oe ee MUSIC LAOS ENG. In-studio session with the Warp Records duo 7 Vp C : 7 LIKE A PRO © | Learn modular synthesis and build killer Pete) \\ sounds with your new virtual instrument TRENTEMOLLER| The eclectic Danish ieteecl acraltat) =f) | The Pro Standard for Delay Tl oe Bass pi © EChOBoy Anais echo Procossor ana J Take Creative Control ed CaO eat een eet ene eens oman) ek Comc res Maar nese eee Pee eae and 30 built-in echo styles have made it the Peace go-to effect for top producers, engineers, artists and sound designers. rg le Bae ee ee Sete eta ee nd eee Ce So ea MORE Red eT ues ae ae) and it will find its way into every corner eae ge ee eas J soundtoys Ree RO et oeCOMPUTER MUSIC HOW TO USE Cm We've gota new system for downloading files Whenever you see thisicon you can ‘rab the les on your Cor Mac by going tofllesocouiécomoutermus, “Tutorials festuring this icon make tse of our onmemPligts find futallabout them on IO? ‘This icon means there ae extrafles tohelp you oto attra feature projects, avdin examples et ‘Therebextra video content ‘herever youseethsicon. & ie i= ‘computermusic.co.uk conetereniconawenicom Bd ra Hat ey Oh Poe Where to getem PRINT ZINIO instores and onine ferPC, Mac, Android Pad more Pb tptel it iOS APP STORE GOOGLE PLAY {oriPed.iPnone’ Pos touch forAndrols& Chveme fer PC/Mac somauieimascaustitl computer music < Pe OAD ‘o find out inley-te hia) e content welcome A software modular synthesiser represents the ultimate in raw sound design power Starting from an empty rack you combine any number of oscillators, filters, erivelopes, LFOs and effects, then grab a fistful of virtual patch cables and plug them all together in any configuration you like. It's Lego for synth geeks, essentially. As you can imagine, this power is both a blessing and a curse. Accomplished sound designers can let their imaginations run wild and cive headfirst down the rabbit hole of patching and tweaking, but a synth newbie can quickly get stuck without making a single noise. But overcome this learning curve and not ‘only wall you end up with tons of unique sounds that other synths couldn't possibly make, but youl unlock the undertying principles of synthesis - knowledge that will transfer across all of your music-making endeavours. So to sel you olf on this epic journey of sound design discovery. we've teamed uo with expert developers Cherry Audio to bring you Voltage Modular Nucleus, a virtual Eurorackstyle environment for PC and Mac. worth $29, This powerful package comes complete with 22 modules, plus a wealth of presets to get you started - including over 50 Computer Music-exclusive sounds. And once you've installed your new modular monster, turn to p22 and folk our getstarted tutorials and videos to find out how to Patch Like A Prol ENJOY THE ISSUE imate in Joe Rossitter EditorISSUE 276 DECEMBER 2019 cm/contents (Srey (i iar 1e0 c= Producer Masterclass fa ReoarlsroytyEaeaey andy Tumi deconstruct thet stihl Interview TRENTEMGLIER, Features THE CM GUIDE TO THE GRIDPT2 Build a hardware-inspired beatbox instrument in Bitwig Studio 3s versatile new modular playground SERUMFX Free samples Attack the rack and learn how to use Xfer's FUNKFILLS omnipresent softsynth as a mega multieffect unit rete yeurrhyths i) eye # Reviews Essentials Bieecrsteertree ARTURIA3 DELAYS NEWS Seiteetiitedtaledeypp = YOULLACTUALLY em/experts : oe vou FREEWARENEWS , WHAT'SON YOUR Your guides tothe URECTERED WHATS ON YC imitans 2 SUBSCRIE T-RACKS TAPE FOCUS: SUBLAB, MACHINES BLASTFROM IK MULTIMEDIA THE PAST: STUDIO AMPLITUBE KORG PROPHECY STRATEGIES BRIANMAY Vatage ming wth ~ ACM utor Shea Sedo BOOM LIBRARY = UPTEX > MADRONA LABS < ‘AALTOVERB KLEVGRAND. 114 HAAZE2 4) COMPUTER MUSIC (10Your FileSilo downloads Get this month's content from our website Plugins Install Voltage Modular Nucleus, PETC Rall ieee eel) Sn Rec ae ee Ratna eer ey Samples Pe RM et ce ccc Ue Slat oo Tutorial Files Cel tol ola Ri Colm 2. SL aN ae Pele) aa Mel eae Role Take -tur- ail Ror econ Slag ge echo) Ct eae videos and files on your Cee fede cede Cee ene al Dera eg et ed Ce oe os FN ee Peed Re Pct el esata Get started Om pees) eel eae) See ee Netter ee OD iestacore id eee ania Soest eer’ reese ere eed (ok Seen Coren eee aes Renee ey filesilo.cowuk/vauttand enter/Video Download this month's videos: filesilo.co.uk/computermusic AW EOL LIKE A PRO Plug into virtual modular synthesis with your amazing free synth © TUB Ue lati Ceay oe 2> Craftinga virtual Eeaer aa tego ea Cut Lng Eee oa el rei og CO aoc Lore Diels) Cee cag Pea eMC tae oe eae o atau ce Tas Cece tie Citi ES aie Te aan Co) 6 | COMPUTER MUSICPLAID The Warp Records duo get geeky in this month's exclusive video session 155) ome Ault lola a © Pee eet 2d ey mu Rae el ee eel) tia BUC a ag onpage48 © ROC RUC Tutt oA cm/experts levis CaaS production gurus walk you through their specialist field reve Aae nal ass lent} COCR article on p72 Prominent Cee goats aa tcl vate] i Suare} ELECTRO PCa Eel CR Er tet) COMPUTER MUSIC / 7COMPUTER ON THE cm CHANNEL ic NEW VIDEOS vCTTT] II SUBSCRIBE FOR: Exclusive hands-on sessions PUI ta mn daM Cottier aa 7— Uc} Classic Producer Masterclass videos from the emarchives 650+ videos, with more added every month bit.Iv/crazvpptt|NEXT GENERATION WAVETABLE SYNTHESIS oa UNION® POC ee ee ee ee ec unique sounds in just a few clicks. Unlike other synthesizers, Union feeds the fx processed output signals from Coe ee a ee Ce Coe al eee ee ee in seconds with Union's simple and intuitive routing system. The result... A dense, warm & harmonically rich analog sound AVAILABLE 28th OCTOBER 2019 ony PLUGIN BOUTIQUE RCRD eee se aris eine soundspot @)>news /news iZotope Ozone 9 This year'supdateto Zotope's sel > contained mastering plugin Introduces acouple of new modules to the already well-stocked raster, and further beefs up many of the software's existing capabilities. The two headlines arethe Low End Focus ‘and Master Rebalance maciules.An industry fst bass shaping tool, Low End Focus enables tightening up of ow frequeney presence, with a Punchsetting for transient heavy sources (kick drums) and @ Smooth mode for basses, synths etc ‘Master Rebalance, meanwhile performs the ‘miraculous feat of oating or lowering the Vocals, bass or crums ina full mix, using some kin of equalisation vaedoo, via single sie, TheLowEndFocusmoduelssnito work magic onyourboss requencies ‘Ozone’ machine learning driven Master ‘Assistant which ets up afl preset or you ‘based upon analysis ofthe source material- | And Match EQisnow a modulle and Komplete Kontrol arcvare,and you have ow offersa Vintage moce,drawingen the | separetepluginin ts own ight, rater than | what looks tobe yetanother very Vintage EQand Compressor modules, and | component of the main Equalizer, anc ‘worthwhile upgrade te the wor’ favourite makes the three intensity settings avaiable includes trequency range handles for virtual mastering suite tothe Streaming targets well as CD. Tonal narrowing down the matching range. ‘Ozone 9is outnow inthe usual Elements ‘Balance Control 2a elerence tool that's ‘Ade to tat thenewStereoizell modein | (ENS), Standard (£222 and Advanced (E444) ‘based an analsis of theusands of the imager module for acing “a more ‘ecitions, with Advanced offering the full ‘commercial mixes quadruples the number | natural.transparent width tosnageyour | featureset. Wel be reviewing tinfullin the ofreterencetargets to 12 ncluding Reggae, souncstage’.and NKS support for hands-on | nextissue ot em Pop and Hip-Hop. control via Native instruments Machine and | (> TSS Cableguys ShaperBox 2 The second version of Cableguys wildly creative sound design and mixing plugin makes some major upgrades to its five component ‘Shapers. now comprising VolumeShaper 6, FitterShaper Core 2, TimeShaper 2, PanShaper 3 and WiethShaper 2 aster drawing, a “British-style" compressor, envelope folowers, Phaser fiter types, Haas panning and finer time manipulation ShaperBox 2 is out now, priced €89 for all five shapers, or between €19 and €39 individually cablequys.com ‘elumesheper6 promises-perectpunc throughaene twa come otenibleLFOs 10 | COMPUTER MUSIC.Fee ei o. 63 o- Accusonus Rhythmiq “Tha result over two yearsot {evelopment and several tech breakthroughs", Accusonus’ new plugin, Rhythm, employs all sorts of Aland processing trickery fo enable onthe ty ‘manipulation of loops. Load up to three audio stems inte Rythmig, or haveit automatically spit single filein three, then amuith each sten's Arrange, Reverse ana Silence knobs You can aso play's by AAS Ultra Analog VA-3 Applied Acoustics Systems Ultra Analog ‘analogue modelling synth plugin has been a secret weapon in the arsenal of manyan In-the know producer for aver 13 years now. s0 the arval ofits secone full version Update is ba news The most immediately apparent change with Uitra Analog VA3 isthe Introduction of thelstraction ree Home view, featuring four pertormance macros for instant ‘bveaking. Far more important than that, ‘though, are the aceition of mulitimbralty, enabling two tones to belayeredorspiton the Keyboarcalacider fit for that classic low-pass response several new effects ‘modules and reordering of eects slots 560, all-new presets and a proper browser within win to negotiate them: and compatiblity IK Multimedia B-3X Claiming tobe “the fist real Hammond organfor Mac/PC". I's BS emulation rmodolsthe sl freerunning tonewheetsof {he actual instrument basec on analysis of ‘humerous real Hammonds. as wel a ts Key ‘licks, tonal fitering, and percussion and [alt ee) poirot Te Hiden ©9© ©00 008 ‘rlagering individual sices on the keyboard, and witch in the Al-driven Beat Assistant 19 have the plugin gover ise to whatever ‘extent yo like. The whole thing has been designed with hands on MIDI controlin ‘mind. and any patterns and breaks you cook tipcan be saved seamlessly without interrupting your flow. Itioaksalt of fun, {and well give our full verdict soon, Out now Macand PC. priced $99. with Scalascale files for microtuning Backward compatibiity with VA-2 patches is also promised. Ultra Analog VAS is avaliable now for MacandPC, priced $198, with the upgrade ‘rom previous versions pegged at $79. ‘chorus-vibrato circuits, Alongside the meticulously recreated organ ite the Cabs section housesa selection of Lose amps and speakers, with ajustable rotary action and EQ shaping, and eight rack: and ped Style eects are onboard for sound Drocessing, 24 drawbar settings canbe stored ina single preset, too, andthe Contras view conceals the Keyboard and makes everything else bigger for distraction ree live use, ‘ith the Hammond Organ Company ‘themselves on quality contol, and jazzand rare groove legend Lonnie Smith describing itas unbelievable". B3K seems ike to be another sure fire hit for itstalian ‘developers. Got itrow fer €300, news < App watch We report on the latest developments in phone and tablet music making GarageBand GarageBandor OShasbeen updatedto version238,and adds the option to {accesses from external hard dive, SD ardreaders andUSB drives, Thisteature isenabledby the newPad0S andlOs See 0Ss'Dark Mode while Apple Loopsare towsnidtosound better when treyve had theirtempofptch changed ithas anew Sound pack calledSkyine Heat, oo. ‘apple.com ReelBus ‘ToneBoosters havebrought another of their desktop plugins tol05--thistime, the tape-emulating ReelBushas made the Jump. This simulates a variety of aiferent tapetypes,includingthe compact cassette and reel-to-reel, and gives youthe option toad that familar wow/futter andhiss. ‘You cancreate tape startistop effets, too. ‘eelBus runs as standalone app andas an AUV3 pluginand costs £6.99/5699. toneboosters.com EG Pulse Elliott Garage describe thelr EG Pulse app a5"the ultimate drum machine/sampler foriO5", whichis pretty bold claim. This ‘offers pad, grid, mixer, automation, FX and song views and comes with 40 drum kits and 180 grooves that runthe genre gamut. ‘You candrag'n’ drop samples fromthe Files app. and play the pads chromatically tocreate melodies. EG Pulse isone ofan Increasing number of apps that runs both standalone and.asa plugin. $13.99. siliottsarage.com bo 202 / COMPUTER MUSIC / 11> news Get with the programmers Unfiltered Audio's co-founder tells the tale of one of music software's fastestrising players (Gill Tous how Untitered started. [ED starteeitwith my eoleagues Joshua Dickinson and Ryan Michael McGee. We were allgrad students at UC Santa Barbara where \weleamed mos ofthe skits requited for Creating plugins. Writing plugins was ‘something that tad wanted todo since schoo), but always worried I couldn, without ‘nengineering backoround. The company's ow just loshand a ti (SU) what sets your new synth, Lion, apart Unfiltered Audio it} usteeletmeresteamineathan Michael Hetrick 2 ‘most synths. Westripped out alot of features that we think slow people down, and instead focused on creating the widest array of sounds with the fewest possible controls. A [otof madern instruments are designed more 2 preset pack platforms instead owe instruments, and we wanted ‘something that people would pick up ané make thelr own.” \What are your favourite things about Lion, personally speaking? Definitely the multimode oscillator. Wespent so much time tuning the control ranges on each mode and giving each mode distinct ‘personality I's really surprising when you design a scund with one made ‘and then start cialing throuah the other modes. Josh spent lot of ime perfecting the randomiser which sa blast ose. It keeps me away from “blank slate’ paralysis when programming synth patches.” LUonis your first synth, What challenges did you face? “This was absolutely our most dificult plugin. The JUCE Library comes yitn alot of great code for creatinga skeleton, but wehadto rewrite significant pars to combine allour features namely pervoice ‘modulation, unison stacks, bipolar pitch bene ranges, microtuning. ‘Thete Were numerous rewrites, However now were through the ‘woods, creating another willbe much easier Knock on wood ES You've got alot of mileage out of your BYOME modular effects engine, withtwo effects and a synth using it to date. Wil wesee more UApluginsbased on BYOME? EIL"Certaiiyi When we designed BYOME. we wroteitwith the intent {halt would be used on any instrument that we create” El specopsis one of our favourite UA plugins. Where did the idea ‘come from andcan we expect more similariy out-therereleases? [ILI WS one of my favourites too! Manyspectral plugins are suites with ‘ne special efet per plugin This seemed odd asthe Fourier Transform Jnlroduces significant latency and computational overhead n spectral processes. The idea of SpecOps wast do the transform once and chain {ogether anumber of spectral processes wih a fullmadulation system” What's next for Unfitered Audio? "We're working ona really cool reverb with BT. designing asampler based instrument. and we also havea lineup of smaller, purpose-bult, ‘effects Finally, we recently got our libraries compiling on 0S!” COMPUTER MUSIC (5-7 Sampleson Things Described san itutve synth sound deators Things a syn or anyone intimidated orbevidred by synths Rather than the usta oscar iter and modulation contro. Things tweaked e using a handful of parameters in sever, descriptvelynamed sections For trample the Rubber Bands section houses Gumand Timesliders wie ATTTIETEEBTETTNRY ror is host to Attack. Evolve and Eviness parameters, Despite the useracing Simpy. though, Things rocking 32 ‘rallotors 30 fers and FX under the hood. Things costs $39 ands out now. Steinberg UR-C audio interfaces Megacorp Stenberg have upgraded their UR ange of audio interfaces with the integration of USE-C connectivity {2.biNNODKHz res, Yamaha D-PRE mic preamps, and zeroatency DSP eects including reverb and amp simulation, ‘Therange hasthree models the 2in/2-out UR22C (€189),4-n/6-out UURaaC(€379) and .iniB-out (piss ADAT; €699) URBIEC -andeach ships With the Cubase Al DAW, CubasisLE iPad) appand Basic FX Suite. There's also the URZ2C Recording Pack, throwingin the STMOI mle and STHOTheagphones €260), KV331 Audio SynthMaster One13 \Vidimakes some minor changesto Kaas popular wavetable powered supersynth~ ane a nana more profound ones. Cross-platform cue based date syneinglets you etortessy port presets samples waveforms, GRRORERRRREE Favourtes anainion programs ana shore hemi thers we wo new analogue-emulating envelope pes, ennanceamierotuning anc new sealtypes ‘pen sound design and compost onal Dossoiies Theres aleo new sin 200 {xtra presets and more Its afree update or xing users and 579 for newcomers Audified ToneSpot Electric Pro Dubbed a Swiss army knife for al tone hunters the latest in Aucifiegs series of TToneSpot plugins ams to provide single ost processing solution for the almostinstant improvement of amy lectric guitar tone. In typical ToneSpot syle. ToneSpot Electric Pros vatlous sections -Votcing, Character Saturation Shaping, etc- each feature tailored controls, "basedon the analysis of thousands of world clas records that bol ‘numerous under the-hood processes down for ease of use. ToneSpot Electric Pro's avallablenow, priced $89A tet | years ' back eevee mOe Nec ssee portable tech - and a bit of enue esesng Ts Ge ate ete oe eunve eee Na Sean ee ter eer! Novation Launchkey Mini MK3 Peete) Tore are rate ero Beloved British synth and MIDI controller makers Novation have buen eect overhauled their portable 25-min’-key Ableton Live (though other eS cg platforms are, of course, supported, too) controller keyboard, Most ime ia oie yeaa td obviously, the 16 trigger/aunch pads ere now RGB. accurately Pee ard reflecting the colours of their assigned clips, but keen-eyed readers ‘worit have missed the new pitch and modulation touchstrips, either We got through an entire Further creative inspo comes with the new Fixed Chord Mode (for mastering feature without} sinalenote chores) and Arpegaiator while transport, ming and device controls let you bend Abletons DAW to your wil better than calling tha dark art ever. There's even a button for Live's Capture MIDI function. £100, eee ca) E i ue Rea. ‘nevetionmusicsem CCRC Lue tent ene ee) RC aCe aud Pom nN EY Ins & ou peraereterake J Peart enn Herdecerece et ee sno rwewiwens. _oncarauna Boe sofarnar morc) conan ut Lovee ancgoeatngenmy etme ao mate Pet ene tee Beerertvad| [smecnccc ieee Reeeteerereaiery amy in the US. This was given advising people not to upgrade as ee eu Siepecnmociiicn | Seipeactnwereneial Pacer ihtwecsemyeedhet Nope estan il pei hepetaraccuser — Inonepet aay ot onormewatewes, Younrebeuere OLDTOWNLOADED ——GREXIT THESTAGE ‘youcaritmakeabigrecord Who knowshow this willhave ‘onabudgel?LiNasXhas _playedoutby thetime you read ihatmegahit Ok/Town this, but there were warnings that osthimjust$50:S20fortne _ano-deal Brexit couldmakelt ) -hetookadvantageofa “unviable” for UK actsto tour in ateandwasinthere for the EUbecauseot allthe extrated. hour-and$30 toleasethe tape involved. eat. Notabad investment. UNIQUEACCESs _POORPRODUCERS Jmighthavesomeplugin New research from the Music = femulationsef cassicstudio Producers Guild indicates that re,butAccass Analogtakes 88% of producers and sound sstepfurther by providinga _engineershave been asked to inthat actually controlsreal__work for freeinthe past three remotely iathecloudso years, with 71%agrecing todoso. icanuseltinyour DAW.It _S%said most af thelr work was ridiculous butitsreall unpaid, whichis slightly alarming, tetera enor aati aia sehen eta>news n/freeware news SampleScience SQ8ROM \, UScompany Ensoniq had ahabitof > breaking new ground and old price barriers, bringing the price of sampling within wider reach with ther frst product, the &-bitMirage,backin 1984, followed by the affordable ESQ-1,a digitaanalogue hybrid that plurabed any (0f28-bit single-cycle waveforms through a classic analogue subtractive signal path. With aller 8-tracke sequencer, twas an early example ot what would e ater called a workstatl ‘They upped the ante n’88 with the 50°80, adding another 43 waveforms and poly-aftertouch-sensitivity tothe Full Bucket Music : Something of hturetn these papesdueto ele {heinstriments and reworkedtt Reown >? hole offourorelohtatoges sfromFull = Full Bucket Phaser igh quality reewarelnstruments Aspirtf of project Ariehswriing effect teers vintage BuckerMisic.soasyoudexpect cross icin Een Sorts, FullBucketPhaserhas been pected off of ‘analogue sound, stereo processing, FO, anda pltformand sounds antati. 1% / COMPUTER MUSIC ‘SQBROMrings the sound ofthe asic Ensonia SC-80o your favour cresslatform DAW {Gt note keyboard. Unlike PPG's lassie (Wave synths (andEnsonia'slater Transwave instruments), theSQ-80' oss most analogue synths ofthe day. Sampleson = SUB Whentookingforvintage- rounaingsyathesed (eee ‘easy toreach forthe ‘nearest prefab sample peck However therels Somethingto besaidfortwrningtosyathesisto = fecreatethe spritota classic beatnox. Sampson's SUB was developed with thatin ‘mind oferingno fewer than 1 synthesised drum Founds-a few with twoakableparameters such ‘spite decay, and snap. tone and cick: Aull SampleScience have bottled the essence ofthe Windows VST clone, the SQBL, and packaged itasan easy-to-use cross platform plugin.SQBROM Isa ROMpler, with50 sounds and another 18 Infree expansions. A smattering of virtual knobs allow for sound: shaping samplescience.ca DiOLabo LowBitMonoSyn Grity.ow-it syns juste {hingtoradainga hiptunemoje to yournextimaginary ‘Gamescape. Theyrenot exact thinon the ‘und butt youdort have one you coulddo ‘Worse than to fireupthis unassuming Aare. Fourandelghtbtwavetormsarenere, long ‘wit fw familar syntests parameters, Including apair of ADR envelopes, portamento, insubsbaseaadshetwhen desired. = olwandFO. smplesoncom = fabaatiterentiocom -RE} fAUDIO @TENT MELODIC HOUSE & TECHNO PRODUCERS DOWNLOAD A SELECTION OF OUR SAMPLES FOR FREE WWW.AUDIOTENT.COM/CM>make music now What’s on your hard drive? APPLELOGICPROX ‘Back inthe 90s, my attention was captured by Steinberg Pro 24 and Notator for my ole ‘Aari3040.| cd even care about the MIDI delays! After tat. fella love with Pro Too's ‘and Cubase -Pra Tool for mixing ana ‘mastering; Cubase for creating and editing ‘Today, must admit that my favourites Loge, but isnot the only DAW that lus. Ableton Lives vital for live shows ané reworking my own tunes, And leannot forgetto mention Max for Live itofters thousands of possiblities forthe electronic ‘musician. But when have very specitic Ideas my mind andl want to quickly start building a Song, ineed Logic. 's where Tee! comfortable. Maybe that has something to ‘dowithhow Logic looks and how itallows ‘me to organise al te plugins on my second screen. Ally synthsate ready to use, and | lften record them straight into the 16 | COMPUTER MUSIC f computer without quatising, ust tokeep a tue bit ot humanity inthe music” ARTURIA ARP 2600 V3 it's very dificult to make a decision about whichis my favourite synth because Luse so ‘many, each one chosen forts particular style. What m looking fr are original ana effective sounds, andone of my main weapons i the ARP 2600. Arturi’s whole package of synthesisersis amazing ut the 2600 isatthetop..with the Moog Modular ‘coming aclose second. ike the way you Can combine the three oscilatos with the voltage processors and the LFOs Then. You have the sequencer, too, The results often fel quite experimental. but theyre always inspiring, treminds meof my old and much loved Korg MS-20, but with many more ‘opportunities. And the chorusis beautiful, espedally on basslines. U-HE BAZILLE “This isan extremely intresting synth because ithas four oscilatos plus to LLFOs, And so much more, The Fractal Resonance, Phase Distortion and Phasefactities in each ofthe VCO are excellent. The_fter section stantastic. here's almost ‘nothing bad tosay about it Great presets, ‘teat sound quali. The sequencers quite baste, but that's small point” OHM FORCE OHMICIDE Ohm Force have a faultless package of plugins (Hematohm Mobilohn, Ohmboyz, they eal ncresibl), but thekiller one or els Ohmicide This sone ofthe bast lstoction effects Ive ever used inmy te Youthave hundreds of diferent types of distortionandits possible to eit everything with absolut precision use it fonpercussion, pads guitars. or anything with techno eel. The effectithas on basslines is unbelievable. 3s fits creating a ‘whole ew sound. Check out the Symptohm Synth, toa If yeuie looking fer the best distorted sounds, you'l fd them here” UADMANLEY MASSIVE PASSIVEEQAND WAVES SSLEQ “One of my favourite tricks for top-quality rbcis using these two amazing plugins together. can search outand adustevery frequency thats important fora track. ike amnusical surgeon! “Sometimes itcantakea while and you right have too abit of investigating, but yout uncover some very exciting harmonies, ike to automate these frequencies. too, giving them movement. ‘And maybe add the Waves MondoMod to spread things around instereo. Be careful with the antiphase here thought Using the SSLEQ in combination with theManley is fascinating because you get totally citferent results depending on which is first inline. “also lke to experiment vith high-and ow-cutiters from both units atthe same time. Sometimes, youcan find strange but beautiful harmonies. especialy inthe ow endet the mix” AD API550A AND2500 “Another good combo between an ettective EQ anditssibling. acompressor‘imiter. ike touse ths as a quick mastering chain before Heynew tracks ina DJset. It's a useful reference against other Es, compressors andlimiters from UAD.O1 course, there are better choicest you nave time thePltec Q, Teetronix Compressor, Precision Limiter but this s the one use when Fm working quickly The presets are good, and vougetinstantresulls” UADTELETRONIX LAZA my opinion, this sone ofthe best compressors for any kind of musicand any typeof instrument, Very easy to use. butt also offers you so many different ways to Compress the sour. The firishis always warm and elegant. vealso tried the LADA Gray and LAA Silver Is interesting to comparebetweonthethree” IKTERACKSS METERINGSUITE “As you probably know alreaty, before you evenstart mastering, ou need 2 good Imixdlown. Asin order ta havea good mix, vyouineed to have the right frequency analyser, in my opinion | used touse the AZ Analyzer from Waves, ut Ive since ‘moved averto the TRackS 5 because I's <0 much more accurate. You've got diferent ‘meters Precision Loudness LUFS, Dynamic Range, PEAK and AMS) alongside the Spectrogram and realtime Analyser, Phase and Correlation meters. Basically, TRS ves Yyoua complete understanding of what's happening in your mix Cristian Varelais SFIVX EP is out now con Incluxtriall Recerds \erlaues the UAD Manley Passveincombination withthe WavesSSLECIKE amuseal surgeon” COMPUTER MUSIC ISSUE276 DECEMBER 20) ‘tare Sam HOA Beene ‘eet ane ‘meena> em roundup em/roundup Oddball softsynths Arturia Buchla Ea West Coast synthesis is back with a bang, and Arturia’s emulation of the semimodular Music Easel is a slick- sounding software option poles arturia.com oe TE) ) 12] Its a Windows-only synth with @ cat meowing as the oscillator. You come up with the pun Enjoy a virtual version of the unreleased EMS VCS4 suitcase synth, complete with Battleships-style pin matrix xils-lab.com 18 | COMPUTER MUSIC >emroundup < IF the name alone isnit crazy eniough, get a load of how this syntr spaceship-command-centre sounds.. if you can find it with a search engine, that is Find your own patch of sonic soil and grow sound with this green fingered plugin Granular, sub and noise oscillators feed into the filter bank from Quad Frohmage However fondue you are of clichéd 80s synth sounds, this free plugin isrit designed to cook up cheesy stuf like that i COMPUTER MUSIC “19Loopcloud Giving you the tools to sound like you, and no one else Neel et ana ale ia esleolag your fingertips Try it for free at Loopcloud.comat sounds. Serious inspiration. SIGN UP TO RECEIVESaal Maelo ne eae Peace enopach ike a pro / make music now < LIKE A PRO Begin your journey into virtual Eurorack synthesis with this issue's free giveaway - a breathtaking software modular system! andar you oay nal kage Infinitely expandable and utterty Pee ete need er customisable, the modem Eurorack format ta has become the de-facto standard thanks to seer eee cial ‘Andi thatisnt reason enough to step ito> make music now / patch like a pro Introducing Voltage Modular Nucleus Your virtual modular environment looks and operates exactly like a hardware Eurorack system. Let's get to grips with the interface... = Soa pre bein soe Ce ee re kr ee ete any TO ak. eel he eth ee ee Ln a a Pees ar wef! yi 2 der aad fam year external 9. Se Ce LaLa Chak Tabac a en ee ae et a ead raed Bo eas pee eVBOARD oe ‘4 ana - hy ay ote I OOPS) as re LL erga OE fem ad e me james lead ae Pe a eg ee penance aa el os eee pane Pee Cee E zi Dee ee porkcteer een Eee praannonae eee . eee Cede Pyamoe n oeAnew look at old tech With their monolithic facades of cables and controls, modular sythesisers-both hard and soft~can look intimidating tothe uninitiated. Even a modest system might contain a dozen or ‘more modules, each anea unique device in ts ‘own right and sporting avery particular arrangement of jacks, knobs and switches. \ihat does one do with themalP And how on Earth do you decidehowto connect all those ‘many cables? Surely only the most eccated Andexparienced can achieve anything rocognisably musical onthe things! Inactually, snot herd to get going, butt helps to understand the origins of modular synthesise, simultaneously but indepenclently ‘developed by American inventors Dr Raber Moog and Donald Buchia Before Moog and Buch, most electronic music was made with primitive electronic test equipment bult forthe laboratory. Electronic signal generators pat out test tones simple sine, square, and triangle waves. Inarder to ‘make anything musical withsucha device the composer would din the desired pitch and record the signal onto abitof tape. The next desired note would then be dalled in and Fecorded ante another bit of tape, which woule be cutand splicedto the fist This tedious process was eepented to create complete ‘musical passages. Along the way, you might ‘oveak the amplitude use atone controle alter the spectrum, or use multiple signal generators toad a bitof modulation or alter the tbe. East vs West Bob Moog builder of amplifies and Theremin ~came up withthe idea of using 8 standarcised voltage rangeto control the pitch of asignal generator, allowing it tobe controllee by an organstyle keyboard. Moog also Incorporated transistors (anew technology at the time) as te basis for pole resonant iter ‘modular eyes and bred the Earorack format ‘Alongside musician Herhert Deutsch, Moog began working on his voltage-controled subtractive synthesise designs, which would be Presented tothe publica the AES convention in New Yor. in 1988 ‘nthe other side of North America, Donald Buchla had been commissioned to buldan flectronie muse instrument forthe San Francisco Tape Music Center. Unike Moog, Buchla was not atl interestedin building an Instrument to produce traditional muse such a could beplayed froma keyboara. Instead, he \wanted to reduce the ted of splicing tape, a feat he managed by means of voltage sequencer a prominent feature inthe 0 / make music now < instrument he delivered tothe Tape Center While Moog’ system was designed to appeal to traditional players, Buchlas system with @.oticaly-named functions and an esoteric approach appealed more to expenmental, avantgarde composers, As different as they were, they had muchin common. For example. both were comprised of tiverse ciscreet maduies..eachfuiling one or ‘more functions, and both relied upon patch Cables to interconnect said modules and functions toform the signal path, Evurorack attack As more manufacturers joined in, ther ‘methads of interconnection were employed AARP’: 2500 used a sider hasecsmatix wile EMS employedia 16x16 grid into which pins were Inserted to connect one bitto another However, the pater cord prevaiea,and when modular systems began to reappear nthe 1990s, patch cables were the darigueur method of shutting Signalsto and fo, no least ecause they were theapproach chosen by Dieter Doepfer when he Unleashed his tiny A100 system in 1985 Doepler's combination of Eurorack modules aand'35mm jacks and connectors have become the most wiely adopted modular format, with thousands of modules on offer from muitiple ‘manufacturers werawide Not to0 shabby, ven that there werea mere ten modules avalable when the system was irstissued! ‘Voltage Modular Nucteusfolows the Eurorack aesthetic and, as such, buses patch cables to connect between ts avaliable ‘modules, Like Dr. Moog ssystem i's easy to iplay’theinstrument in traditional manner but Buchiafans wil tind that its ore than capable of producing unusual, experimental musicas Well Though most analogue synthesisers are subtractive innature, there's ne rl stating that youmust bull our modula system to reflect thiscommoniceal S, lstating Votage Modtlar Nucleus is > doneintne ust way-run te staler Bese where you wane tonal Vatiage Insalea Choose your preerred phigin formats and fotontheinstal procedure tieoughto completion Onething to understand about Vottoge Modular that the stu rodct insta does notice the ‘ocuesinthe bundle ar buries) that Aecountat ney Auaios west You've not yet activated said account {ourineed before using the satare Upon rstrunnna it, youtineedt login =) 5 Once youvelogged ini youraccount D> Votage msdutar determines what paying centre gear icon atnetop ot theGulta access thepreterences whee ne MIDI interface, r COMPUTER MUSIC / 25taal caaa = euge) @ eer legnll< pro Meet the modules (part /) feta lg ley lglg ery Generator Bi aka atil ene protesters “ oom eee) peers = eS beret rear erony Pacer eers onesie Pim ty = eters’ Pm Cees Cones ements] Seer cheers preeers) errr teen perenne ier Prec peeve ad arom enna ee ore found. This Noe pepe rt Rae ral ener ters outaspeciied| erent tenes Eee Pea Pee eres Peres ponent) eer peered roeeepatny ey ote) Hsiarvereetein cere’ ery ess Bele ans ec rs pert Ne Crore Pere eaters eres corer Points pees pear eed pirate) poorer Pern Poteet ed Bn TT een erm peers ornate) ee Loreto 5 Peron ry eee pra eee erred aaa Penney reer) pee eet pea ene ae ee ene eee rrcig rmoduistion eer erent eee pers Petia eae eae ny Priester een Renee this quick easy Sees pecoaer erty pamees ‘ eae por Amplifier nvelope is Input rege enerator pcg erecterens Prevtiecheeeriny Pere etd erred ety een) eet Snincoming gate signa. pre Peano’ Riemer cee Pareles eee nae ry Potrero. coerce coe or) ener een eter eri Een ee ee ea) cere Betchtonsand eet etd erect eens Reenter Pemenente ts Seren perenne) een netern ered Poet tbe ee ets Perey eerie 4 etry Exponentaliryoure pester eae) eras peices Fal pera 1p cone Preemoe te aeEig Oecd Cy SetEERTS rereenaial moo eons Lalit =e eases Soe wan ees ee cy pape ls eee ceronties selene pee piitie beerochrral panei See Perea Peete) eas i perien! Peon areas pisvemen one Peers ore roar eset vattagasmay be pr quence Typist 3 he PC ee promeerrmes Sees peers em teres Rents evened oer) Seren ere | Perret oer nc peel aar et eats | Seer) eooarre cre rears Pug eeachenoat tl Coster roe eeeerintra portray emer cre) rere pacer iaereerenriey ices coments Eton Eee ren Prenmeee) Peary cece ey ere tated serenity ead eetienietad Pee aes pores eet ements eer Pecan ecient ering pent fer terested patterned Ur mates a ean ! coerce peeeerracrine Peete peeereeececy Sere fiers / pore Eoorereotas je, just use ‘the output ofa pitched oscilator> make music now / patch like a pro Meet the module: @ 8 EN Gest feree es pereriei Parapet prerrs crest eee ey ey Gh Src Pbarsestaateey Bet poe pesca fore Pecans ere cena er eee Pereenereti ny pete patie Posen Piece eats is (part 2) eee Peterman ener ear! rc Eee eto Peet streeneey pepenions Arid eerie pera og omen ener) nto esses Peer Se eee eer Seer anes eae Pavone Poot pert rd eres eer eee erieeny cee pees ons TU Cy spe eee Banpeyedipee bee dear Hehe perce creed erent heen temp eeey poorly Ferien rape ey ere fecesMMMM / make music now < thoasies of Votage Neduir Nucleus bbyshowing ou how te Bulg asmple pate Freup the programandstart with 2 Danse Youcen aways start eshby ‘licking the New bution nthe upper 1 S, Inths tutor wei take you trou 2 Look ta that ety space Youn! > reed something te generate a sound soneadto the ibrar onthe oft and ‘rol down unt yous he Oselator Imecle Clicks Adel Dutton to addi ‘our rack Once faded in you canclck Snddag stop header to mevelt around ‘merack 2 ~ ., Note the ite star button inte upper > right ofthe Gzcntors entryinthe Library Cickina this adesito your Favourites st Aitine omen you cant beat the osciator Cick haan cag o9| ‘neo wavearm outputs we chowse Single tostetehovirlcabieun to ‘meMalr Outsmoduies HLOMDjack .,Yousannow near the waveorm Sick > Mit onetnerendcfonc ofthe 4+ ces nd ron rea svar Gseonnet on renewe t Ananoae cxalsir nodeushearteritings Slr natn sonal ssmaed by her tales Go oct theory bette Amol mode ond soda yourrack 5 Move the Ampito rack to any E> postion ou tke stretch aeamiefrom Dre dsctatrs Sawtootnoutputtotne “Ample Inputjack.Next un cable from te arplier's Outputjack upto the Main Outs TLEND port Youcan pow use {he Amoliers Gainknob to acust te ‘volume ofthe Osciltors signa S Ths sntterbty exetna Tumnthe > Gain ickcown torminmem Writs ‘ete control ove ha Gan ob ‘ich where madtion comes into ay Go back othe Libary andtingthe Envelope Generator. Ao tne rack Anenvelope genetator outputs contol ‘tage sgnaitnt sused a shape a Sanat overtne sy Connacta pater cable trom the > Envelope Genarators Env Out acto the Amplifiers CVInjack Justbaiow the CVinjackis ako allo CV Amount rake sre tly raed Anenesope ‘Senrator needs something toKk nto felon Youcaneck the Envelope Generators Gate button to dose s Atthe moment the anvlopeisjust > aeting as ont swtch- snot Deng useto shape the volume inary ‘way Ty pusting te Envelope Generators Reliderup aay Now hen you pest {he Gatebution hold itor a second betere releasing tthe sawtooth tone fades out more gracaty Tetriggertne envelope trom your > pt eyboard. go tothe CV Outs panelintheupperet.thenrunacable from ts Gate ack downto tweErvoiope (Generators Gate In Current tent constr, no matter wis key yu ay. lug tne CV Outs panels Pte jack own {ote Oseltors Keyl CV ack, Now lay COMPUTER MUSIC | 29> make music now / patc > atoy lectoni piano sts bet Up. Look atthe Oscilator module in your rack See he Range buttons? lick the ‘ne labeled 32" Tis reduce atch byatulloctave - ta! Tor ass son Oseltator module rome Lary. ] S; Fiaht now thispatchsoundsabitike Disconnect the patch cable running > fromthe st Oxlstor motes Sawiocth output to tne Ampiies Input Route at same Sawtoctnoutput tothe frst channel ofthe Miser er hat, pig te ecard Oxclator module's ‘Square wayetorm outputintochanne!2 ofthe Miner Once again routes cabofrom the CV > outs Phen ck o the new Osiltor's Key CV port Note that clckingand hating on the Piteh ck il expand Inte amulijck so tl youcan connect rritpe cables. His appes across thesystem, reavetng the nee tran ‘ucesive number of Multiple modules, ‘As youve probably guessed, yourow > needa patente Miers Master output tothe Ample input Play 2 ater two rom your Keyboard Contrates youstould hear both slators sal abitoud so aqust the levelzot Mier channels anda, s0 the fistsawtoath tone alitiebitmare Prominent then the second square The frst oscitatoristneny one > suai atthe moment. To 30 the Secondinto th patch you could usethe feature deserted inthe provi step but that would otler no contetewer he role level of the oscars -a mors rede forth inate Sbetnput Mixer inte Urary ana ite your rack The sound isriceandthick.Timeto > so aiter- hunt down the Fler module nour Library and att tthe fick Disconnect he Miners Master ‘utput rom the Amp ane connect Totheriters Auaiotack nstons > mode sorunaeable rm ts Botton let cutputint the Amir Input ack You wont hea ay change tote sone, Beenie the Fits Cutotnob fly ‘pen. Tt this knob al nodding a MIDE otetonear it doing string Once done Setittoaround 10H 7 Youll need theFitersLowPass 30 / COMPUTER MUSIC She sound naedssome mation and 8 > tnatmeans seg nother Envelope Generator module. Again patcha cable. from tw CV Outs Gate actin the new Envelope Generators ateln, then in ‘notre cable rom the now Envelope GeneratersEnv Out (the Fier top FreaMod ck > up ery hallway cue isnow being ‘moditated bythe pew Ervelone Generator Sethe enesiop’sRelease to shouthaltway.tne Sustain der to S00 30% and Docay fo around Se. This wit ‘ule reauce ine Cutotequency tothe Steady state sustained ove 9 \, Turmtne Fiter Mod AmountSy Thesymtrsavvyamona you vl > notice that ths patch bears strona resemblance the soterested by famous basesynins Lets emphasise the assy ppg the second seit’ Range 32: NJ S Fora. inimoog stvebass. t's > sedated Oseiator motile Go ahead anareuteits Sawtooth ovtputinto The Mer modules input 3. then set Level oaout t2acoek Fp ths Oscars Rangeto3Z and rue the CVO Into ts Key €V jacks ou did withthe other osetaters, Reduce thes setator’s / Frequency 19-010, anaincrease the > truatoseite Frequency to +010, This ‘detuning causes them fogerty eat fagainsteach other Thislsa common way toachievea thier ater tone Have s playfrom your MiDikeyboard conteller S lstime toad dotlop ot squelch > Head o that natively 2465 iter, findthe Resonance kro snd pushitup tos orsa You lose abitof gar but Youcan compensatefor that by increasing {he ian Outs Volume nod Fly 93te ‘he Envelope Gnaratar controling the Fite’sCutott nd reduce ts Sustain avel 10 / make music now < Patches versus presets A slighty diferent mindsets required when working witha ‘modular symthesiser. especially Whenitcomesto the concept of patches. Youve doubtlessly seen the term patch’ applied tothe various preset soundsthat come witha fixed-signal-path Instrument. This term was carried over frommodulat synthesisers when ‘manufacturersbegan making hardwired instruments. The diagrams used todocumenta sound were often callod-patch sheets. This usage of the term was reinforced when micro- processor based instruments thatalloweduserstosavesounds camealong Gtarting with Sequential ircuts Prophet 5). tna virtual mod synthesiser suchas Voltage Modular Nucleus, when yousave patch along withall ofits Parameter settings, you're also Savingapreset made with that speciftepatch.Wtsin yourbest interesttodliferentiatethe two. Consider each patch asa complete synthesiser ints own Fight, capableof producing a Wide variety of timbres without ever changing the cable routing. Weurge youto giveeach patch the attentionit deservesby exploring allof the different soundsitcan generate. S, Hfvou've been flowing along thus fa, > youl want keep your nen basgpatch Dothisbygolnguptotietop- lettcorner ofthe Guana ching ne Save bution S, Mterative usethecutiemas eyboar shortcut to open te Save Preset window eferinga numer of options: Cneose which Collection youd ke your preset to bestorein. nts ‘zen youmight choose User Presets You ‘arao hoon or crete category sich WwW Give yournewpateha stable name > Kejnords may aisobeentered t hlp youseate forthe sound ate Fray {ect uhetnerthe sou isan Etect Dalch(oreon theselatr or an Instrument patch, Once Gone, ick Save ‘commit thepreset tormemor 0 / COMPUTER MUSIC / 31> make music now / patc > clave of modular syrteistrom the verybaginning. Vette Modular Nacous has everthing yourneed to create lassie sequencer patenes. and wel show youhow tod Our prev ous {utes used the standalone verso ot Nuces Butts ime, open the pug Irstance in your AY, ] S, Sequencing hasbeen intrinsic 2 > fapendime pug tracey, Library fitthe ony way t9 ad armed Righteckan empty section of therack hase Add Modi the pop un nen: then tnd te Eightstep Sequencer he Controller sub men Sy Youneed a signaitosaquence.so sda sn Onaltator One wil or now: While yerestt aed ater. apa of Envelope Generators and an Amplifier nother words 2st synth vce You ancopy thelayout shower. Patch the Oscilators Square out into the Fite. and route the Fiter’s Low Pas output tthe ‘mpi Input Ss Mets Delay mace, route ne ‘amplifers Outputinto tne Delays Inputandtnen pps tre Delays Output to the Main ate HLM. Asinour previ tutorial route aneof the Ervetope Gonerators Env Out tothe Ampere In.and the other Envelope sEnvOut to MoFersFreqMed trout 5 S: Weve ntensonay et out heyoard control eurelbe wing the Sequencer io centolourptchand gates Goto the Sequencer tnaits Gate Outack snd runcabls tom ta tothe Envelope Generators Gatetm pons. Clcktho Sequencer Start btlon playback now Iniggers the Envelopes, 6 (ek tha Sequencers Stop button. > Next find the Sequencers Output (owerriaht comer anape that inal Into the Osstors Keyb EV input Note thatthe Sequencers Output Quantize button eergaged Ts foreas each step the sequence io trenearest note value ‘When programming musical passages. leavethisontolock steps to sentones Thesequencerhasarowe eight > serseach wth anilumsnsted button shove ne trons ae used%o determine astep sends agate tothe (te Out net siders are usedto adjust the voltages sent tothe Sequencers main Output Go bead ane altertnesigers vatestocreate ari 7 32 / COMPUTER MUSIC #0504 2019 8 > work Reduce the Amp Enveione’s DDeeSy ana Resse around 330%ms TurmSustaiallthe way down Reduce the ters Cato oaruncs7i Sette Mod ‘Amount to 120% or so, Over tothe Envelope controtingthe fier kl Stan, set Deeay to areuna S0Oms rsa, 2 Release to reurhy 1000ms. \, For more motion, youancallup the > MiniLFO module Fins itor aditto tha rack Routes topmost Tange wave output tothe Fiters Freq Mod2 jack ct hlod Amount'o snout 60% We WwanttheLFO tomeduate verysiowy, so Teccetne ini LFO Rate tir09to ound 034Mz Finaly nudge the Fits Resonanceup to 30% 050.Lets pek up where welet ott by > divi deeper into Vltaye Modular ‘Nucleus Sequencer mecula Though reusing Voltage Modular ina DAW ere the rstrumentistunaingte sown intemal clock Make sure the sequencer ‘modes Rate krob Is seo 6Obpm. 2 ‘ i} Sy Yeu canatsosyncthesequencerto your host Gote yur Library and acd ‘he Syme Divider mace to trerack [Next goto thet Transport pane an rua eabetrem tha Syme Out acs tote Sine Divider Syne ack Now cura able om the Sync Divider lock Out Ihe Sequencers Ext Chino ) pro / make music now < 3 Tsconnects your DAW transportto > tne Sequence by wayaf theme ‘wider len seed to determine the best civsknsused by the Seauencer ogi lk the Sequences Ext Ck bultlontoengageesteratsine Run & patch cle ome erp panels Play lock downto the Sequencer modules Stat not ‘As youveprobably guessed, well > need to contelthe Sequencer ‘module's Stop function ton Well that By going tothe ranspart pane and patch Step outputjack ithe sequencer ‘odes Stop input Give tatty Your ‘DAW sikey playing aa much ihe {IM -setitt9 420 Now ust Sine Dividers Note value sich to sect YB. 5 S letsctaborats ite Add ancner > Right StepSequencer mosiie an Oscilator. iter Envelope Generator. “Amplifier Distortion nda Shelnput ‘Mover: iscormect the Delays Output from Man Outs TLIM) sent [Mixers Master output othe Main Outs OD jackinsteaa oe tne Delays Output one vers test erannel andthe Distortions Output tots second channel. Pipe thasecond Amer Output into. ‘me Dstortios input Funnelthe ‘Oscilator'ssineoutputothe second Filters Audion ad ser tht iters Low Pats ouutto tie ow Amps simput Send the new Envelopes Env Out o > thesecond Filters Freq Mod input asuallastnesecana Amptiers CV mit vyounavent guessed this sa completely Separate nev paten Nov route tne Sequencers Gate Outto tiene Envelopes Gate inp Start the second Sequencer Use ts Step OOF urtonsto actvateoniysteps tana. > around 36H andrariits Resonance tof Sethe Mod} Amount tet75H or so Now got Envelonesand leiltne Surtn Sette Deca tosroane ‘36Gima anc Release to about 100ms Set ‘Ampltfer2s Response Bxpofor more snap and you havea syetc ick rum. Finalycormedt the second Sequencer tothe Transport onaSyneDivider in tnesame way na you claw the st Sequencer sothey te both synchronised teach othr and your AW Fine tune the patches tweakthe Delays tmeandacd and remove steps to your pater, > / COMPUTER MUSIC | 33> make music now / pat: MI Le Sy 5 Setar wevetookad at creating SS OntyimeFavontes Lnroryleviibiest =, Next. you need a Siclngut Mer ] > basses sequences and evera kick Uispoint Toaccesstherest gocown ma. > Routethe Squarewavecuputsct all frum ie everything youneeato tothelowerleftand cick All Obvious, J) three Oscillators into the frst three Mixer construct areca backing Wack The Some Osclators wilbeneded so 90 channels Youlneed alter medule. of ext step, then shouldbe obvious a Sinead ane tree of them e your rack ours, butwhileyouteatT ade a asic expressive ead sound, because Reute your CV Outs Pte output toa Distortion module between the Mr anc Sometimes you ust want oy. YoU Itwee Oscilaors KeybeVinputs. tieFiterRoutethe Miers Master Out hed aleyboard conto get the into Ye Distrtots nar the Dstoton's Imostoutotthisone Start anew patch Outiotneriters Audion ‘Acaiwo Envelope Generators ans Senda Gatesigalvom theCVOut sats, Rece te Fite seutftt around anampuir aten thes [> peneitctnetmveones tetrepayna, (=) > 3oonte rsh soa amountc EnveopesEnvOuttotheFite'sFreq _)seteachMlerchanneslevelto-¥ods,”—(C_). {20 orao Set Onclator Se Rangeto Mod jck, and the seconcs Env Outs SndteDstentons Dist Amount 010% Set Oscilator Ts Frequeney 0-010 anc thoAmps €VIn Rovtethe Filters Low: ress Justa ite gi Nudge the Amp Oscilator 2510 090. Have aka. Thats2 Outs tha Ampiiersn.A2 Day Envelopes Releas SetErvoiope Ts ree brassy led sound Give te Fier and end the Ampiiers Out tolls In Send Decay and Sustalnto just undor all and Reronancesie nudge Nice ‘heDelay's Out tothe Mains Out push ts Release way Findthe Mod Whee outputinthe ‘Outs modileand patchittotne Mod Wheel Atsstan's Mod Whee fn jack. |S Wevegotanicelesdsoundgoina but sy, Now. route the Gie's Outputinto smissing acca and ten ‘each Oseotors Key in Paste overused element portamento Grab a Gle's Amount upto sround 130m Play ‘Gide mode trem tne Library aod stick Some notes an actave spat and Hear how Send the Mod Whew Assistants Output Into therackto theta ofthe Oscllatr, the itch gradual glides rom onertet theFiter's Freq Mod jack, and crank ts Now, cleconnect eae Oscstrs Keytin the ned. That's3 casi and no mistake ‘Mod Amount. Born the Mo Whe! ‘rom the CV Outs itch and route the Lets gofurtner by adding a Mod Wheel Assistant set the Frequency a 80.1 se. (te Penta ne ices Imput Assistant module olds note and pushup your mod wheel 34 | COMPUTER MUSIC © P20"0 / make music now < Asyouvelesmed,an oscitator module's avays'on.endessiy citing ts wavetorms ac awatting your Intervention This makes medular sys Iealfor crating tone ruc Start witha ew patch andadea Sbelaput Mixer ‘ode the rock Dragittothe right end ‘nid apa of Onelators Conncet the Trlamgle output rom tach Onilaor to Miner channels anda respectively Now, aad aDelay ‘edule afd pac te hiner Master Out Into the Daas tmput Patch the Delays Output intone Main Outs TLD 2k ‘Youshouldhear ashy phased soured ‘Youright eet ast the Mer ves ., Set the Range of neo he Oscistor modules toS2- ts umeto start adding Some mation. Got yeur Library anand the MiLFO mocle. Ai to track and place tothe othe ret Osea Next. ata pai of Amplifier modules, Drag each one to ther gh tan Oseilator ‘dls showntiere Runacabletromtnetop LF0s Tangleouttotne lft mest Amplifiers put Run aczble rom that ‘Ampilfrs input othe let most Oscilaors Frequency Mod jack. Repeat ‘th the Min LF lower Trane op {hs time routing tote ight most Amps Input aidsend that Arps Output othe sSteond Oscato’s Frequency Mod Crank both Osciltors Frequency Mod knobs fly cockwise. Ade nother Min LFO module Run cable from ts topmost Triangle ut othe cVIn ofthe et Ample: st the Aroiiers CY ‘Amountto around SO% Now 50 othe top section ofthe fest Min LFO ane se Rate onder 0.20He Sat ths sacond Nom ad third Oscitatorandset ts Rangeto Lo Route tsSine otto the Second Arie’ sCVIn Itshotlé behave ‘Sry tothe Min LFO, Ads the ied Oscilator's Frequency taste. Fay. ‘ute the socona nL FOS Tangle out toe thre Oscltators Frequency Mod. Hing. The ticki to generate sow ‘and sutie movements emightbe god Idea toy up your rack making oomin {he boom raw a Youre about to aad an fentrelynew signal path Goaheadand ‘rop antes Oscar inta the bottom ove Leave ts Range sto ‘Adda Spring Reverb mete an teri the en Oscllators Square wave Into La np. Next puch te Revorss Decay and Mbx nearly tofu. Adan “Amplifier anrocte the Spring Revero ‘voudhit. then outethe Amati into [Mixerenannel 3. Use yet another Mini LFO tomodulatethenew Aroliier as youth theothors butkeep he Ampiier SV ‘Amountiow. You can eave your most recent Mit LFOs Rate ithe top one) seta ovwever erties eter mart iat vy, way down. androute te ower Tangle ‘raveta he nest Ociltors Frequency “Mod input. acustng the Frequency Mod knob tg about 7% or se Thslejst start keep adie toand experimenting wit your drone paten COMPUTER MUSIC / 35> make music now / patc > consider yourself bons ide modular Synthesis AS reward weet you imon ‘one of tylessobwousfealures cf ‘modular syathosias:they make pret tfects proceso Start by opening your DDaWand importing te Gulia ie eto an audiotack 1 s, Myeuvemacett this tar youcan Routes patch cable rom the Alo Inst jack to yourFiter Auden Jackthen una cable trom ne ites ‘and: Pass Out upto the Wn Oute AMD Input I your DAW sti playina you migntnot actualy hear muen of anything Unt you ste Fiterseutof R708 to Soundthertway mare 2 5 \, Set your projet tempo to Oop, > apd your DAW's anspor to play the Cp backina tree er loop. Now. open Vatege Modula: Nucleus asaneffets pin en an insarton the auc tack onto ‘whe youve putthecia, , Pushtne ites Resonance usta around 26% or ee Nota ut could site motion. Ad a Mini LFO. ‘oct your rack Runapatch eae ftom the top Tangle wave outputto the Fier’ Free Mod input Give the Fite: Mod TAmounta push a value o! around 25% should, Sat thon LFO Rate tee0one Nee > you engage your DAWstanspor, > youshoutdseethe audio signals level reflectecon Nice Adlon metesinthe toppanet If youder Favrace yoursteasto see what wert \wrona.Once youre content that al isas Istoulsbe we con begin uldingan fHlects processing ptch We star with bn Amplifier node Thatsaneat eect but tony hints > voltage Modular Nucleus capa. Lets itentneLFO by selectintan felting ie te Delete key ony QeIERTY keyomd oe rt-cek onthe ‘odie an choese Remove rom he enuf arable options. Lets tor the Eight Step Sequencer, As wed in our previous ttorialon > sequencina, wellaso use aSyme Divider macule Setup yoursequencer {and Syne Divider so that they syne the DDAWS vansport as wesnowed you before youve net flowed along with that fora go back ad gveita gonow. This time, notever leave tne Sync Dividers Note Values to16. 36 | COMPUTERMUSIC / Pescirhey rab an Amplifier moduteandeoute it > between the Filters Band Pass ‘Output rine Main Outs AN replacing the curert connection Insert Sn emvelope Generator aeforethe ‘Amplifier route the Sequencers Gate Out totheErveiope'sGateln|ack an send the Envelopes En Out to - you guesseit “the Ampiers€Vin. Youre gating aocdatthis! 9 Engage your DAW transport to heat > ascrtottemoloelfetaste Envelope Generator stggeredy the Sequencer Tats not the ena touch! Thanentstepistoreutetwesequencers Ouputo tne iter’ Freq Mod input Set theFiter= Mod ¥Amount to about hatvay. and the Cutoff to 380M ther havea pay with teSequencers sco nabuttors!Patching pointers SET PARADE ee are Cee nies Se eS ee Se aera for purchase (and or free inthe Cherry Audio store. You can buy them right from within the Se eet re eer aera Se ee ated Pee eee Cree tel aeons Peo ret ustg eeu en Peto Sema areLaunaeakreeparert SSS ieee cee E SINCE Mh rer reer eer ee ena eae eae eee eet er ee! Pookie ckeeted ee eee functionality and signal routings of classic Instrumentsisone of the best waystoleam entree erraeertas Crete ect eee] IE SINCEREST FORM ATTERY. REDUX] ! Cet rere et Gr eure eny eee er ence a reed patch like a pro / make music now < posters) Ee eat Tar) theright pigments and mediums, but thereat Se en arr rete eta ie acnes See eee ey eerie at iseratea recreate in ameter etre net ee ea eee ae ete cet {TAK TROUT eng ere eure eae end piper mee eden ta eta ee ea pecan nat ees com comes to mind provide patch examples patie eerie en ee erry Penner er ects Pee attri! een oe Peers rey special spin onthe patch inquestion. Dont eee eter eeta Toes ee reer ta ‘OF NATUR Cee eet rent favourite synthesiser electronic artistor Ronee mieten tries beyond the obvious sources or inspiration. The soundsof the natural world proved someof eee nee as ee eer ey peer emrarrene ee enettroanteey See net retro) Oana a ue ay pire ene erent cee tered pee er ere See eas See ue ene ad ee ead See ee Pee eee rs are ere eee ‘contain few example patches. The Te ce DNC eee aad ee eer ee rey ‘guide or synthesistsjust starting out. One ot freee repeat cect] eee tenn Cee nes eee ere ete tees eects beater eon) Cr eres reins PC tea org ee econo pete Ped | modular electronic inst bichint6O was har-toppingalbum the genera pub dosha ie tones> make music now / patc > analogue ambenceby cesing roti filec atmospheric pad Wire Soingtoassume yulvefolowed our ‘ter Vottage More Nuts tutors, and havea basic understanding ot how Teinstroment works rnot go back and sve them alcok Men come back aire Uipanew pate, 1 Intne titra we take you deep into ‘Tobegin, ada par of Oscitator > movies. These wit provide herman body ef ayeredsoune Patch thee (Outs itch nto ech Oscato’s Key CV Inputs or keyboard control Next 284 ar of Envelope Generators anpsich thecV Outs GtejscktoeachEnvetone (Generators Gate You wi ofcourse, nee an Armpit, > soputonein and route ore of te Envelope Generators Emv Outs tots CV In Next, odd a Miner arc Fter Patch ‘ofthe Oclltors Sawtooth outputs intoone Niner channel and the other Oscilters Square wave nioanather ‘hantel Sent Mixers Master output income Fiter ., Sent Fits Low Pass outpstto > tremors input Adc anotne: Mixer Sere tne Amps Output 9a ser chamel Now addaDelay and route the ‘Miser nti then serithe Delays Output {ote Mais OuLTLOD}2ck Sethe Range ofthe Oscistr producing the savtooth wave to32'andadstthe Mixer inputieveste acomfortabietevel 5 \, Anach he gnvoutat heunuted > Envelope Generator tothe iter Freq Mod jack Set heFiters Cutts ‘round 2804s anc Resonance about 70% Increase he Filer's Mod Amount {005% Set the Fier Envelopes Attack out 800m. Decay ond Release atthe ‘nav up ane'Sustanal Seay down Increase Une Amp Envelope Release Now 2¢aan Oscar Fier, > amples, 2nd Envelope Generator. Send te Osciitors Square outta he Fite’s input Sen the Fiter's High Pass {othe Arg’ Input Cv Outs Gate goes to the Enwelope’s Gate andthe Envelopes Env Outgoeste the Ampere In The ‘Ampitiers Output goes to cxannel 2 on your second Mixer, S Ata ne newest Oscar ey Vie thec Outs ite Sette Oscltors Range io The iter Cutt should be about 15 000Hs enc Resonance bout 70% Nov oe the Envelopes Attacks 4000ms, Decay and Releases the way up and Sustal ly ‘own, Aad 3 Noise Generator anc'a Sample And Held odute 38 | COMPUTERMUSIC | [> un patencabies trom the Hobe > unos Generato's WhiteNole ouout othe Somple And Holds Input ana tne Sample ‘And Holds Ouput othe Fite’ Frea Mod ‘put Set theFite’s Mod Amount to about100% The Sample And Heid now ‘mocilste the teu Yul pray twantte decrease this layers velin our econ Miser S Adaanotner Oseaatr wit ts Range > setto52" RoutetsPulue wave output tothe Sample And HoldExt Tigger Inout andset the Tigger Source (> Ext This alow the new Gxllator'o controlitsrate To modulatethatrate, Toute the Erveione Ganerators Env Out Inv tothe Oszlators Frequency Med Input andcrankup he amountoan iccken OW Ain) chan esoug end More tips, tricks and suggestions peter Sere coer aera Ree eee Ron patch makes use of multiple sequencers that ~ Te eae ee Pee ee cree re) ete eee ees ee er eet econ ee ta peer Serer eee eerie eet ed et tee rete ed Peter eoerecy retin eerie ete ee tt eed Sree een me eg Ronen a eee ey Youhaveasampler plugin, you can erent a Tas ee ny eter ener a net Pipreromecc rst es oS eent eety ere entree ependingon your DAW, Itmight take abitof eee Cane ad ey Distortion module for dirtying up your patches Se ene na ee marry ere rr the Sample And Hold module. When triggered, return ee ae eee oben oer rr) Prctreerent rrr processor. Try running audio through the Sample And Hold module and clocking its oe La ee eee ora ren rete ten eerie ey oe ee eee ee ere SS Pepe bape ea Fl dantlomi tue Pcp odninieree ea pes earner reid a Fer erring eer Fests areola ee Peep mermaneny peg ieee cael Sa oe pieces nia pari creel rel eee reeedery Pere ae Frente areas poceermgiarentl SLociataen thas Impressed by towering modular system Dedecked with cables and knobs -ch somany Pea ate! See en Ee eee cts easy toreplicate that experience with Pere eet Peeeneeneree ates eerie Ce eer ee Pee er es Tee ens eee ate Ce ee eee ar ae LL) te err peered [CONFUSE YOUR CABLES] ‘As you'veleamed, there are some distinctions ee ee ee Perera certo Bre rear Pree eee erg Cea eee eee ey eect cer ey Seen sec) Preece mmc) eee ear es ee es Roehm eer eet ee Poem eats Pere eer ene Frequency Modulation input andused to force Dee eu as Ca ae ered Cee are ete ey signal Experiment with unexpected routings ~ Steen seni) ree tents HHyou've trawled through our exclusive CM eae etn Cer ey poet eee! pee eee tee ‘occasional ourshes or ils. You willalsohave ets ‘the patterns canbetransposed by incoming Ca eee ene’ Se ne Instead. Youcan workouthow to divide down Cerrar ate cnn een eis Ce eae eee ee aud Se eee my mere eaten SR erie) Sie ens Ronen ted remot ee ee td the Oscilloscope Itdoesiit make sound, send ne a SNe eee aninvaluable too, allowing you tosee, for ery Pore eee Steen ee eee ee ree Pater ee eet ers patches when yourrestarting out. etter poet ert tty Cor eyYYILILTLLSLSSLLLSSSSSLSLSLSLSSLLSLSSLSSLLSS 11 > make music now / paich like a pro Preset breakdown Your new modular synth comes loaced with 50 exclusive patches handcrafted by our in-house sound designers. Let's take a tour. BASS DRONE Sipedsnes enngenddxrion glen sound athe noerand SAATTNNNNNNN_itoodesefmodiatenmaiethe— plentnemad meetup tors ae a 7 a ‘CM30SC Bass ‘CM Busy Drone Arch.detnedbaspatchwihioads _A’payabe‘ombientcrone,tnsone CM Flowmotion cM ‘tpresenco.thissoundisbultirom'a provides acoupiotslowyfitered Thispercolating.paten monates two Atypical gide kad two oscilators {etatwelybasiesgnalpath themed osellates.thepiches twnicncan be eomngiettanarahtsenalswitna and Moogle ie pal rough heeladks vibra. andincoming ——Wiggered from icomingMIDInotes. par of filers controled by two hos Sore ambience courtesy oe Delay Yelocty sapped thetiter cuff, Theresalso Noise Gnesi thst synced senuencermodies Weta _and/pring Rewer modes Mort Play withlots of dynamics. feecs bot efter and aSample And drymixisconioledbythembxers at wheeladdsLFO to ter ang ef Holamocui. ‘theend of eacn channels cha neelbenestorrtns, CM Acid Base m2 e- oan Asimple sing sigeosstor CM Cosmie Signals CMPannedBandEchoes © CM SyncLead Sourd thisonehasa ceciecly acidic Astighy busysolplayingdhone pach Ahardpanning lfecttstspitsthe | Thisnosalripsingpatch feodsthe Aimbre wthahintot eloctyaided combinnga palroftitered puke wave neomingiefandrahtaudiesignasto output ofoneOselatr modetnto ‘stontion.Gléecanbeaddedby __scilatersth pulse wicth abankoftiveefitaseach sett theothersSyncinputandmodulates ppusringup yourmasuieelAsinale modulation witnaNalie Generator, afeing eat requences The the ater vitnanEnveepe hod whee ‘elope generatorsshoredby titer Mulile FOsareused tosiowty Sutputsofeach titer afethensentte adds motion. Ciotandampitute jistike te old modulate thevarious parameters one o sxDelay modules ha el a a CM Unison Saws ‘CM Sextet CM PannedModRing Mod next month muSsIC Next issue em/277_ _ = ~>>>,29 NOVEMBER =. - Lean how to produce, remix and perform with the definitive guide § to Ableton’s game-changing DAW LLM AR RRA aA I PRODUCER MASTERCLASS: KLUTE / GOING GRANULAR / BUILDING DAW: TEMPLATES / MUSIC THEORY: AUGMENTATION AND DIMINUTION / AND MORE! ee REASON STUDIOS REASON 1 / IZOTOPE OZONE 9 / NOVATION LAUNCHKEY MINIMK3/ AAS ULTRA-ANALOG VA-3 / IK MULTIMEDIA IRIG KEYS MK2 + MUCH MORE SAVE CASH AND NEVER MISS AN ISSUE!GODIFAZEIR ADVANCED MODULATION UNIT www.d16.pl BeyondAG ~ The perfect Att ee for just £29.99 EE : 1 -VEN =e ed) ECLIPSE CHARGING I avi ledy | e)nite TCT oR ort special Christmas offer ata eee el eles lg Aland Eee a ei Magazine for just £29.99 y Eee NN get E: Ns] Cette ies eee east td crt Ce CaEe ete e nee ects | Pte oa _ Upgrade to o eetea Batcltcce: ene) dese!) for only £2.50 eee ooo Ta ae A ocd Never miss an issue of Computer Music ET Oe GT ae - www.myfavouritemagazines.co.uk/CMU/xmasI92 or call 0344 848 2852make music now < Producer Masterclass Spend an hour in the studio with legendary electronica artists Ed Handley and Andy Turner > Occupyingapairotseatsattheverytop —stucioforadeconstuction of one ofthe aus tableofelectroniemusic,Plaid—akaEd standout tracks, the brillanty palyrhythmic Los. Handley and Andy Turner - made thelr name Inthe 90sand00sas ploneersof intelligent ol dance music (DM) alongside the bralnteasing likes ofBoards of Canada, Aphex Twinand Andy ed hour Plaid came tobe Squarepusher. We were both into breaking and hip-hop: ‘Summer 2019 markedthereleaseotthelr adds Ed “sol was making beats before we tenth tong player Pty Started inthis electronic music thing, That must eclectic mixof time ben hhave been inthe mic 80s, doing stu withthe mesmerising sonic meditations and morecvert__Gherhelm Prommer, which was an early teehno-nfuenced foorfilers andwe caught up sampler, and, think a Roland D5. We were with Andyand Ea at Warp Recores'w-nouse_doingreally roushhip-noppy things. at though les go back intime for abit school in our early teens, "says> make music now [tthe end ofthe 1980s. the two formed seminal techno outfit The Black Dog with Ken Downie (who continues to gig and record under that name), “That was 989. think"recalls Ed. “That's when wedstared hearing acidnouse and techno, and started to go to raves lite bit “So thal was the music that stated o take ‘over But n those days, it wasall very linked to ‘early hip-op as well and electro, They werent Seer. as completely separate things they were kind ofall coming rom similar foots. “That was our First band, 28 t were, together says Andy"We had an earler project Ed and Inwhich we made ten cassette tapes of afew Afferent tracks that ended up coming out again, ontPiai's 2000 double compilation album} Trainer much ater: Like many oftheir music production contemporaries the pair citeokskoot hip-hop asa formativeinfiuence on thelr soundana style "We were really into the electro sound that was part of earty hiphop.” Ed says, "Soulsonic Force, Man Parish, the elactracaming fom New York and LA, Egyptian Lover and things ke that -that kind of 808, 909 sound. And then Each WATCH THE VIDEO Watch the video tutorial on your PC or Mac at... 48 COMPUTER MUSIC noe started to hear the stuf from Detroit about 82 = the eary pioneers of techno, ke Juan Atkins, Carl Crag, Derrick May, the usual crew who innovated the sound But we were also nearing the stuf! from Chicago.sothe stuf that Phuture pretty much innovated by himsell And then all the 303-based stu “We were exposed a bilo the European slectronic sound, but not much. Werreallyjust heard Kraftwerk because it was sort of funnelled through the American artists We dnt really know much aout the other electronic musie that was happening in Europe, apart fromystulf like Visage and that sort ofnew wave ound- we were quiteinto that as wel ‘When asked what current acts they would conser influent the two arerather less ‘decisive, as you might expect, given the luniqueness of ther own sound, Twoulkdn' say \weTe influenced by anything specially” says ‘Andy, "Wed tend to buy alot of new musi and admire alot of other producers who are making Simiae kinds of musieto us, bu is not eicecty influencing usin that way “Perhaps in termsof production, because even 30 yearsin, were still working on our ‘mixing Skil andthe bar is constantly going up there with the new tools avaiable Youean get some very dynamic, punchy mixes these days that we certalnly dnt have the kit tbeableto do when we were starting out inthe late 80s Roel Funcken fs someone whose work we ten cit," he cantirwes, “and he’s consistently (good Rival Contoles has been great on Erased Tapes’ last few releases So there are people that we follow, but we're not trying to make the same ‘soundasthem, More for when we go out and D, we're keeping abreast of what people are doing ~ and ust for personal pleasure” Kit List SOFTWARE: otopeAtoy Brainwonch eal x XL? Poin lance Vertigo VSNoeksound new tools for modern needs soothe harshness or spiff transients - without touching anything else Do you want to advertise in the only magazine / h e re dedicated 100% to making music with your PC or Mac? Call now on 01225 442244 (OMASCHINE MIKRO>make music now Los in Logic Pro X The Warp titans talk through the polrhythmic stylings of this album Polymer 2 eee) a — fe Ea UVI Falcon drum sounds The meat of the drums in Los comes from two software instruments that we dont think have ever appeared in Producer Masterclass before. The first is UVIs amazing hybrid synth/sampler Falcon, “We've been using it for quite a few years now says Ed. ‘It used to be Mark of the Unicorn Mach 5, and | 2) think it was ahvays made by UVI, but then UVI claimed it back There was some corporate thing, so now it's reverted back to UV It basically does more or less everything, so itis quite tricky to get your head around at first. It does regular subtractive synthesis.. it doesnt do additive synthesis. It does sampling and granular sampling and it also does a type of physical modelling, And you can just modulate everything with everything, which is one of the attractions of it - you can go very deep into it “So, for the drums on this track, we're using it in a fairly basic form” Ed solos the drum bus. ‘Were missing a few samples, This project was actually done on a desktop in a different studio, so its been transferred onto this MacBook, and in the process weve lost a couple of things. So that's the main drum bus, and quite a lot of that is coming from Falcon, just as regular samples” He switches the screen to Falcon’s mapping editor. “As you can see here, the keyrange is ike a regular sampler, so it's not really doing anything special 50 / COMPUTER MUSICWetcigiaretssccy make music n Resynthesised kick in Icarus ( Thesecondsynth usedin the creation of Los drums ts Toned ‘synth Ed explains, "which we'veonty “We loaded the kick drum into learus ~ any old Kick drum sample that we had ~ andit’s resynthesisedit. ts analysedit ‘and created aload of partials for the ‘sound trying toreplicate the actual soundof the sample. Butonce you've ‘otitinasawavetable, youcan ‘modulate tina few different ways learusis very nie for adding FMto these ‘wavetables, adits gotthis weird, almost acoustic sound Afew years back,” he continues, "youwere ‘combining three or four kickstocreate ‘one good kek, but not anymore CoaAcid synth line from AudioRealism ABL3 ae 33s, nat so long aga” he reminisces that Y ed up with 's, the most a aad | Ce ont ae Fy @ fjeir sound. jn ate interfaces COMPUTER MUSIC / 53> make music now ee See oe Wavetable bass in Falcon If the wilfully unconventional Los has a bassline beyond the underpinning of its pitched kick drum, its the elaborately modulated synth part that comes in after the intro section. This minor masterpiece of sound design also draws on Lua scripting in Falcon. “This is one of the moments in this track where it diverges from everything else and starts doing this heavily processed bass sound. This is using a whole stack of stuff in Falcon. What you're hearing, mainly, is the wavetable part of it, so it's scanning through the wavetable. And it's also got a stack of analogue stuff, and again, this is being sequenced by this Pitch Toy script. This is running slightly differently and there are things changing, so what you're getting is. these durations that seem to be changing randomly, and octave shifts that are changing randomly on each cycle.” 54 COMPUTER MUSIC 7 More wavetable bass in Falcon Acweltasthe Pitch Toy script, the wavetable bassline also, ‘uses controller script that takes over Faleon’s macros to totally transform thesound on the fy."We've automated preset changesintoit,"Edsays. “This s’ta normal function of Falcon we made ascriptthat basically groups parameters together, andas plays, its effectively switching presets What t's really doing isjust ‘suitchingtodliferent settings ofallof these parameters,and ‘again thisisanother scrip that wemade because there wasn't aneasy way of doing this in Falcon. Itjust creates dynamic land means you can change the whole natureof thesounel very easily withJustoneciick” “The processing on them: a Inte bit of cutoff - 24a cutting at 180Hz inorder toloseallthe bottomend.Then anicelittle ppokeon the head from the BFIAILA3A compressor emulation] -3-44B, justto push Fdownatouch tomakeroom for everythings: Mixing — Plaid then and now ‘When wefirt started, we didert spendenough time on mixing, soalotoftheold Plaid stuff and some ofthe old Black Dog stu that wemisedis very light- there's almostno bass, because ‘we didrtrealy know what we were doing “Everything was analogue, though, sothey certainly hada ‘warmth; but they didn'thave much power. Ithinkthat’s partly what people iked about ‘them. On Polymer, we've tred togoabit more hass-heavy, ‘ried tom thekiek arums up a bit andjust abit more sidechaining ~atew ofthe kind ‘of dance ways of mixing.”The drum bus Plakd make no great eaims but the rich, warm, powerfulsounel of ‘and the rest of Polymer - speaks for Itself "Wetend tojust do bus mixing, which Ispretty standard, suppose,” smiles Ed. "So allo the drums are coming through on -Ithink originally thishadizetope Alloy on, bbuttha’s not on this particular MacBook, so what we do haveis thistimiterIbx.XL2} and abitof distortion on the drum bus Vertigo \VSM31 the final part ofthe cain. ‘Polymer was actually mastered by Jon ‘Tejada, an old friend, I'shis rade secret.” WMtt=| CRAM Cane) Vig Plaid’s five favourite plugins Many PES ERer Cee os aaa renee ie Pee eee eens pines) Meare ‘em252>8/10> $100 ruprent eee cetere es Peirce teary pee eee er] Cece neat Sea Corre ear) Pree eraser ey Poeeeenar art eeerne Coote ere seren eng Peters meter eee Prone tend [eal el et = ery Css aie Pee ere oad Peeeeneenitere) Pepa aurea layeringandadding power tosome ofthe cpt ee tee a ero Puy corr ae epee etter Prentice steer Pape et ery Cee Cn maePlaid to the bone FE iakatseuedancnanedd Chater Teorey Recency Petar ay ee eas Seeder ee eee gee) Pee ees [reel ter eta we dort realy havean active studioat the ee Pere meas ornare Tans Cet eg een eed Sen eet Poems een a roe see ee aes ey eer er Reena) Bicrresereeereentensmeny Petes eed ei ‘em After30 years working together, how Peres ere ety reer Eee ay ery er eee eee eC eee eed particularly great performers on any CE eee et Tacs Uren ee mic te rere ene Rena Pome ta Ren acd Peseta ane Cee ee aes Seep ert eee ee Pcietetae uted ee eee Cn Peart reed Cee erect Se teint eee ran) ee ees) ‘ever and over again, tcan get dificult tobe earn Roemer iy Se ect) ete lr tra as eater era peatee tora es eect) Penreeer nse nie err eres et ho eens Making m computer Sea eid Cea eed is oa eco CC a ee orate eet) ete ee eo Chea Cre rt tes Seren eee poe es a ea aac Pea ete Cae ere tess eutnt) Pee eres ie enna Pee ian e utes ea Perera ee ee ea ee air euret) CeCe eee eee Te Penne eer eee eer eee ay renee es) ‘onthe NTS take-over as part ofthe Warp 30 Ear ea eer ama Ranier re eee ara ete tae iene ag seer tts Sean er) ecUe tal-e-veg| ol 9 2918 re oa) iat eee cor squericer rey nese things - intense language like C++ or Swi, an a eT ar) erected) Seg arse The polyrhythms of Los Koy tothe groove of Los sits polehytumicbase which sees ‘ferent meters fokoepthelstener on hel tes ‘nd naire of where he downbeat te tewtnings running ondlterent loops" Ed Teenre eae Se Cray Re Ee just seeing he TUE eet eat oe ee ed tec) ae ipt eee eet ea art Seg eget explains "anthat’s one of hose things that we loin of lke about track When the 203, Comes in thatslooping roundona six s0 youve gota sixanda sever ancafouralleaming togeter an its rolaivey convert Butthen La Coto] ne Bilt 1e-4 Pe }O Oh: aa lon through ete this great collection crete a eet lat effect make music now < Processing and automating the 303 line For the acid 303 ine, lisp on the sitet, Wehave ths lovely Native Irstnamerts pul called Repia Xt which. 93 Something we ie aot i's srt of us revert Dats realy ieresting reverb fect. where you can do Phtenshiting sd ehorusig, and just 6ot aleve, fy sound Theres ale of automation onthe acid automatons runing Ito ting modulator. pptenhiters ana ths ect cated -prasemesh, ‘whichisagreat plugin” Making space simple when comes ever, thweadet albeingatgortmic. ‘We tenatouse Spanier abastealgonthmie sor of a schoolrevers tha ust uses very sort delays Itevery verte "He don tusemch convolution ever - we tend evar these more oi fasnlonee ones lke SparkVerb and UlteRevera andeven the Inout Logie one (Crvomaver And Vlas, actualy whiciare really good But wee siowy = biol MukiMkt bun tos 3. ‘COMPUTER MUSIC | 57make music now / the em guide to the grid, part 2 The cm guide to THE GRID oO VT Rave Nan \ =the em guide to the grid, part 2 / make music now < <@e Last issue, we got to gri ps with a basics. Now let’s use Bitwig Studio’s modular playground to build a custom Pucca rue tid Cree toy errant trary and effect bullding environment. Sonnet Coser eee ee ir eee ee eee Pen ence eee eee ec eed cers ReGen Sree ee ied ea ee eee) percussion instrument using a mixture of See eee ne download our patch trom FlleSio as part ofthis Pee rena Co Ce en er) percussion instrument I rs eet een Petree ee Oreos eee ed et en cee irae eee ea eee ete ec ea pte eee ey Sendmail peer percusionsynth Teadeshopeto our foomenere acta stents ee enters ake ee eee eetea treet ete aera eerie reece pagan icorsned eae ert ‘moculavon uoveeaing.astatevariabie ree ces Lert) [eeu enh eer Pacer rte Peerieternaenecee ioe Beater terete aaa Pete eat Peer tend peo eri eee) Pere er ed Peni eeee teed aren eee’ i Cre ey> make music now “The synthess sie ofourinstrument draws Inspraventromthemoog OFAM Taking inspiration ‘Being presented with largely blank canvastike that of Poly, Gridcan feel daunting. witha ‘near-endless combination of ‘elementsat your disposal. how ‘do you decide what to actually ‘make? Themost obvious answer {enecessity: decide what eounds ‘your track needsand add elements tosult that palette. ‘Sometimes, though, it's goodto approach things fromthe other direction and bulldacustorn Instrument to see whatit Inspires. Here, taking inspiration fromthehardwarerealmisa ‘great place tostart.Seen or hearda synth or drum machine ‘that interests you? Download its ‘manual, check out the signal path and try recreating elements of i ‘Ourbeatmakerinthisfeature ‘takes|ust this path, usinga synth perc elementinspired by Moog’s ‘semi-modular DFAManda ‘sample track roughly based on Elektron’ Digltakt. Note that ‘were not emulating these instruments, eachof which uses its owndistinet components, so ‘wean’ simply add ike-or-ike ‘elements and expectidentical ‘esults, We can borrow general ‘synthesis techniques, though, andeven expand them further to ‘ereate something truly uniqus The heart of our percussion synth ‘tackisapat of excilotors We've optedor one Tangle (Os: and one Pulse(Osc2) but youcan changetham by steal cregging an oenatve ‘saveformentoanexisting oe this eepsthe exsting connectansin place second mixers pace before Ose 2s Piteh put This ose input from thoes cheer miner ana Second em Ose Ts outputTurang up the level thisseconé inp kts us rtioouce frequency modulation trom Ose! t0Ose2, forextratimbral comple. The oscatorshavetheirptches ‘modulated by the Pitches sequoncer, butwealsousean AD emieloe fer percussive swoeps-Each oschasamiver before its Pitch impute bythe Pres sequencer and ADenv a control how the piten wacks te aquencermod evel ‘Tre outputs rom bomasciaors then ‘gone ariner where wecan aaust Imo evetot ean Finaly woravea Noize fseneratorfeeaiginto tre thireinpat in iteminer Noise san invaluable toot when Ieamesto percussion syathess, providing the zr’ ane heft equ for uc percussion snthusesopsirot Serta iterator sopsng the sours crested the oscilaters. The frstsa leerstyle Low pass LD isthe Secondisastatevarable (SVP) wich were singin faut high pase made Bothhaveresanance, whicns hanay for ding metalic Biter percussion sounds. 60 COMPUTER MUSIC second AD envelope used here ‘movtaatingboth ers cuts in two ectons. Thsenvelopefeedsinto + tiker pir tthe aod inputs A second Inout to this mixes comes trom te Noe ganerstor generating witenakeiter Ioculation As our Noise generator sin Stereo tereates a widening. oo! Two Shaper moduesace employed in ur synth signal Now o ad ata faige Distortion tsp ites sean 3d gt butte resutng Mequencies val stilbecutby tefiters Then pear Chebyshev sits pos iter and can reintroduce harmonics after theflters fave dene th thingcm make music now < The heart of our sampecharnel ste Sampler osilator Thishas nee modes Repl fr casicsample style behaviour, Cyetea whichis sma to \wavelabe operation, nd Textures, which [Eeranular mode To the top ih are medteseie loon cones pret win Wevrantto beabye to contrite mpl playback itch fem our pateheditinte the Samper Pith. For fhusto workeorrecty,wedisengagetne PreCord routing tam the main MIDI Input Weaouantthecplon af apten sweep here too, though Inorder to conto ithe sweep. were oaingongtouse on AD envelope. As nicer directly bere tie Samplers ite tpteh controlcamingtremboththe tenes sequencer ana AD envlepe ‘ows uso dalina ite grtand some txtranarmonies Were using vsvetacing fs leealte diferentta whats gong on due wi work wallhare Tryswapoina thamout osu yoursarpte source weve got tre option af asaing Using astighty morecomplex ADSR. fvelopa generator which giesusthat Again our amp envelopetor the ample poten ADSH Ty using the Sample channa fer Hckor bassparts Use ‘relatively long release onthe amp ADS Buta sorter snapper envelope friar [assy sours mth shert ita punch but lotsoflowend presence sample channel weve added trvelope We're usine The Grids Mod Delay ceviceerths purpose Thseeiy eed to setone up manually dryinet balanee conto so werneed doth we lake two patches out of he amp Absit output The rst of ess Fede tothe ModDelay.the secondo a the Blends seconetinput to turn the letingus balance the unprocessed "Simple signal uth the delays fac. tie subtle modistoran te delay time COMPUTER MUSIC / 61> make music now / thi Taking things further ‘There'salready alot goingon within our percussion instrument, but there are many ‘waystodevelop itfurther. For ‘one, while we'reusing several ‘envelopes and some audio-rate ‘modulation, thereare currently ‘no LFOs involved. Bitwig Studio ‘offers multiple waystoadd these tothemix-thereareseverat types of LFO Incuded as Gr devices, plus multipletypes Included in thelist of modulators. Elther method could be used for alittle iter cutoff or even synth pitch modulation. Alternatively, setthe sampler to loopmode andusea synced LFO to ‘modulate the loop length fora cool rhythmic effect. Notethat wehave our Nolse ‘enerator settostereomode. ‘Thiscreates aslight offset betweentheleftand right ‘channels, sothat when noses blended in via the mixer, or noise: toritercutoft modulations, ‘engaged, the resulting outputs. ‘widened. To stop this, select the Nolze module anddisengage Stereorize.Or, for morestereo Interest routeaStereo-ized Value module to the mod input of the sample track's Mod Delay. Increase the modulation amount slightly and youll turn thermono delay Into stereo effect. After effects ly, three effects proc Tantei Oia] eeu) eer ee eee Cee keeps things punchy, then Ratioand Scere Ed eee er eee Pete eerie ee ane Ta 62 | COMPUTERMUSIC | Desc iol gece Inspired bythe Moca DFAN, weve added a veloc laneto the Sequencer of eur ere synth part. setup to modulate the Distortion and Chebyshiey Shaper® levels fiter reise medlvon. Dluslow pass cutoft Aboot in vlocty ‘makes the seundiouser ond gris ‘Tosmooth thingsout.werunthe utputof te steps sequencer trough an aR amp envelope. Tis bivelope neds tobe tragered, oo, s0 We Daten he sy chants Step On Sequencer ints loger mp Now the ‘envelope wl trigoer everytime asin notes ggerea re added to the P off Ro) Cee ee patch, makingitsound more natural and sit Ine accra a Peele eects Pee eet ed sults your track. though - abit of epic revert ere ets Toheipwitn this aSteps sequencer ‘rom the Data menulets ust evel foreacn sequencer step Thishasa ‘modulate output end we couldsimply Uae this to modvlte sym parameters Homovo. the value charges between steps ean resutin poppe sounds Faye patch the AR envelopes Senatoutputte a Modulator Out fromthe WO menus We can now us this ‘ocular to elp conta any parameter inthe device, aed use te atock ond Decay stages ofthe AR envelope te ‘Stooth ou the signa coming trem the veloaty sequencer EQ ee eee rome gas Peo eens rer) ‘boost or cutthe high orlow frequencies of eres rather thanmaking any really extreme or ereCHANGE THE WAY YOU THINK ABOUT SOUND DESIGN > phaseplant NEW aay SHON T Hee sols kQYs www.kilohearts.comsic now / serum fxcea as music now < Give your signals a shot in the arm with our guide to using DAI 1ASESIb] O(a 6c\ Valdas pumped-up effects processor Peete eee Tatar parabens cae ere) together ina series conigurationef your choice, eet ree ereic rer ftemares ermine Prpetiotane nit retry Cea an eeu ocean ea) ROR tiuuucaca we tnteR) Creel Sern Lace one! Pete ii et te eee td Se eater eer Te guide you along the path to multitfect Pete at) ete eet ier reece eet Ces oieua eriee) Cree eset) eee at cet] Coe ce ar eee aa eer ety een eau Scec nes eaten eres DOWNLOAD ea> make music now / serum fx Under the hood : Let's take a closer look at the ten awesome effects stuffed into Serums rack . ee ‘The Hyper/Dimension effectis best seen astwo Prenton ee eg Peter ree eae ret tae ons thickening and widening syntheticbassiines ee ee Sete he ad Cee oes eee Scr iny ee er eer distortion onboard, ranging from characterful eee oy ee ee a Pree eee ree aed ppost-dstortion, with separate Driveand wet/ eee eee) cee era eee ae ety ree er eri Cee eects ee eee ern ad ‘amount of LFO modulation. You can increase the fects strength using the Feedback eae iets eta eer arent tweaked endlessly. As withthe Flange, you rer esrrs Poe Cee ee ere ent renee cy ee ets se Leen rere) eed ‘Chorus features an adjustable modulation Rate. The Delay 1and2 dials et you changethe Ted Coed Cee ene ene ener timing of the tet and right chorus signals,and Pee eed eee teas peer ey ree a ars Sareea aed erento en coset eLearn Sere! are on offer:Normal, Ping Pong or Taps Delay. Seer er ener nn un eee nt Cee ont re a ae Tee Cae eRe Seed and Release govern the onset and release of rere Cet re eae! cern eee occa CL ‘The onboard Reverb offers ether Plate or Hall Preeti ce Peon re ety Pei a ee Ce ee aay ‘curb the revert’slow and high frequenctes, prea mer eed end Retiree cere Ce eee ares eae ated er ee ees Pasir mt teen ont Cee ay band. Try using the high-and low\pass filter in ra eter rare shaper s especially useful once parameters SS eee era eeu ron ‘onSeruns main Oscilator panel, the eect ee ee etn ad er ee Sr er orn ree ear) ‘even reverb. You can adjust the Cutott frequency, Resonance and Pan position, and dlalin extra grunt with the Driveknob, 1 © € @ oe EC en ou % co y Was = er Ld ic OH Se ee en ifmake music now < As with the synth eration Serum PX tet yous melts tect parameters Using LFOs.ermetopesr MiDInput Ths lentenaoledoutot te x howe £0 letsrun through thetwo waysot gti it ‘moving. You can rigger the ntornalLFO Insyne wit your DAW with theNote tnten button, bttor igh Lots use SerumisFX arsenaltomakea stockbassineinte someting wth ‘moreatbtude and edge. Start off by Placing Serum FX onthe Bass channel tit MD track routed eat ager ‘modiiation later on Tum onthe iter Unitand select the matin /H28 titer type, which sweapa trough ow, Dandananigh pass Note Laten works wel for consistent ‘modulation effects tut we ean corto Serum Fk mote precisely by wiggeripa va [MIDI Aes new MDI ack ten ote track’ eutput othe audochanne Containing Serum FX sth MIDI signal Ueggers te plain. Hita MiDInotete Trigger the intemal maction sources Set tho Fler Cutoff to around 300H2, with the Resonance straugny 50%. ‘ris make the bas el warmer with more focus onthelow ma Pushing the DriveandMorph controls to around 30% ‘gues he bass more crunchy edge whe faking somo sudauay Now, ae ean ‘mocklate te Fier conto give eur Dassen atte, Using MIDI 10 tigger modulation Inston of Note Late lo et you access te MIDI Veet and Note ‘auton sources ands velocity nather key tacking to modulate any parameters Youcontal he fect wi {hs,or modulate FO or envelone parameters formod comple TumenNateLate, so that Serums ‘modulation tiggers on playzack Assign LFO Tote liter Cutefcothe LFocyciecpens the Fiter cto by ‘around #10 Change the LFOMRate io {mo Morph dat st -20 Trisilmove tho titer more touaras iow pats, moaulating tmosub requences. The meculton hs given thease Unprecitabie dyn 0 fxthat by pisding the Compressor ater te Fite toarounas0-6oms to tart then act {he Threshold ul you get around 4d ftqain reduction ab or soot makeup Ate Distortions spice up the Comyprestor en sie Domesraple {he wet/ory nn t050% 0 ena nen modulate ive using LPO so redces Serums Mibitiggeing customize Assign Velocity tothe Fier Resonance st +40 Nex! sign the cyestea sarar,younear nate veloc Changes altering the eects tonesee.To finsh,assignatgere tio escrertects Wet? Dry tocrestea universal ix contro, COMPUTER MUSIC | 67make music now bas ease) lange Kicks things osetia the Rate toaround 04082 keeps te madison peel white set tomaximumennences he effect Dept and Phase Mods and rockers elo op. We the Hyper un mount to3 and pushthe Det 50% trichening te sound ramping pth steve maze crease Diension WetiDry mis 110% let toh makes hugeontendptones Se Serunts modulation eft are ideal ing unique hoods Weve got Serum F Keyschanna wth sore MID ne triggering the modilaton Chora sr warbing eet Setting FON 3 2bar Pata ieee eee eee peecconisr teeacmereanraeiral iN Cr eee cect et rT nse date prone obrreeannneen anise Coens Anenve ‘oie thectfect amar feal Along Atta rnd USreconde (itn stain and ramped up amperes) mike te chor Ieee up plced ater ne Chorus unt Ispertectfor gradually us Wet/Dry amount Cty Soe eet Exner tenet ttn renee Tae lay of entre anythin athe WotrDry mix withthe Notesourcetatsus Usethe pitch othe MIDI tigger notes to entolthe reverbamou Ata aad ee er et with modulation effets Simply set the Rate control Peer uaretneenttoy a eat toedBy aoplying processing and tomation ts exn maar stock Srumbroak more characterful Start by ding Serum x tothe Drumscranne, {her power upthe Distortion unt Well limator the Sine Shapermoce ait Svesthe drums grungy, Oina-sque fusiy Reaieing te WetfDey mst Weeanshapetthedlstortionstone Usingthe unt onbosrd EQ Sut the EQ tafigh pass then reduce toto itor armore subtle Ea curve. Now try ‘itching between Of Pre and Post ‘Sstorionta ear the dterence eQngtNe (for Post seitna tess Malo oun make music now < Letsuse some Delaytoaddan 2tona ayer of rythen te our ‘eum Pisce the Delay ater he Distortion, then set the delay tie to ‘outer the dla swith the break ‘ing increased shute Satng te Bey ffequoncyto1wM and Q100.8 focuses ‘eau tne Deiays Wet/Dry moto aan 20% Now iets create an exciting tt eract forte andat eigntnars Agathe Phaser fect after ne Dea, thenst the Freato aroun 100K to veld speaker puNshing tom frequency resonances later on. the Paser Wet/Dry fendat each ext nr section, yuean fer have the eect oly wet ora Dig Switcher graualy increase me eects Strengi for asubte i Next welluse Eomatitering to cange the tone the rumsteading to he endo 6 bas then set the Fite type to High Pass Setting then assign Macro tt their {Cutt Res, Drive ana Fat it. Aer enabling NoteLateh to tumnon tie macro, ‘you can ajust athe ter parametersat nce using te macrofora skin ett. Heres dry vocal take that wl Benet sreatyromasplash feet, Serum he Reverb unit ensbled The Plate increasine te Szeto around BOM makes the ever sound more spacious. Ineressing the Wet/Dry mito 0% exaggerates hectfoct, Adding some Delay makes our voc found more nferesting. We've put the daisy echoes ae coategin the same Note Late es us modulate the Delays paametersusingant FO Assigning LFOt {othecelys Feedback aves the aleta stutloing choppec-p es, Togive ur eect moresubstance, ‘weve reduced FO Ts Rate sing LFO Rate 2 bars adds coment othe fHtectesiasioner than LFO Tedefait ‘ettng whist pking one of Serums Preset FO shapes anacustomisingit ‘ds an teresting eet theft -we Chose Ramp Up: astrting point emt COMPUTER MUSIC / 69BACK ISSUES Catch up on what you've missed - all of these issues include FileSilo downloads! ISSUE 275 StU pal pad ISSUE 269 Liss 8 st) Psst Ps -7) ISSUE 266 Ls) so) ISSUE 264 p er MORE BACK ISSUES AVAILABLEtutorials < tter produc cm/experts computer music gurus Pedal = / notes Easy Guide Musi theory with Dave Cows Studio Strategies Advanced production with Shea Steaford } OrBeat Beat anddrum design with Ronan Macdenaid Arum pragramming tutorial Theory expert Dave explains the power of the single pecialled note. through all genres of music vf. Vintage mixing The ACM tutor and producer mines musical history for tips on how to spice up your templates J Classic electro drums Our drum dac looks to early hip- hop beats to inspire this month's pie; 2019 / COMPUTER MUSIC 71amen #85 Pedal points Our theory maven puts his foot down and explains why sticking to one note can instantly power up your progressions >> Apedol point aka a pedaltednote-isbest definedasa sustained note that continues unchanged over a set of chord changes. In ‘assicalorgan music, thesekinds of sustained notes inthe bass register were played by foot onthe pedalboard. Froma sustained single-stringnote floating over a breakdown ina club tune toasingle pitch ringing outina series of guitar chords, pedal polntsare everywhere in music-but why? >Step by step my Cece ‘The chief reason for themis to increase tension or exctementina chord progression ~ broadly. excitement the perceived mood with ‘major keys, while tension tends to bathe feeling thal comes through in minor keys. Imagine Faithless Insomnia without that insigious, Lunvarying sequenced Bbass note through the fist half,andthe tense mood ofthe track ‘wouldn't be haf as apparent Pedal points can ‘occupy any register sustained bass notes, pints \2 repeated highrstring notes, vocal melodies or harmonies in the midrange -as longa that single pitch persists throughout. They re effective because what they re actualy doing, With each chord change, |s stamping anew Identity on each new chord, Play an F note over the top ofa Cmalor chord for instance, and the perceived results the feeling ofa Csus4 chor ‘andall the implied tension that goes with it Lets ‘et pedaling! Seven notes rom Co played on the white note ofthe plano keyboars Ive harmonised iby stacking up aerate notes rom the scaein trees to make tree ote chords or tad beled with oman numerals uppercase for maor ‘horas andiower case for minor and 1 > teesehamunsec mao > Themostotmiow choice or pec point the root ote. ortonc ofthe key We'ein Lets demonstateby Superimposinga nigh €nte over each ot thechordsinourharmonised ¢ maior Scale. Even though does appear nal the chords. sil sounds relatively harmonious becauseMts the tne note ot theley, > Now okwnathappens ten we change the bass part.sothat instead tfolowing the chord changes. wejust Slcktoone note=the onic of © Now the ‘horde are tectivay C>FC> CIC they vebecome wnat ae row as ssh chords, and te progression suddenly Sounesatotmoreexcting.asi'somethng Impressive steading ou way. 72 | COMPUTER MUSIC © 9:0" >> Arathi choice might eine ‘ominant- erect note ofa keysV Ghote! The creates restos meses Feelas youre yearning wheat drop to theron Toistrate, ts take he sme progression, ut shite sustain bass hotetoG- the dominant of major Were Tertwitha fecingot wantngtomoveon 2 somenneredse >> tsk roe procession ing some these chores tis wil make iRadlatoni progression othe key of raj Using the onset and Vero, ‘wecan create the rooresion WA. oF C> F> Gininiskey Lets asoinchde ale hand pert lagna root nee of eee ‘chord andtollowng the progressions thecnards enange 3 —— > spies ae theca afew nondatonc, borowed chores How about tagging mir B.A major @.C Both of whachare horrowed rom the paral key of C minor nnd Bsu82 FBC) ont thee, eomtnaing wth our sustained Gin the bess? Anaurile were at leschange the peda pointe eighth notes,RECOMMENDED LISTENING ZEDDFT TROVE SIVAN- Bapencur ong y teen thet we masini Ddvanizeda voc KATY PERRY —NEVER REALLYOVER ‘Sealy arepested2ns Disinito me easy guide / make music now < PROTIPS, BASS Moves. loretechange appar ato mtgs Ths PETER asin Seireraatoremnrc te eee ane Dave Clews Inastudiocarcer spanning more than 25 ‘years, avehas BB eraincerea, programmed and played keyboards on Fecordstor astring of artists incuding George Michael. Kylie Minogue, Tina Turner and Estelle. These ‘days, he writes articles for emand ‘other magazines and websites, ‘and isthe author of Avid Pro Tools ‘Basics. Follow him on Instagram @ ‘electricdaves7 > Wen working incr ye ‘pedal point ematoninietion barometer swings fom exctement over {oterson especialy when vlog a.gromy sustained sya basse Heres curve (CWsBass Syn Open ALE preset paying FepeatesItrnote Croteunder «moody Sinarsychoraresen of on. Ihe pedal points anote thatthe toni or dominant thedscord is Creates can enhance tneeffect even further ntact. you could go crazy anduse any note rom the parent scale ofthe key Wwerein.Heres a major progression > Sie viransleting ntvskeytoD (OF ALEm(EGB).Fm (FAC C(G.B.D) sce ‘cn ahistring sound Eisontyfound in ‘ne for eur chords, nism the tonienor dominant the 2nanote in {he paren scale of major Aang Fgh EtothefistchordofD mejor OFA) fectvely ais arth making aveble Lets da repeated 2nd thenote~ 9 > ssapedalpaint paying quarter notes ote oF but withthe hed Fen ehor, ‘neve created an Fin sound ACB. {at Eis the stn a G major chord so this hora elective becomes 8 C6 B, 1.E) Ow apparent shed progressions ow b9> Em>Fim7 >. > Arata oth sane tor Em, 10 Simprenoresthe enor root NET MONTH Augmentation and diminution bends therules abit by usingan arpeguiator te generateaingie-note Sequence Tiistata, wehave an ean bar section of atypical cssicnouse track. The chord progression consists of at minor cords expoting the chord memory effect popular n tne gee \wevegot Fm Cm> Em> em 1 > Atateatie peat point eerique Seneca cee eae ieee Seeman aes yb 2019 / COMPUTER MUSIC / 73. a OL LLLN #41 Vintage mixing Tracks sounding too digital? Snea shows you how to plug your parts into a retro-inspired DAW template for instant warmth and mojo >> When mixing dance music, producers often adopta'mix-as-you-go’ approach, and there's nothing wrong with this. Inmany ‘cases, this workflow will help you craft track that sounds good right from the start, ‘keeping you Inspired throughout the entire writing process. ‘The main problem with this method, however sthe lack offal mixing stage. We ‘want our mixes tohave ie’ and body, especially when dealing wit sterile softsynths and digital sound sources, soil’ important to take astep away and tackle the sonies of your track with a ure mixing mindset: ‘One way todo this isto tryanc emulate an analogue worktow within amixing template, using analogue emulation syle plugins to recreate the sought-after magicof hardware processors That's why, once a tack s complete, Ita good idea to bounce out the individual DOWNLOAD. stems from your multitrack project, then load up these audio Stems ina brand new session. ready fora fresh mown, In this instalment of Studio Strategies, then, im golng to take you through my bespoke mixing template | treat this environment tke an ‘analogue studio, making the mixing process ‘effet. effective and - most importantly = enjoyable My DAW here Pro Tools, but the srategies are obviously universal. > Fityth important toetalaa framework orthe tempt onsstingof various paral bus optons, Subb-mix channels apd processing otis Risalsoimportanttoempley acoour Sereme tat works for vou. with certain track types assigned aspeciic colour This rmokesmong move etient. especialy fence track counts pileup Now il moveto our sun mikes, creating eat subgroups thatthe Incl sterms can be sent tofor Collective satration Each bus contains fesse emutaion plug Slate Digs Virtual Mens 74 | COMPUTERMUSIC © 9: > Now tatime to toons your satocue ferulation plugins musing Slate Dials Virtual Mi Rack ve adced Saturation pracessor inte stip with tredtandested emulation modules. Theres aso an SSL EO emulation onhand Irineed to shepetone. >> lattinse ore rin scsi the template Wines A and -each Containing another desk emulation slug. Routing each mixelementtooneo these twee graupsvi gveme anal twee ages of contel over dumbass, vocals ondeveryiningelse Soe oesPROTIPS ‘THE MIXING MINDSET Devers youttom gingbac and ene acs ‘Dial satya auton th commatnen ‘pletely terri anda yoke thre yout ree up ourcampuar® COU power sa truant promt mats abe ANALOGUEMAGIC ‘olkction of analogue emulations andtackethe session ‘athsttorduare mind Illus pie Site Pretnaing youre wrk nthe analogue realm nck onirpayaeacharortnurenr red Miners tae comprertre over eume a mse make music now < Shea Stedford Shea sa dancemusic producerand tutor at ‘ACMaleading provider of creative Industries education Spotty ivi Discogs bnivsnea Instagram ACM About ACM soveararcmtar chs Tiara pogwme ate sagt >> Wertiegon tain mic can arta ace processing, whe stil tying © Stay as analogue’ as possibiinte plugins leheose hove ake avortoge tthe late Mxbuss agains well asthe “FReckS Tape Mactnes Clection giving them more warmth andsaturton at UMetinal stage ‘> Nis impetatto i abe to eck your mixata mastered eve <0) Incorporate masterina plugin ateron in the chain Sormoxs rior ans Faber Pres zlimiter provide clean transparent exctementand trae peak initing. ras AAR >> Nomthe template seat ets cron ome tems in The stem tac eated can easy be duplicated fr the ‘umber of stems thot are inthe ‘meaning thatthe emulation channel sip ‘i be duplicated foreach ster. Once ‘roagedin, colour tem to match esub- In colour-coxing chosen eae, 9 foreach stem anthen the submis, choosing which mix you send toch Subgroup. route drums ane bess to Mix ‘vocals to 8 andoveryting eee to NIX Now stback ndlisten tthe mixin Rsrawstate. 1 Now setup your respective outputs > Not anata aust mi T decimate processing be Storms and subgroups nat aad Now a the prep workis done can focuson rng ina araiagu fasion worrying Daly about space an bance wt oy ‘nafoguesye Eas stators anda lnateaangeot parte! bus options ‘metering tomakesure youre Feacting your éesreevel andooping ‘gan staging consistent thoughout the fecsion = rom stem hyought0| Stroup, tough tombees. Tis ere the WA Tages realy show tele ‘worth, ving youvoumedalaning Mexibity within afew leks em pes © 20)9 / COMPUTER MUSIC / 75.#62 Classic electro Step back in time as we recreate hip-hop's formative beat Ronan Macdonald Having previously Served as Editor ofdrummer’s bible Rhythm as wells Computer ‘Muse, Ronanis leariy the ight rman for this particular gig, e's been playing drums for over 30 years and making music ‘with computers since the 90s. >Step by step > Morenotably acructalstageinthe ‘development of hip-hop thanthe dance ‘music genre that bearsits name today, ‘electro cameto be inthe early 80s asa fusion ‘of European and Japanese electronic music and funk, the earllest example track belng ‘rika Bambaataa’ seminal Kraftwerk: ‘sampling Planet Rock 1982). ‘Although modern electro s, of course, far broader in ts instrumentation, olskoo! electro was largely defined bythe use of talkbox vocals, analogue basslines, zappy synth effects and frum machine beats, thelactof which were mast often generatedby - you uessedit-the Roland R608. ‘with patterns having been programmed using the 8088 stap sequencer, key to replicating the sound of electro drums in your DAW are a rigidly quantised. robotic feel. skitish hi-hat lines and no variation In velocity beyond thesecond level of intensity provided bythe -8085 Accent contr In this tutorial ands accompanying video, then ibe showing you how to program an immediately dentifable lassi electro drum track tm using Ableton Liveand Roland's ‘TR-808 plugin here avalable va their Roland Cloud subseription service but any DAWand £208 will do, whether isan emulation or froma samplelibrery. sect sound sours: lands own emulation of ther legendary TR 808, frum machine could deploy ths onboard ep ssquenceforauthentty, but ne interest of univesay. welsick to Live's piano rok Unehecting Postion Lock i> DAWinTREO8 kil the sequencer 1 >> laarbytrngupinequrteserti > winine 208 Saat 2 preset at loaded anemptytwo-bar MIDIc> Createc and the tere setto.an electro sppropriate f20bpm [boon programming the pattem win the kick Sndsnare The snarefalsontyon the beneath no ghestnetes or other ‘embelishment of ny ki, The ik crus woven around the share playing atypealelacrosive, pater, and every rte tggering bth Srumsic programmed atl velocity The OB docs nave an Accent tate, however wnicacan make acted notes louder an heave should yout certain fits tobe more prominent > Qniothebiats and elect to pofora ‘trot sequence, as commonly {eed lctro, Unie in rany ether Senres neler tess 1th noter dont heed tbe constant and regular sol punena ew helesinteline to break up 76 | COMPUTER MUSIC 0504 2019 a Glaziers Baer ea tea ‘NEXT MONTH DrBaat does aub> interview // interview < hero I See Cer et ee eer nies Tet rll ee ete gs eit Seo cena pir es eres ee = nena oe See ee a ~ Se le . er a eee RC a ce MS Ue A a AU ela announced his arrival, Top 5in the Danish album rear are s ior a ee ve> interview / tre nalle Tobehonest.thatsa bitotan ‘understatement. As wel all the five solo ‘albums theres Been a Grammy nomination, Beatport Awarcs anda ton of Danish DeeJay ‘Avwards, he's extended his remix CV to include UUNKLE, Depeche Mode and cinematic maverick, David Lynch. He even turned Trentemoller intoa live band, turning up at every festival from Glastonbury te Coachella tis latest ter-song collection. Obverse. came ‘outat the end ofthe summer but there was a ‘worrying shemonth strate ist year where Anders Trentemaller wondered if he'd ever ‘release another albu. ccm: What want wrong? ‘Thad witers bck! When istarted work on the album, the band nad just frished an intense period of touring and my mind wasnt working $50 well.Going tothe studio was not the problem. Iwentto the studio nearty every day. would ‘schon the computer laaé upmiy plugins and then. nothing happened, No problem Maybe tomorow things wll be OK-But this went on andon. Eventually some songsstarted appearing, Dbutitwas very clear tome tha they were not ‘9004 enough That was so frustrating. To go into the studlo -my favourite place intheworld- ‘andto bealsappointed. After a while, you start panicking. Where have ll theideas gone? ‘Where are my songs? “And thisis the interesting par ofthe story, forme. The breaithrough came when | ‘eventually walked away from te studlo. My sitrend suggested nat we should goon holiday and we rented cottage inthe Swedish countryside. Miles from anywhere. No internet. Very basic After a few days, | actualy forgot about music twasno longer in my head. ‘wasnt listening toits| wasnt thinklng about. ‘was ustlooking a the sky anaithetrees Enjoying the fresh alr Sleepinal “When we eventually went back home, the first thing l did almost without thinking - was start wlting songs. Ha hal Sometimes, you can you don't get the ct be too cose to your music. Sometimes you have to step back and take a deepbreath ‘ome Like allot your albums, Obverse, isnt an ‘easy one to define. Te"That'sgood!™ come It ithad to have ts own umbrella, It ‘would probably be called chillout, but the album takes ue from dark dub to ‘experimental amblencetto festival tondly op tothe burbling melodies of Underworld "That has been my goal ever since | started making music. R's how music works fr me its not just one set of sounds andideas. When st ‘igneda record dea. Itriedtofit all my songs Into.one category because that's what thought People wanted te heav. thought that twas, what my record company wanted, “The first few singles definitely had more ofa dancefloor feel but when Igetthe chance to recore my first album twas obvious tome that ould not workin such a smal box, Yes, was. happy to callt electronic music but also wanted lotsof ether different elements. [wanted live instruments and machines, Cold sounds and \warm sours, Sounds that people could not categorise. Moving. moving alltre time, ‘cm: Do you know where that restlessness comes from? T:'From my childhood, defintely. |grew up betore Spotty and before the internet took over. When Iwas aki stening tothe radioat my parents’ house, | would hear everything.allin one afternoon, Some jazz. ron Maiden, Depeche ‘Mode, Madonna the Stones, Danish pop. blues. ‘Queen Andthat wassueh a wondertUl ting. To be able to hear llthe diferent music. These Ander sudo tated outwith oldandnew gar, Ine he Karp MS-20 and Rotana TR-O8 82 | COMPUTERMUSIC | [> nce days, theres astation for every gente which is ‘great. but italso means you don't get the chance {ofnear music om outside your usual playist "atten yearsolM, heard Venus n Furs bythe \Volvet Underground on Danish radio. Can you imagine that? This crazy, weird sound Musiccan sound ike this! Wow! If musiccan take you toall these incredible destinations, why would you ‘want to stay none piace, “That feeling continued when | started playing in bands After lft shoe, oined so ‘many different bands. Jaz bands inci bands, bes dit care what stylet was Hust wanted toplay music. And by playing with all these diferent musician, | was challenging mmyselt Forcing myself tobe creative. Leven joined a Queen tribute banat "Winen they told me that we were playing Bohemian Rhapsody. | thought, Sit that’s lassica musi. cant play that Over the next fee days, at cown withthe song and it ‘eventually came to me. ve never had 3 plano lessonin my Ife butif hear plece of music - provided’ not to complicated itseems to ‘make sense ean read music, but ear play by ‘ear and that's been very useful forme Cem You're fan of ive muse and touring has become abig partof what you do, butthere's not exactly an overdose of drum solos and guitarriffson the new album. ‘Tits there, Live musieis alwaystere..on ‘every aloum. Gutit doesn't always sound ike ‘you expect it.I play a piano, might stickit through a whole load of qutar effects pedals Until itsounds ke something else Vocals ana bass wil gothrough effects pedals. Gultars wil sound like synths. Synths wil sound like guitars. Live drums willbe racordedinsuch a way that the compressor and EQis pushed riahtt the limittm not ying to invent atferent sonlc ‘worle. just wantto try new things. When lstento the song, I want to say,Wwhat the hell is that? I want to surprise mye “Eyenif there are ony smal touches of ive ‘music in te song, they tilhave an important part to play. They pull ou away trom the machines. |rememiser when was making the frst album and listening toa lotf electronic music. lused to calitcutand paste music. The ‘same drum patternallthe way through the song, except for an entra hirhat. Al chords in the ‘same key The same melodies. Generally Speaking, the more humanity Heavein the Tusic the better wll sour to my ears “Thote ate times when the song will make that decision for you. I the machine generated parts of thesong sound very lean. the lve its might have alot of manipulation. coirast to te dean machines, ithe machines are dit. then foften ac something lke a beaut ‘acoustic guitar Having fun with estudio, Playing with colours. ‘cr Has your studio gota live room? ‘T'¥es, Imlucky The studiotsa good sizePi hed FLee 2: PPP allover the world. The od buiaings are being smashed tothe ground and all wehaveis new apartments. The average m or artist has no chance whatsoever. It ney have taken the soul outof the ly. Justbig business ang fancy apartments a “The studio has three separateareas. big room my studio and another studio that bongs tomy crummer Jacob Heyer. Jacob is ‘aso a great engineer and producer. the one ‘who points mein the right direction when We axe recording livedrurs and vocals, Im not trying to invent a different sonic world. | just want to try ~ 900 © Gun OY “Altnough the vocals are a bia pat ofthis ‘new album. dont really get involved too much inthe yrieweting process. Yes, tsi. the vocalist and discuss themes, but eel that lyrics nave tocome from tnenieart. Ana that’s easier the singer has writen them. Amessage Inthe yrcss OK. but, forme, it's better tthe story isopen tint pI dont ike that dictate to the listener "Idk vite one song on this album One Last ‘iss To Remember, My ts com What's in your bit ofthe studio? ‘TAtthe moment itlooks abit ike an old spaceship! Afow years aga, started collecting vintage synthsandthen.-things gta ite bit wild. Theres not enough room so theyre all ing around the place. They ve all been ret fea with MA, so tat hey incomorated into a moder would probably be my Roland SHO ~ alway ‘reat for bass sounds - and the Logan string fry similar tothe Salina, You abiton the early Cure song: You can't really dotoomnuch in terms oF ‘manipulation, but the beauty ofthis synth is 1 10. The presetsjust sound Kit list Aecaoire ‘imran ge SoundtoysDecahator \atnatabsP Vintages evan tran Serna Rover ea Scheps Plugin Allance Schowps Mons Umi orca ronan Seana COMPUTER MUSIC | 83\ trentemaller Sleeper mode: ital-Mellailese) | digital detox “Obviously, the computer is the heart of my eee eer ced ee ern iy Seer ta eres eter ed eT eed eae ee eens erty ee er ee Teeter Ltd Pee ete think about was the tune. Does t work? eee ney tea Lees Cra eee cee it romantic “There are quite afew old drum machines, 100. couple of DMXsand some that go ight back t the 60s. Little samba and rhumba boxes. ‘Again. they veallbeen retrofitted. They dia get tised onthe album, but don like to take whole loops. preter ane shots Sample abit ofthe loop, break it down into individual sounds and create something nev. That gives youa whole oun. Some ofthe weirdest noises ve heardin ‘long time!” ‘cm Softsynths, too? “THs hal Yeah. far too many. When | think back to when | was making my first records with ‘an Ensonig ASR-O anda Juno-£0,canitsee how it was possible. herels something nice ‘2bout having a very basic setup beceuseit forces youtostretch your imagination, but ‘would | want to go back to that basic setup? Not The modern studio offers so many possiblities {And everything is 0 much easier. lave the sound ofthe Mellotron but where would | keep ‘real one? The N-Tron gives me the sounds | heed and t'saiways in tne Nasi PSO RN MAL) nice about having avery ostsemsiet Omm A Ole OMRe le) back to it? No! 84 / COMPUTER MUSIC “ies the same with effects love an analogue revero,butiook at what you get with sometning lke the Klevgrand Kleverb, Grest sound with 30 ‘much control. The ducking function is antas IRuses the ry signal like a sidechain and stops the vocals geting over saturated.” ‘And the main platform. T'Ableton Live.Ive been with Ableton fora time, right ack when i was mainly 2 tool. lds Actefora short while in the early ays, but Ableton quickly took over. 'seernto remember the Abletontop end as clear asitwas with Aci..one orto complaining bout tat It adn bother me. ‘Ableton was so much simpler whenit putting asong together. ‘Alotot peor but tend te useitas ‘And that’s maybe why meting aitle bit frustrated with tat the moment Personally. feel that Ableton i stil aimedat the Ds world the fully electronic world f you'erecording20 takes of vocals tdoesn't make Ites0 eas. reed anoverview of those takes. want toknow what’ th I wonder if Pro Toolsis the answer? Record aitthe live stuf in there. then bring it over to ‘Ableton once Fm putting the song together ‘oe Just before yougo.can we ask about when you used to workas kindergarten ‘teacher? We've seen you mention tin Interviews and we've always wonderedif you used totake your tunosinto classfor thetots tobangtheirheadsto.. ‘T'Vean.| worked inthe kindergarten for seven years, but gaveit up when themusic career Started to happen dirt take my songs in. but Ais take the Ensoniq sampler nto class. recorded the voices an played them back realtylow andreally high. Chopping trem into loops. They loved it Watching thelr fac reminded me af when lfirstheard 2 sampler. ‘The ow. The fascination The sense of wonder. Thinking of al he music could make wrth ve often wondered any of the Kids member that day. Maybe one of thems putting astuaio together right now. Maybe theyllbe interviewed Computer Musi. tall, Started when this crazy teacher brougnta Dees, pitiaimk steeper Dean sonic comiccscm TG icstcouconrtanoterSTAIME TO STEP 0 WTHAT TREADMILL PRESS PAUSE (OMENT ENJOY A MAGAZINE M To find out more about Press Pause, visit; pauseyourday.co.ukSe Ouray Rreec) IRR Rraeey COIR rae) eens erin Een Oct aoa GIFT FROM is ) Sore aa z MT TT TR Cope ered Sere pleat ue eer Oe ae www. myfavouritemagazines.co.uk/xmasl97Teviews < __ARTURIA 3 DELAYS YOU'LL ACTUALLY USE Old meets new in this latest collection from the French outfit Paes Machine m7 Co eye Lift FX Anardedto products ‘easond go something ‘nureiynew n/reviews ine product J excoeas opectatons Webring younonest, unbiased appralsals ofthe latest computer musi products, Our experts apply thesame stringent testing methods toallgear,nomatter now much hype or expectation surrounds _A seriously flawed product that should be voted This produet’s problems outweigh its merits ‘decent product that's oniy hela back bya fewlaws Soli Well worth considering ery good. A welhconceived ‘and executed product |__Bxcellont.Firstrate and ‘among the best youcan buy )_Exceptional.Itjust doesit get any better than this! neneopiion ofthe Eto tebe prodact ‘evlewedinthe COMPUTER MUSIC | 87> reviews 1 STEREO MODES Cheese standard U7 Ping Ping or Ped Sde rating MODE SELECTOR All 12 Space Echo tape head /rever’ setups are onboard aw, high arel band-pass, with tree reo ohpes DICTIAL arsToRTION Apply ttorshing an. sample rate reduction DUAL MODULATORS Eternity’ tun LF: and. Envchpe Fallaver each modylate tun parameters CHORUS/VIBRATO Dial in the Dekgce Memory APA ie Mavis orginal nadilation asap ites UTES. a canes ee Add Fitter single lav- Frequency and, peaking EQ aT A y Inertia effects BED SIZE Stitch delay time n between Delve and standard. Arturia asciltor far medudating a single parameter LOPE FOLLOWER HMadulate one Meoary Brigade parameter with npub amplitude 3 Delays You'll Actually Use series of smugysited plugin three packs ‘comprises two vintage hardware delay ‘emulations and an original new design. ts 3 Filters..(6/10,m257), 3 Preaips.(9/10,em257) ‘and 3 Compressors.i0/10, reviews Add, sine and. of Unfiltered Audio Lion oF PRESETS anroingly-shoped. Incorporating and adding to innovative technologies from their previous plugins, does this lauded developer's debut synth have teeth? Lion (VSTIAUIAAX) is a momentous release for Unfitered Auto, who are riding high on a five-year run of consistently excellent plugin cefet releases. Having set themselves avery high architectural bar withthe innovative likes ‘of Sandman Pro (9/10. reviews / ilk PRESET Choose tram a small seheotion of Function specific presets RECORD CALIBRATION Adjust the heel bias anc €@ far recarding to tape TRUE STEREO Enmaates lf ard. right channel differences TRANSPORT MODELLING Apply real-time tape head. postion variations popular tape types of the lst 40 years speeds: 75 and ISPS ar and. 3OIPS IK Multimedia T-RackS Tape Machine Collection <240 ee Analogue tape plugins can add seductive saturation and sheen, and this new offering from Italy offers a variety of electromagnetic vibes > IKMultimedia nave been busy building emulations of some classic European and American analogue tape machines, and the resull are four processors, available individually ‘ora part ofthe money-saving FRackS bundle. They come both as individual plugins (AUINST/ AAX/ standalone as well as modules for usein the FRackS5 plugin and the standalone version OF FRACKSS, ‘Thesource machines are the MCI JH242 2évtrac, Studer ABO © stereo, Revox PROD Mk 1W' stereo and Ampex 4408 W' stereo, and the corresponding plugins are name Tape Machine 24,80, 99 and 440. It takes all types Visual eact pligin suniquly styled and Clertyinspred by terial hardwore The Seneca fenture sets argey standardised $Scrossallof tem andincues te choice ot Tope Formula Tape Speed caibaton stings suchas record sand record Level and overall 92 COMPUTER MUSIC " Inputand Outout level #1540). You can also plump for Repro made. which includes allo the tape processing mentioned above, or choose Input made. which ony activates the input and Dutput stages of the selected machine. There are four tape types 250,456,499 anc 6GP9- based onthe Scotch, Ampexand (Quantegy formulations, covering adecent spread ofthe popular tapes used over thelast 40 years. Tape speeds are speciictothe ‘emulated hareware with 5 and OPS for Tape the caltvation cantrols to their default settings RESET Reset the TUL machine to oo. Its default mee nage cme in and out of te phgin NUT /, REPRO Choose between fall tape path orjict bene culpub coeity or ere A ae AUTOCAL PLAYEACK CALIBRATION Gren derace Ce oe a has twa se tht such to rete Adjust the tape payback hesel and &Q Machine 24 and 80, and 75 and 151 for Tape Machine 99 and 440. The plugins don't get into tent gity of operating levels. £0 types and soon. which sa good thing. Essentially, when ‘youload a tape type and select aspeed simply tse the AutoCal option to zeroth calibration ‘controls mentioned above, You canthen use the ‘calibration tweakersto move away from those ‘optimum settings if you want. Al plugins also include stereo channel and transport modeling features see Recreating the reo! dea) Finally the Reset button returns the plugin tots default settings, which n al cases isis faster tape speed coupled with 436 tape formulation On the deck Testing tape machine emulations can bea pretty subjective process asthe best machines ‘only create quite subtle changes that bld up ‘over muttipl tracks Even so, these FRackS madels do cover quite range of machine types ‘and ape speeds, and perhaps unsurprisingly. i'stheslower M°models that sound the most coloured This is particulary true of Machine 440, which, at751P5, sounds quite dark, though the overall sound iscertalniy quite Smooth Similarly, Machine 99 is coloured at 75iP5, but las 2 than the 440, anc oveal, ‘Machine 99 ispleasingly he sounding. n terms ‘of overall ely, we tink Machine 24wins hands down, working well across multiple racks for 2dding subtle sheen and harmonic richness (Our professional analogue tape expectations were best met by Machine 0, though, This reviews / | LGR The BH 30 anp i actually tree separate AMP SELECTOR ‘ve Brian May The chars only sanueble on tts aur, and, as rate and 8PM tempo syne options DELAY rps a bth contre, raht configuration and BPM sype options enue Link parameters for the kf? and raht amps FX SLIDER Features dey tine, feedback lek ts bring op the contre far one of the three effects IK Multimedia AmpliTube Brian May developers Boom Library isa fully synthesised (no samples) virtual instrument, dedicated tothe production of crow pleasing tempo-synced (or not risersfals drops tc LiNXsenticely preset driven, withthe Lnder-the-nood parameters for each of is 275 presets and ther‘progress'startandend Points already dalled in, butadegree of Adaptability s provided for youy four macros and two fits "You wor'tbe designing yourovin sounds fromscratch, then, but the presets area pretty diverse anc reasonably tweakable bunch - see {Going upltor more, Elevator pitch ‘Sending LItFX a hela MibI note triagers tne loaded preset. which swoegs trough ts ise or fall @sdetined by he aforementioned parameter start and encipoints) in manner ‘govemed bythe Progress section, and the tc Range and Duration cantolsto the ght The Progress menu gives four options: Forward (the default fora presets bar the MocwineeiTools category) and Backward simpy ‘move continuously from thestartor end point totheendior start point: Automation makes the circular Progress indicator an interactive contol for manual or OAW-automated mevement-and Mociwhee! assigns the Progress control to MIDI Going up! ‘The success of LIRFX isin large part downto {ts well-designed and idily organised library ‘of macro-controlled presets, ‘Atte top level, the library is divided up, Into Noise and Tonal categories, the ist exploltingnolse of various colours, the ‘second deploying pitched oscillators, and both employing allkinds of synthesis, ‘modulation and effects processing trickery. ‘Within thosetwo base designations, you thenhave Upifters and Downlifters,whichin CI, for hands-on manipulation via anattached controlar keyoard “Thetiming ofthe Forward and Backward progressions is established using the Duration controls. In Sync mode, youset the numberof beats and thes value anywhere from 32/1 to {W64T, while unsynced the lenathof the progression ranges from iOmsto 20s. The Pitch Rangesetting, meanwhile, enables the rsetall enc point of any preset witha tonal component tae setto anywhere between #96 and-96 semitones. Strangely, while the Progress ard Duration sections can be locked or stepping through presets without affecting those fundamental setungs, Pitch Range cant. “The functions of the four macro knobs are set Instone for each preset. You might, or example, beable totweaka iter, clstortion ana LFO rate and amount or mid/side balance sidechain pumping, phaser effect and noise level -you get the idea. Although many of the presets include frequency-lterina macros, dedicated Lowcut anc Higheut titers are provided. too Like the Progress control, the macros anéfiters can be ‘operated manually or made to move. their ‘yn accord each one independently switchable between trecking Progress forwards rin reverse. and he aforementioned Automation ‘and Modwheel modes. I's midly hindering that the macro andfiter ranges cant be narrowed {down when siavecto Progress. but that can be turnare divided up into the fairy solf- ‘explanatory Basic, Complex and Rhythmic ‘types. Tonal Upifters can bemadeinto Downilfters and vice versa using the Pitch Range control, incidentally, Finally, a variety of Nolse and Tonal ModwheeITools presets are geared up specifically for manual control, while the ‘Bonus Drums6Bullds include snares, claps and impacts, and actually feel ike they shouldbe more of aheadline feature. worked around easily enough when in Automation made, Finally, unedtable Delay and Reverb effects can be stched in anc out Depending on the preset, these might be almost imperceptible or very obvious indeed Liftmeup LiteX achieves its stated objectve of making energetic transition FX ridiculously easy to ‘Generate While, ofcourse, we'd lovea bit more access to the underiing synthesis engine, and ‘more of tae Drums&Bulls, Boom Library have one a greatjob with the presets, which cover plenty of round and offer just enough \versatlity via the macros andfiters. em. ‘umesongecom Alternatively ‘AIR Music Technology TheRiser ‘em213 98/10» $80 [Afarmore complicated take on synth-based transition FX design Native instruments Rise & Hit ‘om206 99/10 »€129 ‘A Kontakt FX brary merging synth tones with orchestra recordings Verdict Teasyanstntouse etsy of resets [EE contiockrentaroe ote DrumsSBulds presets, please COMPUTER MUSIC | 97> reviews / madrona lat Madrona Labs Aaltoverb 535 ec It's not the first time we've seen a synth spawn a spin-off reverb plugin, but did this one justify the move? + Aaltlovera (VSTSIAU sa reverd igi based ‘on the reverb in Madrona Labs'semt ‘modula synth Aalto, As youl ne zware you ‘own Aato or have ied ouremesition ato CA, ts reverb sa simple one-knob aac Nevertheless, ithasa wonderful haunting tone, ‘iis clearly crying out for some adjustable [parameters.Aatoverb comple, but with ust fourmain controls - Size, Decay, Tone (see Tone Filter for more on ths) and Mix alongside input ‘and output this shardly the most flexible revert, right? ‘Wellin this case, looks may be a ite ‘decelving an keeping with ther company ‘ethos, Madrona Labs have designed Aaltoverb ‘with performance ning. To tat end, te reverb encourages resitime tweaking, andit ‘you move your mouse pointer up and down on the paramoter numbers (with Shift hel for fine effects plugin rom Swecish developers Kievgrand ts. stereo processor conceptually similac to thelr original Haaze effect, but a complete rewrite fromthe ground up, creating a sonically superior, more user friendly and Considerably more powerful effect. Haaze 2has 6 fxed frequency bands across wiich the four parameters - Haas, Pan, M/S and Gain ~ can be adjusted. Each parameter has its wn tabbed window and colour coded sliders, andthe currently topped window also indicates the values of the other three parameters via coloured shadow lines. Metering Is incorporated Into the background, with band-specitic VU level meters anda shaded stereo-ictn waveform across the centre. A drawing option allows swift changes tomuttiple bands. Haazy days Let'sleokat each process. Haas re) adds a smal delay (Oto 40ms) to either thelet or rcht channel, depending on which way youmove the Slicer The shéer scale snomineas and the fest 100ms are measured in microseconds, allowing very accurate short delays tobe applied to ether side. Short delays ae particularly obvious fn higher frequencies, and we uccesstully ‘widened a whitenoise sweep ust using delays less than 00ms, Of course as youlntroduce longer offsets. the effet becomes mare Mid/side rebalancing The dea thatastereo signal consists of mono ‘and stereo clements that can be isolated e, {the essence ofthe theory underpinning mid- side stereo recording technique. However, ‘the concept is equally valid for handling ragular stereo, asit wa can separate those ‘elements, we can process them separately. slving us far more creative control. Thisisan ‘option that sometimes crops up in mastering processors allowing youtoEQ the midand side elementsindependontl. extreme One trick that worked wel for us was applying a straight dlagonalline tothe Haas Parameter siers, thus delaying thelower frequencies on one side andthe higher frequencies on the oer side ofthe stereo fel, With the midi frequencies lessatected Next, Pan reer). Here, et and right panning are apiled using up anc down sie postions, respectively Used onits own and nal but the mostextreme settings, the effects quite subtle andi our mast pleasing outcomes were achieved byaclustinga set of consecutive hands inthe same direction. The tna effect process before the Gainis M/S (orange). This allows you torebalance tne mia andside components ofthe signal. Asrioted in [Mit sicerebatancing. you can ony reduce the stereo width and you cant fip tie LIR stereo Image, which imits the creative options. Even 5, the process is reat fr focusing the sound created bythe first two stages. Finally, Gain (Glue) otters 1048 ont on a bane-by-oand basis and functions lke agrapic EQ insolation, Haaze 2can create quite complex parameter combinations, andthe dS presets provide good insight into what ts capable of. These include basic stereo width and stereo positioning ‘options (Widen Al, Musical Lefb, as well as more Instrument-spectc tings (Bass Cab |, Backing Vocals): What many of these presets do is focus the EQ.content and apply some level of stereo Haaze2 doesn't go down that particular path, but what itdoes dois enable you to rebalance the mono and stereo aspects ona bband-by-band basis. The maximum setting is regular stereo, and when the sliders are ‘minimis i's mono. ‘What you can'tdo.on the other hand, is. bbroaden the stereo image beyondts regular ‘balance. This wasa design decision madeto avold phase cancellation when combining MiSandHaassettings. enhancement, Sowith preset Acoustic Git 2,for ‘example, a mono guitar can be broadened using some Haas delays ana moderate Gan boostsin thelow mids. Obviously fyoueafter more extreme outcomes, these ae possible too, but we found that applying extreme settings across thethree main processors cdi typically achieve beneficial results Alto Haaze 2s an interesting processor that straddles the functional and ereaive aspects af stereo processing to dellver something quite unique. em 105 version: $15, Wevarand.se Alternatively Bluecat MB ‘emi98 28/10» €129 Highty tex multiband mixer Incorporating band specific stereo spread, panning and galn, Melda Production MStereo Processor NAwNA»€79 Creates excellent stereo efacte frommono sources Verdict [id accurate microsecond ceiye in Meteringintegrated it delay Decent set of presets [IEEE steeoimage antbe tipped ornave ts wet nerented mm ‘COMPUTER MUSIC / 99m radar. The No.1 website for musicians Love this magazine? You'll love Thousands of gear Tips and techniques reviews and killer to help you create video demos your own sound musicradar. Ei © witews / reviews < cm mini reviews A rapid-fire round-up of sample libraries, ROMplers and music gear Puremagnetik Bitfight 83 s20 ‘Thelatestin Puremagnetk’s ongoing series of ‘cheap and cheerful plugins for creatlvesoune design perfecly illustrates its influences and ‘concept with the background graphic of its GUL Subilled ‘Cascading Bit Reconfigurator’ Bitight 231s an acrobaticagtalcistortion affect thats been inspired by vinlagesbit games consoles ‘and the Commodore 64 ance-groundbreaking S10 soundchip,and aimed at bringing interesting favours of o-f grtto instrumental sources ofall kinds. ‘Ae with its stablemates,Bifight #3 interface Isdecideay minimal in terms of the controison fer and the only documentation provided is. ‘he annotation ult inte the interTace itself and abriefvideoon the website With thispartcular series of pluginsnew wellestabished, about time Puremagnetik started making proper ‘manus for them, as theyre not always as Intuitive as they at first appear - this one being a prime casein point. The destruction begins withthe Bits and Fold knobs. the ist simply dialing dovin the bit Devious Machines Pitch Monster «so (ES deviousmachinescom (ERE PCiMac. VSTIAUIAAX Amult-purpose pitehshifter harmoniser and ‘ranular processor Pitch Monster wants tobe yout fest port of callfor the creative processing Of vocals and other signal. The big Pitch cial in the midele sits the input upwards by upto twocctaves ordown by upto four either sapped to semitones or cents, and using one of thee selectable engines: Granular rate adjustable microsiicing), Formant(maleflerale transformation, ete or Vocoder (snaps toa fixed pitch for MIDI play -see below). Upto eight unison voices can be added, splayed in frequency and timing by the Pitch and Time Spread contros, and activating dite for ether ofthese introduces a degree of granular Fandominess to proceedings, The Wide button offsets the lett andright channels for serious stereo breadth. and the combination low/tigh! band-pass fier fsjust the thing for narrowing the frequency range down i required. Pitch Monster can operate as regular audio efector be played" with a MID! keyboard. depth as t's lowered, the second {governing the sample ates of two'cascading fokdover distortion processes. How these work sit made atall clear, but the separation between them is Adjusted and LFO-modulated Using the Cascade Spread ancl Rate knobs. The Vibrate contro, Sets the depth of volume ‘modulation fram the same LFO Ge, tremolo} and fnaly, Blend te Your eryiwet mix pot. ‘The sonic fruits of Bitight 8's unusual architecture range from subtly enhancing dita erunch to welrd modulated decimations ‘made splendlaly unpredictable {through the interaction of the two distortion chains. Once again, Puremagnetik have succeeded in palling together an unorthodox set of algorithms and parametersin An experimentation encouraging framework [Any electronic producer who's been looking for something ait anarchic and untamed wil get far more mileage romths than the pricetag might suggest shifting pitch relative to that ‘ofthe input signal in ‘Granular ana Formant ‘mades,or absolutely in Vocode mode Alternatively, the awesome Chore mode ‘enables eight chords of up to cight aotes each tobe slored orrealtime ‘switching, and includes 2 massive ibrar of preset chords ina wide variety of keysand modes. Our only ‘gripe isthat the sts themselves arent MIO! assignable. although they {re iste tothe host DAW ‘asanautomation target, Pitch Monster i. as you'd expect. mostat home working on vocals, with which there really sno endto the angeand varia of harmonising robotising, granulating, gender bending, melodising and wobbling things you ‘candowithit, However, any pitched source materials far game and hours ae easy lost Imposing ton sym, guitars, found sounds ‘and porcussion, Monstrous, COMPUTER MUSIC / 101> reviews / 1 eviews Soundware round-up Loopmasters Max Liese Solar House £25 Uplifting dance producer Max Liese makes his soundware debut on Loopmasters with 67OMB of samples (plus 300MB of REX file versions). Drums clearly aren't the focus here, with just 19 full (and, it must be said, stylistically diverse) loops and 26 assorted stems on offer, as the meat of the material comprises basslines (28) and ‘music’ loops (79), the latter taking in synths, guitars, pianos and more. Eight processed vocal loops and the usual assortment of one-shot drums, basses, FX and synth hits wrap up an eclectic and distinctive library. loopmasters.com 102“ COMPUTER MUSIC [ Sample Magic Dusty Hip-Hop 2 <30 Wi were lore bythe rina Dusty Hip Hop (10/0, ‘emase) anetnesaquel martansthe stand set byitspredocessor even there: alot es ofthe ‘ime round (245M 1260) 28 stemmed am [cops 20 fs deliver plenty of boonrbap ana Dorterbeautt yon 20 aly eect oss Fromtnereonin. sa panoply of evocathe crate-dug “Stitagood amount of content forthe money. Al ‘cops arseloeked a 90 ana To0apm andthe ‘inyiste vibe toughout palpable Sample Tools by Cr2 Mainroom Anthems «ic [Ae lastissue' rater moan Future Disco. t's good 10 see Cr2 pushing the numbers back up withthe latest brary which serves up ten increai punchy smmed one-bar beats (0 es) tn epic basslines ‘ani tenface-meting leads in regular ar sidechalned ‘versions thre glossy full construction kts and ‘various one-shols, Spire presets and MIDI files. The ‘engineering quaity isasauthenticas ever and although we'd be hard pushed to describe Mainroom [Anthemsas great valu, there's enough heretokee ‘the sampleshunary EDM producer busy fora while. sampletoolsbycr2.com 5Pin Media Tech House NI Massive X «15 Nativetnstuments’ super lassie x synths sti finding is fet as an alternative tots venerable ‘ane Xnameza, butnonethsess preset packs are ating te appeat fort This onels geared upfox ‘uting cage house procucton presenting 100, batches 36 basses oghtFX 21 ead, oven pads, {hree’percusions and 25 stabs - wi demonstrative Mbt files for 270 tem. The sun designershave ‘xerised some cable estraintnthe Basser an leads, maintaining the cat are focas require by ‘the genre and macros are aepioyeatvaughautte sreatefet, ModeAudio Collage «14 odehoci are masters when cores fining Towson esgn anges ser ante intst preset pek eRe cords monster pt cee nator ot waitabessampledtrom eectie ‘ules andbascex analogue syns plano and moe {The 30 presets temseves oes covering sh syn baes aedprovingendessy ining thet Stncruanees anamacro assignments The ay 0 ‘eethese wavetablesnyour ov patches sthe ing tents cate Asoineuded ae Sc demonstrate D1 ‘sand 19 rum tops PVC] ANTHEMSWavelet Audio Cabal 8 FoR latest vintage cro. the Robot he sampied the rceedily rate Weson Super MaticSI2-0 708 Hata aalogve dram machine both ras ane [lumbed through an Aurora Aud Stinger preamp, ‘he original box 12 preset rytsare al rely ‘omolnania tench nega pice (ean “interpolated” tia tom i ofcourse. eynapped for conventional prgranwing ico Volume. pan sna later contol enable mixing and maximising while analogue and gta astorton bring te noise A Surprisingly appicabe piece of history. UNDRGRND Sounds Cinematic Techno <35 Packing in almost 400 loops, over 230 one-shots are ‘40%MDI les, ChemateTeenno sone of LUNORERNDS bestsurpleioraries yet The 40 Ssemmed aur oops 200 es) ans 30 percussion lines orehard and reenless andthe 6tbasses make fora ich an var source of wen res but Its the 97 ayn oops tat really cite hooks n= ‘comucopin of widescrean ifs pads, orp, and more. ripe for usein any dance musicprojects of farkerben Enormous powerful ana aiost constant insprational —— Famous Audio Voltage sis Sample pack propositons dont come much more simple than thatof Votage, which consists of 75 Foraiting bassoops "ect rom the UK bass house scan’ Each oop lls along forfour bars at 1250r 1280p. and whe hee heaping rmultbane woruts certain get ata predictable hen stenedtoin sucossion the programming and und cesgn on dispay arett ate ar theres rothing ere tat coulat eastvserve as the Springboaraforaful beat or track Joopmasters.com no “Toontrack Big Band EZX free samples / funk fills SAMPLES GIVEAWAY S60) FUNK FILLS ae rs will provide the funky exclamation marks to your tracks that they 7 were crying out for. You may know the concept of fills from drumming, where you underscore the end of a phrase before moving to another line... but it’s not just for drummers! Here you'll find synths, guitars, keys and FX too, all built to punctuate melodic, instrumental or rhythmic lines, whenever you need to move the groove along. Grab it on your cover DVD or download from including... 198 Drumflls 42 Keysfills 72 Gultar fits 75 Synthifills 20 Percussionfills 65 Vintage drummachinefills 40 SynthEX ‘The nor crumfilfun continues inthe QZ > cyetcpack where siongsidathe regular drum ils thers gitar synth and oy filsatsixtempos Thesecantel)| u Inject interesting punctuation inte ary onan 40 Sys Tse ate musa track Mange romeo! theso up sath ‘eects at an srry hep you ee up Plugins oineresse te ower of your Jess dun korentated init ‘change o secon inattack rusia tanstons, 104 | COMPUTER MUSICfree samples < Loopmasters cm276 samples Get them on the em DVD or download from filesilo.co.uk/computermusic ll Keep It Sample NuSchoolBoomBap GS LM Afro Trap Spirit LM Modular Madness Techno (5 LM Trap Wave RnB (2 LM Halftime Drum & Bass Samplestate Rominimal Deep Spin Media Bass Driven Tech House (@ Famous Audio Exotic Beats NU SCHOOL , KEEP IT eT Sune > / COMPUTER MUSIC 105BONUS DIGITAL CONTENT WITH EVERY ISSUE INCLUDES OVER 3 HOURS OF VIDEO AND EXCLUSIVE ROYALTY-FREE SAMPLES ance fi LOOPS & SAMPLES Py scs Pie): fea Te usta mut et Pec Pee ail Dic Pete ao aS a cay as pie su aioe Tec CM ak App Store FutureMusic Technique and technology for making music en ea SR ere mee RON ee RS eR oe od We've been making the future since 1992. Make sure that you're part of it.S Teta PLUGINS You get more than 90 instruments and effects with every issue of em. Keep on top of this exclusive plugin suite with our directory Sem ee ay eee ee Se ea eet eet eee rt Porter hearst arene teeter eterna) Poe cece eee ree testa oy Preyters oetreron tty Ue esteem ety eu Niet Peis re aeons these plugins? Pere erg Crate eas Perera Instructions on how to access) Perea Ree ee te Pree retarted Peet eu ceed eens See a eta ema ene te eg What do ineed tose them? Pace ee eee Ceres ary Pea ret) ere cn rege otto! Sate O ond Seen eee eas cm plugins < What happened to..? ener ere ote eed Cet Paar Ce eee) Cee ad Cerne ticeuerreied errs ears re Ty Sen eens anc Psychic Modulation PHONEC CM Like retro synth sounds? Then you'll Ve AUER Ma Sate electri ae Central to its architecture are drifting oscillators, destabilising Melt effect and wild High-Frequency Oscillator, aided and abetted by a complex modulation system, EchoShifter delay/pitchshifter Pierlsace el elataskseeleulecs eens eWeek s] COMPUTER MUSIC / 107INSTRUMENTS ahd =i51) Ped A Our synths have been created foal pod elec) 21 kNe (oa =] 0919 in the world to bring you a suite of sound-making tools for J cistav rests.) all music production scenarios D9 ere Pere Eee ot Dmitry Sches Thorn ch Pee riernerne Bona) peat crete eos Reece ee on nea See cieeraas eoteetentt aeeted corr Coed IVIRTUAL ANALOGUE SYNTH. oy eee) Ce nuk oe aanttsad eer) feat eel are of sought-after fale Canes ls STO a ae Madrona Labs Aalto CM pee en fw Get heads nedding and design, better beats Fspithectieitietiey eso Ct ae St More crummachine plugins] brunsandspork roaoveCM Poo acd eee ar ‘Chrno amanISAMPLERS Import, slice and loop your audio: iA a ned eel 21a filfelal eels olnal 19) MUI nc} Peres biota hrasyneradeandosaton IOTHER ae oT Poaceae Paster cere ace teen eee sea Setter ioe tao a ld eect acl ieee peereonen ty eee rea eae cm plugins < cee erie Cty ee oe ana ee ener cor Peanut Seta om cr erry Poe Fiat eat SO een ae Pareles ae es Me eee eres germ ene atensee st een eal Eee nda Peo ate Renee aed Pree cetera Reet polarity Ehren nay oro Case cad CM PLUGINS TUTORIAL BANK te ea Mice erer Tae eee eee tect e ‘racks, Youllfindallof tis as a handy download eG ete Nara Eee ened Cn acNAINA Fi aa senss IDYNAMICS Check out this huge collection of processors - from classic compressors to modern digital foes elt MN ch cae Uc RAUL} you need to shape your signals el eet Pere ‘orestoncom Soe a eee — ao bei ae aS re) Derr a ne arene See oon HoRNet DrumShaper fetes eter ced ieee Penn Bota cro ete cameras ee HoRNetFat-FET eles ister eee at bch ee Brera eo Ee ene al eee eae reac seein wr nto a nce deteriora breeea een ce Se are ete et ae aera te ‘aso cod ey co td CMe a Moct Ra cc) ig ena etekeci tee Vets ielrt = A onIMVe RAe ce oR MARU eaael 0) oe of these pro visualisation tools PETE aT Boron biter i ST eRoe nhs ae ener peat Seniesa Peony eer rer cad erry ieee aa coreeg 53 From basic clean-up filters to sUeva-ln'-l(ere)6) a1] BORE a Cy Pickerceysicacmecmrelts Been isogcen ge cc virtual signal-sculptors Pe a Peri omens) eerie Prony aoe Dad ee tr Riad co ee cm plugins < See a Arig on elie IDELAY/REVERB steps” aaa a More EQ/Fiter plugins} ed iat aa Add space Eira ues or throw your sounds into at a oreo elec eas pied new dimension IMULTIEFFECTS Get your feeiszel in one place Rahal all-purpose aie _ foe ccc CME ana eea ean rod ec eee, Peers Pry ni as More Delay/Reverb plugins] eed eee ras ceri nee Petal preening tiie oe peter) peer tee ey ee ae)IDISTORTION/SATURATION Warm up your signals with this oRMeeclecurl| of saturators, SEM eca aE clippers, guitar FTalo)e= Roba and more Ponce racer teen Pere eeait ‘Daoist ane Pre ed ase ar as egeanee ty Probert ieee por eres taal Rane trie eter 1 a a8 ee LOTHER More esoteric and incredibly useful plugins lena issues of em PC iaeialaei inner ed een z Pere eee eer ere Perey Ca poe oro ota Heenan Fee etl apes eter id Peace) cera Poort eas ata cr ee pecans eee Cty erty ita) tice a pee at Rite al eer oa aes Ea Ore nr Tetec Tat) nee Seema Cord DOs eM Renee Co ie) oe ar) Brattaincm plugins < Loading plugins in your DAW Though there area wide variety of DAW, each nares! Pena e ee ee trie ee ees ere eee tes Involves insert slots ona track or mixer channel eee eee Eeenreee er ea Tai ee eet eee ee ee eed ee eam etre ero ene Nera ie teen eer eased alse eee erent eee aera oa eS ea ees Deer ea ute Peet eee teres ces hee eee a ernie Se nau tan! Ce aac eee ee eas) Studio, Cakewalk’ Sonar and PreSonus Stuclo Ce ee tray eens eee Pt renee een eter teed ere ce cE Cee eae ne ee Cee eater eas er me ne nt ae Peer eon choice of using an existing instrument track or er ae eee Pa eta Cer Se eu eats Peer er Leet Pernice eo Plugin folder locations row does your DAW know where tol for your plugins? Actually tight not. Mac sets have lt easy, as there are OS specified ders into which plugin e found by going to your Library ato the Finder's Go ‘menu, hold Alta Library option shoul appear. Find the Aude rectory, and then the Plug-ins folder within. There you wil nd ‘more folders stil, One will be labelled ‘Components - this reside, Other folders wil De found alongside it for VST and VS¥3 plugins It yourrea Pro Tools ser youll find your plugins nan Avid or Digidesion folder. your installers don't automaticaly instal the plugins into the proper folder, you should manually oy them Into the elevant folders sted anove. One caveat there wil ikely be two sets of das uncer two different Library locations, Ones forall users, the ot ‘administrator use. If your DAW has trouble ceing a plugin, ou mightieed to movelt youre ming Apples OSX al your VI. VST3 and ‘rom one Library tothe other, though the system folders usually the one to use. Uninstaling plusins from OS X usually ee eer eee Seer ee) vuth few handy tips you wor't want to miss: >Cockos Reaper -bitIy/LPireaper Sete ets Secor renret Suerte eee ty eee tae RS cemoe air) ewcerneen en ry ‘Component or VST file the Trash, ‘Sometimes an uninstaller you, though DAWand plugin installer wil often give you ‘an option of pointing tothe plugin rectory Te CAProgram Fles\steinbe ‘Some ptigins are delivered as only DLL files and needto be copied to your chosen ‘rectory. Once you've Installed your plugin, ‘think tice about moving ther. Some plugins rely supportfiles installed Into the same ‘lrectory. Te duplicate plugins esewnere on ‘the drive. use shortcuts on Windows (right ‘lick to create one) or aliases on Macs (Cma: Alvaraaging).em ee aD>make music now helped kickstart the n but add Korg Prophecy > Lonsitime renders could be forgiven for taking virtualynthsfor granted. Afterall, they wereamong the very fst pluginsto ‘appear, and are commonly provided as freeware by software developers. From simple single-oscillator bass synths to ‘elaborate emulations, virtual analogue ‘ynthe are now readily available. Backin 1995, however, things were quite diferent Analogue syrthesisers were old hat, ong abandoned by players whot grown weary ‘oftheir simplistic sound and manufacturers who preferred to annually equrgtatea growing glut ‘of menu-driven ROMplers. Those longing fer the hnands-on controlandra electronic sound ot ‘an analogue instrument were forced totake their enancesin the secondhand market. Sill 35 the 90s picked up steam, skint ‘electronic musicians began usia these dusty ‘old darlings to produce an ever-growing ‘catalogue of dancefloor its. Their cutting ‘waveforms and tweakable panel controls made ‘analogue synths the eal tools for performers. Instrument makers took note and began looking te exoloitthisrenewed intestinal things analogue. E-MU stufed a Proteus module {ullof vintage synth sams, ile Roland tried ynamo virtual analogui torecapture hands-on control by ataching a slider laden tront panel to2 RONIer. org, however, had determined that it was all about performance. Inabold move, they revived the analogue monosynth. Dubbed Prophecy ‘Gurely referencing the Prophet), their new instrument offered a truncated velocity and aftertouch sensitive keyboard alongside et hand cortrolsthat Includee piten and mod ‘wheels alongside the infamous Tog, akeen horizontal cylinder that combined mod wheel: lke ation witha pressure-senstive ribbon. Further mod options were provided by a quintet ‘of assignable knobs ust under the angle front pane splay - also uses during programming Allof these physical controls were housed in custom mouided enclosure of that tacky siver plastic that was popularin the 30s With its Smooth curves and red backit buttons, it resembled afunky Cyberman on Doctor Wino, ‘Hidden beneath tna welré shell was an ‘equally unusal architecture, Entirely software. based, the Prophecy derived its power from kKorais mysterious OASYS system In this Instance, [t provided the aforementioned virtual analogue voice predictably consisting of cua ‘analogue oscillators, multimode resonant iter Three great plugin alternatives 95 Originasatevatue ey 1501200 Uso ‘envelope generators, LFOs and some builtin ctfecs. Anarpegglator was also provided, though there wasno proper sequencer Familiar analogue mocels weren't the only ‘options. Indeed, the Prophecy provided no less ‘than 13 aiferentosclator types, withthe most notable being variations on 4-operator FM and ‘Bcoustic modelling of string, brass and ‘woodwinds When combined with the instruments expressive controler, these ‘models could bermade to sound quite realist ‘Programming the Prophecy was daunting, ‘especially civen tne menu:driven architecture ‘and then-unfamilar modeling technology. But {that aint stop it trom being used by everyone trom Auteene to Ozrle Tentacles. ti affordable ‘onthe used market, itsonly now seenfer the ‘groundbreaking instrument it was.em MADRONA LABS KAIVO. \VAsyniths re everywhere, butacoustic ‘modelingis harder tocome by. However the ‘maestros behind Aalto and the Soundplane ‘controller offer thisinstrument that combines ‘Buchia'styled analogue synthesis with ‘acoustic modeling na flexible semimodular ‘package. Emulating a Prophecy isa stretch, Dbutitsharesthat experimental spirit smadconalabs.com M4 / COMPUTER MUSIC / cobs 7 NUSOFTING MODELONIA When itcomes to acoustic modelling. few {developers can match NUSofting. Their exotic offerings expand on real-world sounds, taking the technology tonew and often inspiring places. Modeloniaisan ideal example, offering ‘hybrid architecture that combines plucked- string and blown-bore models. Well worth taking look, ‘ousoftina com APPLIED ACOUSTICS, SYSTEMS TASSMAN [AAS aremastersof modelling, acousticand ‘otherwise, and n fact their former flagship, ‘Tassman, combined acousticand analogue ‘models ia freely patchable modular environment. Though development has ‘eased, ou can sil gett from the developers Ifyou really want t. And wiry wouldnt you? apoligd-acousticscomPro Unrival and we ry Prana LL aSeLFolaybeat The Creative Groove Randomizer teed ek acre os a& audiomodern