effects.

lt didn't Unique outofthe boxandthe blowusaway presets included make fartoo much useofthefilte/sovedrive function. LFO or modwheel to fiequenry-modulated timbres. Needless confection. archere. sub-oscillator intothemaster strapped It'snicewhena developer deliven for added section oomoh. something witha slightly exotic flavour. triple saw nothing we haven't heard before. fte filteris onlyavailable in thefirstslot whilea chorus its place in the takes generator. ^ Speak your mlnd wlth Unlque's fabulous fomant-flltered phenomes >sYsTEM REQUIREMENTS PC: 1. which allows together twoor is useful forthose ever-popular formants andplay them trance fourvowel gives stabs. ThetripleFMwaveform You backin a multitude of looks a bit bland. analogue sounds obligatory sawtooth andpulse waves Thisis all wellandgoodbut again. Thedelay second effects ofiers a built-in filter withcutoff and forthose rcsonance controls echoes. GarageBand >ALTERNATIVELY MHG VorEnth N/A > N/A ) $89in bundle MHC'S cross-platform Voxynth offers lots of vowelformants and comesas part of a generous bundle. Cubase 4. August 2007CoMPUTER MUSIC | 91 . is a dual-oscillator Unique filter. reverb. function withcontrols for rateandfade timein the Master section.we're where there's a mixsection thefirstto admit thatwe blend theoscillators andperform getourfill of theseemingly somenifty polyphonic panning sometimes tricks. lt's pair youactivate andtripleFMwaves. the we installed it . Here at cm. lo-fi usual delay. some of jamming inspired which some serious cm Andthatgetsit thethumbs-up. hides Unique something to say. prccessor andanother filter. or thededicated Each oscillator section hasan four-step sequencer.16GHz IntelCore2 Duo il\4ac. lGB MM. These along witha comb all plug-in synthesizer available in VSIand sound fairly andensurc convincing AUformats Each oscillator offers a thatyouwon'trunoutof classic selection of fivewaveforms. The anytimesoon.512M8 MM Mae 1.8GHz Prc CPU/1. The mode begins to eamthe thatUnique triple sawis a sortof stacked TheVowel Filter sawtooth rightto its name. along withnoise. Wehave to confess ftat Sugar Bytes' newcross-platform Unique While theoscillators aren't tenibly didn't have ourmouths watering when exciting when taken on theirown. Oddly. to life sound of theinstrument springs However.9. Wesample thesweet delights of Unique . usean envelope. andband-pass varieties arein place. thoughit's Windows-only e lovebelngtaken by independent control over thelevel.6GHz CPU. can youtheability to craftmetallic. Unique offesa prccessors of efiects withthe couple phaser. is a bit of a sleeper. Thelatter Filter only when theVowel offer extra fodder foryour filten. and youcan surpdse.Less controllable than Unlque Vocal ConcrcteFx N/A >> N/A)>$46 Vocalis dirt cheapand has lots of controloverits formants. endless buffet ofviftual analogue There's alsoan additional synths andrun-of-themill ROMpleE. 0S X 10. intothe Yet oncewestarted dMng wefound controlles andVowel Filter. analogue high-pass.6GHZ InelCPU. Such acrobatics independent ADSR-st/e envelope for funandofteninspiring arcgreat Don'ttalk back Beyond thefilter. low-pass tasty beneath BTTES SUGAR Unique The creators of Vogue serve upa surprise in theformof anunusual virtual synthesizer. newandinteresting timbres. 512N48 MtV >TEST SYSTEMS Mac: 2. In addition to these old-school you'll finda dedicated vibrato effects. likesome cream-filled whenit hitsthefiltersection. scanthrough them. generator youto string witha sprcad control.

WKI is difierent mustbe Nebula3Reverb VSIsupplied: nonlinear many as it recreates andtime-variant ghtforward usedfor reverbs that strai systems hen the sampler anived. cabinets. etc. cubase5X3. VSI'host supported). TMV AMP of Eeneric recreations virtual authentic suchas phasers' effects. (mid' (taPe).Confusingly control. demonstrating WAVS text file and an accompanying 338 A whopping cannot. EQU of PRE firsteffects categories is the "world's Nebula3 (equaliser). complete yourmusic. hasnext Nebula3 Toloada program. MIC TPE for (compressor). anditsWKI (Vectorial sample/'. microphones. 1GBRAM.these actually 'reacts'tothe Nebula how quickly 2007 August MUSIC oszI coMpureR . Youclickit in the list blew the doors to many a musician'simagination as latency andit introduces effects. forthe at 6GB though youliked a download. convolution (simulations) aresupplied' Programs bitsof fromfamous many sampled as Nebula3 buy currently You can you kit. the regular though side-effect to no latency. afterthe data has loaded. for controls willhave An EQ might a Preamp andattenuation. fusteffects theirlatesteffortastheworld's arebilhng Acustrca about'. couldcapture At last wideopen. Butwhathasthisgotto sharpish. (PreamP).while in Audlo Demosyou'llfind Nebula3.leskolaBuz PD sP2.. allows Technologd Kernels Voltena (amplified.8GHz. >TEST MACHINE WindowsXP PC:AMDAthlon64 3000+. COM FLT ffilted. time-variant AUDIO ACUSTICA Nebula3ffiffiffi andrf youdon't sampler. get sorted version DVD the new Audio's do withAcustica Fast display's the faux-LCD Page processot? VSIeffect Windows downinto breaKprograms as it happens. labelsabovethe eight main faders for that show the parameters emulation(youcan controlthem via of eight Pieces learn MlDl andthere's MlDl. more.Windows(98 not PC:P4lAthlon1.Steinberg DEMOS AUDIO CM is Thecut-downNebula3 in the GM Studlofolder.. Nebula3 the of versions are two There to convolution. a drive have that oren't of the efiects many for havecontrols compressors and release. sPeaker hardware efiects and keverb)' flangerd REV preamPs and choruses.. EveMhing. fromvour Vectorials know vour > SYSTEM REQUIREMENTS 512M8. anduseit in anysound let'shopeAcustica library. onto findoutwhatit'sa1l read Volterras.

the EQs do more thanjust equalise. it'sstilla typeof emulation is even stone-cold bargain {Nebula2 moreof a steal. the reverbs offera selection sampled fiom Lexicon's PCM70. oftenquicker fthey're of the sameprograms in a regular occasional lock-up when loading flexible andway to workwith. Thecompressors. the LCD strip except thatit lacks andhasa smaller above thefaders maindisplayl.. as wellas Kuzweil and Digitech unib. depending on the An 'easy' modeor somesortof for theirforward-thinking commended settings usedandthe source material. context-sensitive helpslatemwould forthat approach.a mixer would. for instance. There areno level marks on the meters. convolution anfltherewasa large Thefontis verysmall moreCPU-friendly). Nebula3 evenmore tantalising and Thetime-variant effects cansound abbreMated names. Acustica Audio should be a bit'stepped'. not Economy mode(and viceversa).evenif youonlyendup using oneof each offered. progams. can getbyin Nebula3 forthe actually onlythe Fast Page mostpartby using andtheparameter sliden. using about50%of our (admittedly notso cutting-edge) test machine's CPU cycles. andthisdoesholdtruewith preamp Nebula3's simulations. be pointless if it coloured thetone strongly. Theemulations don't givecontrol necessarily overevery parameter of the ori$nalhardware EQemulations.THE EOS DO MORE THAN ]UST E0UALISE. thefactremains sounds simply thatNebula3 andtheprice is absolutely superb. Nebula3 is actually in Normal mode. for but instead (Acustica marked difference in somecases. be a welcome addition. andwe couldeasily thempumping andsqueezing in very musical ways.. ridiculous forwhatyouget. the channels of a mX the overall effect canbe greatei thanthe sumof ib parts.there are all kindsof great-sounding emulations for thls system. though. and they available your CPU won't devour either 2007CoMPUTER MUSIC August I 093 . You shouldn't buy yourconventional Nebula3 to replace plug-ins. notso. TheEconomy modehelps to alleviate CPU usage. pregEms ^The Fast page allow you to bffie by catsgory. a wonderful canimpart character that weVerarely head in softwarc fifeverl get compressors. Yetby insefting sucha model on ol. because eight-core PC. and somethat mimicthe 'realthlng'admlrably AudloUAD-I Unlve6al NiA>> N/A ) fViviable lf you don't mind buyingthe UAD cardto powerthem. cm . affecting the sound onlya little. Theprospect withthe impulse responses sounding provide a la6erone. efforts to standard impulse rcsponses unclear. We'rc nowquitein love withthe'Boeing 747' and'Do U prcgrams.. for eithelso many havelow middle andhigh example. makes and for future expandabiliV flatandalmost mono in comparison! someparameters/labels have cryptic. bands as separate Sowhatyouwantto knowis:How pleased We're doesit sound? to report thatNebula3 really is ableto bring special to your something mixes. programs.rev|ews incoming signal.more plug-in. The emulations of the PCM70's factory presets in particular arefantastic we compared these WKl-powered prcgrams Some of the preamp seem undeMhelming andtoosubtle to be point of useat firstbut asAcustica preamp out. and is identical. Andwhen thedisplay reads'Econo'. thon load them wlth a slngle cllck Who Just asked why ]t's called Fast? Future sound Withall thatsaid. saythata newskincould useas a potent ally.though). Some of the price prcgrams areworth the asking on theirown. andthe effect on a single channel is therefore oftennegligible.andmore(spring and platereverbs for instance). sometimes subtle. andwe experienced the though. Power hungry However. programs Some canbe up to 150M8 in size. theycanintroduce colour andtexture. of course. Nowto getsaving buttheydon'tlackin toneandvariety. thesechameleonlike capabilities comeat the costof a hefty chunk of $stem resources. There area fewgenuine annoyances. THEY tANINTROUUCE ANN TEXTURE'' IOLOUR > ALTERNATIVELY pluglns Voxengo NA >)N/A )>$0-$130 plugsyou'll Amongthese respected find just abouteveryeffectyou need. We alsofoundthe method for loading differcnt banks of programs to be forthe someoptions arefartootechy (themanual producer avenge is pretty You decentthough). Wanna Comp?' Similarly. sometimes Themicandampemulations are righton the money very fthough CPU-intensive).

( ee \'. and thetraditional in/out is looking device a bit old hatthesedaystoo. Theinseftpointis pefect for thosewanting to patchin . although one stereopaircan be mirrored to the S/PDIF out Theeight analogue inputs use high-qualiV Neutrik multi-format connectors for mic and line designed (balanced inputs or unbalanced).Thelatest waveof intefaces aimsto do a whole lot l:i'*dii$ 094 | COMPUTER MUSIC Aususi 2007 .\. outputusing the HDIM software is a Blend knor doddle.4 L_- ( l ' -r- ^\€srsf + ET { . and is pretty compact PresonusFirePod E i g h tm i c p r e s .and phantom TRS usinga typical power is available on all mic inputs (switchable in pairs). Withup to 24-bi!192kHz operation.before the signal hits valvepreamp the digital convefters. controls and connectors software end of thingscouldbe more it'ssimpl= feature-rich but. 1GB RAI\4.withoutlooking Moving on to a mic hostsoftware. TEST SYSTEMS fvlac: Appe l\y'ac ProQuadCo€ 3GHz3GBRAM 0S X 10. and thesecome up on inputsseven and there's a switchto enable eight(again. healthy fourchannels at 192kNz. but for mostsituations shouldbe enough havemadea real Overall.the iol26is a greatdeal. < The iol26 is cedainlyas well built as it appearsto be 'li'\'i (". guitar we firsttriedDl'ing and found to be really the wholesetupprocess to the Routing the inputsignal simple.lts but the iO26 is anything feet helpit cling weightand rubberised and a quicktour of the to the desktop. Sound bet At this pricepoint. and is via standard six-pin poweris supplied or eitherby FireWire PSU.4. connectivity totals 26:that'seightanalogue. two Thebackpanelfeatures outswith level headphone separate mix knobs(youcan senda separate in/out. that connectors and knobsindicate engineered box. IGB RAlvl. The50dBof gainisn'tmassive.revtews iol26ffiffi SYSTEM REQUIREMENTS PC: ntelP4of AN4D Athon 2GHz.. Alesis manypoints with stabat addressing the i0126.{ . thoughthis is for the inputsonly. and the newAlesis desktop unitsexemplil/ this approach Upfor review is the top-of-the-range i026. and l\4lDl FireWire. Round the backyou'llalso phonos find stereo for a turntable. intefacescan be flimsy.lotsof options. Considering you get. Unsurprisingly. this is a solidly Toput the iOl26 through its pdces. The firsttvvo can alsobe switched to high-impedance modefor Dling guitars. insinclude a Alleight analogue this). . LikemostFirewire the included channel intedaces. but. a simple and easyaccess to the tidy intedace youwant. All pretty standard fare.s i m i l a rt o t h e A l e s i st . and for the mostpaftthey\.as it stands. thisunit offers serious specat an affordable price... at your easily be set. the Alesis mic amp design source. but does include ADATouts and lg2klz suppoft. Rummaging installing around yourcomputer PCI cards inside has mostly beenreplaced withthe ease and simplicity of FireWire or USB. al Inte l\4ac modes. Connection to each).8. samplerateaffects a pretty but the iol26manages count. pre-converter analogue inseftpoint jack.Th.. Windows XPHomeof Professlona SP2 yet lVsta not supporled) fvlac: Power MacG4 Dual367MHz.suchas a compressor or hardware . gaincan metering on the frontpanel. There arejust eight (sono balanced analogue outputs ADATs). Logic Pro72 ALTERNATIVELY M-Audio Firewire1814 Slightlydifferentconnectivityto the Alesis. nailed them. to get to gripswith and doesenough what for mostsituations. proves to be cleanand unobtrusive. 0S X 10. h o u g ho n l y 9 6 k H z operation and in a standard 19 rack case hingshavechanged in the audiointefaceworld. andthe dedicated get a working meansyou can quickly balance between computer output Withinput and the incoming source. 16ADAT and stereo S/PDIF connections.

hercules. you'd scenario. Therearetwo tunesto its library.EF. virtual decks. hookone up to yourcomputers USBpoft. is a itself. lS"111:l+:+r. radio of available number the large of unitscaup to 32 Pairs PRICE: 160 the musicisn'tcomplex.*^ oo FXPANSION WID]-XB 020 8207 7BB0 Arbiter. Ultimately. But even and some effects. set to control. but a few is reasonable.Afterinstalling and plugging DJing software supplied you add Your in the USBreceiver. The controller of the library Youcan browse letdown. can be powered or a batteries power suitable In a typical supply.and the to a MlDl other via one of controller the tvvosupplied Youcan Prance Voilal MlDlcables. It can transmitbothwaYS. as longas wellenough. 1) -(1 fercures I I and control display songsvia the LCD and a few other the pitch. menilyaroundthe roomwith Your whilethe intedace MlDlcontroller by the spewsout datathat'sreceived to your computer. thoughyou can haveseparate the outputs. . connected inter{ace too.but the possible you can makearetoo assignments we found mixing limited. CoNTACT: PC Windows FoRMAT: wirelessDJ his battery-powered looksgreatfun . Auqust 2007 MUSIC 98 | CoMPUTER .revrews MiniReviews Dl MP3 Mobrte 0207 556 7843 Guillemot. WWW. function Therearefour definable buttonsper deck.the controller guy on the box is clearlyhaving the the time of his life. for previewing latteris purely not ior cueingup tracksas a realDJ cue points Youcan predefine would. though. wireless thal the box aretwo MlDlintedaces eitherwith's not serious but if you're cheap. be usedat once. say.:t i' I Tl-lijE t. and the . hopeless the filterinstead. *rrtt. and can'tbe for scratching.JE i -{ "". ] MlDlthen aboutwireless I / thiscouldbe yourholygrail.. works This (11 9- r . features. with the mouseto be morefun and flexible.arbiter.thanks waY).crossfader Thejog wheelsare functions.-"*---*i o@ @ ltll I ilrtl'l H 1 1i' :l]IIf1+:irr. flawsmake fundamental this hardto's like Theprice DJing in the dark. * www. CONTACT: l\4lDl inteface Wireless FORMAT: from hardware lDl-XS CMEis a manufacturers In MlDlintedace. but with no cue mix.though peekat the manual. however.eachwith a sweetEQ simpleyet usefullooP and filter. . and t 150 PRICE: The systemis easyenoughto se probably you'll needto up. and headphone speaker songs. your though willvary' mileage wallsarein the : and._11!i fl \l2 CI.there's pedormance is superb that over latency no noticeable whichyou'd anwa expenence has WlDl-X8 greatrange(the up m a n u ac l laims to 80 metres.'i [+15 I e. and use them to beatmatch.

Standalone IMac/PC) PRICE: 169 rancelD is the latestsample library to utiliseUeberschall's player. a veryGrandPiano indeed.KontaK1. However. $29 ast month we checked out ColourSonicsBtisendorfer 290. -**J DopeTank PowerFX powedx. and its sound well with any compares I electricpianoRol\4pler I we've heard. so if you'relooking for an inexpensive soundsource you could do a lot worse than DopeTank. $ I MKII Rhodes Colour Sonics powedx.HALion. this is a plug-in system that's sample-playback and capableof timestretching pitchshifting samples so that theyfit The with the restof your project. including variations with's probably soundtrack maruellous.offering Combinator. manvof the soundsare not to be singlehits . whichweighsin at a very reasonable 15 ouid or so. **J MUSIC August 2007C0MPUTER | 99 . Malstriim. contentyou get for the cash is FORMAT: VSI.lf you CoNTACT: supporl@ powedx.'sfrustrating ableto access the individual samplefiles. plus a whole and Dr REXpatches. rotaryspeakersand reverb. WWW: FORMAT: KontaK 2. Thistime it'sthe turn of the Rhodes MK ll electricstagepiano.Colour Rhodes MK ll is Sonics Theamountof definitely a good buy. The priceis FORMAT: Reason ReFiII PRICE: $49 his ReFill is a bit of a mixed bag. Thereare some prettygood samples and patches on offerhere. Forthe Elastik uninitiated.Thevibe is generally modernand electronic. lf you're Rhodes aftera convincing-sounding piano and the various free electric viftualinstruments aren'tdoingit for you. construction kitson offerare C0NTACT: support@ WWW. PRICE: EXS24 GigaSampler. but there are no standout soundsthat would lendthemselves to any one particular'll haveto bounce the samples yourself.5. 0183755200 WWW.revtews round-up Samples Trance ID [Jeberschall CoNTACT: Time+SDace. load of individual samplesto use as you wish.a discfull of I individual WAV fileswould i makeall the difference. NN-XI.RTAS. but there's also quitea lot of mediocre stuffthat has to be waded through to get to the goodies.Youstill get plentyof different programs. lf you'reinvolved in work. but for the restof us.SubTractor.

hencethe slightly can always DARC standsfor Directresolution range although choosefrom Directresolution's AudioRecording Computer.4) S lvestonecooler Acoustic treament Nitrogon foam.aaallle'c . 250G8S-ATA system 'audio'drive.. Creative startsat 1799 range:DARC acoustic foam has at f989.-a-aaaaft(t(c alaaaaa". The Nitrogon fins and heatsinks.4icrosoft wired opticalmouseand Peripherals: wired keyboard Inside. Oneminor alsobeentreated.-. heatsink-cooled Windows XPHom€ OperatingSystem:l\.-.optical t LAN Networking:Gigab | 7200rpm 8MBcache S-ATA Storage:80G8 8MB ll 7200rpm drive.:*.'.it's an extremely ntelQuadCore Processor: Q66002.rubber mounts for acoustic rubberbacked graphics card harddrives. in this coolingpedorations. of individuals frontopensto reveal the and A locking in PC building background powerswitch.t(c ralaaaalaa'ct3 aralaaaaooaaS0 .reviews 3 I {.! t ^-. iiiiiii:i:i::. to recording.4GHz XMS2 Twinx RAM:2GBCorsair iP965 As!s P5B-E fvlotherboard: Monitor: N/A graph cs PX7100 128M8silent Winiast craphics: cardwithdual output 400. of of moreconventional they're not restricted Therearethreetiersto the course. ll 7200rpm 250G8S'ATA cache drlve SlvlB cache'sample (18xDVD'R. you don'town {orwant)a rackto bolt that with theirflagship this machineinto. and the hingeddoor at the fronthas but ours has an extraharddrive.covering sparecentimetre of the enclosure. and they're DARC systems. we haveis that complaint aesthetic the foam stuckto the insideof the edges. PCcases. expect experience.lf aimingto do just music. professional opticaldriveand studiowork.l'r'c'ect6 t-t^t^'^-^-.-.4icrosoft l\.lt's rack-mountable companyfoundedby a group with a solidand lookshighlyprofessional. cooleris practically Silverstone operation.. '. Rubber-backed Studiosystems and DARC to the beenappliedcomprehensively DARC but it'sthe top-of-the-range every Studio+ that we'll be takingfor a spin insideof the case. Connectivity:6xUSB2. far lessprevalent than it oncewas.1e3af" G? ( (aGtao'f jjaGoo. Thesesystems staftat 11199. here.0.aoaoa"""' oaaoaooaa'o"o iARCI ootr DARC Studio + is a The DARC Studio+ comesin a irectresolution Computers 19-inch case.Withthis you'dcertainly However. foam .-. the wiringis neatly aidlow cable{iedfor healthy the sceneis a whacking Dominating greatfan atop aluminium heatpipes. music that ticks age of computerbased them to produce a machine is rack-mounted equipment all the rightboxesin termsof making making.'. noiseless in normal Foam-made Auqust 2007 100 | COMPUTER MUSIC .. a t'' -t^'. door isn'tcut with straight rocker the quirkymomentary Pressing powerswitchto bootthe system of all that showsthe effectiveness quietPC.Firewire s/PDF. . E-SATA. 8x DVD-RW DualLayer Optical: DVD'DL 12XDVD'RA\.

two of whichfill the allocated soaces in the chassis.leaving a bit of roomfor expansion lateron.which you can buy with the system as a bundlefor an extra1505. spinat -l0Orpm and aremounted on rubber : Jshings.. then this can be set up for you freeof charge. quietly. as doesthe impressive expanse of storage space. then. . i matchedpairof 1GBCorsair RAM sticks. lt's alsoheatsink-cooled and thussilent in operation. TriToneDigital Valvetone. These bushings are r=signed to absorbvibration fromthe r. We testedour machine with the excellent RMEFireFace 400.handling demanding taskswith ease. whilethe secondand :-rrddrives are each250GBand ::signatedfor use with audiotracks :"d samplesrespectively. whichwouldampli{y '-= din.The DARCoffers extreme pedormance that belitfles the effofts of dual-coreprocessors. housedin a professional external Directresolution Computers carrya rangeof audiointedaces.preventing it fromtransferring '.For communication of the wirednetwork variety.. Thethird rccupies one ofthe optical drive :ays.reuews The Intel CPUfeatured in this machine isn't far off top-of-the-range. the DARC looksand behaves everybit likethe powerhouse that it's claimed to be. at a reasonable Thequad-core processor runsat closeto the top speedscurrently available and is a formidable computing force. Lifesupport The DARC Studio+ is covered by the usualone-year return-to-base warranty. All of the :'ves havean 8MBcache. During testing. operates Plenty of cablingand adequate for a musiccomputer. both of the wiredvariety. Directresolution's systems come with a restore CDand imagepaftition.'i ' r More loam than you can shake a silck at makes the DARC an e)itremelyquiet system Beneath the fansand metalis a llisteringIntelQuadCoreprocessor 'rnningat 2. however.4GHz per core.: : device withtwo outputs(one :-= VGA) and is morethan S-ATA connection. whichemploys heatsink :ooling throughout and has provision 'or threePCI and threePCI-X cards.therefore. Directresolution Computers also provide freetechnical suppoftfor the .es. August 2007COMPUTER MUSIC | 10I . Thesystemcomeswith Windows XPHomeinstalled.-: . there's a Gigabit IAN poft. deogame decimator.stem drive.l v l a n on a m p h e t a m i n e sR . Shipped with the baseunit are a Microsoft opticalmouseand a keyboard.but the keyboard has a solidfeel to the keys and looksverysmaft. capable of handling DVD-RAI\4. and it's been tweakedin the usualwaysto givethe best peformancepossible in use as a DAW.ase so there's no problem finding rowerfor any extrabits of kit that -night needadding. espectable data transfer rates are achieved by both the system and the data drives. but it's a . :ne chassis.that'sa pretty life of the product impressive sen/ice commitment. In termsof connectivity. Powerto the systemis providedby a 550WSeasonic PSU which.a Firewire poft.Directresolution havecertainly tricks : : :hesenoise-reduction : ::40 OUI.lf you're looking for something a bit cheaper.that it c r u n c h e sn u m b e r sl i k e P a c .lt should ceftainly be considered if you'rein the marketfor a new music-making PCand want high performance at a good price. again. conspicuous by theirattractive turpleholographic labels.. if you need it. .0 pofts.rounted on an Asusi965 Totherboard. ThisPCoffersa lot of pedormance price. Thisis -r.An 80GBdriveis usedas the .-. and if yourneedsrequire a dualooot system. FXpansion BFDUltralite. OurDARC Studio+ has threehard r sks. (review a cut-down version of Nebula3 on p86J. . Magix Samplitude SE. built-in S/PDIF and opticaldigitaland a parallel poft. : DARC imagery -l3MB graphics cardisn'tan . we foundthe system to behave well. The 1S-speed optical drive is a Dual LayerDVDrewriter. takeup fvo of the four available memory s ots. A well-designed machine.while the RAM storms through at an impressiverate.The mouseis perhaps a bit :onnectors remain unused in the . Theseare entry-level quality but do the job theyweredesigned to do. andApplied Acoustics LoungeLizard Session or UltraAnalogue Session. the provides motherboard six USB2. The2GB of RAIVI certainly helps. Other freebies include Nebula3DR. It's no surprise. Rather unusually.

it makesme risewhenlfall (as girlout doesthe funny{ooking of Cascadal. set of virtualdecksthat DJs VERDICI'A few notable omissions ensure that isn't perfect but it's a stunning first Deckadance and absolutely attemptfrom lmage-Line demands to be givena trial products lS f|? Mostof the computerDJing WHAT with prior coming this summer arefromcompanies in the field." RONAN MAODOMI.. Usersof the originalinstrument will feel instantly at easewith this virtualversion..Myvictims? Any soundthat gets in my way. entirely true.this virtualanalogue synth's feature-set inspiring. but the late Deckadance coderArguwas a DJhimself.lce.Ker-blam! EDITOR l"EE DU. VERDICT "A big synthwith a big soundand a big appetite. thanksto Acustica's TIM CANTSTAFF WRIIER ThismonthlVe beencaning the pumpingkicksand snares Essential from the Vengeance Clubsounds Vol2 sampleCD.lennardigital. VERDICT Sylenthl has instantly "OUtof nowhere.that's not use with WHAT lS lT? In truth. the services andtape emulator multiband compressor/limiter for years. the new plug-in high-calibre from distortion OhmForce that makesPredatohm looklikea WHAT lS lT?Someof us havebeenwaitingyears for a dedicated software emulationof Roland's polysynth." F-." c0NTAcT: sales(it DsDaudiorvare.afturia. PSP'S FAT double-sampling just got VERDICr "Oneof the verybest plug-ins that little bit better. Turnit on. and his expertise helpedhim to craft a will reallywarmto.and its high quality quickly becomes f 0NTACT: WWW{leckadar.DEDITOR lVe beenon a bloodthirsty killing spreethis month.uonl C0NTACT: WWW. section.though.My weapon?'s a€uably is well worththe processing Arturia's besteffonyet. MUSIC August 2007 0102| C0MPUTER . and wonder howyou evergot by withoutit. classicJupiter-8 and now it's here.we call on vintageanalogue This of PSP'S Vintagewarmer.but at leastI can tones accesssuchvintage software. thoughArturia havealsothrownin a few surprises. becomeone of the go-toinstruments in our plug-ins folders.LennarDigital haveone of the undeground releases of the yearon has beena cm favourite brickwalllimiting. adds an auto-release systemand more.t)spa ud we wantto add a bit of WHAT lS lT?Whenever phatness to a track.lar pr Mac p{- supponl! lennardigilarl.Buyit installit. CIINTACT: A2A 8247l88A cm recommends gear months new from The best thelastthree inioi0 imageline.This is lmage-Line's experience first such release. though. and its modulation section isn't expansive either. Sylenthl's dual-filter designhardly breaks the mould.CAINE DEPUTY I'vebeenbusythis month of sampling my vastcollection gearfor valve-powered analogue Well.cofn iow. doesn'tlook particularly four-oscillator. that the Jupiter-8v power. Restassured." Arbiter.

patchthe thinginto Simply need is to be able to rccord depending on whatit is. whichwillcompromise the sound use in tracks. ': another one that keeps in time with the first. EnerS/Pro or even EnergrXl. From it seemsthat you wantto playMlDlpaftsin realtim: looping and layering themon the fly. the losswill happily can help me oufil What do can then tle convefted to . Thetrouote is thatFLStudio doesn't allow you to patch an effectbeforean instrument. Of course. isn'tit?The intoSonar. whicyou to capture enables both MID and audioloops whileplaying. b il ill 5trNAR il 7 ' No wonder Sony MiniDisc files can struggle to make the transition into Sonar . whereit up to snuff. you couldusea plug-in such as MidiZoid Looper. Whencombined witha ro+| covrurrR MUsIc August 2007 . How can I use ManySonyrecorders quality spoft of yourrecordings to some the files in Sonar? Gan I make USBconnections that makeit extent. amounts of pro gear. Paul Mclntfe. li you wantto stickwith FLStudio. as you've rightly determined. Thishas the unfortunate I have a Sony Walkman further editing and be a simple your taskto export cue up. and then a drum loop that does the sam€ thing.lf you patterns wantto use sequenced that you've defined aheadof mieht yourmixer or audiointedace.Sony disadvantage of shuttling the HI-MDMiniDisc recorder MiniDisc recorders sloretheir audiothrough anotherD/A with which IVe captured recordings in a proprietary conversion and thenbackagain. true methodof re-recording the I realise that he uses vast Youdon'tindicate the soecific device's outputs. and it can b: utilised inside FLStudio. been searching for a and poftable l\4iniDisc recorders can always fallbackon the old program that can emulate his arean idealwayto capture them fashioned way. a looping sequenceand then for use in our music.ourexperts arehere to takeVour hand you and show theway out Send your questrons to cmhelp@futurenet. but you can work around thisby using a modular plug-in such as EnergyXf. This application allowsyou to string together various devices and plug-ins as you like. Whenit comes to nailing that classic JMJ sound. useAbleton could use EnergyCM. lacks suchhelpful you niceties.wav ti filescan thenbe easily imported :. you recommend? fileswiththe software that came David Gee bundled withthe unit. What I modelof yourrecorder and.There are a few approaches you couldtake to this end.and you're offto the recordings overto your DAW for races. A driving tripletis oftenthe basisfor hrs pulsing rhythms. if the lViniDisc direct use of them or are incredibly simple to getthe data recorder and audiointedace are there conversion tools that ontoyourcomputer. but maybe there's a VST plug-in out there that can do this for me. some interesting sounds to data-compressed format. whichare usually subjected to copious amounts of synchronised echoes. Youcould of course. Those .via the triedand type of sequences. i' Field recorcing is inspiring intoyouraudioeditor or directly and enjoyable. However.r1.YOUR QUESTION ANSWERED Lost ln a maze of conrputer music? Fear not. I'm using Fruitld-oops because I like its layout and options.wav be negligible. the heartof Jarre's soundliesin hisclever use of sequencing. lf you wantto loop real-time l\4lDl pedormances thenyourchorces are somewhat limited. I'm a great fan of Jean worldaround us is fullof lf your MiniDisc recorder Michel-Jarre and lVe interesting and intriguing sounds.look at the size of the thins! yourquestion.

no hype.fireup thatlavalamp '-d getsequencing! $peakffiasy Over the last couple of years IVe considercd finally getting myself a pair of active monitors. require that a certain By amount of air be pushed. Launchit and patch it from the machine. go unheard those simplybecause tiny speakers can'tmoveenough air to reflect what'shappening in your in yourmix. to a ClVl-505 drum of thePatcher second output withBigTick's Cheeze We've repeated the process theouts to thel\4ixer. Patcher module.preferably usinga delay for filtering. Daniel. who has worked withthe likesof JeffBeckand lvladonna.actually. Use 1/8th notes. on your homestereo it'salways We say both because a good ideato checkyour mixes playback systems to on multiple well to ensure that theytranslate othermediums.No representation great fuss. don'tcome studiomonitors cheap. ot the Patcher.sng Energyxf the .. Send popping rhythm synthetic.Patch to EnerryClvl to the delayand lvlixe(and routethe lvlixer the MasterOut. with whichwe can assign installa lvllDl differentkey rangesto any of eight MlDl outputs. weresonically thesetabulous Nevertheless. that mysterious Another keyfeature of Jarre's was his useof ancient sound generators. :'ocessorthat offers :'rly retro tape-style echoes. in frequencies. is an excellent sourceof CM-505 percussion. track chorused chord and heavily progressions. J f.headphones iust won't cut it MU5IC 2007C0MPUTER August | 105 the veryleast.In EnerryCM. There are a good many hearing-impaired musicians and engineers. Thiswill of synchronized giveyou that galloping rhythm heardin trackssuch as Oxygene. deepreaches yourlocal or. )) il tl { rf Lefs use MidiZoidLooperfrom www. Thesedrum rhythm produced machines sounds via analogue synthesis and quitelimited.but evenlessexpensive a sonic monitors will present picture that'snot comingacross speakers. )) Call up Energyclvl and patch it from the first output We'llbe Let'sadd a delayplug-in.given yourimpairment. Useminor-key yet mellowmood. World-renowned comDoser and sonicsculotor David Torn. hadcharacter in machines Ourown abundance. Dedicated suggest both. Machine. so open a Mixer. you to choose Thatleaves between usingyour hi{i or getting we'd some monitors. Headphones simply an accurate do not provide representation of musical frequencies. (three equally to usetripletfigures spacednotesper beat)and lots delay.Slather on lotsof string and/orphasing :ilck chorusing :nd thenpileon the delay .." { Studio monitoB are a must for serious mlxing . such sequences ticketto the can be a one-way of outerspace.energt-xt. The reason I'm doubting the actual wofth is that I'm suffering ftom a hearing-impaired left ear. Open it and "& Aase'sEnerS/Xf(www.'rpingoff point.we're usinglorgen fr from a MlDl controller.The more you get and betterinformation the more fromyour monitors. We'dventure to say that. means case. or would I be better off getting expensive gear to compensate for my bad hearing? Daniel OR Youneed not fret.Let's assignthe bottomfew octavesto a separateoutput. shares To staft. problems may using headphones. nor have I decided whether it'll actually be worthwhile.Furthermore. using headphones one thatyou'll onlybe hearing side of the stereospectrum. even with my hearing issue? What difference would it make buying cheaper monitors. As it is. Bass paftlcular. Is it worth spending money on a pair of active speakers. studiomonitors are engineered to provide a clear. and whosemusic can be heard on suchfilmsas FridoyNightLrghtsand The Order. unsullied of yoursound. triadsfor Port2. My right ear is basically normal.r adding more instruments. NewAgebookshop. It mightbe a good ideato on the use some kindof plug-in master bus to flip the stereo to doingso nowand again ensure thatyourmix is balanced. and accurate is even monitoring dependable morecrucialfor you. you'llhaveto workwith. 0f course. you're not alone. yoursituation. try uslnga dedicated such as Big string synthesizer Machine for the Tlck's Cheeze pads. Youcan definethe loop lengthand it'll syncto the host'stempo. some of them quite well-known. create a triplet patternby settingthe step count to 6.. I'm monitoring through a pair of AKG K24O headphonesor my old hi-fi set -:ense.advice nxpert lq&a Ltveloopingin EnergyXT I[ We want to loop differentinstrumentsin real time Forthis. Seeabovefor a shoft :-rorialthat we'veput together to giveyou a -. so givenyourpafticular plight.we always recommend against depending Evenmore on headphones. the key is As we'vesuggested. synthesized Finally. but still haven't decided which ones to get.

Mac usershaveit a littleeasier. I tded CakewalKs Sonar Home Studio 4. \ t?At F'IIUI MIX-UP I use Gubase SX3. Cubase is. just can'tuse them both at once. Follow thesestepsto select your microphone in Cubase: Go to Device Setupand then locate VSTAudiobay on the left side of the pop-up window. Go to Device Setup {in Devices) and lookin the column alongthe leftto see if yourold is amongthe Remote controller lf so. I have access to both a fairly powerful PG and an eMac G4. Ite heard that Reason is rcally good but dont know if it's able to incorporate llve vocals or instruments. contrcls the transpod panel on Cubase as well. good enough to be a studio. Ite tried to configurc both the keyboard and Cubase but I haven't had any success. I can get it to wor* withln Windows as a micrcphone but cant do the same in Gubase. but I can't figurc out how to set it up within Gubase SL3 to enable me to rccord. gearcd towards electrc/techno/acid/house/ supports and outputs. The ioystick. but this isn'tgoing to helpyou if you wantto record yourmic and your through soundcard simultaneously. On the rightyou'llsee a pop-upmenu labelled MasterASIODriver. as they can createan aggregate device. selecting the Delta as the Master ASl0Driver. a Korg Triton E)Crcme keyboad and some other equipment in my home studio.then clickApply and return to the mainwindow. lte scourcd the internet but wlth no success.among thosethat don't. wantto makesureyour MlDl portsare appropriately Iabelled windowto the MlDlSystem further confusion. Cubase forces to choosewhichaudiodevice you wantto use at any given multiple inputs time. Create a Monoaudiotrackand selectyour microphone as the inputin the Track Inspector. it in the Device Setupwindow. which I too complicated. Where to start? For years lle been itching to get anto making music on my computer. When I strike ceftain keys on the keyboad. but annoyingly not multiple audiointerfaces. the main volume and some audio tracks on Gubase go off. Cubase has been a disaster since lVe added the' Korg. lve downloaded the latest drivers for Delta 44 and updated Slj]. despite the guide book and tutorials. combining one or moreintedaces intoa single. Gettlng thls Samson USB mic to work wlth Cubase can be a testing issue It sounds to us that your the new Korg occupies pon to whichyour lvllDl is assigned as a Remote XBoard Device. switching betlveen audiodevices isn'tall that on it to open Devices.q&aI expert advice . When you wantto resume recording withthe Deltasoundcard reoeat the process. I have a Delta 44 soundcard and Wndows XF SP2. Your USB C03Umicroohone should be amongthe listof available options. meant to control the modulation and vibrato. and also be able to make trip-hop.sorry to say. Belore I got my Korg.Fortunately. On a mone positive note lfound FL Studio 5 rcally easy to but it didn't seemto cover my'llneedto connected? Youmightalso changethe port. but having had a few bad experiences. Ite also heard logic is very . I was hoping you could point me in the right dircction. but still no luck Can you help a frustrated musician? Steve Jones . please? Franklin 'qilte''k . many applications don'tsupport the use of multiple simultaneous audiodevices. Thisisn'tto saythatyou can'tuse bothyour DelIa44 andyourUSBmicrophone . I thought it was plug and play. Selectit. monolithic device. rccord audio and suppoft extemal hardware. so the question is what software and hardwarc you rccommend that would cover my main I needsto be easyto use. I used an XBoad49 MlDl keyboad to prcduce my music and everything wor*ed perfectly. Device dilemma lpurchasedaSamson USB CO3U condenser microphone.On a Windows you machine. Could you advise me. Arethe MlDlinputsand outputs stillassigned to the same MlDl as yourold controller? interface to the Or aretheyassigned intedace to whichyour Korgis lf so.

E x p o r tM l D l F i l e .but here'sa quick how-to. to a specificploduct. to another.well. Fruityloops. XW 3{S 8tl Song Information.You'll { channelselection q# the categorieslisted.Onceyou'vedone that.Rewireis a two-way . In its into it before There's no easyanswerhere. you want on that the channel track and awayyou go! $ffix Y The latest FL Studlo will easily meet all of your creatlve needs >HERES IHE I'EAL. for person musicians usesucha setup will find intuitive.{iieri advice I q8a LogicalReasoning Edit Create Options Conlacts Close Save S a v e4 s . and audio allows for deepediting to want recording. and rccommend conciseand to the Keepyourquestions point. Thatprogram is a casein point. many Rewire channels. lf you pushPlayin Logic.. ft. FLStudio seemsto float doesn't. worthyof will viewas a torture ACID has its roots Your own Sony's himself. wouldgrantit DAW you try versions of FLStudiomeet your bread. it'sdead easyto use. onlyto wind up right among some. Song 5elf-Contain 5eftings.. .it'sa firm favourite backwheretheystafted.. clicks.this meansthat Reason products can will workfor a yourmain givenuser. shareall the sametransport transport Reason's and so on. in loop-based but has and we'd alsogrowninto a fully{ledged a littledeeper suggest digging with all the trimmings. whileLogic intuitive sequencing. incredibly stableand can be application no ReWired into another there's Unfoftunately. runhappily alongside no matterwhatstyle and many audiosequencer. shouldalsoengage. your'uk MUSIC 2007C0MPUTER August | 107 . can untilsomething audiorecording. and you'll the transport engage assigned on that track. as theyll have morc in-depthknowledgeabout the gear in question.First.)) and take a look at the selecta trackin Logic. forgetto includeas manydetailsas you can aboutyoursetup.. . instruments and some usersfind Ableton's Liveis another a cakewalk. .tr# lt reallyisn't difficultto lash Reasonto Logicvia p300 of your Logic ffi neWire.. Whatone of musicthey make. the surprisingly functional thatships sequencer with ilife (andall new Macs). but in loop-based of SonarHomeStudio example MlDl now offers audiorecording. Reference They launch Logic.all of up and running. . ffift Once Reasonis running. haveto be ooenedin that order.too.We'd suggest current as you as manyoemoversrons all of yourstatedrequirements. Bath BAI 2BW or emallcmhelp@futurenet.we're selectingRW:MixL Onceyou've yourchannels. excellent Reasonofferseasy. . Chris Sampson wayto get your is a reasonable feetwet.LikeACID. to: Send)our questlons CompubrMuslc Q8. Youarecorrect that Reason does not suppoftaudiorecording. P u b l i s h5 o n 9 .though..and it wouldbe easy to migrateto the Proversionif and whenyou neededto.i:. 4 find Rewireamong menu. suppoft aretherewlll be a technical Chances llneyou can call.yourRewirehostand slavewill &m communication loop points functions. yourReWire willappear channels inputs to in the listof available yourLogic Assign audiotracks. package that mightbe woftha eitherit clickswithyou or it it had its genesis look. lmpon MlDlFile. audiotracking what that doessupport waywe can predict . However..ou'le best ofi contactlngthe manuhcturcr.beautiful DAW from one expensive and daunting to ship Deep behemoth. BPM. lf yourqueryrelates !. . lt's onlynatural via ReWire. I can hear the sounds when I'm recoding but can't hear anything in playback mode. for VSf and support as an introductory functionality was designed package and effects.and stickto Justa coupleof prcblems And don't slncewe onlyhavelimltedspace. ltried to find some suppod on the internet but was unsuccessful. it earlierincarnation.and within's explainedin detail on m1$c Monuol. music. LogicExpress lVlDlmusicians. another their productions.*smmahfim ffim I'm trying to connect Reason to Logic via ReWire. DAW dismissing it. Torquemada production. 30 Monmouth Strcet. we knowmany attempt: jumped who have musicians Logicis a big.. pagesare hereto help our prcblem-soMng you wlth any computer music technlcal issues' you We'lltell the best way to frx your dllemma the besttoolsfor the job.4. Would Sony's Acid Music Studio be another viable option? Any help would be appreciated because I'm really desperate to get stuck in but am iust floundering in a sea of confusion.. to lashthem together It'simperative that you open onlyafteryou haveLogic Reason Afterthat. Finally. including Don'tgiveup afteryourfirst Download the latestdemo and giveit a whirl.. it. and Every musician is different that lackedmanyof the features but the whatwe like mightnot butter status. up Reason. Ditto for Garageband. dlsubutor or retallerfirst.. open the projectthat you 3# want to Rewire into Logic. outputcomingthrough hearReason's good lor Logic Express or Garagebandl. Michael PoPe make Reason and Logic companions. .

Playa reassigns few notes on your MlDl keyboard. that producerRe-Con FILES TUTORIAL findthe filesfor this You'll in the month'sQ&AFocus TutorialFilesfolder The sound you'relookingfor is one of the most in moderndancemusic.afocus advice Iexpert QSAF0CUS ANSWERED YOUR QUESTIONS thrs which problems. nudge it into shape.lDir! Pub 5{b0sr 5ru 6. allow for such antics right out of the lvlanysynthesizers box.eUA&* oO r tr r ' Losing that waveformdiminishedthe powerof the sound.and you can find iust such an instrumentincluded . This that LFO. activatethe plain ol' Saw wave dnd give its Volume a boosl too.Maybefine-tunethe filter Cutoff and Res too.>> /l {J lhe upper notes havesome seriousmodulation F *l issues. >) with Realdor I lunatik ll is an Ensemblepattemedafter the Roland one ofthe most popularhardware luno synthesizer.that's better! > filter at the top-right Notethat there'sa high-pass corner of the GUI.You'llnotice that there are buttons that and deactivating under each waveformfor activating the Pulse wave' > wave . August 2007 MUSIC 110I CoMPUTER .* a frrio GflflftED. only offersa and while that might seem a bit skimpy singleoscillator.>> -l As you can let's fix that by crankingup the 3-Saw I wave'sVolume.t r t E E Htr fl ffiryfl$ Stt]tl * l. synthesizer-based have a distinctly month to makeleadslike those Howdo I useReaktor cheshire uses?c Gibson. of a triple-sawtooth for a big unison lead.many of the characteristics presetand it { we need are alreadyin place with this may verywell be close enoughfor your needsfrom d to we can make a few adiustments the off..Call up the Kirmes Snapshotand have a PlaY.There'san LFOmodulatingthe pulse width of Click on the Man button at the top rJ our waveform. left corner of the VCOsectionto deactivate pulse width modulationto manualcontlol. and popular I ubiquitous lt's made by * croppingup in all sorts of sub-genres. the displaychangesto reflectyour adlustments.u i-5. production outwiththerrmusic fourreaders Wehelp tasteto them.I \E * Noira P'$ SubBc 5. Playa few notesto hear your handiwork.the waveformin Ne)d.deactivate t r-roI ffi Lrofl ml ml ven f EnvI PWT.Youcan also fine-tunethe amount of chorus being applied in the FXsection usingthe Chts and Depth controls. stackingup a bunch of slightlydetunedsaMooth waves. J L synthsamong dance musicians..the availability waveformensuresthat it has plentyof's called Junatikll.As you can see.adjustthe HPFsliderto for those sharp dance filters off the low frequencies leads.

The main bit is the Junatik can patch.4ute E flffifl'tr dryfi Ne}t. id Adjustthe Tuneknobfor the firstone to -0.Playa note or two to hear this monster :.i enufl t::: i-i..and .they're "# the Tuneknobof the otherJunatik now l but the delay. Analyzersand Orsplayt Effect9 5 a v e E n s e m b l ea s . ffi er$ for the Structurewindow.Clickon the title bar at the boftom # Right-click moduleto selectit (it'llturn red).. and output from the first Junatikto input 1 of the lvlixer. :'. ' r .'ffi Pitchbend ucF uco .Clickon the wire that connects Junatikto the Delayto select and delete it.{li on the AudioOut t inputsI and 2 respectively to module.!--e-r_$ l. "g tr PWM Save l n s t r u m e nA t s. a mixer.the Mixer window Bringup all of the channel in the Panel appears faders. Man .Alternatethe channel pan positions: set the Panson 1 and 3 hardleft.2rnzout _{e The signalsneed to be combined beforewe send In a hardware studiothis oS*5. module the StereoTDelay make more room.alongwith the masterfader.connectthe first"r to the outputs.Disconnect from the Audio Out module. of the Junatik You and selectDuplicate. for more we'llconnectit accordingly Youmight need to movethings about a little to flexibility. -*-tT:{r ryti fl..which in turn is ffim feeds into a StereoTDelay the sizeof lncrease to the AudioOut module. { layertwo or morecopiesof yourJunatik r. . Connect outputto input3 and its R outputto input4. .Next.3'and to 0. What we're goingto do is createa copy of our the powerof in orderto increase S lunatikinstrument our unisonpatch.3 .Right-click ready-made StructureWindowand then select Insert InstrumentD MixeDMixer 4Ch.S1 on the can add a bit of the Send and Ret knobsin the Mixer. scroll down to your two Junatikinstruments. L the secondJunatiKs the R outputto input2. module. This ffiw Let'sconnectthe Junatikmodulesto the Mixer. delayby adjusting it n ry ll n Mule I I Mute Mute L L and R outputs *q Now patch the StereoTDelays That'sit respectively to RlL and RlR on the the L input on the StereoTDelay guessed it the othersendfromthe Mixerto the R input on the delav '' Mute itl Dist.. dtq We could run the wholelot through S#$ since the lVixeris fully equippedwith effectssends i*# anOreturns. to bringup a menuof functions with the same complete now havea copyof the original.l fi E HPF# i Chrs rI TIIT ill -IF II H 5l[ rlffiElConnectthe Mixer to the Audio Out module by dragginga wire from the lvlixe/sL and R outputsto .As you can see.trHII T. Hll 3i E *ll # slift B.: iji j4!qL.+!b on the fifth icon from the left at the top of your Structure Ensemble to ooen up the Ensemble's Junatik components window in whichyou can see the various .. and dragging on the connections ffi is done by clicking the L Connect avfr cablesfrom one moduleto another.this Ensembleconsistsof a few That -ap parts. n HII H d5 ll E5 fri ll e I I i. - In9emble Piopernes Recorderr+Players 5afrple T... 5Iructure Window Structure Prope rties sEh As you can see. oatched your windowand movethe bits about to giveyourself plentyof elbow room. them through d wouldbe done by patching usinga Exactly the samethingcan be done in Reaktor in an empty part of your mixer. .l_Q _rl. that make up your Ensemble. parametersettings..and the Panson 2 and 4 hard right. sq viur"to {* Gff lf you want to create an even biggersound.r o fl Fg- l-l " .l'lr EDnN l.l)iiiSii .anslormer S e q u e n c e dS y n I b e s i z e r Srquen(ers 50und Cenerilors Sutround Uiil(ies Synih€si2ers New . :'r MUSIC 2007C0MPUTER Ausust I lfl .lt's prettyhuge!lf you like.

5b cy_M55ynth PAD-Bellatrts-RJ PAD-Eeta'RJ's time to export lJ a sample.fxp second Dominatorand set the Coarsetuning of each oscillatorto -12.and pan them all to different fi positionsin the stereospectrum. Cutoff to taste and engagethe Datt Chorus and synth Rock Da Disco effects.o & af o e u s i ' ' . > J Open up two more instancesof Dominatorin the Next.Nowwe har a prettybig.n" coarse tuningof eachso that theyall 4J a havea value of 0.rl Dominatorcomes with a wealth of killer presets. time uDto around0. Openthe J Detunedsaws. > B is inactiveanyway). > il Chainerenablesyou to combine multiple instruments and effectsfor a complexsound. patch into each of them. {r differentapproachto creatinga hard-hitting sound. > tlscB rt tr lr --L at) N tlsct CoaneP{l [oatse F|# Frne PWM Fne FtFl ||rI Adjustthe volume of each channelso that it doesn't peak the meters. Now.fxp Youcan find the preset file.Crankup all three F oscillators. nolrta. and set the EnvAmt to O. Nowtum to FilterA (Filter F Shovethe Cutoff valueall the way up so that it's Itl lJ wide ooen.blecqs-Curuo.tNtsiqhFRJ sFz ToxicIII PAO-PMPEz-lDC PAO-5pde{OC BAs-PuthLJp-Rl BAs-RiEPi@rRJ @6pde@ Crvrtal KEY-Bright5FBdLLOC KEv-5imple&[LE KEY'WaVy&SIDC KEY-ExpbftgChip{Dc KEY-Fatt.356wL6dRJ MIDI transmit chtrnd oxlovsTi FL studio 6Ii (Multi) FL studioWTi We'vealreadycoveredmakinga typical'big saws' so this time we'll take a I dance sound with ReaKor. Selectthe notes you want on the keyboad and click Expot )) Loadthe /7 second and third slots of Chainer. Next. B and C.very cool. functionsin the Presets menu at the uppe management right comer of Chaine/s inteface.then set the Coarsetuning of the third Dominato/soscillators to +12. We've opened Chainer in standalone mode.Set the Fine tune of oscillator C to about3. Clickon the arrow in We're the top-mostslot to availyourselfof your plug-ins.72O and turn S (Sustainl push the R (Release) all the way down.we save our patch as an .com).0..Set the D (Decay) to aboutO. : i : " ' that rawsynthsound that's fl nowcanI produce }vales of hardhouse? Shaun.mffidlE LED-Tranco*{N LED-Maion6ve-OC LED-Minonile{x LED-5impleMono-DC Lm-Ms*6rDom7-E LED-Ca &qRdvin'U LED-eatMtR. Usingreadily-available freewareand the demo of Xlutop's (wwwxlutop.tweak the tl |.dy-Lr LED'Heryrudl{X I sll"ll::r hsed Input C.A. _ LED-HodvyildM{E LED-HaffidPmdlU choose FilerrExportGivethe sound a name. select a folder and set Hold lmsl to 4000. r . >) lr-J E--- IIIIH I Uepth Let'sturn to the Mixersection. so let's use one of them as a staning{OC LED-5i@hgRdd-LX LED-synclaadkd. Detunedsaws.fxp.ia-Rl PAO-DelphiniRl polyiblit smplelord *il]: .Our seemingly'traditional' sound has been transformedinto somethingmuch hard but without losingthat raw edge. KEY-stutttr-Rl KEY-vibrasquare-Rl KEY-vitotion-RJ KEY-Xhd{J KEY-5trjn9rLD( KEY-rhTh[drRJ BA5'€nvB6seRl BA'F. Eventhe demo versioncan do this . Chainer we'll createa huge sampled soundthat can be usedin any LED-Rnintrq. goingto use the CM Studio'svery own Dominatorsynth.Perfect! 1I2 | C0MPUTER MUSIC August 2007 .fiat-outsound. Thisis thickening up the sound nicely.005.f&[LX KEY-BabySd-1rc BA5-IO1'RJ 8As-Simple'Rl BAs-sdkma-RJ BA5-steelEdqed-RJ EAttr€ack-RJ BA5-Hmvaq-RJ BA5-Hr*aRJ I 845-tudanuDc BA5-Bom{DC IED-EVoLDC LElFmkyclunk{r LED-GetRc. )} .load the sample into your samplerof choice' lt ours is Highlife. can exportone or l: more samplesto be used in other LED-5yncLead{DC LEo"DditdF@lrE L€O-wackyWoHe{X LED.We tum on the BR filter.South { the trademark PAD-DefaulFFa<tory PAD-An4omedae-Rl KEY-SextantRl I .When J you havesomethingyou like.rl SelectSaw wavesfor each of the three oscillators.set the A slider $ # of the Amp to 0 for a hard-hitting start to the {Attack) note.adjust the Fine tuning of oscillatorB so that it readsaround-3.600.Openthe presetKEY-Vlntage2-]DC J and play a few notesfiu your MlDl contrcllerThafs a prettybig sound in the clG style.but not quite big enoughfor hard house! )) ii { Osc B te te ft trb Coane PW Coaq6-PV/ tne PWM fne PtiM N llscI N Amp .

so Distortion etfect. the pitchbendwheelto bend the notes. > Tryemploying pile on some more guitar-centric efiects Finally. * with a good tone from your synthesizer.Therecan be few I lefs start with a waveshaper which comes free on * betterthan CM WaveShaper.crnergealpHa'EgE When it comes to emulatinga screaminglead guitar. lt doesn'tsound much like a shredding guitar lead yet. guitar physically via modelled as oftenrequires a keyboard to as learning muchpractice master the realthing! the realism Nevertheless. Revitar such as Cutterlvlusic's {www. withfree Thenet is crawling multisamples and commercial froma derived and soundfonts These wide varietyof guitars. and obtaingoodresults. analogue-subtractive there are plentyof othertypes you can useto of instruments First. our very Fortunately. mathematical usescomolex a sound to create algorithms performers.Usethe Wah-wahpresetand tweak it to taste. > curve until you get an appropriately ! Let'sdrop in the TubeScreamerplug-inthat comes Q with GuitarSuiteCM.i{n' vol v€l sugl . the DVDeverymonth. E i*'. and crankup Openthe plug-in famousstompbox the Gain and Tone until you havea nasty. J you . to designed of synthesis of a the variables emulate lt's worth realinstrument.of course. the sizeand strings and shapeof the body. Guitarsdon't sustaininfinitely off and push the Dec Sust {sustain) shut the Amp envelope's I {decay) all the way up.Set the polyphony to six voices.Start by reducingthe FilterenvelopeDec (decay) to almost 0. pedal. own AlphaCM we've openedit in Sonar6's SynthRack Youcan use any host you like. evenoffer simulators. the pickups.patch.q. processors to wrapthemselves somerich harmonics t {J 'prog rock" so switch the Glide The portamentois a bit too on the Amp tun.Open it up as an effectsinserton AlphacM'saudio channeland adiust the Waveshape/s crunchysound. does it? No matter:the idea is to giveour effects around.Here.C ffi . aresamples. echoes.this ir ) a fr modelfedon the real lbanezTubeScreamer. theirinherently on modelling. strumming built-in iqrg.resonantbite.cuttermusic. >) I I AlphaCMalreadyhas a soundthat emulatesan 8os-stylesynth guita. mostobviously.reducethe Rel kelease) Playa tew notesand adjust it to somethingthat suits envelope. to show we've chosen Though you howto emulate a guitar leadusingold-fashioned synthesis.iion Off.though let downby aresometimes nng t { ? so without externalprocessing.advice expert lq&a focus 'guitar-style' synthleadsounds? make I How do fl { LasVegas JamesWalsey. which can be We'vealwaysbeen keen on wah-wah.etfects processing it's alwaysadvisable to stan is key. guitarsoftenoffercontrolover plectrum stiffness.tID-CryoG-TEG purposesmuch better. )) al i{}. samples can be fine. ideallywe want to giveour effectsmore to grab hold will suit our ol so let's use a more complexpatch.also on the disc . of eventhe typeand Position Someof them. that one of the very noting was algorithms firstmodelling a plucked to simulate created Physical modelling case you want to knock out a chord or two. model of a goodmathematical Modelled can be per string. lf Lr However. thatwill satisfy playing a good However.Next.htm). Physical is a method the otherhand.we like it the form of the presetKEY'SynGuit-TEG.since wah-wahreallyis iust a low-pass Auto-Filter filter products. Audio'sfunkarifficClassic by Kjaerhus represented J plug-in.. Slatheron a bit of delayfor those Gilmour-esque q { MUSIC Ausust 2007COMPUTER I I13 . (onthe DVD) is burstingwith awesomesounds. }} is at the heart of everygreatguitar lead.

BecaLtsethe DS-404 is such a poweful sampler.Click on the L buftonin the djsplay to importa patch.l-ryt_t " l-'Fil. 114I C0MPUTER MUSIC Ausust 2007 .lrlfiElEi"C \/=T q tr dFI F NoWclickon the DS-404's F4 Function buttonto bringup the mixer. muf CCHTIPLIIT Return the Transpose knob backto the centreposition. so the overall tone changes with the velocity.There are loads of dedicated drum synthesizers out there.Locate the patchcalledSmallKitand loadjt up. Adjust the EG1and EG2 seftings as shownhere. r1 I | .Howdo I layerup drumsounds in DS-404 to make my own customones?Rfch Avrams. dont overlook t h e p o w e ro f pg lug-ins I our efferts-processin t o n \ e a hy o u r d r u m s a m p l e s b e y o n dr e c o g n i t i o n .but why not use our veryown DS-404 (onthe DVD) sampler to stackup beat uoon beat? Here. sinceby defaultit's assigned to lvllDl channel 2. w e c a n a l t e r t h e s o u n d s l g n i f i c a n t yw i t h o u t e v e r l e a v i n gt h e g l o b a l level. I re Youmightalready haveptenty of DS-404 drum kits lyingabour.. and set the Cut (cutoff) to threeo'clockand the Res(resonance) to 11 o'clock. Finally. Loadthe SmallKit . There are 16 sliders. As you can hear. y employing ringmodulation or frequency modulation you can create entirely n e w t i m b r e st h a t run the gamut from subtly e n h a n c e dt o t o t a l l yc h a o t i c . compressors a n d r e v e r bt o m a x i m i s e the s o u n d f r o r r t h e l i m i t e dp a l e t t e immediately on offer. Montreal ells-l 1. O n e g r e a tw a y t o w h i p u p n e w d r u m s o u n d st h e s e daysis to put them through a s y n t h e s i z etr hat processes e x t e r n as l i g n a l sB .Iec #H'$ i-. .. we'veopenedan instance ol this powedul plugin Sonart. . ' : . as DS-404 can tell the difference between patches and multisand respond accordingly..t w a s c o m m o n p r a c t i c et o s e n d d r u m s o u n d st h r o u g h fuzzboxes. H Let'sedit our secondpatch. trp In the display area.s o u n d i n g percussion. each assigned to a different l\4lDl channel. l i k e r i n g m o d u l a t i o ni. I.Give the Transpose knob a hlist and play your sounds. Set it to 01 insteacl.H.'tF]6 P l a ys o m e n o t e s o n \ o L t r \ 4 l D l c o n t r o l l e r to famjliarise yoursell with the sounds on offer Al the samples are mapped to the first octave.dragon the numberto the left of the patch nameto llringup O2:O2 Patch2. Playthe drumsto hearhowthevsound. Don. Scroll across whereit reads02 abovethe secondslideron the top row. Transpose it clown six semitones. G r e e nO a k ' sC r y s t a il s a n e x c e l l e ne t x a m p l eo f a s a m p l e rt h a t a l l o w sf o r FM processing of samples .s a g o o d t o o l f o r m a k i n gm e t a l l i cs o u n d s . ack in B t h e e a r l yd a y s o f s a m p l e b a s e dd r u m m a c h i n e s i. NoWclick on the highlightecl E nextto Multi 1 in the display to saveyourwork.Youwon'tbe ableto hearit. locatethe Ecfvlodknob underthe Cut knoband set it to -189ii. We'llchange that next. I t ' s i d e a lf o r m e t a l l i c ..'-"i @ [H.Frequency modulation i s a p o p u l a re f f e c t a m o n gs y n t h e s i s t s and is s i m i l a rt o r i n g m o d u l a t i o nA . oundFonts.404 patchintothis slot as can loadup a kit that we'vemadefor you. W h i l el a y e r i n g s o u n d sc a n g i v ey o u s o m e f l e x i b i l i t w y hen p u n r n g0 o w n y o u r g r o o v e s . activate the velocity sensitivity of boththe filterand amp envelopes by clicking on the Dmod knobsand adjusting the Depthparameters. and layering existing onesjs a good placeto stad. but if not.n F M s y n t h e s i z eu r sesone signal t o m o d u l a t et h e f r e q u e n c y o f a n o t h e ra n d . ut p r o d u c e so n l y t h e s u m a n d the differenceat the output. Clickthe Hp24 buttonto activate the sweethigh-pass filter.s p e c i ifc a l l y S .t worryjf you clickthe Multi L by accident.rdc VsT mus ElEi'4( sAN4FLEF 5) ctctlTtputer Thereare lotsof waysto createinteresting drum sounds. r_r_l HS:# l-"H. Next. R i n gm o d u l a t i o n combines t w o i n c o m i n gs i g n a l s b . our secondkit is louderat higher velocities.

just copy the plug-inile {on the PCthis is a DLL To plug in' the plug-in.dirty yet satisfying distortion KRAKLI CMORG Vintage tones from this authentic organ FABFILTER ONE 2. withouthavingto pay a penny.01 Phat single-oscitlator analoguesynth SYNTHMAKER CM Createyour own VSTsynthsand effects with this proSram amazrnS PSP SPRINGVERB Authentic spring reverbeffect INSTALLING PROGRAMSAND PLUG-INS l\. releasingyour work lle only thing you cant do is redistibute if you end up commercially by makjnga sample CD with them. simplycopy them to your had driv€. ThePolice Sound Extreme Guitar P24 p38 p44 READER MUSIC bof! .I Love You The KennyRobotExperience ThirdTemple .lost ollhe prcgramson the D\D-RoMare presented as installeF. To installthe samples.4lDI sequencer IMAGE-LINE VOCODER CM Specialcm versionof FL Studio'svocoder COMPUTER MUZYS cm's origrnalPCand Mac OS9sequencer ENERGYCM Step sequencing analogue-style synth DsP-QUATTRO CM PowerfulMac audio editor and plug-inhost AUDIO DAMAGE PULSE MODULATOR Wild stompbox-esque modulationeffect WUSIKSTATION CM The full Wusikstationsamplingsynth! BETABUGS AUDIO VASCILLATOR Semi-modular feedbackdelay-based multi-effects plug-in EASEMENT ARTS REFLEX CM Loopmanipulation takento extremesl cM-101 A fulsome analogue styleVSTsynth IMAGE-LINE CMWAVESHAPER Flexiblewaveshaping distortion effect from the makers of FLStudio 5R-202 16-pad VSTdrummachine KOTKAS PAAX 3 CM Feature-packed versionof Kotkas'sampler LINPLUG ALPHACM Subtractiveanaloguesynth with hightyflexible mod matrix cM-303 Roland TB-303 Stunning enrlation pl-g in D5-404 Powerful16-part multitimbraL VSTsampler DOMINATOR Gloriously authenticvirtual analoguesynth cM-505 Analoguedrum synthesismadeeasy U-HE ZEBRACM Beautifulsynth with semi-modular effects ()HM FORCE OHMYGOD! VSTfilter Crazyresonant/comb ACUSTICA AUDIO NEBULA3 CM Incrediblemultieffects plug-inthat uses convolutiontechniquesto emulate classicgear SPINEQ CM MultibandparametricstereoEQ ODO UNKNOWN 64 CM SID-emulating VSTifor classicC64 sounds CAMEL AUDIO CMFUZZ Quick.Howeveisome fles a€ VSf plug-infiles.Junky Mutha .. and reauiE a VSf host apolimtionto run.Connardessette DJCaine . .. Youjust double-cllck on icon and the application the inslaller does the rest.Robotizet Awake CMUSIC I.ONTHEryD DVD CONTENTS FUILSOFTWARE Simulanalog GuitarSuiteCM Shuriken Berrtilt DEMO SOFTWARE lmage-LineDeckadance MixUp Spacehead DevineMachineKrishnaSynth SugarBytes Unique 0hm Force0hmicide Mackie Tracktion 3 IK Multimedia AmpliTube limi Hendnx Edition p51 TheEasy Guide p56 PianoPower p62 SynthEssentials TheCMGuide to Melodic Electronica p66 p72 OfftheDial pl10 Focus Q&A p118 SynthMaker CM SAMPLES 902Loopmasters vs PowerFX samples 162424-Bit DnB samples TUTORIAT FILES TheUltimate Guide to Drumn Bass Like.5 VST-compatible audio and l. filei into your host's \51 plugjns iolder SAMPLES samplesl Everymonth we give you a wealth ol royalty-free even You€n use them io your musjc in any way you see it.. them as samples for example.

30 minutes of use.4. 5l2MB PC:lGHzPentium XP MM.noneof thathere.sugar-bytes. Windows98/Me/NT4/200010. it'sgoodenough babes it'sgoodenough swimsuit-clad two minutes thisdemo for us!Every will playnoise instead of the version output. WindowsXP wwwspacehead. andthis Digital fromFLStudio slicknewsoftware lmage-Line the artto takes creators built-in withVSIIhosting newheights andtheability to usea sampling control formats.Now you can celebratethe man's awesomework with this sounding collection of authentic guitar pedals. These sounds. eachof whichcanbe in a variety modulated of interesting saving wap. 3 whofind MIXUP is popular withmusicians SPACEHEAD tpcl menus and Mixuo to fourtracksof MP3andWAV theover-complicated yourownmixes filesto create or interfaces of othersequencers a . Windows MM. to suityourmixing style demoplays noise every configured ^ Trackdon 3 possss3es none of the meaty menus of olfier DAWS . ohmtctde .deckadance. j DECKADANCEand will allow you to recordmixeson IMAGE.256M8 RAM.. a loopbrowser andloads of bundled instruments TracKion andsounds. evaluation SYSIEM REQUIREMEiTTS FC: lGHz Pentium.. SYSTEMREQUIREMENTS PG:PentiumCPU. 512M8RAM.6GHz host VSVAU www.dvd contents lonthe dvd . g a ---l ' '?'1 . conect SY!'IEM REQUIREMENNi lll or equivalent CPU.Ohmicidepicks up where Predatohm left off. OSX 10. OSX 10.3 or later.512M8 RAM.5l2MB F0RCE later OHM OHMICIDE 0S X 10.and VSf plug-in effectscan be used while recording In this free versionsome of the save optionshave been disabled. XP Windows 512MB Mac: 866MHzG4 processor. REQUIREMENTS SYSTEM CPU. OSX Maq 1.6GHz XBVSIhost Windows MACKIE TMCKII0N3 tpcrvnc) It'sthe return of the Mackie! Thecult Tracktion software is ready for itsthird outing andthistimeit'sgot timestretching anotherplug-in that takessignal processing to a whole new and twisted level. Windows 2000iXPl/ista 512M8 wrvrv.Line-inand mic support meansyou can recordyour own vocalin realtime. butthissweet analogue Bytes also demoversions aretimelimitedand fromGermany's Sugar in vocal-style don't offer MlDl support.o*Eo aa aaa aaaaa!a Gr-&gl lM t" filter sounds thanks to itsvowel mode..4or later wwwamplltube. SYSTEMREQUIREMENTS PC:Pentium lll.ohmforce.rc=*- . Mac:lGHzG4or better.VSI/AUhost the fly.. and will Thisdemo is time-limited startto emit noise afterthe ten-day periodis up.8 or rpuvncr The legendary Ohm Forcereturnwith www.amps and effectsthat the sounds of the swinging60s revive . lt alsohasmoretraditional filters. to a certainextent the 70s.. RAM. .enabling you to splitthe inputsignalinto four bandsthat can be prccessed Throwin cool features BYIES UNIQUE SUGAR lpcnqnctindependently. Mixup canbe headache sample fewseconds.mackle. variety of timecoded andFinal Scratch.h even looks gullty lusi lltdng fte#. is yetanother virtual like loadsof distortion algorithms and Unique in big and you'vegot instrument thatspecialises dynamicsprocessing treat a recipefor aural anarchy.greatJimi was alivetoday he'd be far Hendrix folder his plug-in too busymanaging to actuallypick up a guitar. doish't lt? r:-. This loops. lf including Serato for airbrushed. FC:Pentium RAM. doeS a nicesideline AMPLTruBE IK MULTIMEDIA EOInON ]IMI HENDRD( IPt/MAt] Let'sface it: if the late.UNE IPC] Djing is hereto stay. VSI host Mac: PPC G4.never mind set fire to it or play it with his teeth. SYSTEM REQTTIREUENTS or better. audioare settings andexporting andit needs a restart after disabled. Inthisdemovercion.

so that you exponthe final instrument can use it in your own Projects.either in VSTformat or as for use with your DAW. onto the Schematic windowand selectShow in the Schematic comoonent Properties.osmf rom the /futorials/ LoadClubStrawberryWl Thissynthis fully folderon the DVD..rr. Double-click Next.Add a Reverb connectingthem as shown Now returnto the Top and dragthe is unlocked vieu makesurethe intedace Chorusand Reverbpanels overto the blank Effectsarea..this is the columnof buttons Doing this meansthat side of the screen.rr. modulated into a simple we'll refineour creation synthwith workhorse but usable a basicefiectssection. niFrh p.. .+e ] \ 3 'oe . Nowwe needsome as shown. SynthMakercM the Control labels.onthedvdI CM SynthMaker ynthMakerCM is an amazing piece of softwarefor Windows you to create that enables your own fully-working effects and instruments.rrl I r' |. so that it reads an to the top view eitherdouble-click To return Windowor clickthe emptyspacein the Schematic To edit the Window. CIo {! qF lGifr ! t* ) t t : t t* o0o* Clipcomponents and Stereo the Combiner Locate the lasttwo steps.'Cutoff component Chorus to scrollaroundit. stand-alone independent.drag the Label button from the Toolbox the Label Right-click Window. Youcan turn each effect on and off with its own switch.{ 'l r' ! ri.i i. on the left-hand will be shownin the Toolbox components onlvControl the vSIi panelto edit the vSIi shell. r JrfrJ0/\\ . Select but missing functional buttonfromthe Filterbar . we have here. this window.. you needare locatedin the Tutorial folder. To remove Combiner and Stereo effects.'Amplitude 2'.d. Top panelabovethe Schematic panel. Draga Stereo then movethem into and'Effects'.3 F3i. lvlodulation' the Windowand connectit between ontothe Schematic positions. 2007 August MUSIC It8 | CoMPUTER .]i r.. Pitchbend interfaceln and an improved ability we'llalsoshowYouhow to Effectfrom the FilterBar and double-click right-clickand select Delete Link.OEITI i'\ :ffr1 @l!r x N v 6 f F O € O e / i r ' : /\ .'FilteC. Files/SynthMakerCM c Oscillain r1 rt irl tfislBr f.addingthe labels Reoeat 'Oscillator panel screen of the the top you at VST| drag the can Modulation'.selectit. appropriate the connectors' Clio.) r eO XNVO*PfQffa" P. Notethat you can changethe effects'settingsfrom after the StereoChorus. then clickthe lock icon in the panel VSTI as labelinto position.. the vsTi componentto edit it. q * {l t IET 1 Osr:illator r t r'. 0* . Lastmonthwe kickedthingsoff bY synth a simpletvvo-oscillator creating filterthat could be with a multimode Thismonth by an LFO.the software you tutorial month's on the discin the needis included and all the files CM Studio directory. Don'tworryif you missedlast . programs. Movethe Oscillatorl that appears.Now click in the Label field to changethe text 'oscillatorl'.

Nowwhenyou playa noteyou shouldbe ableto wheelto pitchthe audioup and use the pitchbend Thisvalueis fixed.. xfrc Clickthe Elementbutton on the ElitendedFilterBar. Thisis a bit more than whatwe'velookedat so far Select complicated panelabovethe Schematic window.Oncewe'vecreated this oitchbend module.the DeveloperMode button sits to the top left of the Schematic Window. :f ") lonthedvd "& IETO ffi. Connect the Stream lvlultiplieds outputto the Detuners. We need it to be between-1 and 1. (Developer lvlodemust be turned on for this to be visible. set its valueto 2 and connectit to the BaseValueinput Type'de-zippe/ into the on the FloatPower component. but Let'sremedythis: it lacks a couple of features. Type'divide' intothe Toolbar search convert this to -1-1.We still needto connect : rr Pitchbend component to the restof the synth. Thismeansthe rangeof the outputvaluewill be between0 and 2. lVlultiply Usethe searchbarto locatethe Stream Connect component and dragit ontothe Schematic. Dragthe lvlodule component into the schematic Window.Re-enter and a Float lvlodule. Ea" XNO ID Our synth is staningto sound prettygood. Eao tSi.* n . Delete the connectors the lvllDl to Polymoduleand the Detuner modules. FloatSubtract'soutput to the Exponent{top)input ol the FloatPowerlvlodule. 8ou 0 t Connect the FloatPower module's outDut to the de-zipper's input. CreateanotherInt component.and the Pitchbend module's from outDut to the other. Connect them uDso that 1 is subtracted fromthe FloatDivide module's output. :r the VST| by clicking and connectthe lvllDl In :: the oitchbend module's inDut.O e {i- *FC * *. the top output from the lvllDlto Polymoduleto one of the Streaml\4ultiply's inputs. fieldand dragthe FloatDivide Connect the PBendoutputto the top input. Divide comDonent MUSIC Auqust 2007C0MPUTER | 119 . Nexttype'subtract' into the Toolbar fieldand dragthe Float search Subtract moduleonto the schematic. Enter8192 (halfof 16384). Connect the ModuleInputto the PBend.Dragthe lvllDl Pitch fromthe Toolbar ontothe Schematic comoonent window.fl---li. moduleontothe Schematic. -ffi. Double-click the smallgreyModuleblob to enterit. and type the VSTi 'module' into the search fieldabovethe toolbar. A moduleacts as a container for othercomoonents goingto use it to keepall the uglymathsout We're of the main VSI| edit window. rEG * . and draga Floatlvlult Pitchbend ontothe Schematic. Type'power' intothe searchbar and draga Float Connect the Power moduleonto the schematic. Return its window. we'llstartby addingpitchbend. llou I'au .) Dragan Int component Windowand double-click ontothe schematic it to entera value. We'regoingto ThePBendmodulehas a rangeof draganother Int component onto the schematic and set its valueto 1. the createa knobthat will enableus to determine pitchbend the rangefromthe frontpanel. mro :!ro ffi.----lir rfiGi---Tt Ea" 3o" .Type'out'intothe searchbar and draga ModuleOut component onto the Schematic. we can saveit out and use it in futuresynths. and connectit to the FloatDivide module's lowerinDut. :onnect it to the De-zippeds out. searchbar and dragit into the Schematic.i-i---llil fra" $"* 3ou 'i----------::' til------i. Dragthe ModuleInput component fromthe Toolbar intothe Schematic Type'pitch'into the Search field.but we can down an octave.

lf use it for commercial you'llneedthis you're not surewhether you can alwaysupgradelaterfd ability. set the valueto 12 and connectit to the This dividesthe bottom inDutof the FloatDividecomponent.tick the 'PitchBend'. minusthe 3000-module to one of the upgrading consider versions. Nowwe'vegot a knob that rangein semitones. Connectthe FloatDivideoutout to one of the FloatMult'sinputs. what lf you'dliketo hearfor yourself soundlike CM'screations SynthMaker havea lookat our simple synthin the Tutorlal ClubStrawberry CM folderon the Flles/SynthMaker you'll find it in VSI and EXE disc. To expoftyour instrumentor effect as a standalone program.r tf- t!I-. controller. its input. buythe Full purposes. Int component.scale the interfaceto your and even run the softwarefull-screen! specifications and effec6 exportedfrom SynthMaker Instruments Clvl/cm logo in the CM will have a Synthlvlaker corner. lf you'dliketo checkit out quickly. pitchbendrangeby !2. you may wail to conslder upgradlngto the full veEion *.Connect the Knob this to the FloatMult'sother input' Right-click Moduleand selectShow Prcperties. Type'knob' into the searchwindow and drag a Bitmap Knob componentinto the Schematicwindow.and if you you'llbe ableto version.You'llhaveto look carefully as it's iust one number.and allow you to name the exportedplug-inas you see the EXEbutton to the right of the VST button. Returnto the To0view and unlock the VSfi so that you can movethe interfaceelementsaround. Fnch se^dl Xrnb with lf you'd like to enjoySynthMaker and to the codecomponents access restriction. Usethe output from the FloatMult to replacethe Float Poweis Exponentinput. lf you want to exportas a VSTinstrumentor effect.. theseoffersin moredetail 860. Connectthe output of the FloatSubtractcomponentto Createan the top input of the FloatDividecomponent. but lt youve got some spare wedge to splash out.dll yourVSf folderand launch VSI plug-ins host software. us to set the pitchbend enables into the searchbar and dragthe Mono Readout Type'readout' Connectthe knob'soutput to componentonto the Schematic. checkbox change the Labelfield to read ^ SynttMaker CM ls very cool. 0n the commercial you can buythe website SynthMaker of the versions Personal and Full which retailfor [65 and pitchbendknob and mono readoutso that theyre more for the mono readoutdisplay visible. Synthlvlaker whetherthe projectis an instrumentor efiect. Peruse at synthmaker. you can simply runthe EXE witha MlDl and playthe synth Tocheckit out in a VSf hosr. Bothare freefrom the limitations placedon SynthMaker CM. detailson upgrading August 2007 MUSIC rzo I covpuren .Set the Max valueto 24' the Defaultvalueto 12 and the Steps valueto 25 .]l onthedvdI Meet youl SynthMaker _qlFlq.and you'renot allowedto bottom right-hand lf you'd like to do awaywith this use them file to yor copythe ClubStrawberry.then clickthe VST selectthe shellby clicking corner of the tab button at the bottom right-hand will ask that appearsat the bottom left.' {) One we made earlier.Here format. on it.The exportedstandaloneprogramsenable you to select an appropriatelvllDlinput and audio driver from the menu'll be at the top left-handcomer of the VST| interface. settingit to a singlesemitone. abovefor check out Meet your SynthMoker restriction.



lonthedvd " POTUER
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In the unlikely went that you havetroublewith your disc,send an emall to and theyll help you out. Pleasedo not phone we dont givetechnicalsupportoverthe telephone! you problem you shouldfrst ll a expedence with yoursoltware, refer to the soffware manual. IIis is oiten delivered wilh the sottware itsellor is sometines placed on your had drivewhen you run the lnstallerlf you fnd thatyou don't undeElandsome of the features ot the softwae,rememberto readthe manualiiEt. Shouldyou be unlortunate enoughto run into any technicaldiiiiculties with the softwa€, it is often best to get in touch with the developer of tirat sofr\rare - they are prcbably better equipped to ofier you the supporl vou need than we aE.

ll yourdiscis corupt,cracked we'll or otheeise inoperable. youa spanking send new within 28 da's. replacement Send theDVD tor Future Publlshlng DiscDepartnenlReader Support, CMUI15iAUGUST/0Z Bath BAI 2BW your Anddon'tfo€et to include addressl tullname andpostal

August 2007CoMPUTER MUSIC I I2r



MUSIC READER Thismonth'sfour readertracksare Muslcfolderon the in the Reader your ears'attention DVD, awaiting

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Certainlyno strangerto these pages, Ed has come in with an upbeat it instrumentaltune. Not surprisingly, comeswith a dashof his senseof humourin the idiosyncratic form of a sampledbikehorn punctuating changes. sectional Thefirst thing that strikesyou is ol the track,which is a the brightness rather of the anangement success the mix than the failureof squeezing of high-end The combination percussion loopsand John pluckedand hammered Barry-esque sit well together stringedinstruments that and createthe excitement Even the tune's energy. complements the bassparton a pianois edgl. and is involved Thearrangement guitars lead into acoustic varied:

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Equipment used: mic, PC, ADKdiaphragm free SX,Nl KompaK, Cubase izotope V$^/$i plug-ins, 0zone3, acoustic/electric gultars, snaredrum,bike horn, CME controller


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the and generally rattling around, soundneedsto be much more punchy. lt may be that the soundsare Daryll Wilson 909 and thereshould a bit old-school be a bit moremixingand matching, of that,the hi-hatis but regardless for loudand Withthe fashion brightand the clap dull and overly sytth llneson recent ear-catchlng Somehardcompression distant. tunesfrumthe dance chart-topping mighthelpto pump thingsup a bit. thlstrack le Grand, likesof Fedde The synthsoundsand paftsare in couldfit rightin withthe zeitgeist. Equipment used: butthen, the right era, but they'renot as infectious, Thetuneis highly Pro MacG5 Dual2GHz, Logic as theycould be because endearing so is anthrax as thejokegoes, 3.5.Bias Z Reason quite simplytoo straightand they're folks... Although But seriously, Peak4, Reclcle!2, Focusrlte tweaking SomereaFtime square. it falls short lines, thisis on theright LiquidMix,M-Audio Oxygen reveal 8, MboxMini,Tannoy goodenough wouldpay dividends. to jointhe of being activemonitors Witha bit moreattention hits. current

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mix,however, anda better to detail be whyit couldn't no reason there's uDthere. lieswiththe Themainoroblem theobvious mix- in particular, thedrum between disconnection track Thedrum andthesynths. track at thestadand a bit messy sounds withthedelays middle of thetrack

What the artist says:

feelto the "lVetriedto keeoa loose butvery rigid andletthebasic drums melody to an interesting synths create along. 0riginally helpmove thegroove I exported the in Reason, created themwithLogic drums andtreated Mix, withthesynths andLiquid eflects mode." andFXin ReWire

August 2007 MUSIC r22 | CoMPUTER

*+ the dvd

What's wrong with mymix?
Mark Fnth's in thehouse again thrsmonth, butrshefeeling thelove forthrseffortfrom
T h e K e n n v R n hot Fxnpdpnr - p?
LVI tuu .

Francrs CerLonr

Whatthe artist says: "The track is myinterpretation of
a robotic kind of love.I worked totally within a softwarestudio (FL Studio),both to lay out and master the track."

Equipment used:
Dated PC,FL Studio,M-Audio R a d i u m4 9 , c m c o v e r d i s c samples, m d a p i a n o ,T S 4 0 4 ,F L speech synth

get under Sometunes inexplicably your skin,and this one from The KennyRobotExperience is most cenainlyone of them. lt's simplebut veryeffective. Comprising a straightforuard dancebeat,a few inteftwining synthlinesand that triple-barbed hookof a vocoder line, it airilyfloatsthrough its movesin an obscenely attaching way.Stylistically, It'sold schoolhousewith a vague similarity to A GuyCalled Gerald's Voodoo Royin its beat and filter-thin synthlines- no bad thing,ceftainly. Thiscouldn't be muchsimpler: Thethreechoruses, eachof 16 bars,are interspersed with sparser sections that pull fromthe choruses, so essentially thereare no major changes throughout the track, simply somejudicious's brain-monging stufibut it sureworks

in a mesmeric wayand would ceftainly carryyou off into a tranceif chemically Thebits enhanced. between the choruses callthem {l'll verses) are odd lengths in that I expected it all to be eightsquare sections. Thesedeviate fromthe usual ofthodox maths- sometimes a beat more, sometimes a beatless- which stirsthingsup. Choice of soundsis keyto the successof I LoveYou. lt's set in a retro environment but it stillmanages to feelquitemodern, whichis somefeat. Thedrumsareweighty, warm and snappy. the snarein the chorus is pefectfor the occasion, and the loop that comesin for the 'verses' has moreof lr skipto it to glideus through. Thebassline is interesting in - it pushes its off-beatness the loop by coming in on the eighth-note

before the down beats. This, p anc '' combined withthe off-beat and slurred vocal, is whatg \es -= the Voodoo Roycomparison. a :- , -;it really sounds nothing likeif .: house classic beyond a genE': ':: Thefirstverselosesthe bas: ' = the second verse loses the Dra_ '' and gainssomepercussion: tf = . = is moresuccessful as a drop-o:...whichis probably section, whr : = twice as long. Themix is a little on the du s :and thisstems frombalancess--=. downat the bottom end of the chorus T. h ek i c kd r u mi n t h e . - : ' . . : l o o ph a st o o m u c hg o i n g or c:,', there a n dm a k e s i t a l la b r : - . . : whencombined withthe o;--: :' .. which, by itself in the verse s.c: , - : fine. Themid-range balance o' :-= synthpans,however, is all good.

issues: the descending synth line doesn'treally standup by itselfwhen Rapl-aeL Cohen it comesin as the pianorifi dropsout. Maybea new supportpaft is necessary, because it's goodto let go Basedon a strongand catchypiano of the piano. Thetrackcouldalsobe riff,this tune wanders througha accusedof having too many variedmusicallandscape. lt stafts disparate elements lateron as synth with a classical air as stabbing strings noises comeand go at a bewildering accompany the plano, but it'sall too rate- in someways,it suffers from quantised to be convincing problems as such, similar to Bofl's demo, and sureenough the machinery page. reviewed on the opposite comesalong to underline the Themix is hardand punchy, but modernity: first,a fast sequence, then the snare soundbecomes a bit jarring somedriving drums, a raucous aftera while: lt couldbe a little descending synthlineand some moreanonymous. cut-upvocalsamples. There are glimpses of 80s Whatthe artist says: "Robotizer electronic extravagance, 90s dance Awoke is aboutour robotic anthems and recentretro-electro livesand how we needto 'wakeup' textures. The net resultis a powerful, to a moremeaningful existence. driving themetunethatcouldeasily I pastedand mixedthe tracktogether grace a filmsoundtrack, or perhaps using ACID Pro6. Thedynamic range evena cinematic videogame is intact- | usedabsolutely no Thereare one or two arrangement compression for mastering."

Equipmentused: ACID Pro, Fruityloops, Sound Forge, KorgES1, Pentium 4 PC, Xenq mixer, MackieHR624 monitors, CDArchitect, BBE Sonic Maximizer

August 2007C0MPUTER MUSIC | 123

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